Abstract Performing history has become immensely popular in China since the dawn of the twenty-first century. What is exactly the cultural impulse behind the massive craze for performing history in China? Premised on history being one of many modes of representation of the past, and performance being one of them, this article argues that performing history through reenactment, an expression of cultural memory mediated and remediated in the present, is a new form of public history in China. The democratic impulse enacted by such a performance can nurture serious discussions on historical issues, cultivate a shared interpretive authority, and shape historical consciousness of the ordinary Chinese.
{"title":"Performing History in China: Cultural Memory in the Present","authors":"Na Li","doi":"10.1515/iph-2022-2049","DOIUrl":"https://doi.org/10.1515/iph-2022-2049","url":null,"abstract":"Abstract Performing history has become immensely popular in China since the dawn of the twenty-first century. What is exactly the cultural impulse behind the massive craze for performing history in China? Premised on history being one of many modes of representation of the past, and performance being one of them, this article argues that performing history through reenactment, an expression of cultural memory mediated and remediated in the present, is a new form of public history in China. The democratic impulse enacted by such a performance can nurture serious discussions on historical issues, cultivate a shared interpretive authority, and shape historical consciousness of the ordinary Chinese.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47386010","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}
Abstract Dark academia is an ‘internet aesthetic,’ an aesthetic style used in posts on platforms such as TikTok, Instagram, and Tumblr that resonates the atmosphere of life in boarding schools, prep schools, and (Ivy League) colleges from the last decades of the nineteenth century up until the 1940s. It expresses a fascination with (neo-)gothic architecture; with tweed, lace, wool, and leather; with literature and art, and Romantic longing. Having been a main trend on social media platforms throughout the coronavirus pandemic, dark academia captures and facilitates cultural engagement in times of social isolation and closed college campuses. This article studies the dark academia aesthetic as a mnemonic curatorial practice with tendencies to counter hegemonic norms and narratives. Focusing on the affective dimensions of dark academia, this article argues that the aim of this internet aesthetic is to annul historical distance by capturing a mood and atmosphere associated with early twentieth-century campuses through the means of curated social media representations. This de-historicization allows for the renegotiation of values, like inscribing queerness – associated with secret queer romantics at gender-divided schools – into its representational language, without having to reassert historical gender binaries.
{"title":"Dark Academia: Curating Affective History in a COVID-Era Internet Aesthetic","authors":"Robbert-Jan Adriaansen","doi":"10.1515/iph-2022-2047","DOIUrl":"https://doi.org/10.1515/iph-2022-2047","url":null,"abstract":"Abstract Dark academia is an ‘internet aesthetic,’ an aesthetic style used in posts on platforms such as TikTok, Instagram, and Tumblr that resonates the atmosphere of life in boarding schools, prep schools, and (Ivy League) colleges from the last decades of the nineteenth century up until the 1940s. It expresses a fascination with (neo-)gothic architecture; with tweed, lace, wool, and leather; with literature and art, and Romantic longing. Having been a main trend on social media platforms throughout the coronavirus pandemic, dark academia captures and facilitates cultural engagement in times of social isolation and closed college campuses. This article studies the dark academia aesthetic as a mnemonic curatorial practice with tendencies to counter hegemonic norms and narratives. Focusing on the affective dimensions of dark academia, this article argues that the aim of this internet aesthetic is to annul historical distance by capturing a mood and atmosphere associated with early twentieth-century campuses through the means of curated social media representations. This de-historicization allows for the renegotiation of values, like inscribing queerness – associated with secret queer romantics at gender-divided schools – into its representational language, without having to reassert historical gender binaries.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46105854","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}
Abstract The exhibition MapsUrbe: The invisible City (December 2018 – January 2019) staged the creations of young Mapuche artists and activists addressing the politics and history of the indigenous diaspora in Santiago (Chile). Engaging with urban space materiality and the trajectories shaped by displacement and endurance within the city, the exhibition explored subversive aesthetics and political imaginations, crafting alternative spatialities and temporalities. Building on two years of collaborative work with Mapuche artists and activists, and moving from an initial act of generative refusal, this paper explores a redefinition of curatorial practices within collective artistic projects that aim at opposing dominant historical narratives. By reflecting on an experience of collective co-curation, it shows how these practices challenge established and institutionalized narratives embedded in public spaces, resulting in creative appropriations and powerful counter-narratives ‘on our own terms.’
{"title":"‘On Our Own Terms’: Refusal, Masks, and Indigenous Counter-narratives in Santiago de Chile Public Space","authors":"Olivia Casagrande","doi":"10.1515/iph-2022-2050","DOIUrl":"https://doi.org/10.1515/iph-2022-2050","url":null,"abstract":"Abstract The exhibition MapsUrbe: The invisible City (December 2018 – January 2019) staged the creations of young Mapuche artists and activists addressing the politics and history of the indigenous diaspora in Santiago (Chile). Engaging with urban space materiality and the trajectories shaped by displacement and endurance within the city, the exhibition explored subversive aesthetics and political imaginations, crafting alternative spatialities and temporalities. Building on two years of collaborative work with Mapuche artists and activists, and moving from an initial act of generative refusal, this paper explores a redefinition of curatorial practices within collective artistic projects that aim at opposing dominant historical narratives. By reflecting on an experience of collective co-curation, it shows how these practices challenge established and institutionalized narratives embedded in public spaces, resulting in creative appropriations and powerful counter-narratives ‘on our own terms.’","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44648567","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}
Abstract The term “curation” has taken on a host of meanings beyond the museum context. While there are marked differences between its meanings – including the specific act of exhibition-making as well as the act of keeping and tending to an existing collection in a museum – we here specifically foreground curation as a social process of selecting and negotiating various forms of (embodied) performances in public, transcending institutionalized contexts such as museums. We argue that, when combined with the idea of counter-narratives, the concept of curation can elucidate aspects of social practices and open up a useful heuristic for the analysis of representations and performances in the public sphere. Since these practices make extensive use of imaginaries of the past, this approach is suitable for combining perspectives from public history and anthropology.
{"title":"Curation as a Social Practice: Counter-Narratives in Public Space","authors":"Torsten Kathke, Juliane Tomann, Mirko Uhlig","doi":"10.1515/iph-2022-2046","DOIUrl":"https://doi.org/10.1515/iph-2022-2046","url":null,"abstract":"Abstract The term “curation” has taken on a host of meanings beyond the museum context. While there are marked differences between its meanings – including the specific act of exhibition-making as well as the act of keeping and tending to an existing collection in a museum – we here specifically foreground curation as a social process of selecting and negotiating various forms of (embodied) performances in public, transcending institutionalized contexts such as museums. We argue that, when combined with the idea of counter-narratives, the concept of curation can elucidate aspects of social practices and open up a useful heuristic for the analysis of representations and performances in the public sphere. Since these practices make extensive use of imaginaries of the past, this approach is suitable for combining perspectives from public history and anthropology.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41825050","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}
Abstract Historical reenactment has developed from a niche phenomenon to a global one over the past couple of decades. As a popular pastime it sparks enthusiasm and curiosity for past lifeworlds among the reenactors themselves as well as among the audiences. With its focus on restaging battles and combat, the reenactment environment is a predominantly male one. This article examines female practices of reenactment in a Polish reenactment group. It aims to not only add to the existing body of literature on female reenactors, but to further pinpoint the extent to which the concept of curation helps expand and deepen the understanding of reenactment practices both in general and with regard to female participation. The focus is on female-to-male cross-dressing, interpreted as an ambiguous practice which allows for both the deconstruction of normative gender performances and their stabilization.
{"title":"Female Counter-Curation: A Case Study of Polish Napoleonic War Reenactment","authors":"Juliane Tomann","doi":"10.1515/iph-2022-2051","DOIUrl":"https://doi.org/10.1515/iph-2022-2051","url":null,"abstract":"Abstract Historical reenactment has developed from a niche phenomenon to a global one over the past couple of decades. As a popular pastime it sparks enthusiasm and curiosity for past lifeworlds among the reenactors themselves as well as among the audiences. With its focus on restaging battles and combat, the reenactment environment is a predominantly male one. This article examines female practices of reenactment in a Polish reenactment group. It aims to not only add to the existing body of literature on female reenactors, but to further pinpoint the extent to which the concept of curation helps expand and deepen the understanding of reenactment practices both in general and with regard to female participation. The focus is on female-to-male cross-dressing, interpreted as an ambiguous practice which allows for both the deconstruction of normative gender performances and their stabilization.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45829243","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}
Abstract This brief review of non-English public history textbooks provides an overview of key themes, emerging trends and contextual differences in the theories and practice of public history in Brazil, China, Japan, and Germany. These books reflect both the international growth in public history and the global recognition of its transformative impact on societies. The books highlight how public history is situated within national epistemological and cultural frameworks. Critically it is these frameworks and the application of localized and socially engaged approaches that enables public history to impact diverse communities.
{"title":"Open Dialogues and Localized Approaches: Reflections on International Public History Perspectives and Practices","authors":"Faye Sayer","doi":"10.1515/iph-2022-2037","DOIUrl":"https://doi.org/10.1515/iph-2022-2037","url":null,"abstract":"Abstract This brief review of non-English public history textbooks provides an overview of key themes, emerging trends and contextual differences in the theories and practice of public history in Brazil, China, Japan, and Germany. These books reflect both the international growth in public history and the global recognition of its transformative impact on societies. The books highlight how public history is situated within national epistemological and cultural frameworks. Critically it is these frameworks and the application of localized and socially engaged approaches that enables public history to impact diverse communities.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44618198","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":"Na Li: Public History: A Critical Introduction","authors":"Yuanhui Bi, Yufang Yan","doi":"10.1515/iph-2022-2032","DOIUrl":"https://doi.org/10.1515/iph-2022-2032","url":null,"abstract":"","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42753776","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":"The Commonalities of History, Public History, and History Education","authors":"Ricardo Santhiago","doi":"10.1515/iph-2022-2035","DOIUrl":"https://doi.org/10.1515/iph-2022-2035","url":null,"abstract":"","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41845088","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":"Introduction: Public History and Museums in Latin America","authors":"J. Perry","doi":"10.1515/iph-2022-2040","DOIUrl":"https://doi.org/10.1515/iph-2022-2040","url":null,"abstract":"","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44797649","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}
Abstract The historically underrepresented Pacific Colombian Coast is known for its social injustice and poverty. However, in this adverse environment, a group of artists called School and Workshop Watercolorists of San Cipriano, created in the decade of 1990s, decided to use art as the means to express both their individual and collective concerns. The artists are watercolorists, photographers, painters, and sculptors who tell their stories through their work. The pieces of four San Cipriano artists have been displayed in Buenaventura’s local venues and at the National Museum of Colombia. In addition, these artists are helping in the assemblage of the permanent museum’s hall, Strength, Faith, and Substance, which is a joint effort of the grassroots artists, anthropologists, and archaeologists, to display Colombian spirituality. The following is a transcription of an Explorers event with the watercolorists and the museum professionals involved in the hall’s display.
{"title":"Art and Spirituality: Glances from Buenaventura and the National Museum of Colombia Explorers Special Edition. A Conversation with Ana Morales, Bernardo López, Juan Durán, Yeison Riascos, Francisco Romano, Natalia Angarita, Laura Marcela Agudelo, Sebastián Melo, and Andrés Epifanio García","authors":"J. Perry","doi":"10.1515/iph-2022-2041","DOIUrl":"https://doi.org/10.1515/iph-2022-2041","url":null,"abstract":"Abstract The historically underrepresented Pacific Colombian Coast is known for its social injustice and poverty. However, in this adverse environment, a group of artists called School and Workshop Watercolorists of San Cipriano, created in the decade of 1990s, decided to use art as the means to express both their individual and collective concerns. The artists are watercolorists, photographers, painters, and sculptors who tell their stories through their work. The pieces of four San Cipriano artists have been displayed in Buenaventura’s local venues and at the National Museum of Colombia. In addition, these artists are helping in the assemblage of the permanent museum’s hall, Strength, Faith, and Substance, which is a joint effort of the grassroots artists, anthropologists, and archaeologists, to display Colombian spirituality. The following is a transcription of an Explorers event with the watercolorists and the museum professionals involved in the hall’s display.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44570331","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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