Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.1.0037
N. Minai
Jordache Ellapen’s Queering the Archive: Brown Bodies in Ecstasy (2018) is a visual art project that explores erotics as an epistemological and methodological frame to think through race, diaspora, memory, history and desire in/of contemporary South Africa. I argue that Queering the Archive is invested in beauty as a project of sensuous memory, pleasure, movement and relation that works through and against geohistorical logics and conditions of race, diaspora and coloniality. Through a photo essay based on a close reading of the visual art, and a companion piece of an interview with the artist, I argue that Queering the Archive challenges our logics of the legacies of indentureship by centring those bodies who were used as labour and raw matter for global racial sexual capital. Ellapen re-imagines and re-images brown bodies as alive and beautiful in motion and in relation with erotic energy, playful desire and intimate joy. Ellapen crafts relations between colours, textures, forms and genres through mixed media practices, including layering and juxtaposing family photographs with staged photographs. These relations put the photographs in intimate tension and contradiction with one another as much as in beautiful, sensuous motion together, the edges of each highlighted as much as blurred through these relations. I read these relations as evocations and provocations of the histories and memories the photographs are dense with and made fragile by. These histories and memories include indentureship, colonialism and migration as structures and processes of power that shape intimate relations between peoples in South Africa. Ellapen’s focus in this project on different brown bodies in relation to one another through erotic feeling and touching is embedded within these histories and memories, but these erotics are not determined, bound or regulated by the colonial and imperial infrastructures of power. In Queering the Archive, hegemonic colonial and postcolonial aesthetic regimes are disrupted and the brown body becomes a brown body in desiring and joyful movement and relation, re-imagined and re-imaged as elegant, beautiful and sensual towards different futurities.
{"title":"Sensuous movements","authors":"N. Minai","doi":"10.13169/jofstudindentleg.2.1.0037","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.1.0037","url":null,"abstract":"Jordache Ellapen’s Queering the Archive: Brown Bodies in Ecstasy (2018) is a visual art project that explores erotics as an epistemological and methodological frame to think through race, diaspora, memory, history and desire in/of contemporary South Africa. I argue that Queering the Archive is invested in beauty as a project of sensuous memory, pleasure, movement and relation that works through and against geohistorical logics and conditions of race, diaspora and coloniality. Through a photo essay based on a close reading of the visual art, and a companion piece of an interview with the artist, I argue that Queering the Archive challenges our logics of the legacies of indentureship by centring those bodies who were used as labour and raw matter for global racial sexual capital. Ellapen re-imagines and re-images brown bodies as alive and beautiful in motion and in relation with erotic energy, playful desire and intimate joy. Ellapen crafts relations between colours, textures, forms and genres through mixed media practices, including layering and juxtaposing family photographs with staged photographs. These relations put the photographs in intimate tension and contradiction with one another as much as in beautiful, sensuous motion together, the edges of each highlighted as much as blurred through these relations. I read these relations as evocations and provocations of the histories and memories the photographs are dense with and made fragile by. These histories and memories include indentureship, colonialism and migration as structures and processes of power that shape intimate relations between peoples in South Africa. Ellapen’s focus in this project on different brown bodies in relation to one another through erotic feeling and touching is embedded within these histories and memories, but these erotics are not determined, bound or regulated by the colonial and imperial infrastructures of power. In Queering the Archive, hegemonic colonial and postcolonial aesthetic regimes are disrupted and the brown body becomes a brown body in desiring and joyful movement and relation, re-imagined and re-imaged as elegant, beautiful and sensual towards different futurities.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126496425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.1.0059
Ryan Persadie
A geneaology of Caribbean feminism is a geneaology of tanty feminisms. Occupying numerous articulations throughout the history of the Caribbean region and its diasporas, the figure of the ‘tanty’, or ‘aunty’ as they are known in non-Caribbean contexts, and the consequential amital social relations they produce have been indispensable to contemporary discourses and practices of Caribbean feminist thought and praxis. The tanty cannot be read as indebted to a singular person, figure or monolithic legacy but operates as a fluid and transnational force of Caribbean feminist knowing that instructs us through non-normative embodied transgressions, and pedagogies of free up. Yet, despite their presence of vital integrity to Caribbean popular culture, community organizing, history, politics and literature, discussions of the politics and pedagogies of tantyhood remain underrepresented in scholarly Caribbean feminist literatures. In this article, I reflect upon my creative practice as a drag artist and self-proclaimed tanty in an annual digital photography series I have produced over the last three years entitled ‘Coolieween’. In this work, I reference Indo-/Caribbean folklore and mythologies, and stories of horror, the grotesque and the paranormal as entangled with queer affects, embodiments and aesthetics. Drag artistry, which, like tantyhood, agitates the invisible boundaries of neo-colonial gender, racial and sexual binaries, provides a critical feminist terrain to metaphorize the institutional crossings of pain and pleasure held within historical and contemporary ontologies of Indo-Caribbeanness. Investigating the pedagogy of this crossing is central to understanding, as well as critiquing, long-standing attachments of pain, injury, pathologization and trauma that have been commonly scripted to Indo-Caribbean subjectivities, often in reference to genealogies of kala pani poetics and other diaspora narratives that have sutured ideas of Indo-Caribbeanness as always-already broken, fragmented and dislocated. In this article, I instead centre paradigms of erotics and pleasure as a transformative medium to turn our optics towards transformative reconfigurations of Indo-Caribbean feminist selfhoods. As I argue here, by thinking with and through tanty feminisms, we are provided with intergenerational and transnational languages of unsettling logic that continually instruct us through everyday modalities of Indo-Caribbean feminist living and being.
{"title":"Tanty feminisms","authors":"Ryan Persadie","doi":"10.13169/jofstudindentleg.2.1.0059","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.1.0059","url":null,"abstract":"A geneaology of Caribbean feminism is a geneaology of tanty feminisms. Occupying numerous articulations throughout the history of the Caribbean region and its diasporas, the figure of the ‘tanty’, or ‘aunty’ as they are known in non-Caribbean contexts, and the consequential amital social relations they produce have been indispensable to contemporary discourses and practices of Caribbean feminist thought and praxis. The tanty cannot be read as indebted to a singular person, figure or monolithic legacy but operates as a fluid and transnational force of Caribbean feminist knowing that instructs us through non-normative embodied transgressions, and pedagogies of free up. Yet, despite their presence of vital integrity to Caribbean popular culture, community organizing, history, politics and literature, discussions of the politics and pedagogies of tantyhood remain underrepresented in scholarly Caribbean feminist literatures.\u0000In this article, I reflect upon my creative practice as a drag artist and self-proclaimed tanty in an annual digital photography series I have produced over the last three years entitled ‘Coolieween’. In this work, I reference Indo-/Caribbean folklore and mythologies, and stories of horror, the grotesque and the paranormal as entangled with queer affects, embodiments and aesthetics. Drag artistry, which, like tantyhood, agitates the invisible boundaries of neo-colonial gender, racial and sexual binaries, provides a critical feminist terrain to metaphorize the institutional crossings of pain and pleasure held within historical and contemporary ontologies of Indo-Caribbeanness. Investigating the pedagogy of this crossing is central to understanding, as well as critiquing, long-standing attachments of pain, injury, pathologization and trauma that have been commonly scripted to Indo-Caribbean subjectivities, often in reference to genealogies of kala pani poetics and other diaspora narratives that have sutured ideas of Indo-Caribbeanness as always-already broken, fragmented and dislocated. In this article, I instead centre paradigms of erotics and pleasure as a transformative medium to turn our optics towards transformative reconfigurations of Indo-Caribbean feminist selfhoods. As I argue here, by thinking with and through tanty feminisms, we are provided with intergenerational and transnational languages of unsettling logic that continually instruct us through everyday modalities of Indo-Caribbean feminist living and being.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123962210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.2.0144
Michael Mitchell
{"title":"Vinod Busjeet, Silent Winds, Dry Seas (New York: Doubleday, 2021), 288 pp.","authors":"Michael Mitchell","doi":"10.13169/jofstudindentleg.2.2.0144","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.2.0144","url":null,"abstract":"","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125877162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.2.0105
Jason A. Jones, Amar Wahab
Scholar Amar Wahab, co-editor of the Journal of Indentureship and Its Legacies, interviews LGBTQ+ human rights defender Jason Jones about his advocacy spanning four decades in Trinidad and Tobago and the UK. Jones shares his experiences about the intersections of homophobia and racism to highlight the complexities around LGBTQ+ human rights. He discusses his successful landmark legal challenges against state-sponsored legal homophobia in both spaces.
{"title":"The LGBT activism of Jason Jones","authors":"Jason A. Jones, Amar Wahab","doi":"10.13169/jofstudindentleg.2.2.0105","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.2.0105","url":null,"abstract":"Scholar Amar Wahab, co-editor of the Journal of Indentureship and Its Legacies, interviews LGBTQ+ human rights defender Jason Jones about his advocacy spanning four decades in Trinidad and Tobago and the UK. Jones shares his experiences about the intersections of homophobia and racism to highlight the complexities around LGBTQ+ human rights. He discusses his successful landmark legal challenges against state-sponsored legal homophobia in both spaces.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128779436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reflections while in Mauritius","authors":"Amitav Ghosh","doi":"10.13169/jofstudindentleg.3.1.0150","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0150","url":null,"abstract":"Amitav Ghosh reflects on Khal Torabully and V.S. Naipaul whilst travelling in Mauritius to undertake research for his novel Sea of Poppies.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"438 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123574170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0037
Michelle Angela Mohabeer
This paper begins with an overview of the theorization of diasporic media by various scholars from Canada and the UK, and gestures to how the typology of diasporic media charted by Eugenia Siapera in her chapter ‘Minority and Diasporic Media’ elides an account of alternative diasporic media arts (independent film and video) produced by intersectional plural identities diasporic subjects/artists whose work unsettle relations to the heteronormative, raced and gendered constructions of the nation, nationality, migration. The second part of the article is written from Michelle’s perspective as a queer racialized Caribbean-Canadian diasporic artist, engages in a self-reflexive analysis of the fractured Indo-Caribbean diasporic identity and aesthetics represented in Coconut/Cane & Cutlass (Canada/Guyana, 1994) and Black female and queer subjectivities represented in Blu in You (Canada/Tobago, 2008).
{"title":"Re-framing and fracturing Caribbean-Canadian diasporas through a self-reflexive lens","authors":"Michelle Angela Mohabeer","doi":"10.13169/jofstudindentleg.3.1.0037","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0037","url":null,"abstract":"This paper begins with an overview of the theorization of diasporic media by various scholars from Canada and the UK, and gestures to how the typology of diasporic media charted by Eugenia Siapera in her chapter ‘Minority and Diasporic Media’ elides an account of alternative diasporic media arts (independent film and video) produced by intersectional plural identities diasporic subjects/artists whose work unsettle relations to the heteronormative, raced and gendered constructions of the nation, nationality, migration. The second part of the article is written from Michelle’s perspective as a queer racialized Caribbean-Canadian diasporic artist, engages in a self-reflexive analysis of the fractured Indo-Caribbean diasporic identity and aesthetics represented in Coconut/Cane & Cutlass (Canada/Guyana, 1994) and Black female and queer subjectivities represented in Blu in You (Canada/Tobago, 2008).","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124431630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0059
Sarojini Lewis
This essay utilizes the rich photographic collections of the Herrnhut Archive, Rijksmuseum and Tropenmuseum to explore alternative ways of understanding the colonial Indian labour diaspora, to infuse new meanings into old pictures and to draw upon the reinterpretation of historical images to reframe personal female migration stories from an artistic perspective. This essay presents an overview of the photography of colonial subjects in India and of her diaspora, and discusses the symbolism and representations of selected case studies of individuals and groups in the Dutch colonial territory of Surinam. From this analysis, the author presents the significance of her findings for the evolution of her own work as an Indian woman of diaspora heritage exploring new ways of articulating complex personal and group identities through the medium of exhibitions and installations.
{"title":"Photography and diaspora","authors":"Sarojini Lewis","doi":"10.13169/jofstudindentleg.3.1.0059","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0059","url":null,"abstract":"This essay utilizes the rich photographic collections of the Herrnhut Archive, Rijksmuseum and Tropenmuseum to explore alternative ways of understanding the colonial Indian labour diaspora, to infuse new meanings into old pictures and to draw upon the reinterpretation of historical images to reframe personal female migration stories from an artistic perspective. This essay presents an overview of the photography of colonial subjects in India and of her diaspora, and discusses the symbolism and representations of selected case studies of individuals and groups in the Dutch colonial territory of Surinam. From this analysis, the author presents the significance of her findings for the evolution of her own work as an Indian woman of diaspora heritage exploring new ways of articulating complex personal and group identities through the medium of exhibitions and installations.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130490088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0127
A. Gosine
In this short essay, Andil Gosine reflects on his use of ‘Coolitude’ as a pedagogical tool, particularly in considering the dehumanization of indentured subjects.
{"title":"Man me","authors":"A. Gosine","doi":"10.13169/jofstudindentleg.3.1.0127","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0127","url":null,"abstract":"In this short essay, Andil Gosine reflects on his use of ‘Coolitude’ as a pedagogical tool, particularly in considering the dehumanization of indentured subjects.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116903831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0014
Nalini Mohabir
This essay offers a reflection on the interstices between words, silences, the unutterable, and the imaginary in Khal Torabully and Marina Carter’s ground-breaking work, Coolitude: An Anthology of the Indian Labour Diaspora. Further, this essay ponders how these silent spaces relate to the archives, and points to how the act of re-voicing or reclaiming the ‘coolie’ might be envisioned through relational and/or paradoxical spaces.
{"title":"In the registers of Coolitude","authors":"Nalini Mohabir","doi":"10.13169/jofstudindentleg.3.1.0014","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0014","url":null,"abstract":"This essay offers a reflection on the interstices between words, silences, the unutterable, and the imaginary in Khal Torabully and Marina Carter’s ground-breaking work, Coolitude: An Anthology of the Indian Labour Diaspora. Further, this essay ponders how these silent spaces relate to the archives, and points to how the act of re-voicing or reclaiming the ‘coolie’ might be envisioned through relational and/or paradoxical spaces.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127982616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0119
Rajiv Mohabir
In this hybrid work of prose and poetry I consider the limits of Marina Carter’s and Khal Torabully’s concept of Coolitude and reflect how I have thought about it and how it affects my own thinking as a poet. I draw from the recent scholarship of Ryan Persadie to show how queerness (a curious silence in the original text of Coolitude: An Anthology of the Indian Labour Diaspora) can erupt through juxtaposing lyric flight with narrative prose.
在这部散文和诗歌的混合作品中，我思考了玛丽娜·卡特和卡奥·托拉布利的“Coolitude”概念的局限性，并反思了我是如何思考这个概念的，以及它是如何影响我作为诗人的思考的。我从瑞安·珀尔萨迪(Ryan Persadie)最近的学术研究中汲取灵感，来展示酷儿性(《Coolitude: a文集of Indian Labour Diaspora》的原文中一种奇怪的沉默)是如何通过将抒情的逃亡与叙事的散文并列而爆发出来的。
{"title":"My Qoolitude is of whale bone","authors":"Rajiv Mohabir","doi":"10.13169/jofstudindentleg.3.1.0119","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0119","url":null,"abstract":"In this hybrid work of prose and poetry I consider the limits of Marina Carter’s and Khal Torabully’s concept of Coolitude and reflect how I have thought about it and how it affects my own thinking as a poet. I draw from the recent scholarship of Ryan Persadie to show how queerness (a curious silence in the original text of Coolitude: An Anthology of the Indian Labour Diaspora) can erupt through juxtaposing lyric flight with narrative prose.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129907492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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