Whose Minority? The Resistant Identity of the Moldavian Csangos

The article is based on my fieldwork in 2002 in a village in Eastern Romania with a multi-confessional population made up mostly of Roman Catholics/Csangos and Orthodox Christians. The core premise of the analysis is that the collective identity manifested here transcends ethnic and confessional divides. The field data about the village’s cross-cultural life fall into the following categories: the oral history of the village, the performing of rituals, and the local history of modernization. These topics inform a single collective identity that is grounded in an expressive culture (Fredrik Barth) and as such requires critical reflection on the cultural complexity of collective identities as the Csangos, which have been formed within multiple and overlapping social and historical contexts. The subject is the different temporalities that emerge during political modernization. In conclusion, in the Csangos’ case, the constructivist concept of ethnicity should be revisited and complemented with an acknowledgment of Csangos’ benign self-identification, which sheds light on their discrete or hidden identity.

Spatializing the Musicking Of an Expressive Urban Imagination: A Trans-Cultural Evaluation of the Early-Modern Rock Music of Bengal

The technological reproduction of the imaginary has always reflected a polarization in urban consciousness, considering the city as the urban ‘body’—which retains a space for contemporary imaginations. Rock music of the American 60s radiates exactly such urban consciousness by constantly experimenting with lyrics, sounds, images and celebrations, which continually harmonize with the changing industrial and technocratic city structures. This paper explores a progressive cultural synthesis between the American and the early-modern rock music of Bengal. The city of Kolkata in West Bengal has always been repleted with a vibrant ‘representational space’ with a high rate of western-music consumption since the late 1970s, thus reflecting western urban ethos into the Indian urban imagination through modern Bengali rock music. Lefebvre (1974) suggests that the potential for genuine social change is possible only through the city as practised rather than the city as planned; on this note, this paper analyzes how the Indian urban imagination negotiated with the everyday urban experience of distant musical and cultural behaviours through ‘musicking’ by producing a musically reflective space where thought, feelings and different moods are crafted and performed. Further, how, in the age of technical reproduction, rock music produces a ‘counter-space’ by projecting urban ethos, which acts as an exegetic tool for the symptomatic reading of any expressive culture, and makes the city claim its spatial identity.

Popular Capitalism? Privatization and Demutualization in the 1980s and 1990s

While Margaret Thatcher publicly promoted a Puritan emphasis on thrift, hard work, and asceticism, the outcome of her policies stood in stark contrast to this side of her rhetoric. Her way of selling off nationalized industries allowed the British to have a heavily subsidized flutter on the stock market and increased the shareholder population to ten million investors. Reality, however, was a far cry from Thatcher’s slogan of a ‘share-owning democracy’, not least because the continued growth of large financial institutions meant that small shareholders had very little influence on corporate governance. Millions of people merely ‘stagged’ the privatization issues, meaning that they sold for a quick and easy profit in early trading. ‘Investors’ new and old applied the same short-term logic during the demutualization of major building societies like Halifax or Northern Rock during the 1990s, when ‘carpet-bagging’ became a national sport. Carpetbaggers opened accounts in societies ripe for demutualization not in order to save for a house, but to make a quick profit from selling their accounts once they were converted into shares due to the building society becoming a public company. This chapter places centre stage prominent carpetbaggers such as the former royal butler, Michael Hardern, who during the late 1990s campaigned to become a board member of all remaining building societies. The extent of ‘stagging’ and ‘carpet-bagging’ shows that popular capitalism was less an economic enfranchisement of the nation, and more an expressive culture of self-referential speculation, personal enrichment, and stock market gambling.

Seeing Blackness through Black Expressive Culture: A Reading of Zanele Muholi’s Somnyama Ngonyama – Hail the Dark Lioness

This article examines visual and textual representation of blackness in contemporary black expressive culture. Its primary objective is to discern what blackness means and looks like when seen from the point of view of contemporary black expressive culture. To assess this, I first, briefly, analyze and interpret blackness. Second, I interrogate how contemporary black practitioners critique European ideas of blackness and mirror the complex multidimensionality of black subjecthood by conducting a formal analysis of two pieces of South African artist Zanele Muholi’s Somnyama Ngonyama – Hail the Dark Lioness series. Third, I explore the relationship between visual and textual imagery and their involvement in discourses on race. My intention is to reveal the role text and images play and have played in shaping the concept, perception, and representation of blackness; the visual effect they have had on the black imagination; and the heavy responsibility placed on black writers and artists not only to correct these images but to create images for the collective more often than for themselves.

The Expressive Culture of Sound Communication among Humans and Other Beings

This chapter is divided into four parts, addressed in turn to four questions: (1) How might phenomenological methods inform field research and ethnographic studies of people making music? (2) How do concepts from phenomenology, especially direct social perception, direct perception empathy, and embodiment, inform research on the expressive culture of same-species beings, both human and nonhuman, communicating with each other by means of sound? (3) How might phenomenology contribute to our understanding of cross-species sonic communication? (4) What might be gained (and lost) when ethnomusicologists reorient their research from the study of people making music to eco-ethnomusicology, the study of beings making sound?

The Train Is Always Leaving

Director Barry Jenkins’s body of work to date demonstrates an exquisite devotion to the art of blackness as an aesthetic and cultural practice. On the occasion of Jenkins’ latest work—the television adaptation of Colson Whitehead’s 2016 book, The Underground Railroad—Film Quarterly contributor Michael Gillespie speaks with Jenkins about his craft, his process, and his acutely cinephilic attention to black visual and expressive culture. The series poses a stunningly exacting sense of the slave narrative coupled with an ambitious charting of antebellum nineteenth-century America, at once familiar and uncanny. As visual historiography, The Underground Railroad enacts an irreconcilable challenge to the writing of history and, furthermore, to the political and aesthetic capacities of televisual seriality. Jenkins’s conception of the series resonates as a fantastical and haunting restipulation of the idea of America—and a crucial reimagining of the rendering of blackness.

Our Lady of Art

Chapter 5 examines Willa Cather’s neglected story, “Coming, Aphrodite” in light of her fascination with the bodily presentation that Camille Paglia would later call “sexual personae”—for which Cather develops her own Marian interpretive sensibility, half Roman Catholic and half Pagan, as a deliberate counterforce to the Puritan heritage deflating U.S. artistic and expressive culture. In her twenties, Cather was a prodigious journalist fascinated by the radiant figurae of statuary, painting, drama, poetry, and fiction both home and abroad—which she interrogated in explicitly religious terms, with a particular affinity for both Marian-Catholic dissent from the Puritan denial of the senses and its alternative of graced intercession. Cather learns to invite readers to the redemptive power of forbidden love: sex for its own sake, adultery whether intermittent or sustained or only imagined, same-sex beatings of the heart and meetings of the mind. Then, in “Coming, Aphrodite!,” in a way more literal that her readers could possibly have expected, Cather stages the male gaze of an avant-garde, sexually disciplined and romantically impervious, young painter in Washington Square, Don Hedger, who finds himself in thrall—through a closet peephole!—to the artful exhibitionism in body and song of an equally ambitious, alternatively brilliant ingénue, Eden Bower. Their pas de deux produces a profound, profoundly mutual, yet never-to-be domesticated, sexual intimacy, non-reproductive but dually procreative—all of it conducted under signs of Roman Latinate and Indo-Latino Catholicism, including a story within the story entitled “The Forty Lovers of the Princess.”