‘All Tee, No Shade’: A manifesto for a subtle critical practice negotiating queer, East Asian masculinities through T-shirts

2021 ◽  
Vol 8 (1-2) ◽  
pp. 93-110
Author(s):  
Sang Thai
Keyword(s):  
East Asian ◽  
Academic Research ◽  
Pilot Project ◽  
Critical Design ◽  
Asian Diaspora ◽  
The Arts ◽  
Race And Sexuality ◽  
Discrimination And Oppression ◽  
Dominant Narratives ◽  
Industry Experience

‘All Tee, No Shade’ is a practice-led research project that explores the use of the men’s T-shirt to challenge and disrupt hegemonic subjectivities that contribute to the marginalization and discrimination of the queer Asian diaspora. Through an exploration of my pilot project of the same name, produced as part of the arts programme of Virgin Australian Melbourne Fashion Festival in 2020, I propose that norm-critical design methodologies exploring intersectional experiences of fashion and dress can produce material outcomes that challenge the discrimination and oppression associated with compounding conditions of race and sexuality. I use the notion of ‘subtle’ traits as a condition of the East Asian diasporic experience to reveal how race and sexuality might be expressed through fashion production to disrupt conceptions of ‘otherness’. This is achieved with T-shirts that have printed graphic configurations that align with contemporary streetwear but with ‘subtle’ signifiers embedded through the signs and lexicons of Asian and queer communities. Using an autoethnographic approach, the work is informed by my past fashion design industry experience and reflects on racial and queer marginalization and discrimination through styling and fit. The project contributes to broader discourses aimed at decentralizing dominant narratives in fashion practice and responds to a lack of academic research into diasporic Asian experiences of dress and, more specifically, queer diasporic Asian dress.

pARTiCI[TY]pate?!

2015 ◽  
Vol 24 (2) ◽  
pp. 3-15
Author(s):  
Judith Laister ◽  
Anna Lipphardt
Keyword(s):  
Academic Research ◽  
Research Education ◽  
The Past ◽  
Qualitative Empirical Research ◽  
The Arts ◽  
Political Concept ◽  
Urban Planning And Design ◽  
The Individual ◽  
The City ◽  
Practice Fields

Over the past decades, ‘participation’ has evolved as a key concept in a multitude of practice fields and discursive arenas, ranging from diverse political and economic contexts, through academic research, education and social work, urban planning and design, to arts institutions and artistic projects. While participation originally is a political concept and practice, it has long set out as a ‘travelling concept’ (Bal 2002). This special issue focuses on its travels between three fields of practice: the city, the arts and qualitative empirical research. Each of these practice fields over the past decades has yielded distinct understandings, objectives and methods in respect to participations, yet they also increasingly intersect, overlap and fuse with each other within specific practice contexts. What is more, many of the individual actors engaging in these initiatives on behalf of the city – from temporary projects to long-term collaborations – are not situated in one practice field only. Along with Jana König and Elisabeth Scheffel we understand them as ‘double agents’ (König and Scheffel 2013: 272–3) or even ‘multiple agents’, with simultaneous entanglements and commitments in more than one practice field.

Interview with Argha Manna

2020 ◽  
Vol 11 (2) ◽  
pp. 405-421
Author(s):  
Partha Bhattacharjee ◽  
Priyanka Tripathi
Keyword(s):  
Social History ◽  
History Of Science ◽  
Academic Research ◽  
Visual Medium ◽  
Visual Narratives ◽  
Arts And Humanities ◽  
The Arts ◽  
Global Pandemic ◽  
History Of ◽  
Medical Histories

Argha Manna is a cancer-researcher-turned cartoonist. He worked as a research fellow at Bose Institute, India. After leaving academic research, he joined a media-house and started operating as an independent comics artist. He loves to tell stories from the history of science, social history and lab-based science through visual narratives. His blog, Drawing History of Science (https://drawinghistoryofscience.wordpress.com), has been featured by Nature India. Argha has been collaborating with various scientific institutes and science communicator groups from India and abroad. His collaborators are from National Centre for Biological Science (NCBS, Bangalore), Centre for Cellular and Molecular Biology (CCMB, Hyderabad), Jadavpur University (Kolkata), Heidelberg Center for Transcultural Studies (University of Heidelberg, Germany) and a few others. Last year, he received STEMPeers Fellowship for creating comics on the history of vaccination and other aspects of medical histories, published in Club SciWri, a digital publication wing of STEMPeers Group. Currently, Argha is collaborating in a project, ‘Famine Tales from India and Britain’ as a graphic artist. This is a UK-based project, funded by the Arts and Humanities Research Council, led by Dr Ayesha Mukherjee, University of Exeter. In this interview, Partha Bhattacharjee and Priyanka Tripathi speak with Indian ‘alternative’ cartoonist Argha Manna to trace his journey from a cancer researcher to a cartoonist. Manna is a storyteller of history of science, in visuals. Recently, his works reflect social problems under the light of historical and scientific theories. Bhattacharjee and Tripathi trace Manna’s shift from a science-storyteller in a visual medium to a medical-cartoonist who is working on issues related to a global pandemic, its impact on life and literature vis-à-vis social intervention. They also focus on Manna’s latest comics on COVID-19.

Literacies of the Body

2020 ◽  
pp. 225-249
Author(s):  
Sheila Robbie
Keyword(s):  
Intercultural Competence ◽  
Academic Research ◽  
The Body ◽  
Specific Reference ◽  
Embodied Learning ◽  
The Arts ◽  
The World ◽  
Transitional Point ◽  
Media Lab ◽  
Educational Potential

Education is at a transitional point: multicultural, multilingual environments are the norm and diversity a defining feature. Classrooms embrace a culture of change, enriched by people who experience the world differently - conceptually, linguistically, and emotionally, with different world visions, values, beliefs, socio-cultural and socio-economical experiences. A new understanding of identities in multicultural contexts requires pedagogies that teach and practise intercultural competence. With specific reference to (1) the author's research on the embodied learning of literacies through drama, sociodrama and empathy, and (2) the projects of The Empathy Reactive Media Lab (eRMLab), an interdisciplinary academic research lab which investigates virtual reality and its educational potential with reference to empathy, this chapter draws on diverse academic research from the fields of education, the arts, psychology, medicine, image processing, and computer vision, to examine present and future pedagogies which foster intercultural competence and the development of literacies.

Narrative Inquiry as a Relational Methodology

2022 ◽  
pp. 1-27
Author(s):  
Vicki G. Mokuria ◽  
Alankrita Chhikara
Keyword(s):  
Narrative Inquiry ◽  
Research Methods ◽  
Research Agenda ◽  
Research Method ◽  
Narrative Research ◽  
Methodological Approach ◽  
Academic Research ◽  
The Status ◽  
Dominant Narratives ◽  
Ways Of Being

The authors present an overview of narrative research and focus primarily on narrative inquiry, highlighting what distinguishes this approach from other research methods. Narrative inquiry allows scholars to go beyond positivism and explore how research can be conducted based on participants' stories, rather than using a purely scientific methodological approach. This research method acknowledges and honors narrative truths and provides a scholarly framework that makes space for voices often marginalized or excluded when dominant narratives and/or data hold a prominent place in a research agenda. As such, narrative inquiry can be used in academic research to challenge the status quo, thus harnessing research to stretch beyond hegemonic ways of being and knowing. The authors provide a robust overview and conceptualization of this approach, along with foundational concepts and exemplars that comprise this method of research.

Racializing heterosexuality: Non-normativity and East Asian characters in James Bond films

2019 ◽  
Vol 48 (4) ◽  
pp. 541-563 ◽  
Author(s):  
Mie Hiramoto ◽  
Phoebe Pua
Keyword(s):  
East Asia ◽  
Hegemonic Masculinity ◽  
East Asian ◽  
White Masculinity ◽  
James Bond ◽  
Male Characters ◽  
Close Analysis ◽  
Race And Sexuality ◽  
Film Series

AbstractThis article investigates how naturalized models of hegemonic masculinity affect race and sexuality in the James Bond film series. Through close analysis of film dialogue and paralinguistic cues, the article examines how the sexualities of East Asian female and male characters are constructed as oversexed and undersexed, respectively. The analysis therefore affirms Connell's (1995) conception of white heterosexual masculinity as exemplary: East Asian characters are positioned not only as racial Others, but as bodies upon which Bond's heterosexual masculinity is reflected and affirmed as normative and, by extension, ideal. In this way, race is curiously invoked to ‘explain’ sexuality, and Bond's unmarked white masculinity becomes the normative referent for expressions of heterosexual desire. By showing how the sexuality of East Asian characters is typecast as non-normative, the article gestures toward the possibility of theorizing racialized performances of heterosexuality as queer. (East Asia, James Bond, sexuality, race, masculinity, femininity, normativity, film)*

The appearance of Korean architecture in the modern West

2010 ◽  
Vol 14 (4) ◽  
pp. 349-361 ◽  
Author(s):  
Hyon-Sob Kim
Keyword(s):  
East Asian ◽  
Arts And Crafts ◽  
Late Nineteenth Century ◽  
Frank Lloyd Wright ◽  
Lao Tzu ◽  
Spatial Concept ◽  
The Arts ◽  
China And Japan ◽  
Japanese Architecture ◽  
Korean Architecture

Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.

scholarly journals Performance as Critical Resistance: Playwriting and Public Sociology

SAGE Open ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 215824402110233
Author(s):  
Sylvia Grills
Keyword(s):  
Social Action ◽  
Social Issues ◽  
Local Level ◽  
Academic Research ◽  
Knowledge Mobilization ◽  
Community Members ◽  
The Arts ◽  
Community Organizers ◽  
And Performance ◽  
Critical Resistance

In this article, I argue that playwriting and performance can act as powerful forms of activism that bridge academic work and public engagement. I analyze my experiences writing and producing a stage production that mobilizes knowledge from my research about queer antiracism in Toronto. This methodological discussion is contextualized within the current political moment that positions work in the humanities as irrelevant and elitist. Performance as a method of knowledge mobilization emerged from interviews with queer peoples and community organizers. I found through conversations with participants that academic forms of knowledge mobilization, such as publishing in peer-reviewed journals, would not necessarily be accessible to community members or appropriate for encouraging discussion and social action at the local level. Participants suggested a range of antiracism organizing strategies, most of their suggestions centered on increasing the understanding and the value of the arts. I decided to meet the challenge of engaging in effective knowledge mobilization that would be in service to the community by developing a stage production called We without You that focuses on the opinions and experiences of participants. I found that producing a stage production based on academic research had powerful social effects that are not possible through traditional knowledge dissemination methods. This article encourages academics to broaden their ideas about effective knowledge mobilization; to position their work as useful and relevant to social issues and as a means of critical resistance against polarization within and outside academia.

scholarly journals Looking Thru the Nano Lens: Art, Science and Nature

2019 ◽  
Vol 27 (7) ◽  
Author(s):  
Chiara O’Reilly ◽  
Alice Motion ◽  
Chiara Neto
Keyword(s):  
Informal Learning ◽  
Pilot Project ◽  
Natural World ◽  
Postgraduate Students ◽  
The Public ◽  
The Arts ◽  
Set Up ◽  
New Research ◽  
The University ◽  
Opening Up

In 2018, an interdisciplinary team of researchers from the School of Chemistry, Sydney Nano and the Department of Art History at the University of Sydney set up a pilot project called the Nano Lens. Our project set out to examine and experiment with what it means to look closely at the natural world and inviting us, as colleagues, into a discussion and collaboration, drawing on our different perspectives. The Nano Lens also gave agency to a group of scientists in training (undergraduate and postgraduate students), and a sense of ownership of the science, which was then transmitted to the public. Taking inspiration from the artwork of the prominent Australian painter Margaret Preston (1875-1963) and the flora she depicted, the Nano Lens has opened up new research that intersects science and the arts; celebrating the value of collaboration and offering opportunities for staff and students to engage in and lead interdisciplinary discussions with the public. This paper will discuss our pilot project and the initial findings of our research together and discuss the benefits that our alliance has had in fostering collaboration and outreach activities where academics and students work together to share their research with the public. We seek to reflect on what we have learnt from the project and from opportunities to share our work and approaches. What does it mean to look like a scientist or to look like an artist and how has this enriched student learning? What value is there in opening up opportunities for informal learning about science and collaboration outside your disciplines?

scholarly journals drawing perform’s: An Artistic research

2018 ◽  
Vol 5 (1) ◽  
pp. 55-66
Author(s):  
Karna Mustaqim
Keyword(s):  
Lived Experience ◽  
Arts Education ◽  
Academic Research ◽  
Human Knowledge ◽  
Art Practice ◽  
Artistic Practice ◽  
The Arts ◽  
The World ◽  
Artistic Research

The determination of academic research on the field of the arts education troubling its own artistic practices. It was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. Since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. Whilst it is well said by Joseph Kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” This paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. Artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. However, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. In a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research.

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