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This article analyzes the 1993 Kyana Corroboree of the Noongah Aborigines of Western Australia as a case study of the cultural production and cultural politics of ethnogenesis and indigeneity through public celebration. Kyana is a local example of how indigenous peoples globally experience "ethnic reorganization," an often inchoate, mutable process of social reproduction that encourages the survival of an ethnic group, albeit in an altered form. This article demonstrates how Noongah and Aboriginal ethnogenesis is composed of a mercurial mixture of conflict and concordance, especially in regard to aspirations toward some level of influence over the self‐definition of Aboriginality and its symbolic representations.The organization of contemporary ethnicity and the nature of current ethnic relations reflect contemporary adaptations and continually evolving identities and institutions.—Nagel and Snipp 1993, p. 225Celebration is a "text," a vivid aesthetic creation that reflexively depicts, interprets and informs its social context. [Celebration] articulates and modifies power relations.—Manning 1983, p. 6

The article explores how the politics of South-South cooperation, namely between Africa and China, play out at the level of cultural subjectivity, implicating modes of affect and identities that are not captured by the more commonly employed binary framework of "friend" or "enemy." It asks whether it is possible for the Africans and Chinese to imagine each other without the West as its geocultural dominance diminishes; and if so, how is this being made possible? As modes of transmitting and learning, cultural initiatives under the Forum on China-Africa Cooperation and "Belt and Road Initiative" provide a window into both people's understandings of one another. While necessary for building people-to-people relations, the article, relying on an analysis of data collected from Chinese websites, argues that the state-sponsored cultural exchanges largely reify existing racialized ideas of "the African" and Orientalist views of "the Chinese." However, building on Simbao's (2019) point about artists' works that "push back" against dominant discourse, the article further argues and demonstrates through the journey and works of three artists (Chinese, Kenyan, and Ghanaian) that radical imaginaries reflecting the inner states of acting subjects of China-Africa engagements are available in local cultural productions, uncompromising in communicating shared beliefs and posing challenges to power relations on multiple scales.

Art, Culture and Society Vol 1 is the first in a series of books to be published by Twaweza Communications on the relationship between art and society, with special reference to Kenya. It is part of a cultural leadership initiative being undertaken by the organization through a reexamination of the arts as they are produced and studied. This volume brings together important reflections on the arts and is a major step in encouraging dialogue on the relationship between creativity and the human condition in the region. Significantly, it creates a space for university-based academics to engage in dialogue with artists and writers based outside institutions of higher learning. The conversations will bridge the gap between the two domains for knowledge production and enrich creative enterprise in Kenya, in theory and practice. As the essays in this collection show, the present global situation demands a way to conceptualise and theorise an ever growing cultural interconnectedness, sometimes manifested in art; and interconnectedness that draws from a myriad of cultures and experiences. Through the bridges of contact and cultural exchange distant images are mediated and brought closer to us. They are reinterpreted and modified. In the final analysis, culture is shown to be an important aspect of human creativity but separateness and boundedness is contested. Instead, culture is shown to be malleable and fluid. The essays bring in a new freshness to our reading of the creative arts coming out of Kenya.

Love and Money argues that we can't understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness. Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace -rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with rea

This article explores how the political economy of the cultural industries changes through platformization: the penetration of economic and infrastructural extensions of online platforms into the web, affecting the production, distribution, and circulation of cultural content. It pursues this investigation in critical dialogue with current research in business studies, political economy, and software studies. Focusing on the production of news and games, the analysis shows that in economic terms platformization entails the replacement of two-sided market structures with complex multisided platform configurations, dominated by big platform corporations. Cultural content producers have to continuously grapple with seemingly serendipitous changes in platform governance, ranging from content curation to pricing strategies. Simultaneously, these producers are enticed by new platform services and infrastructural changes. In the process, cultural commodities become fundamentally "contingent," that is increasingly modular in design and continuously reworked and repackaged, informed by datafied user feedback.

by Cheung Hiu Wan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. ; Includes bibliographical references (leaves [135-140]). ; Abstracts in English and Chinese. ; Acknowledgement ; Abstract ; List of figures ; Chapter Chapter 1. --- Introduction ; Chapter 1.1 --- Scope of Study --- p.1 ; Chapter 1.2 --- Literature Review --- p.3 ; Chapter 1.3 --- Methodology --- p.13 ; Chapter 1.4 --- Structure of the Thesis --- p.17 ; Chapter Chapter 2. --- Historical Development of Comics in China ; Chapter 2.1 --- Comics History before1949 --- p.24 ; Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29 ; Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31 ; Chapter 2.4 --- Concluding Remarks --- p.39 ; Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House ; Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41 ; Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51 ; Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54 ; Chapter Chapter 4. --- Interaction with the Senior Artists ; Chapter 4.1 --- Cartoon Art Festival98 --- p.57 ; Chapter 4.2 --- The Invasion of Japanese Comics --- p.59 ; Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63 ; Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67 ; Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68 ; Chapter 4 . --- 6 Concluding Remarks --- p.70 ; Chapter Chapter 5. --- Interaction with the Junior Artists ; Chapter 5.1 --- Social Status of the Junior Artists --- p.12 ; Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11 ; Chapter 5.3 --- Why do they Join the Comics Business --- p.79 ; Chapter 5.4 --- Agreement and Terms of Payment --- p.87 ; Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88 ; Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96 ; Chapter 5.7 --- Artists' Comments on the ...

Cover -- Title Page -- Copyright Page -- Dedication -- Contents -- Foreword by Jeffrey Lesser -- Acknowledgments -- A Note on Translation -- Introduction: Diasporas, Unstable Identities, and Nikkei Discourse -- 1. Historical Memory and Claiming Place -- 2. Between Assimilationism and Cultural Celebration -- 3. Female Agency, Nostalgia, and Generational Gaps -- 4. The Impact of World War II on the Nikkeijin -- 5. Contested Modernities: Dekasegi (Self-)Representations and the Nipponization of Brazil -- 6. Brazilian Dekasegi Children in Japanese Film -- Epilogue -- Chronological List of Analyzed Works -- Works Cited -- Index.

Provides a much-needed humanities-based analysis and description of humanism in relation to theses cultural markers. Whereas most existing analysis attempts to explain humanism through the natural and social sciences (the "what" of life), Anthony B. Pinn explores humanism in relation to "how" life is arranged, socialized, ritualized, and framed. This ground-breaking publication brings together old and new essays on a wide range of topics and themes, from the African-American experience, to the development of humanist churches, and the lyrics of Jay-Z--

This paper analyzes exemplary art projects including and about refugees, projects committed to both, the arts scene and the community they want to serve. Considering the dilemmas of participation, we develop a conceptual framework: In that, we focus on the "figure of the third", playing a split and ambiguous role within the production as well as in the representation of these performances. Using the concept, we try to explain irony and cynicism as rhetorical effects and solidarity and paternalism as political effects. The framework is applied to investigate different stagings of (1) Charges: (The Supplicants) by Elfriede Jelinek and (2) Homohalal by Ibrahim Amir. In these stagings, participation proved to be overburdened with promises, but also allowed for diverse and partly unexpected results.

Intro -- Contents -- Introduction: Contingent Disabilities -- 1. Eugenic Itineraries -- 2. Corporeal Causalities -- 3. Psychopedagogy and the Cityscape -- 4. Biotypology and Perception - The Prose of Statistics -- 5. Asymmetries - Injury, History, and Revolution -- Epilogue -- Notes -- Works Cited -- Index.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Introduction: Language Machines -- Pens -- 1 The Female Pen: Writing as a Woman -- 2 The Duplicity of the Pen -- Presses -- 3 Pressing Subjects -- Or, The Secret Lives of Shakespeare's Compositors -- 4 Print Culture and Literary Markets in Colonial India -- Screens -- 5 Screening Time -- 6 Screen Wars: Transmedia Appropriations from Eisenstein to A TV Dante and Carmen Sandiego -- 7 The Condition of Virtuality -- Voice -- 8 The Voice in the Machine: Hazlitt, Hardy, James

New online technologies have brought with them a great promise of freedom. The computer and particularly the Internet have been represented as enabling technologies, turning consumers into users and users into producers. Furthermore, lay people and amateurs have been enthusiastically greeted as heroes of the digital era. This thoughtful study casts a fresh light on the shaping of user participation in the context of, among others, popular discourse in and around new media.Schäfer's groundbreaking research into hacking, fan communities and Web 2.0 applications demonstrates how the dynamic of innovation, control and interaction have shifted the boundaries of the traditional culture industry into the user domain. The media industry undergoes a shift from creating content to providing platforms for user driven social interactions and user-generated content. In this extended culture industry, participation unfolds not only in the co-creation of media content and software-based products, but also in the development and defense of distinctive media practices that represent a socio-political understanding of new technologies. - Nieuwe online technologieën brengen een grote belofte van bevrijding met zich mee. Leken en amateurs worden enthousiast als helden van het digitale tijdperk omhelsd. In dit boek analyseert Mirko Tobias Schäfer hoe de participatie van gebruikers daadwerkelijk vorm krijgt door deze in de context te bestuderen van onder meer het populaire discours rondom nieuwe media. Schäfer laat met behulp van onderzoek naar hackers, fancommunities en Web 2.0-applicaties zien hoe de dynamiek van innovatie, controle en interactie zorgt voor een uitbreiding van de traditionele cultuurindustrie naar het domein van de gebruikers.