The document discusses issues of subaltern speech and representation in post-colonial contexts. It begins by defining key terms like colonialism, settler colonialism, and post-colonialism. It then examines Gayatri Spivak's influential work "Can the Subaltern Speak?" which argues that subaltern groups are often unable to express themselves within structures of power and domination. The document also provides examples of how subaltern speech and identity are explored through various media artworks, like video games, performance, and installation art, that seek to give voice to marginalized groups.
Colonialism, Post-colonialist Theory, Globalisation & the MediaEmma McAneny
This document provides context on colonialism, post-colonialist theory, and their relationship to globalization and media. It defines key concepts like colonialism, empire, cultural imperialism, and orientalism. It outlines the history of British colonialism and discusses post-colonialist thinkers like Edward Said, Frantz Fanon, and W.E.B. Du Bois. Their work examined how colonialism continues to impact formerly colonized societies and how media representations perpetuate colonial power dynamics. The document also discusses criticisms of post-colonialist theory and related topics like neocolonialism, diaspora, double consciousness, and the effects of globalization.
The document provides information about several genocides that occurred in Bosnia, Rwanda, and Darfur. It discusses key details like locations, timelines of events, important people involved, motivations, and methods used to carry out the systematic killing of certain groups. The lasting impacts of these tragic events are also examined.
Post Colonial Literature: Can the sub-altern speak? Santhiya Ramadas
This document discusses key concepts in postcolonial feminism. It begins by defining postcolonial feminism as a subset of feminism that seeks to study the effects of colonialism on non-Western women. It then examines Western views of non-Western women and criticisms of those views from a postcolonial feminist perspective. Specifically, it analyzes the politics of the veil and Western notions of "saving" women. The document also briefly discusses hybridity, Frantz Fanon's work, and critiques of postcolonial feminism.
Steve Biko was a prominent anti-apartheid activist in South Africa who helped establish the Black Consciousness Movement. He sought to raise awareness of the psychological effects of internalized oppression among Black South Africans and empower them by rejecting racial inferiority. Biko was banned, arrested and tortured by the apartheid government. He died in police custody in 1977, becoming a martyr for the anti-apartheid cause. The Black Consciousness Movement aimed to promote pride in African culture and identity as a means of overcoming the effects of colonization and racial oppression.
This document discusses the portrayal of caste and Hinduism in dominant discourses. It argues that caste is portrayed as intrinsic to and worse than slavery by Christian fundamentalist, evangelical, and missionary lobbies seeking to convert Hindus. It claims these groups use caste as an issue to criticize Hindus while hiding intense missionary fervor under the guise of humanitarianism. The document also examines social stratification that existed in other ancient societies and religions to argue caste is not unique to Hinduism.
This presentation investigates how notion of “race” is socially constructed. It arose concurrently with the advent of European exploration as a justification and rationale for conquest and domination of the globe beginning in the 15th century of the Common Era. Therefore, “race” is an historical, “scientific,” and biological myth. It is an idea. Geneticists tell us that there is often more variability within a given so-called “race” than between “races,” and that there are no essential genetic markers linked specifically to “race.”
This document provides context on decolonization and indigenous identities from a global perspective. It defines indigenous peoples according to the UN as culturally distinct groups who find themselves engulfed by settler societies due to forces of empire and conquest, and who have ancestral roots embedded more deeply in the lands they live in than more powerful settler societies. Notable points made include that indigenous peoples number over 370 million globally, that indigenous identity involves factors like self-identification and connection to territory, and that decolonization aims to recentre indigenous life and ways of knowing by challenging colonial institutions and power relations. The document also examines survivance theory and provides examples of how indigenous artists depict survivance in media arts.
Colonialism, Post-colonialist Theory, Globalisation & the MediaEmma McAneny
This document provides context on colonialism, post-colonialist theory, and their relationship to globalization and media. It defines key concepts like colonialism, empire, cultural imperialism, and orientalism. It outlines the history of British colonialism and discusses post-colonialist thinkers like Edward Said, Frantz Fanon, and W.E.B. Du Bois. Their work examined how colonialism continues to impact formerly colonized societies and how media representations perpetuate colonial power dynamics. The document also discusses criticisms of post-colonialist theory and related topics like neocolonialism, diaspora, double consciousness, and the effects of globalization.
The document provides information about several genocides that occurred in Bosnia, Rwanda, and Darfur. It discusses key details like locations, timelines of events, important people involved, motivations, and methods used to carry out the systematic killing of certain groups. The lasting impacts of these tragic events are also examined.
Post Colonial Literature: Can the sub-altern speak? Santhiya Ramadas
This document discusses key concepts in postcolonial feminism. It begins by defining postcolonial feminism as a subset of feminism that seeks to study the effects of colonialism on non-Western women. It then examines Western views of non-Western women and criticisms of those views from a postcolonial feminist perspective. Specifically, it analyzes the politics of the veil and Western notions of "saving" women. The document also briefly discusses hybridity, Frantz Fanon's work, and critiques of postcolonial feminism.
Steve Biko was a prominent anti-apartheid activist in South Africa who helped establish the Black Consciousness Movement. He sought to raise awareness of the psychological effects of internalized oppression among Black South Africans and empower them by rejecting racial inferiority. Biko was banned, arrested and tortured by the apartheid government. He died in police custody in 1977, becoming a martyr for the anti-apartheid cause. The Black Consciousness Movement aimed to promote pride in African culture and identity as a means of overcoming the effects of colonization and racial oppression.
This document discusses the portrayal of caste and Hinduism in dominant discourses. It argues that caste is portrayed as intrinsic to and worse than slavery by Christian fundamentalist, evangelical, and missionary lobbies seeking to convert Hindus. It claims these groups use caste as an issue to criticize Hindus while hiding intense missionary fervor under the guise of humanitarianism. The document also examines social stratification that existed in other ancient societies and religions to argue caste is not unique to Hinduism.
This presentation investigates how notion of “race” is socially constructed. It arose concurrently with the advent of European exploration as a justification and rationale for conquest and domination of the globe beginning in the 15th century of the Common Era. Therefore, “race” is an historical, “scientific,” and biological myth. It is an idea. Geneticists tell us that there is often more variability within a given so-called “race” than between “races,” and that there are no essential genetic markers linked specifically to “race.”
This document provides context on decolonization and indigenous identities from a global perspective. It defines indigenous peoples according to the UN as culturally distinct groups who find themselves engulfed by settler societies due to forces of empire and conquest, and who have ancestral roots embedded more deeply in the lands they live in than more powerful settler societies. Notable points made include that indigenous peoples number over 370 million globally, that indigenous identity involves factors like self-identification and connection to territory, and that decolonization aims to recentre indigenous life and ways of knowing by challenging colonial institutions and power relations. The document also examines survivance theory and provides examples of how indigenous artists depict survivance in media arts.
The document discusses several concepts related to imperialism and post-colonialism in media, including cultural imperialism, orientalism, and representations of non-Western cultures. It explains that dominant Western cultures have historically tried to control developing countries by imposing their lifestyle and values through exported media. Even after colonies gained independence, Western influence lingered through imposed languages and ongoing economic dominance. The media often portrayed colonized peoples through stereotypes that reinforced Western superiority.
Post-colonialism refers to the cultural, economic, and political dominance that Western imperial powers maintained over former colonies even after independence. Media representations often reinforced this dominance through stereotypical and one-sided portrayals of non-Western cultures that reduced their complexity and promoted Western superiority. Post-colonial theory examines how media products from dominant Western cultures, especially the U.S., can function as a tool to assert cultural imperialism over developing nations through imposing Western lifestyles and values. It also considers how a lack of representation of non-white cultures in media visually suggests the lingering dominance of white colonial culture.
This document provides an overview of key concepts in postcolonialism, including colonialism and decolonization. It discusses how colonialism involved the physical and economic exploitation of colonies. Cultural imperialism spread colonial ideologies and asserted the cultural superiority of the colonizers. Examples discussed include Orientalism and how works like Heart of Darkness portrayed Africa and indigenous people. Decolonization involved independence movements starting in the mid-20th century. Postcolonial resistance includes strategies like separatism, cultural syncretism, recreating histories/identities, and appropriating colonial languages and forms.
Where we once belonged : the postcolonial viewSadiya Abubakar
Where We Once Belonged is a novel by Samoan author Sia Figiel that explores life in a fictional Samoan village called Malefou before and after colonialism. It uses the perspective of the protagonist Alofa to describe Samoan customs, culture, and the impacts of colonialism. Post-colonial theorists like Edward Said, Homi Bhabha, and Ngugi wa Thiong'o are referenced to analyze how the novel depicts the colonized villagers being subjected to Western domination and the loss of their culture as they adopt foreign practices. The novel challenges colonial representations of Samoans as primitive by romanticizing their pre-colonial civilization and customs.
The document discusses the Holocaust and draws parallels to issues facing Nigeria. It notes that the Holocaust saw over 10 million people killed by Nazi Germany, including 6 million Jews between 1933-1945. It warns that loose socio-political ideas can quickly escalate into desperate attempts at domination through mass killings, as with the Nazis. Unless Nigeria addresses threats like Boko Haram, militancy, and regional problems, it risks facing division or destruction, as Western powers have predicted. The document calls for Nigerians to set aside differences, condemn intolerance, and build a united nation that provides for all citizens.
The document discusses several key topics related to African decolonization in the 20th century, including:
1) The negative consequences of the "scramble for Africa" in the late 19th century, including how arbitrary European-drawn borders disrupted ethnic groups and social structures.
2) African resistance to colonial rule through figures like Jomo Kenyatta and his advocacy for independence in Kenya.
3) The various influences and challenges that African states faced in achieving independence in the post-WWII period as European powers grew weaker.
4) The ongoing struggles that newly independent African nations experienced with issues like ethnic conflict, economic dependence, and political instability.
This document discusses the Negritude movement and how Frantz Fanon and Cheikh Anta Diop situated it. It began in the 1930s as a literary and ideological movement by Francophone students to confront colonial racism. While both emphasized restoring black identity, Fanon saw Negritude as a response to colonial alienation, while Diop saw it as contingent on restoring pre-colonial African historical consciousness by locating African origins. The document also examines how Walter Rodney synthesized their ideas through his political documentary "The Terror and the Time" to intervene in controlling knowledge production.
This document provides an overview of postcolonialism as a theoretical framework. It defines postcolonialism as examining the effects of colonialism and imperialism in formerly colonized societies, including how it has shaped their cultures, histories, and identities. It discusses key thinkers who developed postcolonial theory like Edward Said, Gayatri Spivak, Stuart Hall, and Homi Bhabha. It also summarizes some of the main concepts in postcolonialism, such as othering, resistance, hybridity, and how colonial identities were imposed.
The document discusses several negative consequences of European colonization in Africa, including how the creation of borders divided ethnic groups and disrupted traditional ways of life. It also examines the struggles African nations faced in establishing stable governments after independence, due to factors like ethnic divisions, lack of democratic traditions, and ongoing European economic influence. Overall, the document analyzes the long-term political and social impacts of the colonial era in Africa.
This document discusses colonialism, post-colonialism, and representations of minorities in media. It addresses how colonial powers exploited resources and presented racist images of colonized peoples. Post-colonial theorists argue that Western media still lacks representation of black people and models colonialist views of depicting black women as over-sexualized. The document also examines theorists like Edward Said who discussed how the West constructs an "oriental other" and how diaspora identities have formed. It analyzes stereotypes of minorities in media and their portrayals as humorous, exotic, pitied or dangerous.
2.21.23 Black Nationalism and the Nation of Islam.pptxMaryPotorti1
The Nation of Islam (NOI) promoted black nationalism and racial separatism beginning in the 1930s. Led by Elijah Muhammad, the NOI emphasized economic self-sufficiency, cultural pride, and moral propriety as keys to black liberation. It established businesses and temples that gave the NOI great influence in urban black communities. The NOI's message of racial pride and its focus on incarcerated black men made it appealing. Through the NOI, black nationalism became an important strategy within the broader black freedom struggle.
1) The panel discusses issues of race, colonialism, and resistance from the perspectives of Black feminist thought.
2) Presenters explore how the intersecting realities of race and gender impact Indigenous and Black women through increased vulnerability to violence and disparate treatment.
3) Storytelling and oral traditions from the Somali diaspora are examined as a way for young Somali women to resist dominant narratives and subvert ideas about their identities.
Indelible ScarsDelineated in Toni Morrison’s BelovedQUESTJOURNAL
Abstract:Toni Morrison’s novel Beloved depicts the problems of demoralization, dehumanization, marginalization and slavery of the Afro-American race. Besides this, she had explored racism, sexism, pathological mourning and ethnic cleansing of Afro-American race in her novel Beloved. The author spoke the unspoken and intolerable truths of Afro-Americans as they had been victimized and had been the worstsufferers in the history of humanity. Moreover, Afro-Americans had been demeaned, exploited, subjugated, and devastated on the grounds of race, colour, caste and sex. As, people of Afro-American race had been torn physically, emotionally and psychologically throughout the ages. The present paper is an attempt to explore dehumanizing conditions suffered by the Afro-Americans and how these people had been humiliated and forced to live cannibal lives.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
Appropriation involves intentionally borrowing and altering preexisting images and objects. This raises issues around originality, authorship, and copyright. The document discusses the history of appropriation in artistic movements from Cubism to Pop Art. It provides examples such as Warhol appropriating a photo of Prince for a silkscreen series and Lichtenstein appropriating comic book panels. The increasing reproducibility of images through technology challenges traditional notions of an artwork's aura and uniqueness.
This document discusses the issue of cultural appropriation through examples in music, fashion, sports, politics and popular culture. It provides definitions of cultural appropriation as the taking of intellectual property or cultural elements from marginalized groups without permission. It then examines issues of cultural appropriation and cultural property rights in the art world through case studies of exhibitions at major museums that have led to criticism and debates around cultural sensitivity, artist intention vs audience interpretation, and repatriation of culturally significant artifacts.
This document summarizes Linda Nochlin's seminal 1971 essay "Why Have There Been No Great Women Artists?". Nochlin rejected the assumption behind the question, that women inherently lacked artistic genius. Instead, she argued feminist art historians should analyze how social and institutional structures shaped artistic production and excluded women. The document discusses essentialism in feminism and artists like Judy Chicago who linked women's art to biological experience. It also analyzes issues with Nochlin's approach, like its focus on painting and privileging of the notion of artistic genius. Overall, the document provides context around Nochlin's influential essay and its questioning of gender biases in the art world.
This document discusses different categories of the gaze in visual and media arts. It begins by defining the gaze as the act of looking and discusses how looking is never a neutral act. It then outlines 4 main types of gaze: 1) The spectator's gaze, which is the viewer's gaze assumed by the artwork. 2) The intra-diegetic gaze, where one character looks at another within the image. 3) The extra-diegetic gaze, where the subject looks directly at the viewer. And 4) the screen or monitor as mirror gaze, where the subject gazes upon their own image. The document provides examples for each type of gaze and discusses concepts like directing the spectator's gaze, the male gaze, and
Self-portraiture has a long history dating back to the early Renaissance, but the development of video technology in the 1960s and 70s allowed artists to confront their own image in real-time feedback between the camera and monitor. While some viewed this new form of video self-portraiture as providing an opportunity for aesthetic contemplation of oneself, others criticized it as embodying a narcissistic psychological state through its ability to erase boundaries between subject and object. Contemporary debates continue over whether self-portraiture through new media like smartphones represents narcissism or a performance of different social selves.
This document discusses how spectators and viewers interpret visual forms like images, discussing concepts like the Kantian idea of disinterested viewing, cinema of attractions, and theories of spectatorship and how images negotiate social relationships and power dynamics. It also covers case studies analyzing how context, both historical/social and presentation, shapes interpretation, as well as the viewer's own identity and position. Key themes are how images can be read differently over time as social norms change, and how poor or amateur images reveal conditions of marginalization.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
The document discusses several concepts related to imperialism and post-colonialism in media, including cultural imperialism, orientalism, and representations of non-Western cultures. It explains that dominant Western cultures have historically tried to control developing countries by imposing their lifestyle and values through exported media. Even after colonies gained independence, Western influence lingered through imposed languages and ongoing economic dominance. The media often portrayed colonized peoples through stereotypes that reinforced Western superiority.
Post-colonialism refers to the cultural, economic, and political dominance that Western imperial powers maintained over former colonies even after independence. Media representations often reinforced this dominance through stereotypical and one-sided portrayals of non-Western cultures that reduced their complexity and promoted Western superiority. Post-colonial theory examines how media products from dominant Western cultures, especially the U.S., can function as a tool to assert cultural imperialism over developing nations through imposing Western lifestyles and values. It also considers how a lack of representation of non-white cultures in media visually suggests the lingering dominance of white colonial culture.
This document provides an overview of key concepts in postcolonialism, including colonialism and decolonization. It discusses how colonialism involved the physical and economic exploitation of colonies. Cultural imperialism spread colonial ideologies and asserted the cultural superiority of the colonizers. Examples discussed include Orientalism and how works like Heart of Darkness portrayed Africa and indigenous people. Decolonization involved independence movements starting in the mid-20th century. Postcolonial resistance includes strategies like separatism, cultural syncretism, recreating histories/identities, and appropriating colonial languages and forms.
Where we once belonged : the postcolonial viewSadiya Abubakar
Where We Once Belonged is a novel by Samoan author Sia Figiel that explores life in a fictional Samoan village called Malefou before and after colonialism. It uses the perspective of the protagonist Alofa to describe Samoan customs, culture, and the impacts of colonialism. Post-colonial theorists like Edward Said, Homi Bhabha, and Ngugi wa Thiong'o are referenced to analyze how the novel depicts the colonized villagers being subjected to Western domination and the loss of their culture as they adopt foreign practices. The novel challenges colonial representations of Samoans as primitive by romanticizing their pre-colonial civilization and customs.
The document discusses the Holocaust and draws parallels to issues facing Nigeria. It notes that the Holocaust saw over 10 million people killed by Nazi Germany, including 6 million Jews between 1933-1945. It warns that loose socio-political ideas can quickly escalate into desperate attempts at domination through mass killings, as with the Nazis. Unless Nigeria addresses threats like Boko Haram, militancy, and regional problems, it risks facing division or destruction, as Western powers have predicted. The document calls for Nigerians to set aside differences, condemn intolerance, and build a united nation that provides for all citizens.
The document discusses several key topics related to African decolonization in the 20th century, including:
1) The negative consequences of the "scramble for Africa" in the late 19th century, including how arbitrary European-drawn borders disrupted ethnic groups and social structures.
2) African resistance to colonial rule through figures like Jomo Kenyatta and his advocacy for independence in Kenya.
3) The various influences and challenges that African states faced in achieving independence in the post-WWII period as European powers grew weaker.
4) The ongoing struggles that newly independent African nations experienced with issues like ethnic conflict, economic dependence, and political instability.
This document discusses the Negritude movement and how Frantz Fanon and Cheikh Anta Diop situated it. It began in the 1930s as a literary and ideological movement by Francophone students to confront colonial racism. While both emphasized restoring black identity, Fanon saw Negritude as a response to colonial alienation, while Diop saw it as contingent on restoring pre-colonial African historical consciousness by locating African origins. The document also examines how Walter Rodney synthesized their ideas through his political documentary "The Terror and the Time" to intervene in controlling knowledge production.
This document provides an overview of postcolonialism as a theoretical framework. It defines postcolonialism as examining the effects of colonialism and imperialism in formerly colonized societies, including how it has shaped their cultures, histories, and identities. It discusses key thinkers who developed postcolonial theory like Edward Said, Gayatri Spivak, Stuart Hall, and Homi Bhabha. It also summarizes some of the main concepts in postcolonialism, such as othering, resistance, hybridity, and how colonial identities were imposed.
The document discusses several negative consequences of European colonization in Africa, including how the creation of borders divided ethnic groups and disrupted traditional ways of life. It also examines the struggles African nations faced in establishing stable governments after independence, due to factors like ethnic divisions, lack of democratic traditions, and ongoing European economic influence. Overall, the document analyzes the long-term political and social impacts of the colonial era in Africa.
This document discusses colonialism, post-colonialism, and representations of minorities in media. It addresses how colonial powers exploited resources and presented racist images of colonized peoples. Post-colonial theorists argue that Western media still lacks representation of black people and models colonialist views of depicting black women as over-sexualized. The document also examines theorists like Edward Said who discussed how the West constructs an "oriental other" and how diaspora identities have formed. It analyzes stereotypes of minorities in media and their portrayals as humorous, exotic, pitied or dangerous.
2.21.23 Black Nationalism and the Nation of Islam.pptxMaryPotorti1
The Nation of Islam (NOI) promoted black nationalism and racial separatism beginning in the 1930s. Led by Elijah Muhammad, the NOI emphasized economic self-sufficiency, cultural pride, and moral propriety as keys to black liberation. It established businesses and temples that gave the NOI great influence in urban black communities. The NOI's message of racial pride and its focus on incarcerated black men made it appealing. Through the NOI, black nationalism became an important strategy within the broader black freedom struggle.
1) The panel discusses issues of race, colonialism, and resistance from the perspectives of Black feminist thought.
2) Presenters explore how the intersecting realities of race and gender impact Indigenous and Black women through increased vulnerability to violence and disparate treatment.
3) Storytelling and oral traditions from the Somali diaspora are examined as a way for young Somali women to resist dominant narratives and subvert ideas about their identities.
Indelible ScarsDelineated in Toni Morrison’s BelovedQUESTJOURNAL
Abstract:Toni Morrison’s novel Beloved depicts the problems of demoralization, dehumanization, marginalization and slavery of the Afro-American race. Besides this, she had explored racism, sexism, pathological mourning and ethnic cleansing of Afro-American race in her novel Beloved. The author spoke the unspoken and intolerable truths of Afro-Americans as they had been victimized and had been the worstsufferers in the history of humanity. Moreover, Afro-Americans had been demeaned, exploited, subjugated, and devastated on the grounds of race, colour, caste and sex. As, people of Afro-American race had been torn physically, emotionally and psychologically throughout the ages. The present paper is an attempt to explore dehumanizing conditions suffered by the Afro-Americans and how these people had been humiliated and forced to live cannibal lives.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
This document discusses the history and concept of institutional critique in art. It begins by defining what institutions are and discussing Michel Foucault's concept of heterotopias and critique. Institutional critique emerged in the early 1970s as artists questioned and confronted institutions of art like museums and galleries. Some key events and works that critiqued institutions from the 1960s are discussed, like Futurist calls to flood museums and Black Emergency Cultural Coalition protests. The document then covers the development of institutional critique and debates around an inside vs. outside. It analyzes Andrea Fraser's view that the institution is inside artists themselves and there is no true outside. Overall, the document provides context around the emergence and goals of institutional critique as a practice
Appropriation involves intentionally borrowing and altering preexisting images and objects. This raises issues around originality, authorship, and copyright. The document discusses the history of appropriation in artistic movements from Cubism to Pop Art. It provides examples such as Warhol appropriating a photo of Prince for a silkscreen series and Lichtenstein appropriating comic book panels. The increasing reproducibility of images through technology challenges traditional notions of an artwork's aura and uniqueness.
This document discusses the issue of cultural appropriation through examples in music, fashion, sports, politics and popular culture. It provides definitions of cultural appropriation as the taking of intellectual property or cultural elements from marginalized groups without permission. It then examines issues of cultural appropriation and cultural property rights in the art world through case studies of exhibitions at major museums that have led to criticism and debates around cultural sensitivity, artist intention vs audience interpretation, and repatriation of culturally significant artifacts.
This document summarizes Linda Nochlin's seminal 1971 essay "Why Have There Been No Great Women Artists?". Nochlin rejected the assumption behind the question, that women inherently lacked artistic genius. Instead, she argued feminist art historians should analyze how social and institutional structures shaped artistic production and excluded women. The document discusses essentialism in feminism and artists like Judy Chicago who linked women's art to biological experience. It also analyzes issues with Nochlin's approach, like its focus on painting and privileging of the notion of artistic genius. Overall, the document provides context around Nochlin's influential essay and its questioning of gender biases in the art world.
This document discusses different categories of the gaze in visual and media arts. It begins by defining the gaze as the act of looking and discusses how looking is never a neutral act. It then outlines 4 main types of gaze: 1) The spectator's gaze, which is the viewer's gaze assumed by the artwork. 2) The intra-diegetic gaze, where one character looks at another within the image. 3) The extra-diegetic gaze, where the subject looks directly at the viewer. And 4) the screen or monitor as mirror gaze, where the subject gazes upon their own image. The document provides examples for each type of gaze and discusses concepts like directing the spectator's gaze, the male gaze, and
Self-portraiture has a long history dating back to the early Renaissance, but the development of video technology in the 1960s and 70s allowed artists to confront their own image in real-time feedback between the camera and monitor. While some viewed this new form of video self-portraiture as providing an opportunity for aesthetic contemplation of oneself, others criticized it as embodying a narcissistic psychological state through its ability to erase boundaries between subject and object. Contemporary debates continue over whether self-portraiture through new media like smartphones represents narcissism or a performance of different social selves.
This document discusses how spectators and viewers interpret visual forms like images, discussing concepts like the Kantian idea of disinterested viewing, cinema of attractions, and theories of spectatorship and how images negotiate social relationships and power dynamics. It also covers case studies analyzing how context, both historical/social and presentation, shapes interpretation, as well as the viewer's own identity and position. Key themes are how images can be read differently over time as social norms change, and how poor or amateur images reveal conditions of marginalization.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help boost feelings of calmness, happiness and focus.
This portfolio piece documents Margaret Boozer's 2020 residency at the Hambidge Center for Creative Arts and Sciences. During her time there, Boozer explored new creative directions through painting, drawing, and photography while surrounded by the natural beauty of the Georgia landscape. Her work from this residency period reflects on change, memory, and how life paths can diverge from what was once familiar.
This document provides an overview of how to analyze the visual elements in works of art. It discusses analyzing elements such as medium/material, style, formal qualities like line and color, space and setting. It also discusses additional elements to analyze for moving images, such as editing, framing, camera movement, sound, loops, and genre. Examples are provided of works that demonstrate different visual elements, such as a Clyfford Still painting showing formal qualities and a Christo artwork demonstrating scale and setting.
The document discusses the final assignment for the class, which is to rewrite the artist statement and is due on December 4. It then reviews the difference between interpretation and thematic content in art, noting that interpretation refers to what the artist hopes the viewer takes away from the work, such as a deeper understanding, emotion, experience, realization, appreciation, exposure to new ideas, desire to learn more, or aesthetic experience. It provides examples of artworks and their thematic subjects and interpretations. Students are then instructed to post in one sentence the subject matter and intended interpretation of their own artwork on the class blog.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
1. MIA - BORDERS
“I was a refugee because of war and now I have a voice in a time when war is the
most invested thing on the planet. What I thought I should do with this record is
make every refugee kid that came over after me have something to feel good about.
Take everybody’s bad bits and say, ‘Actually, they’re good bits. Now whatcha gonna
do?’”
“The most powerful thing about Borders’ is that the mantra of ‘what’s up with that?’
is not a condemnation. It’s a question.”
https://www.youtube.com/watch?v=r-Nw7HbaeWY
2. Centro di Permanenza Temporanea (Temporary
Reception Center) (2007)
Adrian Paci (Albania)
16:9 video projection, color, sound, 5’30’’
https://www.youtube.com/watch?v=r-
Nw7HbaeWY
5. COLONIALISM
Colonialism is an ancient practice (Greeks, Romans, Moors, Ottomans)
Colonialism establishes political, economic and cultural control over an indigenous
population (the people living on the land before the arrival of the settlers) or mixed
population that also includes previous colonizers or migrants
Colonialism as a broad concept refers to the project of European political
domination from the sixteenth to the twentieth centuries that ended with the
national liberation movements of the 1960s (exception – Russia through the 1990s)
6. SETTLER COLONIALISM
• A distinct type of colonialism that functions through the ongoing elimination and
replacement of Indigenous populations with an invasive settler society that, over time,
develops a distinctive identity and sovereignty.
• Settler colonizers “come to stay”
• Settler colonial states include allof North America, Central America, and South America,
Greenland, Australia, South Africa, New Zealand, and also parts of Russia (i.e., Eastern
Siberia)
7. SETTLER COLONIALISM – U.S.
• “...we live in a settler colonial global present” Lorenzo Veracini, The Settler Colonial
Present (2015).
• A settler colonialism framework recognizes that the United States is a present-day
settler colonial society whose laws, institutions, and systems of governance
continue to enact an ongoing “structure of invasion” that persists to this day.
• A framework of settler colonialism understands that the three foundational
processes upon which the United States was built—Indigenous elimination, slavery
and anti-Black racism, and immigrant exploitation—are ongoing processes that
continue to shape present-day systemic inequities.
8. OTHER TYPES OF COLONIALISM
• Internal colonialism – exploitation of minority groups within a wider society
which leads to political and economic inequalities between regions within a state
or a geographically based pattern of subordination of a differentiated population,
located within the dominant power or country, i.e., Sami people – (Norway,
Sweden, Finland, Russia); Kurds (Turkey, Syria, Iraq); apartheid in South Africa;
ghettoes in US, Northern Ireland & Sicily;
• Residual Colonialism – holding of territories, i.e., American Samoa;
Commonwealth of the Northern Mariana Islands; Federated States of Micronesia;
Guam; Republic of the Marshall Islands; Republic of Palau; US Virgin Islands;
Puerto Rico
10. POST-
COLONIALISM
“Post-colonialism” is a a concept or theoretical term derived from
the academic arena of Post-colonial Studies which focuses on the
cultural, political, economic and social legacy of colonialism and
the human consequences of the control and exploitation of both
colonized people and their lands
Post-colonialism is a concept used to describe the struggles of
societies that experienced/experience the transition from political
dependence to sovereignty post-1960s, but its concepts are often
applied to settler colonial and other colonial societies post-1960s
Post-colonial subjects may live on their original land or anywhere
in the globe. Displacement and diaspora is also part of the post-
colonial narrative.
Key theorists: Homi Bhabha, Edward Said, Frantz Fanon, Wole
Soyinka, and Gayatri Chakravorty Spivak.
14. GAYATRI(GAI-
UH-TREE)
SPIVAK:
CAN THE
SUBALTERN
SPEAK? (1988)
“Let us now move to consider the margins
(one can just as well say the silent, silenced
center)…men and women among the
illiterate peasantry, the tribals, the lowest
strata of the urban subproletariat….”
15. SUBLALTERN =
SOCIAL STATUS
The subaltern is very clearly not any post-colonial (non-
Western) individual (Spivak)
subaltern describes the lower classes and the social
groups who are at the margins of society: a subaltern is a
person without agency because of their social status
Rural groups, tribal group, Indigenous groups, women,
children, illiterate individuals, refugees, migrant laborers,
lower-caste; (the dispossessed)
Fringe of society/outside of the colonial state and the
modern sovereign state. They are the displaced and
dispossessed.
“double discrimination”
16. “The subaltern ‘cannot speak’… because her speech falls short of fully authorized,
political speech. Too much gets in the way of her message's being heard, socially and
politically.”
Gaytri Spivak
17. THE PROBLEM OF SUBALTERN SPEECH IN
POST-COLONIAL THEORY
• Colonialism reformulates non-Western forms of knowing, reasoning and acquiring knowledge of
the world as myth and as folklore
• to be heard and known, the subaltern must adopt Western ways of knowing, reasoning, and
language –and must conform expression of their non-Western knowledge of colonial life to
Western ways of knowing the world
• the subalterns' abandonment of culturally customary ways of thinking and the subsequent
adoption of Western ways of thinking are necessary in many situations…
• but this also means that post-colonial subjects can present challenges to and/or contributions to
Western ways of knowing (in their own societies and globally)
• those on the fringes of society are displaced from the socio-economic institutions of the society
(jobs, education), in order to deny their agency by both colonial powers and elite within their own
country
18. THE PRACTICE OF SATI (WIDOW SUICIDE)
AND SUBALTERNITY
“The Hindu widow ascends the pyre of the dead husband and immolates herself
upon it. This is widow sacrifice. (The conventional transcription of the Sanscrit word
for the widow would be sati. The early colonial British transcribed it suttee.) The right
was not practiced universally and was not caste- or class-fixed. The abolition of this
rite by the British has been generally understood as a case of ‘White men saving
brown women from brown men’…Against this is the Indian nativist statement, a
parody of the nostalgia for lost origins: ‘The women wanted to die,’ still being
advanced…”
19. PROBLEM OF THE
WIDOW + SPEECH
• A “double displacement”
• Indian patriarchal customs speak for her +
determine her behavaor
• White government speaks for her - to save her
from brown men
• Gender behavior is constructed via fundamentally
patriarchal law
• No-one asks the widow what she wants
• She has no platform to express her concerns.
20. “The subaltern cannot speak, not because there are not activities in which we can
locate a subaltern mode of life/culture/subjectivity, but because…‘speaking’ itself
belongs to an already well-defined structure and history of domination. As Spivak
says in an interview: ‘If the subaltern can speak then, thank God, the subaltern is not
a subaltern any more.’”
Rey Chow
21. A ZU TIWALINE/ DONIA MAAOUI
(TUNISIAN BERBER/CAMBODIAN)
'EYES OF THE WIND' (BONUS TRACK
TAKEN FROM DRAW ME A SILENCE
The Berbers, an Indigenous people of Northern Africa, live in
scattered communities across Morocco, Algeria, Tunisia, Libya,
Egypt, Mali, Niger, and Mauritania. Fractured identity due to
colonialism and post-colonial nation building
“Uniting the bonds that connect Berber music, dub culture
and techno hypnosis” (survivance)
Tunisia was French occupied
Berber music, culture, inserted into the desert landscape
https://www.youtube.com/watch?v=IMV7UtEkIPA
23. THE PROBLEM OF SUBALTERN SPEECH IN
POST-COLONIAL THEORY
to be heard and known, the subaltern must adopt Western ways of
knowing, reasoning, and language –and must conform expression of
their non-Western knowledge of colonial life to Western ways of
knowing the world
24. IMMIGRATION, MIGRATION +
REFUGEEISM + SUBALTERNITY
Labor – immigration and migrant work (global)
Ethnic or religious persecution
Human rights violations (women, LGBTQ+, religion)
Displacement due to environmental disasters (i.e., drought, famine)
Displacement due to war/violence
Internal migration (rural to urban)
International migration
25. OL ORI BURU (2015)
PAOLO NA ZARETH
(KRENAK , AFRO-BRA ZIL AN + EUROPE AN
DESCENT)
In this work a Nigerian immigrant on the top of
a building looking through São Paulo's skyline
pours insults in Yoruba language over the city.
He unloads this frustration and the questioning
around the separation between the African man
and his geographic and cultural origin, and the
diaspora of his people throughout the world.
• “Oi Ori Buruku” is a curse phrase in Yoruba
which means ‘bad mentality’, with the word ‘Ori’
signifying the essence of being.
• https://vimeopro.com/loopfair/videocloop/vi
deo/162948247
26. FINDING FANON (FF) GAIDEN:
DELETE (2016)
FF Gaiden: Delete (Larry Achiampong & David Blandy w/Indigenous
paperless migrants from Eritrea and Kurdistan) from from the
organization Mennisker i Limbo (People in Limbo) in Oslo, Norway
Participants tell their stories of migration via a journey through Grand
Theft Auto V.
The artists worked with individual group members to develop written
scripts, synthetic voiceovers and character avatars
This is a genre of media art called “machinima” which uses footage from
video games to create media art and filmic works
gaiden = a media work, usually a video game, which takes place in or
refers to another work, but isn't really a sequel or prequel.
https://vimeo.com/192201168
27. THINGS TO
THINK ABOUT
How does animation/video game
world work to support or enhance
meaning?
What is the role of sound and voice-
over in this work?
How does the landscape of Grand
Theft Auto work to represent the
stories, voices and journeys of
paperless immigrants?
28. YINKA SHONIBARE
THE CROWNING (2007)
Yinka Shonibare is British-Nigerian artist who
uses vibrant Ankara fabric, mining its complex
multi-national history. Although it is often
associated with the African continent, this fabric
was originally inspired by Indonesian design
and mass-produced in the Netherlands, hence
it also being known as Dutch wax fabric. The
Dutch colonial powers then sold it to colonies
in West Africa, explaining its perceived
Africanness. Shonibare sources his fabric from
London, completing its global journey.
Shonibare dresses the two figures in The
Crowning in luxurious eighteenth-century
costumes (a regular motif of his) made of
Ankara fabric to explore not only race and
globalisation but also class. Class differences
are brought into the present by the inclusion of
the Chanel logo in the fabric print.
29. SCRAMBLE FOR
AFRICA
2003
YINKA SHONIBARE
•
• “An exploration of late Victorian
England and its territorial expansion
into Africa during the 1880s. The
"scramble" for Africa by leading
European and world powers
resulted in the carving up of the
continent, an act that was
formalized at the Berlin Conference
of 1884-85.”
30. HINTERLAND (2013)
HEW LOCKE
• Edinburgh-born artist Hew Locke grew up in Guyana. His
work builds upon his own heritage and experience to provide
insight into the themes of colonial and post-colonial power
• Locke has layered paint over a photograph of the statue of
Queen Victoria in his hometown of Georgetown in
Guyana. During the socialist uprising of 1970, the statue was
dumped in the Georgetown Botanical Gardens before being
restored in 1990. The painted images of skeletons and
oppressed peoples over the monument symbolise the
exploitation of native peoples under empire. Queen Victoria’s
statue becomes a symbol of the oppressive and exploitative
nature of colonialism.
32. THE PROBLEM OF SUBALTERN SPEECH IN
POST-COLONIAL THEORY
to be heard and known, the subaltern must adopt Western ways of knowing, reasoning,
and language –and must conform expression of their non-Western knowledge of
colonial life to Western ways of knowing the world
33. While Indigenous self-determination demands the right to be heard and
acknowledgement and acceptance of an Indigenous world view, a consideration of
who is listening to their messages is an essential part of the communication process.
T. Dreher “Listening across difference: Media and multiculturalism beyond
the
politics of voice” (2009).
34. A SÁMI AND HER BODY
(2007)
LISELOTTE WA JSTEDT
(SÁMI, KIRUNA SWEDEN)
“I investigate the body as a
tool, a house, flesh. I learn what
the different parts of my body
are called in Sámi language. I
do this in my home. Me in my
body among my things that I
identify with. I try out my
different Sámi attributes.”
Sápmi = land of the Sámi
https://vimeo.com/127584155
35. A SÁMI IN THE CITY
(2007)
LISELOTTE WAJSTEDT
“I investigate the big city Stockholm from my
perspective and in a Sámi way. I conduct the
investigation with the purpose to learn new
words. What do you call a skyscraper or a
shopwindow or the concrete. How do you
say: I am walking here on the pedestrian
street, but now I am entering a fashion shop.
Wow! What a nice dress, gotta have it. I am
carrying a dictionary and a phone... in
emergencies I can call up my relatives up
north and ask if there is something I don´t
understand. I put post-it notes on everything
I see and want to learn. Document it with my
camera.”
https://vimeo.com/7548572
36. SPANIARDS NAMED HER MAGDALENA, BUT
NATIVES CALL HER YUMA (2013)
CAROLINA CAYCEDO (MUISCA, COLOMBIA)
HT TPS://VIMEO.COM/151806127
37. ‘CULTURE FOR SALE’ (2012) BY
YUKI KIHARA
(SAMOAN/JAPANESE
DESCENT)
Culture for Sale’ is the title of the interdisciplinary
work which features a live public performance
and video installation conceived by Kihara where
the live performance featured Samoan dancers
who were instructed only to perform briefly when
they were paid money by the audience. The video
installation also echoed the performance - the
audience was able to pay-per-view the footage of
the performance by inserting coins into the coin
slot machine placed next to each monitor
presented as a 'vending machine'.
‘Culture for Sale’ explores the commercialization
of Samoan culture in the so called ‘post-colonial’
era in the wake of the 50th Anniversary of the
Independence of Samoa in June 2012
https://vimeo.com/40031800
39. Made in
1965/1966
First feature film
by an African
director
First African film
to play at Cannes
First feature-
length film made
in Africa
In French and
Wolof (Sembène‘s
native language)
Taken from a
newspaper story
Sembène read in
France
Based on a story,
included in Tribal
Scars, called “The
Promised Land”
40. OUSMANE
SEMBÈNE
• An author/filmmaker
• Started making movies in his
40s
• Black Girl is his first film
• Communicating to Africans
but also to those outside
41. Records the story of a young black Senegalese
woman, Diouana, brought to Antibes, France
by a French couple previously stationed in
Dakar. Under the mistaken assumption that
she has been employed as a governess for the
couple's children, Diouana quickly learns that
she must do the cooking, laundry, cleaning,
and babysitting. Without salary or friends,
treated as invisible by her employers, confined
to the house except for shopping, and
disillusioned by the sad discrepancy between
the realities of her life in France and her earlier
fantasies
https://www.youtube.com/watch?v=sptKbtXIn
4o
45. ALLEGORY
1. The past is used to speak about the present
2. One character is used to represent a larger
group, particularly members of a particular social
or political class
46. Diouana represents the African worker/the
domestic worker/the female domestic worker/the
subaltern
Her employers – the colonial past/legacy od the
colonial past and post-colonial relationship
Diouana’s clothing – the struggle of the subaltern
subject and identity post-colonial
The mask – African culture under colonialism,
sovereignty
The film depicts struggles of societies that
experienced the transition from political
dependence to sovereignty
Allegory in Black Girl
47. DIOUANA AS THE SUBALTERN
as a woman
as a
domestic
worker
as an
immigrant
as an African
woman
as “illiterate”
as
Indigenous
person
48. CHARACTER
CONSTRUCTION:
CLOTHING
French clothing vs. African
clothing
What do the different styles of
clothing mean to Diouana?
What does it mean/signal
when she changes between
the two (is she still subaltern)?
51. “In many African cultures, the person who wears a ritual mask conceptually is
transformed into the spirit represented by the mask itself. The transformation of the
mask wearer into a spirit usually relies on other practices, such as music and dance or
costume costumes that contributes to the transformation.”
53. THE
AESTHETICS
OF BLACK
AND WHITE
• Black Girl explores themes of the legacy
colonialism, sublaterity, and the struggle for
identity for the post-colonial subject through
the use of black and white imagery
• Black and white visual imagery are used to add
meaning to the narrative – everything means
something in this film
• The floor, for example, with its bold black and
white horizontal stripes, which will never
intermingle, stand-in for black and white culture
in Senegal
• African clothing is richly patterned; French
clothing is white
54.
55.
56. “Besides film scholars, however, few people
know that Sembène’s film was based on a
real-life incident. Few know that there is
another woman shadowing the Diouana
we see on screen and in visual artworks like
Nyoni’s portrait. The “real” Diouana, so to
speak, was Diouana Gomis (1927–58): a 31-
year-old woman from Boutoupa in
Ziguinchor, Senegal. Hired in Dakar as a
maid and nanny for a white French family,
she arrived in Antibes in April 1958 and
died by suicide less than three months
later. “
Sembène’s “Black Girl” Is a Ghost Story
Doyle Calhoun
https://www.publicbooks.org/sembenes-
black-girl-is-a-ghost-story/