Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209425
Wei Wang, A. P. Hoang, L. Jordan
ABSTRACT Racial prejudice and discrimination towards Africans in Guangzhou have been widely documented and are systemic. Nonetheless, conjugal unions and family formation between Chinese citizens and members of the African diaspora have become more prevalent in recent years. Together, Afro-Chinese couples confront quotidian threats of violence, arrest, and deportation of the African partners, which threats affect their families and livelihoods. Studies thus far have neglected the complex dynamics and negotiations of racism that manifest in the interracial domestic sphere. Through reflexive observational fieldwork and qualitative interviews, this study provides a contemporary analysis of negotiating racism in intimate family life, especially from the unique standpoint of the Chinese spouse in an Afro-Chinese marriage. Drawing upon empirical data and the Althusserian notion of interpellation, we develop the concept of the intimate affliction of vicarious racialization to analyze how multiple inequities intersect and condition the couples’ overlapping lived experiences. Vicarious racialization particularly emphasizes processes by which Chinese women become interpellated but also resist anti-Black racism. This intimate affliction destabilizes the prevailing discourse on racism, which focuses on targeted (racialized) minorities, and the dichotomy of direct/indirect discrimination against them. This study highlights the often-overlooked role of women’s agency across multiple borderlands with their partners as they negotiate gendered, racialized, and classed subjections in familial and social spaces.
{"title":"The intimate affliction of vicarious racialization: Afro-Chinese couples in South China","authors":"Wei Wang, A. P. Hoang, L. Jordan","doi":"10.1080/14649373.2023.2209425","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209425","url":null,"abstract":"ABSTRACT Racial prejudice and discrimination towards Africans in Guangzhou have been widely documented and are systemic. Nonetheless, conjugal unions and family formation between Chinese citizens and members of the African diaspora have become more prevalent in recent years. Together, Afro-Chinese couples confront quotidian threats of violence, arrest, and deportation of the African partners, which threats affect their families and livelihoods. Studies thus far have neglected the complex dynamics and negotiations of racism that manifest in the interracial domestic sphere. Through reflexive observational fieldwork and qualitative interviews, this study provides a contemporary analysis of negotiating racism in intimate family life, especially from the unique standpoint of the Chinese spouse in an Afro-Chinese marriage. Drawing upon empirical data and the Althusserian notion of interpellation, we develop the concept of the intimate affliction of vicarious racialization to analyze how multiple inequities intersect and condition the couples’ overlapping lived experiences. Vicarious racialization particularly emphasizes processes by which Chinese women become interpellated but also resist anti-Black racism. This intimate affliction destabilizes the prevailing discourse on racism, which focuses on targeted (racialized) minorities, and the dichotomy of direct/indirect discrimination against them. This study highlights the often-overlooked role of women’s agency across multiple borderlands with their partners as they negotiate gendered, racialized, and classed subjections in familial and social spaces.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"397 - 412"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43920872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209434
John Hutnyk
ABSTRACT The Bengali new wave cinema of the 1960s and 1970s addressed historically important world events through an aesthetic inspired by Marxism and long-standing anti-colonial traditions dating to the middle nineteenth century. At the same time, an aesthetic derived from folk and artistic traditions was embraced as a cultural style in the middle twentieth century by local Marxist progressive theatre and writers’ associations. In 1968, the Bengali film director Ritwik Ghatak published a short speculation for the Bengal Youth Festival explaining the scenario for “A Film I want to make about Vietnam.” The film was not made, but the imagined detail is very much in the style of the Bengali new wave. Also important—and made, so we can see it—is Satyajit Ray’s short film “on” Vietnam, Two: A Film Fable (1964). The two films express, in different ways, the enthusiasm among Bengali intellectuals for Vietnam at the time when revolutionary youth solidarity with the anti-imperialist struggle was strong. What were Ghatak and Ray thinking with these films “on” Vietnam? Can they tell us anything of the times, the engaged role of film, the director as intellectual agitator, the politics of solidarity from afar? By evaluating the reception of historically focussed film from the perspective of the Bengali New Wave, I show how that cinema’s fascination with Vietnam evokes both much older folk traditions, yet now leads to a more worrying contemporary coda with the adaptation in 2019 of the old slogan by the Hindutva right to include Jai Ram.
{"title":"Tomar naam, amar naam, Vietnam Vietnam! Folk styles and solidarity in the Bengali new wave cinema","authors":"John Hutnyk","doi":"10.1080/14649373.2023.2209434","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209434","url":null,"abstract":"ABSTRACT The Bengali new wave cinema of the 1960s and 1970s addressed historically important world events through an aesthetic inspired by Marxism and long-standing anti-colonial traditions dating to the middle nineteenth century. At the same time, an aesthetic derived from folk and artistic traditions was embraced as a cultural style in the middle twentieth century by local Marxist progressive theatre and writers’ associations. In 1968, the Bengali film director Ritwik Ghatak published a short speculation for the Bengal Youth Festival explaining the scenario for “A Film I want to make about Vietnam.” The film was not made, but the imagined detail is very much in the style of the Bengali new wave. Also important—and made, so we can see it—is Satyajit Ray’s short film “on” Vietnam, Two: A Film Fable (1964). The two films express, in different ways, the enthusiasm among Bengali intellectuals for Vietnam at the time when revolutionary youth solidarity with the anti-imperialist struggle was strong. What were Ghatak and Ray thinking with these films “on” Vietnam? Can they tell us anything of the times, the engaged role of film, the director as intellectual agitator, the politics of solidarity from afar? By evaluating the reception of historically focussed film from the perspective of the Bengali New Wave, I show how that cinema’s fascination with Vietnam evokes both much older folk traditions, yet now leads to a more worrying contemporary coda with the adaptation in 2019 of the old slogan by the Hindutva right to include Jai Ram.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"507 - 524"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47588889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209438
A. Roy
ABSTRACT This article calls for enhancing the horizon of Political Communication Studies, drawing attention to certain relation between the media, the state and the public in a globalised world. Focusing on private mainstream news television in post-liberalisation India, it tries to show how Media, in its singularised popular sense of sensationalising news, generating live-stream of public opinion, conducting parallel investigation of crimes, judging the sub judice and posing as sovereign by perennially endorsing the logic of self-regulation, tries to appropriate the functions, image and rhetoric of the state institutions (the executive, the judiciary and the legislature). The article primarily explores the quasi-executive functions to understand the role of a seemingly autonomous public in Indian democracy. The increasing tussle that we are witnessing between the executive, the legislature and the judiciary, the article argues, is to a large extent due to Media’s claim to represent the public more effectively than any state institution, pushing “pillars of democracy” to fight with each other for their share of credit in serving the public.
{"title":"Spectacle of democracy: the quasi-executive functions of television news in India","authors":"A. Roy","doi":"10.1080/14649373.2023.2209438","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209438","url":null,"abstract":"ABSTRACT This article calls for enhancing the horizon of Political Communication Studies, drawing attention to certain relation between the media, the state and the public in a globalised world. Focusing on private mainstream news television in post-liberalisation India, it tries to show how Media, in its singularised popular sense of sensationalising news, generating live-stream of public opinion, conducting parallel investigation of crimes, judging the sub judice and posing as sovereign by perennially endorsing the logic of self-regulation, tries to appropriate the functions, image and rhetoric of the state institutions (the executive, the judiciary and the legislature). The article primarily explores the quasi-executive functions to understand the role of a seemingly autonomous public in Indian democracy. The increasing tussle that we are witnessing between the executive, the legislature and the judiciary, the article argues, is to a large extent due to Media’s claim to represent the public more effectively than any state institution, pushing “pillars of democracy” to fight with each other for their share of credit in serving the public.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"554 - 566"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46507954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209423
Yuqi Na, N. Pun
ABSTRACT Ideology works. This article examines how the Internet as a capital actor has become a nationalist ideology in China. Disclosing how nationalism serves to facilitate the expansion of China-based Internet platforms in the age of informational capitalism, we directly confront the Chinese Internet as an ideology apparatus that works to fulfill a dual logic of capital and territorial power. This article contributes to the study of three types of Chinese Internet workers: programmers, white-collar employees (excluding programmers), and assembly-line workers, and focuses on how nationalist discourses are created, which enthrall but at the same time are questioned by different workers who help fabricate nationalism as well as challenge it. We conceptualize topos of threat and referential strategy of collectivization as cultural and media tactics, driven by the nationalistic sentiments that form part of the “common sense” of Chinese users. We further analyze the multiple subject positions of Chinese Internet workers into hegemonic position, negotiated position, and oppositional position to discover the complexity of labor subjectivity which may create discrepancy or sometimes even challenge the Chinese Internet as an ideology. This study sheds light on how subject positions could disrupt a homogenous process of merging nationalism with populist sentiments, a conservative ideology that is prevalent in today’s China.
{"title":"Internet as an ideology: nationalistic discourses, and multiple subject positions of Chinese internet workers","authors":"Yuqi Na, N. Pun","doi":"10.1080/14649373.2023.2209423","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209423","url":null,"abstract":"ABSTRACT Ideology works. This article examines how the Internet as a capital actor has become a nationalist ideology in China. Disclosing how nationalism serves to facilitate the expansion of China-based Internet platforms in the age of informational capitalism, we directly confront the Chinese Internet as an ideology apparatus that works to fulfill a dual logic of capital and territorial power. This article contributes to the study of three types of Chinese Internet workers: programmers, white-collar employees (excluding programmers), and assembly-line workers, and focuses on how nationalist discourses are created, which enthrall but at the same time are questioned by different workers who help fabricate nationalism as well as challenge it. We conceptualize topos of threat and referential strategy of collectivization as cultural and media tactics, driven by the nationalistic sentiments that form part of the “common sense” of Chinese users. We further analyze the multiple subject positions of Chinese Internet workers into hegemonic position, negotiated position, and oppositional position to discover the complexity of labor subjectivity which may create discrepancy or sometimes even challenge the Chinese Internet as an ideology. This study sheds light on how subject positions could disrupt a homogenous process of merging nationalism with populist sentiments, a conservative ideology that is prevalent in today’s China.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"367 - 381"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46858265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209437
Runa Chakraborty Paunksnis
ABSTRACT This essay problematises representations of Indian women on the SVOD (Subscription Video on Demand) platforms. The oft-invoked image of Indian woman as the repository of traditional values and feminine virtues has undergone a phenomenal transformation in recent years owing to several factors such as economic liberalisation, globalisation and technological revolution. Female characters in most of the SVOD contents are often depicted as independent, agentic and empowered. Nevertheless, the nature of empowerment that these contents uphold is highly controversial from a feminist standpoint. Employing critique of postfeminism as an analytical tool, this paper argues that the representation of Indian women on SVOD platforms as empowered subjects is an outcome of a negotiation between postfeminism, patriarchy and neoliberal culture of consumption.
{"title":"Empowered, thy name is woman: lite feminism and Hindi SVOD platforms in India","authors":"Runa Chakraborty Paunksnis","doi":"10.1080/14649373.2023.2209437","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209437","url":null,"abstract":"ABSTRACT This essay problematises representations of Indian women on the SVOD (Subscription Video on Demand) platforms. The oft-invoked image of Indian woman as the repository of traditional values and feminine virtues has undergone a phenomenal transformation in recent years owing to several factors such as economic liberalisation, globalisation and technological revolution. Female characters in most of the SVOD contents are often depicted as independent, agentic and empowered. Nevertheless, the nature of empowerment that these contents uphold is highly controversial from a feminist standpoint. Employing critique of postfeminism as an analytical tool, this paper argues that the representation of Indian women on SVOD platforms as empowered subjects is an outcome of a negotiation between postfeminism, patriarchy and neoliberal culture of consumption.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"538 - 553"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42897167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209427
Jessica Ka Yee Chan
ABSTRACT Based on the life story of the Hong Kong film producer, Roger Lee, A Simple Life/Taojie (Ann Hui [2011] 2012) is a semi-fictional biographical film about the life of Taojie, an amah (Cantonese migrant domestic servant) who served three generations of Lee's family for more than sixty years. The intervention of this essay is two-fold. First, this essay situates A Simple Life in the burgeoning but understudied journalistic and documentary discourse on aging as a postcolonial condition in Hong Kong since the 2010s. An intertextuality between the film and its adjacent media productions, such as journalistic reportage and TV documentaries, reveals the social anxiety about the lack of holistic and accessible elderly care in Hong Kong's medical and social welfare system and the profit-driven nursing home industry. Second, this essay argues that A Simple Life responds to the postcolonial anxiety of old age by articulating an intergenerational kinship through Roger Lee and Taojjie, a diasporic Asian icon of amah that is localized, nationalized, internationalized under the framework of CEPA (Hong Kong and Mainland Closer Economic Partnership Arrangement). Multiple imaginaries of home, family, and community—Roger Lee's home, a local nursing home, Roger Lee's transnational family, and a new Hong Kong–Mainland cinematic community—co-exist in this film as interconnected and interdependent sites of care, demonstrating how a postcolonial, national, and transnational sense of home and belonging are simultaneously articulated under the framework of CEPA.
{"title":"Postcolonial aging, amah, and diaspora in A Simple Life","authors":"Jessica Ka Yee Chan","doi":"10.1080/14649373.2023.2209427","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209427","url":null,"abstract":"ABSTRACT Based on the life story of the Hong Kong film producer, Roger Lee, A Simple Life/Taojie (Ann Hui [2011] 2012) is a semi-fictional biographical film about the life of Taojie, an amah (Cantonese migrant domestic servant) who served three generations of Lee's family for more than sixty years. The intervention of this essay is two-fold. First, this essay situates A Simple Life in the burgeoning but understudied journalistic and documentary discourse on aging as a postcolonial condition in Hong Kong since the 2010s. An intertextuality between the film and its adjacent media productions, such as journalistic reportage and TV documentaries, reveals the social anxiety about the lack of holistic and accessible elderly care in Hong Kong's medical and social welfare system and the profit-driven nursing home industry. Second, this essay argues that A Simple Life responds to the postcolonial anxiety of old age by articulating an intergenerational kinship through Roger Lee and Taojjie, a diasporic Asian icon of amah that is localized, nationalized, internationalized under the framework of CEPA (Hong Kong and Mainland Closer Economic Partnership Arrangement). Multiple imaginaries of home, family, and community—Roger Lee's home, a local nursing home, Roger Lee's transnational family, and a new Hong Kong–Mainland cinematic community—co-exist in this film as interconnected and interdependent sites of care, demonstrating how a postcolonial, national, and transnational sense of home and belonging are simultaneously articulated under the framework of CEPA.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"431 - 448"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209436
Dattatreya Ghosh
ABSTRACT The lack of archival materials and objects appears as a primary challenge in conducting research on the history of media and communications in India, specifically while writing a comprehensive historical account of Bengali cinema. This paper will try to look at video halls and video tapes as the transient media spaces and objects. In the case of West Bengal, video tapes and video halls are an important part of media history about which little has been written or researched. This paper will try to look into the process of writing media history of scarcely archived media forms following the method of media archaeology and question how the method becomes important in cases of absence of archival materials. This paper will also try to enquire how media ethnography unfolds a different narrative of media history which is otherwise absent in the material archives or institutional records. Using the theoretical framework of the study of archives, this paper tries to explore new archives which present a different history of intermedia transactions in the history of Bengali cinema.
{"title":"Tracing the rise of video halls and transient media forms in Bengal: an archaeology of the non-archived","authors":"Dattatreya Ghosh","doi":"10.1080/14649373.2023.2209436","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209436","url":null,"abstract":"ABSTRACT The lack of archival materials and objects appears as a primary challenge in conducting research on the history of media and communications in India, specifically while writing a comprehensive historical account of Bengali cinema. This paper will try to look at video halls and video tapes as the transient media spaces and objects. In the case of West Bengal, video tapes and video halls are an important part of media history about which little has been written or researched. This paper will try to look into the process of writing media history of scarcely archived media forms following the method of media archaeology and question how the method becomes important in cases of absence of archival materials. This paper will also try to enquire how media ethnography unfolds a different narrative of media history which is otherwise absent in the material archives or institutional records. Using the theoretical framework of the study of archives, this paper tries to explore new archives which present a different history of intermedia transactions in the history of Bengali cinema.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"525 - 537"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42258993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209428
H. Le, Khai Thuan Tran, L. Bui
ABSTRACT Research conducted among the Raglai ethnic minority in the mountains of the South of Vietnam suggests that development projects supported by both government and international agencies that aim to benefit women are actually an impediment to sustainable poverty reduction because they do not take into account the ways matriarchal practices actively demotivate male members of the community. The consequence is that these policies aimed at reducing poverty are unequal, unstable, and ineffective. Such policies need to be reviewed to focus on encouraging men’s involvement in the family economy. They must be suitable to the cultural context and customs of the matriarchy in order to develop the Raglai ethnic community. To address this policy shortfall, it is necessary to gain a better understanding of the culture of the Raglai people in practice.
{"title":"Vietnam’s poverty reduction policies for ethnic minorities: the Raglai in Bac Ai, Ninh Thuan, Vietnam","authors":"H. Le, Khai Thuan Tran, L. Bui","doi":"10.1080/14649373.2023.2209428","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209428","url":null,"abstract":"ABSTRACT Research conducted among the Raglai ethnic minority in the mountains of the South of Vietnam suggests that development projects supported by both government and international agencies that aim to benefit women are actually an impediment to sustainable poverty reduction because they do not take into account the ways matriarchal practices actively demotivate male members of the community. The consequence is that these policies aimed at reducing poverty are unequal, unstable, and ineffective. Such policies need to be reviewed to focus on encouraging men’s involvement in the family economy. They must be suitable to the cultural context and customs of the matriarchy in order to develop the Raglai ethnic community. To address this policy shortfall, it is necessary to gain a better understanding of the culture of the Raglai people in practice.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"449 - 460"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44788387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209429
Huiyan Tang
ABSTRACT During the Cold War, cultural engagements frequently occurred between Taiwan and the Philippines due to their military and geopolitical alliance in East Asia. This essay explores this cultural linkage at both the diplomatic and individual levels by examining the politics and aesthetics of the art exhibitions both countries participated in as well as the intellectual encounters among individual artists. The First Southeast Asia Art Conference and Competition, a postwar art event held in the Philippines, demonstrated Taiwan’s cultural diplomacy in the Free World; it also highlighted the different figurations of colonial modernities and the emerging national identities developed in East and Southeast Asia in the postcolonial era. While the cultural linkage between Taiwan and the Philippines was a product of the geo-military strategy in the Cold War era, the translocal friendships and the artistic networks were actively maintained by the individual artists in the late Cold War years, after the Taiwan–Philippines diplomatic relation ended. This intra-regional network created an alternative trajectory of knowledge circulation that allowed Philippine leftist nationalist writings to be published in Taiwan in the latter’s martial law era. Furthermore, it provides a comparative perspective on the political discourses and artistic practices of decolonial initiatives in Taiwan and the Philippines.
{"title":"Cultural diplomacy, artistic network, and the politics of decolonization between Taiwan and the Philippines in the Cold War era","authors":"Huiyan Tang","doi":"10.1080/14649373.2023.2209429","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209429","url":null,"abstract":"ABSTRACT During the Cold War, cultural engagements frequently occurred between Taiwan and the Philippines due to their military and geopolitical alliance in East Asia. This essay explores this cultural linkage at both the diplomatic and individual levels by examining the politics and aesthetics of the art exhibitions both countries participated in as well as the intellectual encounters among individual artists. The First Southeast Asia Art Conference and Competition, a postwar art event held in the Philippines, demonstrated Taiwan’s cultural diplomacy in the Free World; it also highlighted the different figurations of colonial modernities and the emerging national identities developed in East and Southeast Asia in the postcolonial era. While the cultural linkage between Taiwan and the Philippines was a product of the geo-military strategy in the Cold War era, the translocal friendships and the artistic networks were actively maintained by the individual artists in the late Cold War years, after the Taiwan–Philippines diplomatic relation ended. This intra-regional network created an alternative trajectory of knowledge circulation that allowed Philippine leftist nationalist writings to be published in Taiwan in the latter’s martial law era. Furthermore, it provides a comparative perspective on the political discourses and artistic practices of decolonial initiatives in Taiwan and the Philippines.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"461 - 478"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47568704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-23DOI: 10.1080/14649373.2023.2209433
Shaswati Das
ABSTRACT Bengal occupies a special position in the history of Indian journalism as the journey of the first English newspaper and, after that, the first vernacular newspaper, started from here. The country had the tradition of writing newsletters, but newspapers were a European import. Unlike other means of communication, newspapers were free from direct government control and they flourished mostly as private endeavours. This apparent independence was often undermined by the indirect influence exerted by the state which was run by a mercantile company in the first half of the nineteenth century. The present paper probes to seek the reasons behind the late arrival of newspapers in Bengal/India, then their negotiations with the state power and finally their reincarnation in the hands of the socio-religious reformers of the Bengali bhadralok section. The Bengali press burgeoned under the patronage of this group, which can be closely linked with the bhadralok’s intent of appropriating and communicating knowledge. To fulfil this aim, they also established different Sabhas or associations and brought out newspapers as the mouthpiece of those organisations. These Sabhas and the newspapers associated with them worked together in establishing the locations of knowledge production and its dissemination; thus, influencing public debates in the first half of the nineteenth century.
{"title":"Bengali bhadralok and the Bengali press: a study of the early nineteenth century","authors":"Shaswati Das","doi":"10.1080/14649373.2023.2209433","DOIUrl":"https://doi.org/10.1080/14649373.2023.2209433","url":null,"abstract":"ABSTRACT Bengal occupies a special position in the history of Indian journalism as the journey of the first English newspaper and, after that, the first vernacular newspaper, started from here. The country had the tradition of writing newsletters, but newspapers were a European import. Unlike other means of communication, newspapers were free from direct government control and they flourished mostly as private endeavours. This apparent independence was often undermined by the indirect influence exerted by the state which was run by a mercantile company in the first half of the nineteenth century. The present paper probes to seek the reasons behind the late arrival of newspapers in Bengal/India, then their negotiations with the state power and finally their reincarnation in the hands of the socio-religious reformers of the Bengali bhadralok section. The Bengali press burgeoned under the patronage of this group, which can be closely linked with the bhadralok’s intent of appropriating and communicating knowledge. To fulfil this aim, they also established different Sabhas or associations and brought out newspapers as the mouthpiece of those organisations. These Sabhas and the newspapers associated with them worked together in establishing the locations of knowledge production and its dissemination; thus, influencing public debates in the first half of the nineteenth century.","PeriodicalId":46080,"journal":{"name":"Inter-Asia Cultural Studies","volume":"24 1","pages":"493 - 506"},"PeriodicalIF":0.5,"publicationDate":"2023-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45667506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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