Negotiating African Diasporic Identity in Dance: Brown Bodies Creating and Existing in the British Dance Industry

2018 ◽  
pp. 37-50
Author(s):  
Tia-Monique Uzor
Keyword(s):  
Diasporic Identity ◽  
Brown Bodies

scholarly journals IDENTITAS DIASPORIS TIGA GENERASI PEREMPUAN CINA DALAM ONLY A GIRL KARYA LIAN GOUW (Diasporic Identity of Three Generations of Chinese Females in Only A Girl Written by Lian Gouw)

ATAVISME ◽  
2019 ◽  
Vol 22 (1) ◽  
pp. 15-31
Author(s):  
Ratna Asmarani
Keyword(s):  
Literary Analysis ◽  
Close Reading ◽  
Female Characters ◽  
Great Role ◽  
Two Cultures ◽  
Three Generations ◽  
Library Research ◽  
Diasporic Identity ◽  
The Social ◽  
Family House

Identity is crucial in a person’s life. Diasporic identity is much more complicated because it involves at least two cultures. The focus of this paper is to analyze the diasporic identity of three generations of diasporic Chinese females as represented in Lian Gouw’s novel entitled Only a Girl. The data and supporting concepts are compiled using library research and close reading. The qualitative analysis is used to support the contextual literary analysis combining the intrinsic aspect focusing on the female characters and the extrinsic aspects concerning diaspora and identity. The results shows that each Chinese female character has tried to construct her own diasporic identity. However, the social, cultural, political, educational, and economic contexts play a great role in the struggles to construct the diasporic identity. It can be concluded that the younger the generation, the braver their effort to construct their diasporic identity and the braver their decision to take a distance with the big family house eventhough they have to face stronger and more complicated conflicts to realize and actualize their personal construction of diasporic identity.

scholarly journals Surveillance, Suspicion and Stigma: Brown Bodies in a Terror-Panic Climate

2012 ◽  
Vol 10 (3/4) ◽  
pp. 215-234 ◽  
Author(s):  
Tina Girishbhai Patel
Keyword(s):  
South Asian ◽  
Qualitative Data ◽  
Middle Eastern ◽  
Negative Consequences ◽  
Social Sorting ◽  
The Impact ◽  
Brown Bodies

This paper considers hard and soft surveillance measures, processes of racialised labelling and the allocation of stigma within a post-9/11 terror-panic climate. Using qualitative data from the first stage of a wider study, the paper reports on the perceptions and experiences of those marked as ‘hyper-visible’ (Khoury 2009); that is, those of middle Eastern appearance, or of South Asian or Arabic heritage and of the Muslim faith, who are presented as members of a suspect community. The paper considers ‘browning’ (Bhattacharyya 2008; Burman 2010; Semati 2010; Silva 2010) and ‘social sorting’ (Lyon 2003a) in relation to perceptions and experiences of surveillance. The paper argues that ethnic hostility features heavily in surveillance, and the impact has serious negative consequences for its subjects. Anti-terror surveillance therefore needs to be understood within the wider context of a racially defined citizenship agenda. This would allow us to more accurately understand its impact, and to ask questions about its fulfilling of safety. More significantly, it would also allow for the mapping of mobilised resistance to problematic and discriminatory surveillance.

scholarly journals Understanding Currents and Theories in Indian and African Postcolonial Literature: Themes, Tropes and Discourse in the Wider Context of Postcolonialism

2020 ◽  
Vol 25 (2) ◽  
pp. 379-393
Author(s):  
Shivani Ekkanath
Keyword(s):  
Postcolonial Studies ◽  
Postcolonial Literature ◽  
Special Focus ◽  
Colonial Literature ◽  
Literary Works ◽  
Post Colonial ◽  
Diasporic Identity ◽  
The Voice ◽  
Diaspora And Transnationalism

The postcolonial narratives we see today are a study in contrast and tell a different tale from their colonial predecessors as minorities and individuals finally have found the voice and position to tell their stories. Histories written about our culture and societies have now found a new purpose and voice. The stories we have passed down from generation to generation through both oral and written histories, continue to morph and change with the tide of time as they re-centre our cultural narratives and shared experiences. As a result, the study of diaspora and transnationalism have altered the way in which we view identity in different forms of multimedia and literature. In this paper, the primary question which will be examined is, how and to what extent does Indian post-colonial literature figure in the formation of identity in contemporary art and literature in the context of ongoing postcolonial ideas and currents? by means of famous and notable postcolonial literary works and theories of Indian authors and theoreticians, with a special focus on the question and notion of identity. This paper works on drawing parallels between themes in Indian and African postcolonial literary works, especially themes such as power, hegemony, east meets west, among others. In this paper, European transnationalism will also be analysed as a case study to better understand postcolonialism in different contexts. The paper will seek to explore some of the gaps in the study of diasporic identity and postcolonial studies and explore some of the changes and key milestones in the evolution of the discourse over the decades.

scholarly journals Staging Intersectionality

2021 ◽  
Vol 25 (3-4) ◽  
pp. 126-138
Author(s):  
John-Paul Zaccarini
Keyword(s):  
White Male ◽  
Music Video ◽  
Male Gaze ◽  
White Gaze ◽  
Brown Bodies ◽  
Performance Of Race

This essay follows the making of a queer of colour aesthetic space in the form of a music video entitled Brother, within a largely homogenous white University. The video places white heteronormativity on the periphery whilst intersectional brown bodies take the centre. It inverts racist and fetishistic tropes in music video culture and reverses the white male gaze. The making of the video created a small brown island in a sea of white as a vision of a future brown space protected from the ubiquitous, ambivalently festishizing white gaze; a gaze that projects its own narrative onto bodies of colour. It puts forward a thesis of racial agency, whereby the performance of “race” is scripted by the person of colour and not provoked by the construct of whiteness.

Witnessing Trauma: Abjection and Sadomasochism in Trần Vũũ's Short Stories

2008 ◽  
Vol 3 (2) ◽  
pp. 66-100
Author(s):  
Christine Cao
Keyword(s):  
Short Stories ◽  
Asian American ◽  
Sexual Deviance ◽  
Psychic Trauma ◽  
Diasporic Identity ◽  
Trauma Informed

This article analyzes three short stories of refugee expulsion, immigrant displacement, and exilic return by contemporary writer Trần Vũũ. Beyond the binary of nostalgia and assimilation, Vietnamese diasporic identity emerges in these narratives as the tenuous subject of physical and psychic trauma. Informed by postcolonial theories of diasporic identity, Asian American scholarship on racial abjection, and psychoanalytic and feminist analyses of trauma and sexual deviance, I argue that the characters in these stories either succumb to or subvert the unwitting repetition of trauma in their attempts to challenge, if only precariously, patterns of domination through sadomasochism and counternationalist historiography.

Brown Bodies, White Babies: The Politics of Cross-Racial Surrogacy

2018 ◽  
Vol 10 (2) ◽  
pp. 489-494
Author(s):  
Bahira Sherif Trask
Keyword(s):  
Brown Bodies

Assia Djebar: Algerian Images-son in Experimental Documentaries

2017 ◽  
Author(s):  
Stefanie Van de Peer
Keyword(s):  
Assia Djebar ◽  
African Woman ◽  
North African ◽  
Historical Reality ◽  
International Trends ◽  
Political Experience ◽  
Diasporic Identity ◽  
Feminist Work ◽  
Creative Production

This case study looks at French-Algerian author Assia Djebar, who made two little-known films. This chapter is an exploration of the limited but highly complex and challenging work of an important pioneering North African woman. Algeria’s particularly complex historical and political experience of independence from France, its relationship with Islam and its war-torn historical reality, have determined the lacunae in creative production. As some of the only films to ever have been made by an Algerian woman, La Nouba (1978) and La Zerda (1982) are masterpieces of feminist and anti-colonialist filmmaking. La Nouba is an explicitly feminist work, a documentary interlaced with experimental, symbolic fragments referring to international trends in feminist filmmaking in the seventies. As scholars of Algerian cinema have stated, cinema in the country is steeped in amnesia, consisting of fictional efforts that look away from reality. This chapter frames Djebar’s films differently from previous readings, and draws more challenging conclusions with regard to her transnational identity and her approach to women. More than feminist films, they reveal the filmmaker’s struggle with her own diasporic identity.

Sign in / Sign up

Export Citation Format

Share Document