Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

Professionalization through attrition? An event history analysis of mortalities in citizen journalism

ABSTRACT

Despite both scholarly and popular claims that citizen journalism (CJ) represents a growing democratizing force in the journalistic field, recent scholarship in the area has noted the decline of the organizational population of CJ. In this paper, we investigate how individual characteristics of sites and the dynamics of larger organizational population affect a CJ site’s risk of experiencing a mortality. Drawing on the largest sample to date of US-based English-language CJ sites, this study examines the risk of site mortality through an event history framework. Findings indicate that the strongest predictor of a site’s mortality is the age of the site, consistent with organizational population theory’s ‘liability of newness.’ We also find that for-profit and community-based sites have lower rates of site mortality, indicating that adopting legitimate conventions of journalism may serve as a protective buffer to site death. The results offer mixed evidence on whether CJ has become more professionalized via attrition.     

Second generation Caribbean black male youths discuss obstacles to educational and employment opportunities: a critical race counter-narrative analysis

This study explores obstacles to navigating the high school-to-labor market transition experienced by Second Generation Caribbean Black Male Youth (CBMY) living in Canada's Greater Toronto Area (GTA). Drawing upon interviews with ten CBMY between the ages of 18–27, the article uses a qualitative phenomenological methodology to understand barriers to education and employment from their perspectives. Studies show that 45% of CBMY drop out of high school while 52% are precariously employed in the GTA [Allahar, A. L. 2010. “The Political Economy of ‘Race’ and Class in Canada’s Caribbean Diaspora.” American Review of Political Economy 8 (2): 54; James, C. E. 2012. Students “at Risk” Stereotypes and the Schooling of Black Boys. Urban Education 47 (2), 464–494.; Lewchuk, W., and M. Lafleche. 2014. Precarious Employment and Social Outcomes. Just Labour: A Canadian Journal of Work and Society, 22, 45–50.; Block and Galabuzi 2011. Canada’s Color Coded Labor market: The Gap for Racialized workers. Canadian Centre for Policy Alternatives?=?Centre Canadien de Politiques alternatives]. The ten interview subjects provide retrospective and introspective counter-narratives that expose the race, class and gender-based barriers that frustrate their efforts to secure stable employment. The study utilizes Critical Race Theory (CRT) and the concept of White Supremacy to challenge the view that educational and employment success is based on color-blindness, merit and hard work. The CBMY counter-narratives examined in this study offer profound insight into dominant ideologies and practices that perpetuate racial biases, and present many valuable suggestions, explicit and implied, regarding how to improve the opportunities, inclusion and well-being of CBMY.     

Symposium on political communication and social movements: audience,persuasion, and influence

ABSTRACT

This article argues that an important contribution that political communication can offer social movement studies is a more variegated understanding of social movement audiences and their role in social movement strategy and processes. Specifically, the article introduces a coarse typology of social movement audiences and discusses the importance of understanding differences in the goals of these audiences and what kinds of influence, from messaging or other forms of pressure, may be important to affect different audiences in movements’ favors. The article also examines the ways in which audiences are active, shaping what messages they are exposed to, consume, believe, and act upon. The call of the article is to bring a concern for audiences into social movement studies in the hopes of wedding these more media and communication-focused concerns with the kinds of structural and material influences social movement studies is so accomplished in investigating.     

Decolonial Hip Hop: Indigenous Hip Hop and the disruption of settler colonialism

ABSTRACT

Contemporary Detroit has gone through many changes – or so it appears. From streets lined with vehicles made by Chrysler, Ford, and General Motors and driven by the nearly 2 million people who called the city home in 1950 to certain parts of the city looking like ghost towns; from a population that dwindled to 670,000 to the revival of downtown. Yet, what has been remarkably consistent is the invisibility of the Motor City’s Indigenous population. Indeed, Indigenous erasure, combined with rhetoric and policies that continue to marginalize and subjugate African Americans in Detroit, create a place rooted in multiple colonialisms. This essay examines how Detroit’s Indigenous Hip Hop artists resist settler colonialism through art, creativity, and culture as well as the practices of Detroit 2.0, a rhetoric and policy used by Detroit elites to reimagine it as a place of opportunity. By making visible the connections between blackness and indigeneity, as well as by linking the struggle of colonized peoples in Detroit to those in Palestine, Indigenous artists are not only asserting their humanity and challenging the longstanding idea of their erasure, but also constructing pathways for artists and activists to disrupt the effects of multiple colonialisms that continue to marginalize people of colour in urban areas. Detroit’s Indigenous Hip Hop artists make socially conscious music and also participate as activists in the city of Detroit. They serve as a window onto contemporary Indigenous identity, represent an exemplar of the urban Indigenous experience, and combine activism with art in a variety of ways.     

Filling the ‘empty space’: Site-specific dance in a techno club

While organisational space has received broad scholarly attention, movement in organisational spaces remains under-researched. This paper introduces the notion of site-specific dance from dance theory to consider the dynamic relationship between space and people, emphasising that movements are a response to a space, its materiality and context. Berghain, in Berlin and one of the world’s most famous techno clubs, is discussed as a case. An interdisciplinary analysis shows how a site-specific performance is created through the interplay of the architecture, the sound and the music organised by the DJ, and the dancing crowd. Methodologically, the dance and performance studies approach develops suggestions for how to analyse movement interaction in organisational space. Reference to dance theory broadens our understanding of how organisational spaces and human interaction enable, produce and negotiate experiences that are transitory, embodied and difficult to pin down.     

Toward a sociology of global comparative placemaking

I call for a globally informed sociology of comparative placemaking that integrates historical and contemporary processes and includes the ephemeral, institutional, and personal. By placemaking, I am referring to the explicit or tacit cooperation among people to create, maintain, and give meaning to places in space through bodily occupation given differential resources and constraints. I review select place, space, and community-based literature about urban, Black, migrant, LGBTQ, and international populations to think about how we can build upon and integrate multiple theoretical, methodological, and epistemological insights to form an explicit placemaking research agenda. A US focus on neighborhoods contrasts with a comparative examination of global urban networks, social polarization, and transformation of the built environment in the interdisciplinary field of global urban studies (Ren, 2018). I argue for a placemaking research agenda that bridges insight from US Urban Sociology with Global Urban Studies to consider how various structures and actors constrain and facilitate place projects. With a globally reaching and comparatively informed sociology of placemaking, we can illuminate our multi-structured story of place and agency in context. We can answer questions about how and why we co-create and are simultaneously disciplined by the process of creation.     

Pussy grabs back: bestialized sexual politics and intersectional failure in protest posters for the 2017 women’s march

The women’s march on Washington on January 21 2017 and its more than 600 sister marches across the world was characterized by its distinctly feline theme. Most notable were the pink pussy hats and a multitude of signs that played on the historical association between women and cats to resist the crude remarks made by US presidential nominee Donald Trump who bragged of grabbing women “by the pussy.” This article explores this feline counterframing from a vegan feminist perspective. A content analysis was performed on photographs that were published in Why I March (2017) and uploaded to the Women’s March on Washington Archives Project, the Georgia State University Women’s Marches 2017 Collection, and Instagram in Spring 2017. Results illustrate the persistent role that animality plays in feminist politics, but they also point to a critical intersectional failure exhibited by an ultimately anthropocentric collective.     

彝族漆器企业发展情况调查与研究

彝族漆器髹饰技艺及其文化因其传承历史悠久、技艺精湛、实用性强而受到人们的青睐。但是随着现代工艺的发展，彝族漆器工艺与企业发展面临着一些发展的难题：漆器产品成本高、销售难；漆器髹饰原料失真；产品开发创新不够；营销方式落后；从业人员文化素质低等。对此，政府应高度重视和帮扶彝族漆器工艺与企业发展，成立彝族漆器研究机构，对彝族漆器进行创新与改革，拓展营销手段和方法，建立一批高水平的现化代漆器工厂。     

“But I’m not a racist!” Phenomenology,racism, and the body schema in white,pre-service teacher education

In this article, I call for a phenomenological turn in educating white, pre-service teachers. As opposed to dominant pedagogical models which focus on changing one’s beliefs about race, phenomenology points toward the importance of pre-conceptual, pre-critical forms of racial embodiment. Here I draw upon recent work on the different between body image (beliefs about the body) and body schema (what the body can do). The worry is that existing forms of anti-oppressive education miss the centrality of the schema, and thus do not go far enough in uncovering the embodied, perceptual roots of racism.