Pub Date : 2023-07-23DOI: 10.25120/etropic.22.2.2023.3960
Paola Karyne Azevedo Jochimsen
This article analyzes how the Movimento Antropofágico (Anthropophagic Movement), an avant-garde cultural manifestation was conceived by São Paulo's ruling elite and aimed to create a national identity. Inspired by the Indigenous anthropophagic ritual, in which the flesh of the enemy was consumed to acquire their skills, the movement proposed the incorporation and transformation of foreign European culture into national culture. This study is based on the analysis of the Manifesto Antropofágico (the Anthropophagic Manifesto) and the texts published later in the Revista de Antropofagia between May 1928 and February 1929. To theoretically support this work, I use the concepts of postcolonial authors such as Frantz Fanon and Boaventura de Sousa Santos. The objective of the study is to question how the absence of Afro-Brazilians happened and to deconstruct the myth of the attempt to build a Brazilian national culture.
本文分析了食人运动（Movimento Antropofágico），一种先锋文化表现形式，是如何由圣保罗的统治精英构想出来的，旨在创造一种国家认同。受土著食人仪式的启发，在这种仪式中，敌人的肉被吃掉以获得他们的技能，该运动提议将外来的欧洲文化融入并转化为民族文化。本研究基于对《Antropofágico宣言》（《食人宣言》）和1928年5月至1929年2月发表在《Antropofagia评论》上的文本的分析。为了从理论上支持这项工作，我使用了后殖民作家的概念，如Frantz Fanon和Boaventura de Sousa Santos。本研究的目的是质疑非裔巴西人的缺席是如何发生的，并解构试图建立巴西民族文化的神话。
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3967
Dede Pramayoza, Fresti Yuliza
Tonel performance in the city of Sawahlunto is practiced by the ethnic community who speak the Tansi creole language. Sawahlunto in tropical West Sumatra, Indonesia, was built by the Dutch colonialists in the late 19th century as a coal mining center based on the labor of local people and the forced labor of convicts of various ethnicities sent from around Indonesia. The multiethnic population developed a pidgin language which later became the Tansi creole language. This article discusses a new strategy for developing Tonel dramaturgy, which emerged through performances at the Sawahlunto Cultural Festival in 2021. Paying attention to the theatrical communication that occurs in Tonel performance, this study analyses how changes in the Tansi language used during performances, can be recognized as processes of decreolization and recreolization. The recreolization process proved to be a way to break the remnants of the continuing effects of colonialism in the Tansi culture. By changing words or adding new words to the Tansi language during the performances, the Tansi community builds a new dramaturgy based in a practice of cultural decoloniality through Tonel performance. This decolonial practice is particularly significant in the currrent development of Sawahlunto as a postcolonial mining tourism city, and the detangling of its colonial legacy.
{"title":"Recreolization as Decolonial Dramaturgy: Tansi Language in Tonel Performance, Sawahlunto City","authors":"Dede Pramayoza, Fresti Yuliza","doi":"10.25120/etropic.22.1.2023.3967","DOIUrl":"https://doi.org/10.25120/etropic.22.1.2023.3967","url":null,"abstract":"Tonel performance in the city of Sawahlunto is practiced by the ethnic community who speak the Tansi creole language. Sawahlunto in tropical West Sumatra, Indonesia, was built by the Dutch colonialists in the late 19th century as a coal mining center based on the labor of local people and the forced labor of convicts of various ethnicities sent from around Indonesia. The multiethnic population developed a pidgin language which later became the Tansi creole language. This article discusses a new strategy for developing Tonel dramaturgy, which emerged through performances at the Sawahlunto Cultural Festival in 2021. Paying attention to the theatrical communication that occurs in Tonel performance, this study analyses how changes in the Tansi language used during performances, can be recognized as processes of decreolization and recreolization. The recreolization process proved to be a way to break the remnants of the continuing effects of colonialism in the Tansi culture. By changing words or adding new words to the Tansi language during the performances, the Tansi community builds a new dramaturgy based in a practice of cultural decoloniality through Tonel performance. This decolonial practice is particularly significant in the currrent development of Sawahlunto as a postcolonial mining tourism city, and the detangling of its colonial legacy.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48005203","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 : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3962
RK Yaibiren Sana
Post-colonialism has not brought to an end the perpetuation of colonial power structures and suppression. The ex-colonized countries still suffer from many forms of colonialism. In Manipur, a state located in the northeastern corner of India within the monsoonal tropics, complex political and cultural issues such as insurgencies, militarization and problems of Hinduization interweave through the post-colonial scenario. The rise of insurgencies after Manipur’s merger to the Indian Union in 1949, have resulted in armed conflicts within the state and have brought situations of turmoil and suffering to the people. Prior to British colonization, Hinduization had already begun in the 15th century and the ‘cultural insurgents’ of Manipur to this day consider it a lasting imperialist force which tries to subjugate and suppress the Indigenous culture and religion of the people of Manipur. In these circumstances, theatre, which is the closest medium to the people, evolved as a decolonizing agent by proposing self-determination and peace building. Hence, by taking the account of Manipur and its Indigenous Meitei theatre form of Shumang Kumhei, this paper attempts to discuss the power and purpose of theatre in situations where political, religious and cultural suppression still operate and colonial structures still function, now in neocolonial forms.
{"title":"Anti-Colonial Performance Traditions in Manipur: Perspectives from Shumang Kumhei Theatre","authors":"RK Yaibiren Sana","doi":"10.25120/etropic.22.1.2023.3962","DOIUrl":"https://doi.org/10.25120/etropic.22.1.2023.3962","url":null,"abstract":"Post-colonialism has not brought to an end the perpetuation of colonial power structures and suppression. The ex-colonized countries still suffer from many forms of colonialism. In Manipur, a state located in the northeastern corner of India within the monsoonal tropics, complex political and cultural issues such as insurgencies, militarization and problems of Hinduization interweave through the post-colonial scenario. The rise of insurgencies after Manipur’s merger to the Indian Union in 1949, have resulted in armed conflicts within the state and have brought situations of turmoil and suffering to the people. Prior to British colonization, Hinduization had already begun in the 15th century and the ‘cultural insurgents’ of Manipur to this day consider it a lasting imperialist force which tries to subjugate and suppress the Indigenous culture and religion of the people of Manipur. In these circumstances, theatre, which is the closest medium to the people, evolved as a decolonizing agent by proposing self-determination and peace building. Hence, by taking the account of Manipur and its Indigenous Meitei theatre form of Shumang Kumhei, this paper attempts to discuss the power and purpose of theatre in situations where political, religious and cultural suppression still operate and colonial structures still function, now in neocolonial forms. ","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47876937","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 : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3974
Sampda Swaraj, B. Mishra
Colonialism's deleterious impact on Indigenous epistemologies has engendered an exigent concern in the project of decoloniality, calling for a re-existence of marginalized cosmovisions. To accomplish this, an epistemic delinking from the paradigm of Eurocentric discourses is imperative in the interest of a comprehensive appreciation and recognition of Indigenous knowledge systems. In this vein, the present study employs the literary trope of animist realism to analyze two short stories from the anthology Boats on Land by the Khasi author, Janice Pariat. Her creative writing explores the animist philosophy of the Khasi community who dwell in the humid tropical State of Meghalaya, India. Through an attentive reading of the animist belief in water spirits and shamanic mantra rituals, this paper critiques colonial narratives of Khasi animist worldviews as "satanic", "supernatural", or psycho-pathological aberrations. The paper presents Khasi animist wisdom as a sophisticated and equitable principle of mutual coexistence and respectful relationality between human and more-than-human realms, replete with spiritual, ecological, and cosmological overtones. Indigenous animist epistemologies are indispensable as sustainable alternatives to the knowledge structures of colonial modernity. The present study contributes to the envisioning of a coexistence of Indigenous and Western knowledge systems in the spirit of mutual recognition and constructive engagement within an evolving epistemological landscape in the ongoing decolonial enterprise.
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3964
Mylène Charon, Temiti Lehartel
Decolonial thinkers have stressed that to decolonise is not to reject the colonial legacy, but to deal with it, and to centre First Nations’ perspectives in its critique and in decolonising knowledge. As a critical relationship of a text – with itself, other texts, literature, and culture – metatextuality is a literary device operationalized in contemporary novels to resist persisting colonial powers. In this paper, we present three works of fiction by Indigenous writers of Oceania, and analyse their political use of metatextuality: L’île des rêves écrasés (Island of Shattered Dreams), by Tahitian author Chantal Spitz (1991); The Yield, by Aboriginal Wiradjuri novelist Tara June Winch (2019); and After Story, by Aboriginal Eualeyai/Kamillaroi writer Larissa Behrendt (2021). Centred on First Nations’ characters from Tahiti and Australia, these novels expose how they are racialised, marginalised, and constructed as inferior in postcolonising societies; and how, at the same time, these Indigenous characters are legitimate knowers and storytellers, reflecting on Western literature (often ironically), on their own marginality, and on their ancestral knowledges and languages. Borrowing from decolonial theorists Tlostanova and Mignolo’s (2012) ‘border thinking’, we propose that these novels deploy a ‘writing from the border’.
非殖民化思想家强调，非殖民化不是拒绝殖民遗产，而是要处理它，并将第一民族的观点置于其批判和非殖民化知识的中心。作为文本与自身、与其他文本、与文学、与文化的一种关键性关系，元文本性是当代小说用来抵抗殖民主义的一种文学手段。在本文中，我们介绍了大洋洲土著作家的三部小说作品，并分析了他们对元文本性的政治运用:塔希提作家尚塔尔·斯皮茨(1991)的《梦碎岛》;土著Wiradjuri小说家塔拉·琼·温奇(Tara June Winch)的《屈服》(2019);《故事之后》(After Story)，作者是土著Eualeyai/Kamillaroi作家Larissa Behrendt(2021年)。这些小说以来自塔希提岛和澳大利亚的第一民族人物为中心，揭示了他们在后殖民社会中是如何被种族化、边缘化和被建构为劣等的;与此同时，这些土著人物如何成为合法的知识分子和故事讲述者，反思西方文学(通常是讽刺的)，反思他们自己的边缘地位，以及他们祖先的知识和语言。借用非殖民化理论家Tlostanova和Mignolo(2012)的“边界思维”，我们认为这些小说部署了一种“来自边界的写作”。
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3963
Jessica Faleiro
This Gothic short story, set in Goa – a Portuguese colony until 1961 and then annexed by India – tells the tale of a beautiful storyteller’s long journey to find herself. She seeks out a Tarot card reader to give her insight, but her destiny will still prevail. She is seduced by a wealthy politician, only to be imprisoned in a palatial Portuguese mansion hidden in a remote jungle. Over time, her lover abandons her and the jungle house takes on mystical qualities. She feels she is losing her mind until she slowly recognises the voices of the creatures and the spirits around her. Within these relations the house of her imprisonment turns into a sanctuary, until she is eventually rescued and returned to the “normal” life of contemporary Goa. In the end, she accepts the past, which allows her to move forward into life. Like Scheherazade’s elaborate storytelling which was life-saving, this story presents stories within stories, to recover (post) colonized lives. A decolonial reading of this storying alludes to the tarot reader as an observer of the historical events; the corrupt politician as an archetypal colonizer (colonial and neocolonial); and the storyteller as the colonized – physically and psychologically. The story suggests that the way to move forward is to understand colonialism and its continuing impacts, as well as to recognize the appearances of neocolonialism in the present. In this regard, the story can also be read as the struggle for the central government of India, based in Delhi, to accept the 451-year Portuguese colonial history as an indelible part of Goa. Finally, storying in itself is a decolonial practice, a way for Goans to find self.
{"title":"Scheherazade: Goan Gothic as Decolonial Storying","authors":"Jessica Faleiro","doi":"10.25120/etropic.22.1.2023.3963","DOIUrl":"https://doi.org/10.25120/etropic.22.1.2023.3963","url":null,"abstract":"This Gothic short story, set in Goa – a Portuguese colony until 1961 and then annexed by India – tells the tale of a beautiful storyteller’s long journey to find herself. She seeks out a Tarot card reader to give her insight, but her destiny will still prevail. She is seduced by a wealthy politician, only to be imprisoned in a palatial Portuguese mansion hidden in a remote jungle. Over time, her lover abandons her and the jungle house takes on mystical qualities. She feels she is losing her mind until she slowly recognises the voices of the creatures and the spirits around her. Within these relations the house of her imprisonment turns into a sanctuary, until she is eventually rescued and returned to the “normal” life of contemporary Goa. In the end, she accepts the past, which allows her to move forward into life. Like Scheherazade’s elaborate storytelling which was life-saving, this story presents stories within stories, to recover (post) colonized lives. A decolonial reading of this storying alludes to the tarot reader as an observer of the historical events; the corrupt politician as an archetypal colonizer (colonial and neocolonial); and the storyteller as the colonized – physically and psychologically. The story suggests that the way to move forward is to understand colonialism and its continuing impacts, as well as to recognize the appearances of neocolonialism in the present. In this regard, the story can also be read as the struggle for the central government of India, based in Delhi, to accept the 451-year Portuguese colonial history as an indelible part of Goa. Finally, storying in itself is a decolonial practice, a way for Goans to find self.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46964254","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 : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3958
P. Abakporo, Stanley Timeyin Ohenhen
The projected apocalypse triggered by centuries of consistent environmental abuse has attracted multidisciplinary attention which has intensified in the last few years. Scholarship largely figures colonial mechanisms and their variables such as imperialism, industrialization and militarism as responsible for the wasting of tropical bodies in the guise of development. The focus of this paper is threefold. Firstly, to establish that colonialism and neocolonialism is at the center of ecosystem degradation in the tropics and examine concepts of development as colonial constructs to sustain polluting rights in Nigeria. Colonialism remains at the center of the toxicity and wasting of humans and the environment in Nigeria, hence the call for decolonization of environmental discourses. Secondly, foreground the need to dismantle the tropes of development, civilization, and industrialization, as colonial installations to sustain the toxicity of the tropics. Thirdly, to investigate the necessity to return to Indigenous knowledge resources in order to forge new mindsets for envisioning sustainable futures. The rich multiethnic culture of Nigeria points to the potential of Indigenous dance theatre as an Indigenous knowledge resource to provoke much-needed conversations and change towards decolonization and posthuman consciousness. Towards this future, the paper addresses the present challenges of Indigenous dance theatre as well as the modalities for engaging it for effective results in rewriting the Nigerian stanza in the colonial-enforced tragedy of the tropics.
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3983
Kulasumb Kalinoe
Museums are western institutions that house the remnants of colonisation. They are fraught institutions in which cultural heritage issues arise due to the differences in western and indigenous societies. Most tropical collections were acquired during colonisation through unjust means by government administrators, missionaries, and dealers. In more recent times the ‘decolonisation’ of museums has begun, with developing nations and source communities demanding the repatriation and restitution of their cultural material from museums. This signifies political redress and self-determination from the effects of colonisation on former colonised nations and those that are still experiencing colonial occupation. This paper focuses on the collection and removal of cultural material from Papua New Guinea (PNG) during the colonial era. The paper discusses views among the Papua New Guinean diaspora in Australia on museums and PNG collections, and argues that cultural heritage issues must be addressed before the work of decolonisation can begin. Museums that house Papua New Guinean collections must follow the cultural protocols of the relevant Papua New Guinean source communities. Decolonisation will require an overhaul of the western museum structure and principles, and Papua New Guinean vision, values and voices must be at the forefront of this work.
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3985
Rosita Henry, Helen Ramoutsaki, Debbi Long, G. Acciaioli, S. Foale, Celmara Pocock, Kristin McBain-Rigg, Michael Wood
Respect for any form of life entails nurturing all the potentialities proper to it, including those that might be unproductive from the human point of view. Are there lessons to be learnt about decolonisation of the tropics from a focus on ‘weeds’? The contributors to this photo-essay collectively consider here the lessons that can be learnt about the relationship between colonisation and decolonisation through a visual focus on life forms that have been defined as weeds and, consequently, subject to a contradictory politics of care, removal, and control – of germinating, blooming, and cutting. The essay demonstrates the continuing colonial tensions between aesthetic and practical evaluations of many plants and other lifeforms regarded as ‘invasive’ or ‘out of place’. It suggests a decolonial overcoming of oppositions. By celebrating alliances of endemics and ‘weeds’ regeneratively living together in patterns of complex diversity, we seek to transcend policies of differentiation, exclusion and even eradication rooted in colonial ontology.
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Pub Date : 2023-07-03DOI: 10.25120/etropic.22.1.2023.3980
Sunu Rose Joseph, Shashikantha Koudur
In response to the current age of the Anthropocene, Posthumanist studies explore multispecies' entanglements and encounters in order to move away from the colonial binaries that separate humans from the environment. Adding to these studies, this paper explores the role of mythology in decolonising the Westerncentric strategies of narration. Amitav Ghosh’s Gun Island and Rita Indiana’s Tentacle, envision the relationship of the human with other species against the deepening climate crisis, bringing to the fore the often-discounted discourses of cultural myths. In Gun Island, Manasa, the quintessential nagini is a folk deity of fear-based Nature worship from the Bay of Bengal, and an outsider to the established pantheon of Hindu gods. The Yoruba deity, Olokun, and his/her incarnations, move across the three time periods in Tentacle emerging as the saviour of the Caribbean islands. The novels reinterpret and re-evaluate the tropical Indigenous myths to implement alternate approaches of knowing and being in the world. This article seeks to explore how posthumanist and decolonial perspectives in these mythologies create new alliances that stretch across space, time, and species, symbolising the relationality of all life. The paper delves into the power of the mythical deities to highlight the existence of an interconnected network of human and more-than-human realms.
{"title":"Decolonial Myths and Demi-gods of the Tropics: The More-than-Human Worlds of Manasa and Olokun","authors":"Sunu Rose Joseph, Shashikantha Koudur","doi":"10.25120/etropic.22.1.2023.3980","DOIUrl":"https://doi.org/10.25120/etropic.22.1.2023.3980","url":null,"abstract":"In response to the current age of the Anthropocene, Posthumanist studies explore multispecies' entanglements and encounters in order to move away from the colonial binaries that separate humans from the environment. Adding to these studies, this paper explores the role of mythology in decolonising the Westerncentric strategies of narration. Amitav Ghosh’s Gun Island and Rita Indiana’s Tentacle, envision the relationship of the human with other species against the deepening climate crisis, bringing to the fore the often-discounted discourses of cultural myths. In Gun Island, Manasa, the quintessential nagini is a folk deity of fear-based Nature worship from the Bay of Bengal, and an outsider to the established pantheon of Hindu gods. The Yoruba deity, Olokun, and his/her incarnations, move across the three time periods in Tentacle emerging as the saviour of the Caribbean islands. The novels reinterpret and re-evaluate the tropical Indigenous myths to implement alternate approaches of knowing and being in the world. This article seeks to explore how posthumanist and decolonial perspectives in these mythologies create new alliances that stretch across space, time, and species, symbolising the relationality of all life. The paper delves into the power of the mythical deities to highlight the existence of an interconnected network of human and more-than-human realms.","PeriodicalId":37374,"journal":{"name":"eTropic","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42181275","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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