New terrains: ‘Northern Irish art’ in the wider world

2017 ◽  
Author(s):  
Declan Long
Keyword(s):  
Northern Ireland ◽  
Art World ◽  
Northern Irish ◽  
Departure Point ◽  
Economic Forces ◽  
Global Art ◽  
Venice Biennale ◽  
Irish Art

Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern Ireland’s art to wider developments in the global art world are addressed and the chapter discusses the ways in which artists from Northern Ireland have been positioned and presented internationally in the post-Troubles years. This chapter takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of ‘local’ concerns is shaped in relation to wider cultural and economic forces.

Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Manuela Ciotti
Keyword(s):  
Material Culture ◽  
South India ◽  
Geographical Location ◽  
Global South ◽  
Art World ◽  
Cultural Form ◽  
Origin Identity ◽  
Global Art ◽  
Venice Biennale ◽  
New Location

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.

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Introduction

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Art World ◽  
Dance History ◽  
The Core ◽  
Political Conditions ◽  
Global Art ◽  
Scholarly Attention

The introduction presents the core historiographical problem that Making BalletAmerican aims to correct: the idea that George Balanchine’s neoclassical choreography represents the first successful manifestation of an “American” ballet. While this idea is pervasive in dance history, little scholarly attention has been paid to its construction. The introduction brings to light an alternative, more complex historical context for American neoclassical ballet than has been previously considered. It places Lincoln Kirstein’s 1933 trip to Paris, famous for bringing Balanchine to the United States, within a transnational and interdisciplinary backdrop of modernism, during a time when the global art world was shifting significantly in response to the international rise of fascism. This context reverberates throughout to the book’s examination of American ballet as a form that was embedded in and responsive to a changing set of social, cultural, and political conditions over the period covered, 1933–1963.

scholarly journals And this is what we sing – what do we sing? Exploring the football fan songs of the Northern Irish ‘Green and White Army’

2020 ◽  
pp. 101269022097971
Author(s):  
John Bell ◽  
Paul Bell
Keyword(s):  
Northern Ireland ◽  
Participant Observation ◽  
Musical Instruments ◽  
Interview Data ◽  
Underlying Structure ◽  
Northern Irish ◽  
Football Fans ◽  
European Football ◽  
Current Context ◽  
Football Stadium

This paper draws upon digital recordings of Northern Ireland football fans singing in the stadium during all 10 qualifying matches for the 2016 UEFA European Football Championship. Supplemented by participant observation and interview data with 21 supporters themselves, the paper challenges assertions within the literature which focus upon the predominance of sectarian singing amongst a section of Northern Ireland football supporters. Although vocal manifestations of football fandom may initially appear to be randomly driven by irrational emotions, on the contrary, there is an underlying structure and sequence to fandom in the stadium in which certain factors promote collective singing at particular times. The paper identifies four key themes in particular: the timing in a match; whether or not a goal has been scored; if there is a lull or a break in play; and the use of musical instruments to encourage the wider collective to sing. We argue that it is important to understand the process by which collective singing occurs in the football stadium rather than fixating upon the alleged racist or sectarian psychopathology of the individuals involved. Such knowledge may assist in supporting those fan organisations that seek to challenge discriminatory behaviour in the stadium, particularly in the current context of the European (UEFA) and World football governing bodies (FIFA) punishing fans collectively, regardless of whether or not the majority in the stadium are opposed to what is being sung in their name.

scholarly journals Richard Bean’s The Big Fellah (2010) and Jez Butterworth’s The Ferryman (2017): two plays about the Northern Troubles from outside of Northern Ireland

2020 ◽  
Vol 73 (2) ◽  
pp. 115-126 ◽  
Author(s):  
Hiroko Mikami
Keyword(s):  
Northern Ireland ◽  
Northern Irish ◽  
The Troubles ◽  
Good Friday ◽  
Good Friday Agreement

During the three decades of the Troubles of Northern Ireland (1969-1998), a remarkable amount of plays about the Troubles was written and almost of them, it seems, had been ‘monopolised’ by (Northern) Irish playwrights. Recently, however, certain changes about this monopoly have been witnessed and those who do not claim themselves as Irish descendants have begun to choose the Northern Troubles as their themes. Also, there have been growing concerns about violence worldwide since 9.11. This article deals with two plays, Richard Bean’s The Big Fellah and Jez Butterworth’s The Ferryman, neither of which was written by an Irish playwright and examines whether and to what extent it is possible to say that they can transcend regional boundaries and become part of global memories in the context of the post-Good Friday Agreement and the post 9.11.

scholarly journals The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 111
Author(s):  
Camila Maroja
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Native People ◽  
Amazon Rainforest ◽  
Critical Practice ◽  
Sacred Place ◽  
Art Practices ◽  
Environmental Work ◽  
Global Art ◽  
Venice Biennale

During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.

“The Dusky Doughboys”: Interaction between African American Soldiers and the Population of Northern Ireland during the Second World War

2013 ◽  
Vol 47 (4) ◽  
pp. 1131-1154 ◽  
Author(s):  
SIMON TOPPING
Keyword(s):  
African American ◽  
Northern Ireland ◽  
Jim Crow ◽  
Second World War ◽  
World War ◽  
Northern Irish ◽  
Black Soldiers ◽  
American Military ◽  
The People ◽  
Second World

This article will examine the ways in which the people of Northern Ireland and African American troops stationed there during the Second World War reacted to each other. It will also consider the effect of institutional racism in the American military on this relationship, concluding that, for the most part, the population welcomed black soldiers and refused to endorse American racial attitudes or enforce Jim Crow segregation. This piece argues that, bearing in mind the latent racism of the time, the response of the Northern Irish to African Americans was essentially colour-blind, and this was true in both the Protestant and Catholic communities.

Sign in / Sign up

Export Citation Format

Share Document