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.     

Use of Redundant Industrial Buildings as Injections into the Cultural Sector in Norway

Prime aim is to examine the way the culture sector reuses industrial buildings to instigate cultural activities in the municipalities. The discussion of various actors’ motivation for engagement is based on results from a case study, supplemented with findings from a coarse-meshed telephone survey. At national level overarching political guidelines can be traced back to white papers concerning cultural policy, urban transformation and cultural heritage, and the municipalities’ cultural policies mirror these guidelines. What tends to decide if such initiatives are considered successful are local abilities to cross sectorial divisions and instigate cooperation between municipal planners, private entrepreneurs and NGOs.     

Colonized Silence: Confronting the Colonial Link in Rural Alaska Native Survivors’ Non-Disclosure of Child Sexual Abuse

Though there is evidence linking the history of colonialism and oppression of Indigenous people to the high rates of rape and child sexual abuse experienced by this population today, it is less understood how colonial processes, past and present, condition the decision to disclose or report victimization. Drawing on a survivorship storytelling study of rural Alaska Native survivors of child sexual abuse, this paper underscores the importance of centering colonialism in understanding the culture of silence surrounding sexual victimization among Indigenous people. Results show that reasons for non-disclosure are quite embedded within larger social, historical and political themes of colonialism, oppression, and marginalization. Implications for policy and praxes are discussed, as well as a broader mandate of social change to remove barriers to disclosure.     

On artistic and cultural generations in Northeastern Tibet

Beginning in the 1980s, and continuing for over three decades since, a particular generation of Tibetans from the Northeastern Tibetan region known as Amdo, and particularly from the northern parts of China’s Qinghai province, has proven extremely productive. Why has this generation, born primarily between 1959 and 1967, been so incredibly successful? This article examines the contextual factors that may have contributed to the incredible success of this generation. This ranges from the policies and circumstances that affected their births, and the state of the cultural field at the time they reached adulthood. Personal experience narratives, autobiographies, and scholarly studies then reveal how this generation was able to access the intellectual field. Finally, I briefly discuss how the Amdo Tibetan intellectual field compares with other Tibetan and ethnic experiences in the People’s Republic of China.     

Conjuncture and cultural reproduction in the process of embedding: social work practice in the context of government purchase of services in China

This paper focuses on the Chinese government’s policy of purchasing social services and discusses how relevant organisations provide social work and develop it within local socio-political and cultural contexts. An ethnographic research method was adopted for the study by the first author while participating in social work development in Q City. We argue that the policy of purchasing social services succeeded in achieving “embedded development” but also created a “conjuncture structure” in cultural reproduction. However, due toprofessional social workers in China have, in practice, passively responded to the conjuncture there has been a failure to reproduce professional values of social work in the Chinese cultural context. Therefore, further development of social work in China needs to strengthen cultural reflection in practical actions, focus on the exploration of cultural connections between social work practice and local communities, and enhance the cultural capacity of social workers in the local cultural context.     

文化认知中定向思维模式的建构与解构——以中国少数民族文化范式为研究视阈

定向思维模式的建构与解构实际上反映出认知结构的二重性特征，两者在文化认知活动中可互为挹注共存于对立统一关系里。因此，对中国少数民族文化范式的研究，不仅要重视建构之功能催生的符号化文化构成，还应关注解构之功能显现的非常见的文化元素。同时，只有弄清楚定向思维模式的建构与解构在文化认知中的意涵，才能明确定向思维模式的“趋向”和“专注”特点以及“惰化”和“孤立”倾向，从而为牵及民族文化事项的认知固化与迁移提供理论工具并用以指导多元文化实践。     

大工程文化育工程人的实践探索

大工程文化是河北工程大学基于新时代工程教育实践和学校发展实际，凝练升华而成的大学文化系统，其“十一大”脉系，在学校育人实践中发挥了重要作用，为落实立德树人根本任务提供了精神动力。     

格萨尔藏戏传承实践及文化表征

格萨尔藏戏将口头诗歌中的“歌”化为具体的表演行为动态实践，集声音、舞蹈、仪式和群体互动等多种形式于一体，是历史悠久、别具特色的藏戏剧种。格萨尔藏戏表演通过对古典时代民族民间文化的重构与想象，构成格萨尔史诗更丰富宽广的表达。作为文化象征的表述符号，格萨尔藏戏是口头传统研究中的表演民族志，其歌舞形态为本的言说系统，更贴近格萨尔史诗说唱本体，并重新廓清格萨尔史诗口传与书写之间复杂的关联，还口头说唱以本原。格萨尔史诗戏剧化表演实践与创新中的复合性、融合性、新生性特征和带有实验性的探索，使格萨尔藏戏经历新的蜕变。     

The Belt and Road and the Rediscovery of Reciprocity-Based Anthropology*

Reciprocity has core significance for understanding basic human living conditions: our social nature is founded on reciprocal relations, and reciprocity strengthens the ties between people. Reciprocity-based anthropology is a kind of cultural logic, one that stresses the interaction between different groups. Fundamentally, it involves studying forms of the mutually beneficial relations involved in complementary differences. This perspective reconciles differences, creating a communicative space for diverse cultures’ coexistence, symbiosis and sharing. The various channels formed through human activity include ways in and ways out, constant incomings and outgoings, the coexistence of different cultures, ways of life and ideas, and complementarity. The launching of the Belt and Road Initiative includes channels with multiple characteristics and functions, so research on this topic involves the analysis of society and culture based on roadways rather than locations.     

Decrypting cultural nuances: using drama techniques from the theatre of the oppressed to strengthen cross cultural communication in social work students

ABSTRACT

Despite widening participation in social work education in the UK, social work students from black and minority ethnic (BME) backgrounds can find that they have less positive experiences on social work courses than their counterparts. This can happen when courses do not equip students to navigate the subtle rules of communication with service users that are premised on dominant UK values. As a consequence BME students can be assessed as having poor interpersonal skills and poor skills in engaging service users. However, the issue is often more one of cultural differences and high expectations of cultural integration than one of incompetence.

This paper reports on a drama workshop using techniques from the Theatre of the Oppressed to foster awareness of the complexities of cross cultural communication that BME students may face. The workshop facilitates insight into the nuances of culturally informed values that differ from dominant UK values.

Drawing on student workshop evaluations, the authors highlight the positive use of techniques from the Theatre of the Oppressed as a pro-active pedagogical approach to equipping BME students with insight and skill to circumnavigate cross cultural communication in practice and develop awareness of empowering strategies to combat negative paradigms about BME cultures.