Pub Date : 2022-06-06DOI: 10.1080/1369801X.2022.2080577
Katharina Krumpeck
Solid Sistas (Dorras 2004), a play by the Vanuatu-based NGO and theatre group Wan Smolbag, questions and subverts hierarchical and patriarchal legacies of colonialism deeply ingrained in Vanuatu kastom. To challenge this tradition, the play imagines and practises a dialogic plaiting together of conflicting voices that creates a space for feminist and anti-colonial togetherness. As urban postcolonial community theatre written in the local Bislama language for local actors and audiences, performances of the play do not satisfy escapist colonial fantasies of the island but collectively address ever-urgent social and political community issues. In the course of dismantling the illusion of monophonic patriarchal voices, a polyphonic space of dialogue across genders and differences is imagined through the practice of wivim (weaving) or plaiting. Analysing Solid Sistas through the lenses of polyphony, postcolonialism and Oceanic feminism, this essay demonstrates a specific example of Pacific Island persistence and resistance through a close study of the pan-Oceanic art of plaiting and cultural form of community theatre.
{"title":"Plaiting The Pandanus Mat of Change in Vanuatu","authors":"Katharina Krumpeck","doi":"10.1080/1369801X.2022.2080577","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2080577","url":null,"abstract":"Solid Sistas (Dorras 2004), a play by the Vanuatu-based NGO and theatre group Wan Smolbag, questions and subverts hierarchical and patriarchal legacies of colonialism deeply ingrained in Vanuatu kastom. To challenge this tradition, the play imagines and practises a dialogic plaiting together of conflicting voices that creates a space for feminist and anti-colonial togetherness. As urban postcolonial community theatre written in the local Bislama language for local actors and audiences, performances of the play do not satisfy escapist colonial fantasies of the island but collectively address ever-urgent social and political community issues. In the course of dismantling the illusion of monophonic patriarchal voices, a polyphonic space of dialogue across genders and differences is imagined through the practice of wivim (weaving) or plaiting. Analysing Solid Sistas through the lenses of polyphony, postcolonialism and Oceanic feminism, this essay demonstrates a specific example of Pacific Island persistence and resistance through a close study of the pan-Oceanic art of plaiting and cultural form of community theatre.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"11 1","pages":"118 - 134"},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82949204","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 : 2022-06-06DOI: 10.1080/1369801X.2022.2080579
Chris Prentice
At various points in their (post)colonial histories, the border-protective politics of Australia and Aotearoa New Zealand have mobilized off-shore islands as spaces of “inclusive exclusion”. Yet, even as spaces of exception and/or exclusion, off-shore islands dismantle inside/outside distinctions. I discuss a selection of Australian and Aotearoa New Zealand novels featuring both literal and metaphorical islands used for removal, internment or containment of Indigenous peoples and wartime “enemy aliens”. Through their attention to the poetics of island form, and coasts as more-than-human spaces, the novels underscore how islands bring the relation between inside and outside into question, complicating the articulation of borders.
{"title":"Refuse/Refuge: Castaways on Islands of Exception","authors":"Chris Prentice","doi":"10.1080/1369801X.2022.2080579","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2080579","url":null,"abstract":"At various points in their (post)colonial histories, the border-protective politics of Australia and Aotearoa New Zealand have mobilized off-shore islands as spaces of “inclusive exclusion”. Yet, even as spaces of exception and/or exclusion, off-shore islands dismantle inside/outside distinctions. I discuss a selection of Australian and Aotearoa New Zealand novels featuring both literal and metaphorical islands used for removal, internment or containment of Indigenous peoples and wartime “enemy aliens”. Through their attention to the poetics of island form, and coasts as more-than-human spaces, the novels underscore how islands bring the relation between inside and outside into question, complicating the articulation of borders.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"14 1","pages":"11 - 29"},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75147542","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 : 2022-05-31DOI: 10.1080/1369801X.2022.2080569
F. Ghazoul
The long poem of Walt Whitman entitled “Passage to India” (published in 1871, written in 1869) celebrates the opening of the Suez canal (1869) in its role as linking the East with the West, the spirituality of Asia with new technological innovations of the modern world. Walt Whitman, the undisputed father of American poetry, presented the world in the nine sections of the poem as one “global village”. On analysing the poem, we can see the Orientalist subtext associating the primitive with the Other and the scientific with the self. There is also in the poem a political lining of enthusiastic American nationalism – and its so-called correlative, “Manifest Destiny” – in which Whitman sees America and its expansion as the last stage of empire that will build a utopian world. Whitman’s belief in “the imperial mission of the United States” as well as his commitment to the ideology of Manifest Destiny is apparent in his poetry. This nationalistic fervour is countered by an internationalism where Whitman or rather the poetic persona in the poem projects the brotherhood of all peoples and the integration of all continents. Unpacking the political substrata in the poem that are couched in rhetorical devices will reveal an inherent tension between claims. It is time to challenge the myth of Whitman as a prophet of brotherhood and a progressive poet.
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Pub Date : 2022-05-31DOI: 10.1080/1369801X.2022.2080570
C. Lewis
This essay expands upon the current theoretical construction of colonialism to make settler-colonial societies’ economic strategies more explicit. These strategies, which I term economic violence and economic hegemony, have been used by US federal and state governments to subvert the inherent sovereignty of Native Nations in order to access their resources. This essay also proposes and illustrates six categories of economic hegemony – debt creation, underfunding, mismanagement of funds and resources, blackmail, taxation jurisdiction, and regulation – to clarify the types of tools that settler-colonial states, like the United States, have available to accomplish their goals. Significantly, however, the illustrative examples also foreground Native Nations’ agency in countering and even anticipating US federal and state governments’ aggressions across time and geographies. Incorporation of these strategies into political and economic discourse leads to a more precise analysis of settler-colonial incursions while emphasizing the many ways in which Native Nations exert their sovereignty to forward economic justice.
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Pub Date : 2022-05-31DOI: 10.1080/1369801X.2022.2080572
Cresa L. Pugh
The retention of sacred artifacts against the will of source countries, particularly ex-colonies, represents a form of social and cultural control that facilitates and exacerbates political and economic inequities between nations. Since independence, generations of Nigerian artists have engaged in various forms of recuperation of pre-colonial aesthetics through the adoption of postcolonial modernist visual tactics to negotiate a sense of self-determination and to recover an autonomous postcolonial national identity. Contemporary artists in Nigeria, particularly in Benin and throughout the diaspora have employed a range of aesthetic political practices to disrupt the legacies of colonialism still pervasive within their industries and communities. Through the creation of subversive artwork which attempts to think beyond the framework of western benevolence embedded in the project of restitution, some have made efforts to resist hegemonic influences within the global contemporary art world. The tactics of decolonial resistance that some Nigerian and diasporic artists have employed suggest a strategic redeployment of an aesthetic tradition that simultaneously advocates for the reclaiming of a black radical indigenous history and full realization of Nigerian cultural autonomous potentialities, while also envisioning a future situated within a global cosmopolitan framework – what I refer to as cosmopolitan repair. Such forms of cultural production constitute a critical component of the recent resurgence of decolonial activism that has swept the global art world which, at its core, poses a resistance to extractive capitalism in the Global South.
{"title":"Cosmopolitan Repair: Reclaiming and Restoring Cultural Heritage in Postcolonial Nigeria","authors":"Cresa L. Pugh","doi":"10.1080/1369801X.2022.2080572","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2080572","url":null,"abstract":"The retention of sacred artifacts against the will of source countries, particularly ex-colonies, represents a form of social and cultural control that facilitates and exacerbates political and economic inequities between nations. Since independence, generations of Nigerian artists have engaged in various forms of recuperation of pre-colonial aesthetics through the adoption of postcolonial modernist visual tactics to negotiate a sense of self-determination and to recover an autonomous postcolonial national identity. Contemporary artists in Nigeria, particularly in Benin and throughout the diaspora have employed a range of aesthetic political practices to disrupt the legacies of colonialism still pervasive within their industries and communities. Through the creation of subversive artwork which attempts to think beyond the framework of western benevolence embedded in the project of restitution, some have made efforts to resist hegemonic influences within the global contemporary art world. The tactics of decolonial resistance that some Nigerian and diasporic artists have employed suggest a strategic redeployment of an aesthetic tradition that simultaneously advocates for the reclaiming of a black radical indigenous history and full realization of Nigerian cultural autonomous potentialities, while also envisioning a future situated within a global cosmopolitan framework – what I refer to as cosmopolitan repair. Such forms of cultural production constitute a critical component of the recent resurgence of decolonial activism that has swept the global art world which, at its core, poses a resistance to extractive capitalism in the Global South.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"149 1","pages":"1127 - 1141"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81721172","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 : 2022-05-31DOI: 10.1080/1369801X.2022.2080571
J. Gordon
Since decolonizing aesthetics should demand that we question historical templates that are treated uncritically as the vehicles for conveying authoritative knowledge, this experimental essay aims at the level of form to enact the content for which it is arguing. It suggests that interacting with the works of three African-American women artists involves viewers in a mode of creolizing or reenfranchising marginalized creative resources. Specifically, the relevant aesthetic objects facilitate relationships among spheres of life that have been attenuated or made distant from one another in worlds dominated by Euromodern hegemony and its models of scientific and technical rationality. These works cultivate the meeting of the once and still living by centring the continued dynamism of shared aspirations; they bridge an affirmation of dignified Black femininity and ladyhood with facing and fighting the gruesome attacks on projects of Black freedom; and they connect ancestral and contemporary artists similarly involved with making the everyday sublime through concretely interweaving the extraordinary with the quotidian. As they clasp together what have been severed domains, they offer their viewers a distinct context for becoming in ways that exemplify the larger quality of a decolonizing aesthetics focused on creating a world in which many worlds thrive.
{"title":"Clasping Together the Magical and the Menial","authors":"J. Gordon","doi":"10.1080/1369801X.2022.2080571","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2080571","url":null,"abstract":"Since decolonizing aesthetics should demand that we question historical templates that are treated uncritically as the vehicles for conveying authoritative knowledge, this experimental essay aims at the level of form to enact the content for which it is arguing. It suggests that interacting with the works of three African-American women artists involves viewers in a mode of creolizing or reenfranchising marginalized creative resources. Specifically, the relevant aesthetic objects facilitate relationships among spheres of life that have been attenuated or made distant from one another in worlds dominated by Euromodern hegemony and its models of scientific and technical rationality. These works cultivate the meeting of the once and still living by centring the continued dynamism of shared aspirations; they bridge an affirmation of dignified Black femininity and ladyhood with facing and fighting the gruesome attacks on projects of Black freedom; and they connect ancestral and contemporary artists similarly involved with making the everyday sublime through concretely interweaving the extraordinary with the quotidian. As they clasp together what have been severed domains, they offer their viewers a distinct context for becoming in ways that exemplify the larger quality of a decolonizing aesthetics focused on creating a world in which many worlds thrive.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"54 1","pages":"1177 - 1191"},"PeriodicalIF":0.0,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91362570","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 : 2022-04-12DOI: 10.1080/1369801X.2022.2054008
P. Crowley
In the wake of Algeria’s “black decade” of violence in the 1990s, references to a star (or nedjma in Arabic) came to be inscribed and contextualised within a diverse range of novels. Its function varies but seems in every case to prompt a reflection on Algeria’s revolutionary past and its uncertain present. Such novels include Malika Mokeddem, Les Hommes qui marchent (1999), Salim Bachi, Le Chien d’Ulysse (2001), Mourad Djebel, Les Sens interdits (2001), Aziz Chouaki, L’Étoile d’Alger (2002) and Mustapha Benfodil, Archéologie du chaos (amoureux) (2007). These novelists draw upon the emblematic power of the star and its centrality to a symbolic condensation of the nation and its revolutionary struggle given form by Kateb Yacine in his novel Nedjma (1956), which was published during the Algerian War of Independence (1954–62). In juxtaposing these two periods – the one anticolonial and the other postcolonial – we can reflect on how the aesthetics and creative processes of the earlier period are reworked in order to prompt agency. In this way, such novels suggest that anticolonial aesthetics can serve not only to think about decolonization but also about the failures, if not the failure, of the postcolonial state. At the same time, the postcolonial state continues to draw upon that same symbolic reservoir to reassert its political legitimacy. How writers and artists rework, resist or appropriate the aesthetics of Algeria’s revolution, creating a dialectic of past and present, is central to this essay.
{"title":"TEMPORALITIES. Algerian Revolutions: Whose Star? Then/Now?","authors":"P. Crowley","doi":"10.1080/1369801X.2022.2054008","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2054008","url":null,"abstract":"In the wake of Algeria’s “black decade” of violence in the 1990s, references to a star (or nedjma in Arabic) came to be inscribed and contextualised within a diverse range of novels. Its function varies but seems in every case to prompt a reflection on Algeria’s revolutionary past and its uncertain present. Such novels include Malika Mokeddem, Les Hommes qui marchent (1999), Salim Bachi, Le Chien d’Ulysse (2001), Mourad Djebel, Les Sens interdits (2001), Aziz Chouaki, L’Étoile d’Alger (2002) and Mustapha Benfodil, Archéologie du chaos (amoureux) (2007). These novelists draw upon the emblematic power of the star and its centrality to a symbolic condensation of the nation and its revolutionary struggle given form by Kateb Yacine in his novel Nedjma (1956), which was published during the Algerian War of Independence (1954–62). In juxtaposing these two periods – the one anticolonial and the other postcolonial – we can reflect on how the aesthetics and creative processes of the earlier period are reworked in order to prompt agency. In this way, such novels suggest that anticolonial aesthetics can serve not only to think about decolonization but also about the failures, if not the failure, of the postcolonial state. At the same time, the postcolonial state continues to draw upon that same symbolic reservoir to reassert its political legitimacy. How writers and artists rework, resist or appropriate the aesthetics of Algeria’s revolution, creating a dialectic of past and present, is central to this essay.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"166 1","pages":"1106 - 1126"},"PeriodicalIF":0.0,"publicationDate":"2022-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84160123","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 : 2022-04-11DOI: 10.1080/1369801X.2022.2054002
Brigitta Isabella
This essay proposes nonsynchronous juxtaposition as a narrative device to critically engage with the complex historical legacies of the Bandung Conference 1955 and to reclaim the anticolonial poetic of the Bandung Spirit’s transnational solidarity with a classed and gendered perspective of migrant workers’ contemporary struggles. It argues that juxtaposition forges “Bandung chronopolitics”, a postcolonial politics of time that invokes affective entanglements of historical memories and present anticolonial transnational struggles. To demonstrate the creative and dialogical potential of rewriting solidarities in juxtaposition, this essay performs a close reading that puts side by side two poems titled “Kepada Sahabat Asia Afrika” (To Afro-Asian Friends, 1961) by Sugiarti Siswadi and “Seusai Badai Berpeluk Puisi” (After the Hurricane Embraced a Poem, 2009) by Mega Vristian. This essay summarily positions the poetic of juxtaposition and Bandung chronopolitics as a discursive strategy to avoid unchecked glorification of Bandung legacies and to repurpose the Bandung Spirit as a political imagination that brings historical depth to the works of Third World solidarity from below against the highly coordinated global-imperial capitalism.
本文提出非同步并列作为一种叙事手段，批判性地参与1955年万隆会议的复杂历史遗产，并以移民工人当代斗争的阶级和性别视角，重新获得万隆精神的跨国团结的反殖民诗意。它认为，并置形成了“万隆时代政治”，这是一种后殖民时代的政治，唤起了历史记忆的情感纠葛和当前的反殖民跨国斗争。为了展示在并置中改写团结的创造性和对话潜力，本文将两首诗放在一起进行仔细阅读，分别是Sugiarti Siswadi的《Kepada Sahabat Asia Afrika》(给亚非朋友，1961年)和Mega Vristian的《Seusai Badai Berpeluk Puisi》(飓风过后拥抱一首诗，2009年)。这篇文章概括地将并列的诗意和万隆时代政治作为一种话语策略，以避免对万隆遗产的无限制美化，并将万隆精神重新定位为一种政治想象，为第三世界的团结工作带来历史深度，从下面反对高度协调的全球帝国资本主义。
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Pub Date : 2022-04-11DOI: 10.1080/1369801X.2022.2054003
M. Tlostanova
After a short critical reflection on what is understood under anticolonial aesthetics and how it relates to the shift from political decolonization to a more epistemologically and aesthetically oriented decoloniality, the essay focuses on the seldom considered anticolonial and decolonial trajectories originating in the ex- and present colonies of the Russian/Soviet empire and post/neo-imperial Russia. It is analysed how these trajectories intersect with and diverge from the predominantly Anglophone and Francophone postcolonial conceptual and theoretical frames and what role is played in this configuration by the state socialist form of coloniality. Its most negative effects consist in recolonization presented as decolonization and the interrupted genealogies of anticolonial resistance and re-existence. As a result, each new generation has to start from scratch, while anticolonial thinkers and artists become enchanted by western (neo)liberalism presented as the only viable alternative to Russian and local authoritarian regimes.
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Pub Date : 2022-04-06DOI: 10.1080/1369801X.2022.2054013
R. Young
Outside the work of a small number of pioneering Slavic linguists and historians, the work of Nikolai Marr is little known today. In this essay I argue that Marr’s writings are worth re-examining, particularly in the light of his critique of European linguistics as propagating the racist ideology of imperialism and the subjugation of colonized peoples – now characterized as Orientalism. The first part of the essay situates Marr’s work within the wider context of the division since the nineteenth century between mainstream European comparative philology based in Germany, with its hierarchical model of family trees, and the more egalitarian tradition developed in Eastern Europe that emphasized the lateral interactions of speech in social contexts, with related languages operating in their own ecosystems of geographical proximity. In the second part of the essay I consider some of the elements of Marr’s work that remain of interest: his critique of Orientalism in linguistics, of the relations between western knowledges and forms of colonial power, on language as something not to be studied in isolation but as a living part of the social ecosystem and its power relations, and his conceptual emphasis on lateral thinking through rhizomatic forms and hybridization.
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