The Left, Cultural Form and Political Practice

2021 ◽  
pp. 1-14
2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.


Author(s):  
Marika Cifor ◽  
Jamie A. Lee

Neoliberalism, as economic doctrine, as political practice, and even as a "governing rationality" of contemporary life and work, has been encroaching on the library and information studies (LIS) field for decades. The shift towards a conscious grappling with social justice and human rights debates and concerns in archival studies scholarship and practice since the 1990s opens the possibility for addressing neoliberalism and its elusive presence. Despite its far-reaching influence, neoliberalism has yet to be substantively addressed in archival discourse. In this article, we propose a set of questions for archival practitioners and scholars to reflect on and consider through their own hands-on practices, research, and productions with records, records creators, and distinct archival communities in order to develop an ongoing archival critique. The goal of this critique is to move towards "an ethical practice of community, as an important mode of participation." This article marks a starting point for critically engaging the archival studies discipline along with the LIS field more broadly by interrogating the discursive and material evidences and implications of neoliberalism.


2005 ◽  
Vol 47 (4) ◽  
pp. 535-556 ◽  
Author(s):  
Anne Hartman
Keyword(s):  

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Manuela Ciotti

AbstractThis article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.


2021 ◽  
pp. 205301962110015
Author(s):  
Jason Ludwig

This article argues for the importance of integrating histories of enslaved Africans and their descendants—including histories of resistance to racialized power structures—within narratives about the Anthropocene. It suggests that the Black Studies Scholar Clyde Wood’s concept of the “blues epistemology” offers conceptual tools for considering how Black political and intellectual traditions have strived to imagine and create a more livable world amid the entangled crises of racial injustice and ecological degradation. I argue that locating Black political thought within broader narratives of environmental change and economic development illuminates the racial dimensions of current global ecological crises and orients scholarship and political practice toward the spaces in which such thought is being animated today in response to the challenges of the Anthropocene.


2020 ◽  
pp. 1-20
Author(s):  
Lucas Knotter

Abstract Declarations of independence continue to be commonplace in international affairs, yet their efficacy as means towards statehood remains disputed in traditional international legal and political thinking and conduct. Consequently, recent scholarship on state recognition and emerging statehood suggests that the international persistence of such declarations should be understood in the context of broader international processes, narratives, and assemblages of state creation. Such suggestions, however, risk reifying declarations’ effectiveness more in relation to international structure(s) than to independence movement's own agency. This article, therefore, calls for a reframing of declarations of independence as a ritual in international relations. It argues that participating in the international ritual of independence declaration forms an attempt to ‘fuse’ the movement's political practice with international recognition, serves to express an internal belief in ‘redemption’ through the ‘ascension’ into the ‘celestial’ existence of recognised statehood, and offers an opportunity to internally bolster political community through political performance. Ritual theory, thus, uncovers how the global persistence of independence declarations cannot be explained merely through discrete oppositions of non-recognition versus recognition, belief versus reality, and/or non-state versus state community, and instead opens up new space for understanding the contradictions characterising the international political (in)significance and persistence of statehood declarations.


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