Eating heritage: caste,colonialism, and the contestation of adivasi creativity

ABSTRACT

This paper uses a multiple colonialisms approach to study cultural production in India and argue that coloniality is not a casteless structure of violence. In discursive and planning rhetoric, ‘creativity is in India’s DNA.’ This discourse incites the poor to harness and develop their tangible and intangible cultural heritage in order to feed themselves. Foregrounding anti-caste, Dalit scholarship in conversation with extant formulations of decolonial aesthetics focuses urgent attention on the fact that caste domination and violence structure inter-state political systems of development planning and post/colonial state discourses of heritage that claim to feed the caste-oppressed poor with their own creativity. This article attends to the political histories and critiques of Indigenous Chhara performance artists because their expressive cultures foreground anti-caste struggles against simultaneous state erasure and capture of Indigenous creativity. Against planning’s compensatory solution of eating heritage, anti-caste scholarship and the creative politics of Budhan Theatre refute the apparent castelessness of what counts as creativity and heritage, demonstrating that optimistic global creative economy discourses actually rely upon caste and colonial histories to entrench caste-based definitions of heritage within international and national development regimes. Budhan Theatre’s decolonizing cultural production avoids the mistakes of postcolonial scholarship and its erasure of caste histories. They prompt a multiple colonialisms approach which refuses labels of postcolonial or settler colonial states to privilege instead attention to the actually existing contemporary ways in which caste violence structures inter-state systems of violence, policies, and discourses.     

Fuck the law: decolonizing nomophilitis with the discourse of love

ABSTRACT

This papyrus questions the assumption that global cultures and especially Indigenous peoples are to be civilized and modernized by being subjected to the rule of European law, Euro Reschtaat, under racist, patriarchal imperialism as a result of centuries of dehumanizing conquest, genocide, slavery, apartheid and colonization. Giannacopoulos raised similar questions about how feasible it is to expect that the love of the law, nomophilia, would be the answer to the institutionalized racism-sexism-classism that Indigenous peoples and poor refugees face under settler colonialism? This papyrus raises the additional question of whether young people around the world are crazy for giving the middle finger salute to the empire of law or whether defiant Hip Hop artists may be expressing understandable decolonization discourse against legal imperialism without criminologists and legal scholars being aware.     

‘Ch'us mon propre Bescherelle’: Challenges from the Hip‐Hop nation to the Quebec nation1

We examine the uses of and attitudes towards language of members of the Montreal Hip‐Hop community in relation to Quebec language‐in‐education policies. These policies, implemented in the 1970s, have ensured that French has become the common public language of an ethnically diverse young adult population in Montreal. We argue, using Blommaert's (2005) model of orders of indexicality, that the dominant language hierarchy orders established by government policy have been both flattened and reordered by members of the Montreal Hip‐Hop community, whose multilingual lyrics insist: (1) that while French is the lingua franca, it is a much more inclusive category which includes ‘Bad French,’ regional and class dialects, and European French; and (2) that all languages spoken by community members are valuable as linguistic resources for creativity and communication with multiple audiences. We draw from a database which includes interviews with and lyrics from rappers of Haitian, Latin‐American, African‐American and Québécois origin.     

Sniffing the city: issues of sousveillance in inner city London

This article reflects on a series of workshops run by the art/media/hacktivist collective Deptford.TV in collaboration with the Centre for Urban and Community Research (CUCR), Goldsmiths, University of London in 2009–2010 and in 2012. The aim of the workshops was to create short films using hacked CCTV material. Participants, equipped with digital video signal receivers, were led through the city by incoming surveillance camera signals. Receivers cached surveillance camera signals making a range of city spaces visible. The material was then stored on a shared video platform and reshuffled in personal narratives and montages of the city. Hackers and media artists call it ‘sousveillance’ and frame it as a critique of the ‘panopticon society’. I argue that this practice reveals an unusually realistic portrait of inner city London and its working-class population at their everyday work. My contention is that the absence of such activities in narratives of gentrification and the presumed end of manual work make this portrait particularly valuable. The article evaluates this emerging and ethically controversial practice of video recording, asking to what extent it can become a useful tool for urban scholars, visual sociologists and media artists. In conclusion, I argue that the exercise provides moments of self-discovery for the urban stroller, who – while practicing a sort of heroic immersion in inner city London – paradoxically becomes a watcher of scenes from life fabricated at a ‘safe’ distance; a middle way between urban ethnographer and flâneur.     

Introduction: Cultural production under multiple colonialisms

ABSTRACT

In this introduction to the special journal issue, we elaborate a multiple colonialisms framework that allows us to examine the complex relationalities of multiple and converging colonial relations in historical and contemporary contexts within which cultural production does its work. Through examples of cultural production from the Americas and Asia, Special Issue contributors analyse rarely-recognized sites of colonialism that bear a palimpsestic relationship to other articulations that are more commonly legible as colonialism. Such an approach makes new analytical connections and gives greater depth to conventional theorizations of coloniality and decolonization. We also illustrate the centrality of the scholarship of Indigenous, Black, and Dalit-Bahujan scholars to the framework, especially the ways in which their work challenges our collective and accumulated racialized and colonial unknowings and illuminates what often remains unthinkable in conventional analyses of cultural production and the colonial contexts of their making. Overall, rather than analytically imply pluralism and equivalence among varied colonialisms, we argue that a multiple colonialisms framework enables cultural studies scholarship to dwell on the relationality, contradictions, and incommensurabilities generated within converging structures and multiple articulations of colonial and racialized violence across spaces. Weaving the various contributions into the framework, we invite readers to consider what histories, structures, and relationships help to explain why actually existing colonialities remain illegible as such in the particular context of each paper, and what that implies for solidarity and decolonization struggles. We hope that highlighting the specific creative methodological practices and significant spatial and temporal rethinking that a multiple colonialisms approach can generate incites conversations about how we might enrich theorizations of coloniality and decolonization.     

Market logics: how locality and mobility make artistic livelihoods in Dakar

This essay addresses two questions linking artists and market spaces in Dakar. First, what do access, proximity, and the representation of locality have to do with the art market? And, secondly, how do markets, networks, and mobility produce and structure artists as a professional category in Dakar? The analysis and theorisation proposed here aligns Dakar’s art market with the city’s other markets as a transactive and productive space. In doing so, this essay also contends with dismissive assessments about the art market in Dakar as inadequate or fledgling. The practices of two artists, Fally Sene Sow and Douts Ndoye, orient discussion of the relationship between artists and markets by focusing specifically on how artists gain mobility and access to multiple networks and opportunities by way of market logics.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Original and Ongoing Dispossessions: Settler Capitalism and Indigenous Resistance in British Columbia

This paper draws on archival research and theoretical work to articulate the specific histories, processes, and structures of primitive accumulation in British Columbia. Such processes of accumulation appear differently here than in the comparably more well-theorized contexts of imperial colonialisms. As we highlight the agents and infrastructures of dispossession, our research also aims to foreground the importance of agents and infrastructures of resistance. Different dispossessions generate different antagonisms, and we argue that Indigenous subjects are situated antagonistically to capital not only as laborers partially or wholly subsumed into capitalist social relations, but as Indigenous peoples as such, whose Indigeneity has been ‘in the way’ of development from the 1850s onward. Private property requires before all else the deterritorialization of those whose relations with the land do not revolve around its commodification. Violence against Indigenous nations, and especially Indigenous women, is not incidental to capitalist development but is a prerequisite to capitalist subsumption in the settler-colonial context. In requiring the death of either Indigeneity or the person, capital constitutes Indigenous struggle as an antagonist, interrupting both the subsumption of labor and the circulation of capital (even as such struggles may also self-constitute themselves in a variety of ways).     

RACIALIZED AUTHENTICATION: Constructing Representations of the Florida Highwaymen

This article explores how art world professionals and cultural publicists construct representations of a group of “rediscovered” black artists, who painted from the end of the Jim Crow era to the present. Examining their writings, statements from interviews, and their interactions with audiences at public events, I show how they represented the artists as both exotic self‐taught artists and achievers of the American Dream. I introduce the term “racialized authentication” to frame a branch of racial rhetoric through which the various actors draw from both traditional racial stereotypes and new racism ideology to construct authentic artists. In conclusion, I address how these findings have implications for the integration of contemporary research on race and sociological studies of art worlds.     

White settler death drives: settler statecraft,white possession,and multiple colonialisms under Treaty 6

ABSTRACT

This article analyzes histories of white settler colonial violence in Treaty 6 territory by arguing that the 1870 Hudson’s Bay Company charter and transfer of Rupert’s Land and the North-Western Territory to the Dominion of Canada helped to make past imperial violence an ongoing settler colonial terror structure into the present. It argues that this transition from imperial to settler colonial control of territory is best understood by using a multiple colonialisms framework, to examine the ways in which heteropatriarchal family structures transitioned from Indigenous-European to white settler kin networks that crystallized whiteness as a racialized means to control land as private property. Following Kanien’kehá:ka feminist scholar Audra Simpson’s work, I suggest that this territory’s multiple and overlapping colonial histories (French, English/British, and Canadian) are a crucial lens through which to understand the historical and ongoing formation of Canada as a white settler state, and that these histories still relationally drive anti-Indigenous violence and the settler killing of Indigenous peoples today. The essay concludes by arguing that the seeming daily placidity of white settler violence against Plains Indigenous peoples under Treaty 6 ultimately supports a relational violence that supports a killing state and its armed citizens in the name of protecting private property for white settlers.     

Films and videos (evening screenings)

Photography and science have a symbiotic relationship; they always have. It was in the context of science that photography was first announced to the public by François Arago in 1839. And it was the rhetoric of observation and objectivity that was so beloved of scientists in the mid-nineteenth century that photography very soon acquired. It was, in fact, photography's close ties to science that hindered its bid to claim fine-art status. It is photography's close and continued ties to science that have also been utilised by artists through the decades, artists who played with the concepts of objectivity, truth, documentary and surveying. The author discusses the unique place that photography has taken up in the art of science and the science of art, dwelling on moments when the two appear to be one and the same, and moments where they appear to diverge. Rather than writing a sort of survey, the paper will dip in at various points in history, looking at the debates from various historical perspectives so as to consider the paradigm ‘art science’ as it has variously been applied to photography. The paper will take up the conflicting rhetorics of passivity and control, mechanical and creative, showing how each is used in its place, but always emphasising the back-and-forth, the give-and-take between science and art. It will be argued that photography's dual nature is exactly what makes it interesting to artists, and what makes it valuable to the sciences.     

The Image of the City in Modern Arab Painting: Artists Recreate Their Own Cities

The subject of the city in Arab art, as far as I know, has never been studied by art critics and historians. This has apparently not happened because of the strong influence of western modernism and its theories. This article uncovers the importance of the city in early and later modern Arab painting. Examples from the late 1930s and 1940s reflect the less developed cities in terms of their social and structural aspects. This is very obvious in the two paintings by Said (Alexandria, Egyptian) and Nazar (Baghdad, Iraqi). The Arab paintings from the second half of the twentieth century present a different mode of expression as the political and social circumstances of Arab countries are reflected in them. Paintings from this period by Arab artists presenting images of their cities such as those of Haddad and Jabbour (Beirut, Lebanese), Idrees (Jeddah, Saudi), Shammout (Alled, Palestinian), Talib and Al‐Attar (Baghdad, Iraqis), and Alhamzah (Utopia, Jordanian), are very expressive and loaded with meaning. It appears that the relationship between the artist and the city is so intimate, that the artist’s life intersects with the city’s life. The paintings discussed show that the Arab artists’ cities in most cases are not realized as hoped so they tried alternative ones. The artist sees her/himself as a savior by criticizing the state of the beloved city calling for a better one. In this sense the image of the city becomes a representation of the painter’s own artistic reservoir as a form of offerings.     

Community Organizing and the Detroit Water Struggle: Report from the Front Lines

At this moment in history, both the need for macro social work approaches and interest in macro social practice among social workers are growing. One macro approach that is particularly well-suited to confronting current political and economic conditions is grassroots community organizing. Some authors have suggested that most successful efforts at community organizing are those which can link the lived experiences of grassroots community members to larger movements for social justice. The struggle for access to affordable water in Detroit is a prime example of such an effort. In 2014, indignation at the announcement that the city would be shutting off the water of all those who could not afford to pay their water bills, combined with resistance to the imposition of emergency management on the city, galvanized a movement that brought together a wide variety of community members, activists, and organizers. As a participant-observer in this struggle, I conducted videotaped interviews with 15 organizers and activists concerning their views on the successes and challenges they have witnessed and the crucial “next steps” for community activists in Detroit. This article reports on these interviews and examines the lessons for community organizers that emerged from them.     

Sovereignty and the other in Ecuadorian nationalist discourse

This article explores how exhortations for national unity are intrinsically linked to the symbolic displacement of a problematic other through an examination of elite Ecuadorian nationalist discourse and its construction of Indigenous activists as internal enemies. Specifically, this article looks at the role that the 2008 border row between Ecuador and Colombia played in publicly legitimating a concept of Ecuadorian citizenship rooted in racial homogeneity. Ecuador's northern border served as an ideal mechanism for performing the Ecuadorian state's authority to establish the internal borders that separated ‘citizens’ from ‘enemies’. These performances of state legitimacy highlighted Ecuador's victimisation by a more powerful neighbour/imperial proxy as a means for building regional empathy, while reinforcing the legitimacy of the Ecuadorian government to marginalise Indigenous social movements as a means to symbolically assert ‘national unity’.     

Almost Like a Real Band: Navigating a Gendered Jazz Art World

Professional jazz has been organized around two contradictory cultures. Historically, the jazz art world has followed norms of meritocracy, which promote equality across boundaries of race and class. At the same time a culture of exclusivity, anchored in gendered essentialism, has severely limited female participation. By analyzing interview data with artists from the Hamilton College Jazz Archive, we illustrate how these contradictory cultures of inclusion and exclusion operate to channel women into feminized roles in the jazz world. We then discuss how women employ a number of strategies to work around the culture of exclusivity and capitalize on the norms and values of musical meritocracy. Despite institutional openings in professional jazz that emerged following the women’s movement, female jazz artists continue to face strong barriers toward full equality in the jazz world. Although female artists consistently demonstrate that they possess equal musical skills to male musicians according to the norms of meritocracy that guide professional jazz, women remain on the margins of the jazz art world.     

Participatory Art as a Social Practice of Commoning to Reinvent the Right to the City

The right to the city is a concept that helps rethink spatial–social dynamics, which has recently reinvigorated the field of organization studies. Following Lefebvre and considering the failure of both the market and the state, other scholars pinpoint the need to rethink social–spatial and geographical–historical relations. They do so by theorizing the city as a host for urban commons. Collective and non-commodified, these spatial–social experiences need to be constantly reproduced and preserved through commoning practices in the struggle against spatial injustice. A case study shows that a civil society organization (CSO) uses participatory art to (re)produce urban commons at the level of a local community and to redress partially spatial injustice. We theorize participatory art-making as a social practice of commoning, i.e., a process of organizing for the commons—collective art-based activities to serve a community—and of the common—to (re)produce a community while performing them. Such commoning practices are not only about sharing urban resources but also about using and experiencing differently urban spaces. By making participatory artworks in public spaces and co-designing street furniture with residents of poor areas, TDA helps to better cope with the tensions between residents and local authorities and between amateurs and professional artists. By negotiating the long-term implementation of these creative artworks in the public space with public authorities, TDA has fostered the empowerment of inhabitants as they have experienced citizens’ reappropriation of some public spaces in Marseille.     

Mediating claims to artistry: Social stratification in a local visual arts community

Participant observation was employed to analyze the stratification of artists in the visual art world around a small northeastern American city. Reflecting their art world reputation, artists' strata included naifs, hobbyists, serious amateurs, aspiring preprofessionals, and professionals. The local careers of some artists moved progressively from lower to higher reaches of the system; as they moved upward, their level of professional commitment, art world involvement, knowledge of art, skill, and artistic style tended to change also. Except among professionals, the great majority were women. Overall, certain art styles were selectively favored. The most important selective mechanisms were formal art education, professionalization, artistic style, network centrality, jurying, and sales. With a few recent exceptions, truly naive and imitative traditional styles were excluded from the upper levels in favor of modernist abstraction, innovative figuration, or sophisticated forms ofart brut.An earlier version of this paper was presented to the 12th World Congress of Sociology, International Sociological Association, Madrid, July 1990.     

The Dangerous Real: Queer Solo Performance in/as Active Disruption

Abstract

Like all radical community endeavours, queer performance in the United States has been shaped through resistance to restrictive ideologies. National insecurity over ‘indecent’ (read: queer) artistic expression in the US has been aimed at artists working in a variety of genres, and here I focus specifically on queer solo performance artists. This essay explores the dangerous realities that queer artists present to an imagined unified US national identity. I argue that queer solo performers operate as artistic activists, challenging homogenous fantasies about US culture through the queering of experience. Aesthetically disparate, their work is connected by common threads of vulnerability and precarity. The article asks how their work disrupts U.S. insecurities concerning intersections of sexuality, gender identity, race and religion.     

Fabricating Japaneseness? The Identity Politics of Young Designers and Artists in Global Cities

The present study explores the identity politics of young Japanese designers and artists working across national boundaries today. It addresses the following research questions: (i) Do young designers and artists aim to produce works with “universal” appeal or strategically make use of “Japaneseness”? (ii) Do they develop new transnational identities or regard themselves as “Japanese”? and (iii) Who do they think has the power to label their works as “Japanese” in the art worlds? For this purpose, I conducted in‐depth interviews with professional designers and artists who have migrated from Japan to London, New York, or Paris. The results show that most designers and artists who were interviewed indeed aim to produce works with “universal” appeal, while only a few respondents attempt to strategically express “Japaneseness” in their works. However, regardless of whether they make use of “Japaneseness” or not, all respondents regard themselves as “Japanese” without developing new transnational identities. Even so, they do not search for or hold onto Japaneseness; but rather the media, as well as a certain part of the art world, persistently attempt to emphasize “Japaneseness,” due to the structure of the art world, where whiteness continues to be the “norm.” While designers and artists are increasingly oriented toward creating works with new forms and values through the transnational production system, gatekeepers and legitimators of the art world continue to fabricate “the nation” and reinforce boundaries of national culture.     

Constructing citizenship at the margins: the case of young graffiti writers in Melbourne

Young people engaging in graffiti are often portrayed as the anti-thesis of the ‘good citizen’. As politicians and the media fight the ‘war on graffiti’, these young people are tagged as criminals and misfits, overlooking the ways this arts practice reclaims their ability to tell stories and unhinge traditional ways of practicing citizenship. Using ideas from Michelle Fine et al.’s social psychology of spatiality as a conceptual lens, this paper explores the tensions, contradictions and binaries these young people find themselves caught between, particularly; art or vandalism, professional or amateur, artist or criminal, and legitimate or illegitimate citizens as young people and transgressors of ‘normal behaviour’ in public spaces. Using multiple methods, including ‘hanging out’ and participatory visual methods, this study explores how young graffiti artists’ experiences in and out of a legal ‘street art’ programme, speak back to ‘normative’ conceptualisations of citizenship. Their experiences of differential belonging and contested citizenship, which are played out in public spaces (and beyond), highlight the importance of alterative arts programmes and the creation of sanctioned spaces in negotiating young people’s ‘right to the city’.