The optics of dispossession: urban precarity as political art

How are conditions of urban dispossession sustained and perpetuated by the way peoples on the margins of the world economy are imagined and brought to public visibility? With a focus on the works of European artists, this article explores the image-making projects whereby ghettos, shanty communities and favelas are represented as iconic lifeworlds of the poor. Competing representations of urban poverty are manufactured for public attention by aesthetic, symbolic and affective means, ranging from a romance of despair or humanitarian compassion to a nostalgic longing for premodern signs of a deprived but simpler life. In contrast to the racialised human form, which is central to iconographies of the North American Black ghetto, the shanty-town inhabitants and city builders of the Global South are typically rendered visually absent: a tropology of people’s disempowerment and dispossession. Although often encoded by a critique of intensifying inequalities, the globalised traffic in urban poverty-art relies on an image-making process that is grounded in a detachment from social life. The representations of urban dispossession tend to produce a repertoire of free-floating emblems and signs that can be variously deployed, assembled, appropriated and discarded. Such visual templates are globally consumed as works of art that can alter urban imaginaries, encourage tourism and local economic development as much as neoliberal subjectification. After analysing a range of such artistic endeavours, this article concludes by focusing attention on how an image-maker’s commitment to humanising optics of urban dispossession can transform non-representational art to become a practice of truth.

The Summer Dream and the Collective Notion of Identity in Ed Bullins’s In the Wine Time

This article argues that Ed Bullins’s play In the Wine Time (1968) presents collective existential black consciousness. The play showcases a collective struggle against the oppressive reality through depicting a realistic image of the depressing life of the blacks in the black ghetto. This stems from the idea that Black existential philosophy and Black existential drama present a collective notion of existence rather than the individualistic notion of existence presented by traditional, European existentialism. Bullins builds this notion among his characters throughout the scenes of the play. To this end, the play characterizes a dialogue between the individualistic level of existence and the collective one through calling on for improving the oppressive reality through choice and opportunity. The collective struggle the play shows throughout the performance intends to free the black individual, as freeing the black individual is the first step toward achieving the collective freedom. Keywords: collective consciousness, black drama, black existentialism, Ed Bullins, In the Wine Time

“Where I’m From”: Jay-Z’s “Hip Hop Cosmopolitanism,” Basketball, and the Neoliberal Politics of Urban Space”

This article examines the articulation of the Black ghetto to authenticity through the involvement of hip hop star Jay-Z in two highly publicized basketball-related ventures during 2003. During that year, Jay-Z organized a team for the Entertainer’s Basketball Classic (EBC) in Harlem’s Rucker Park and joined a team of investors aiming to move the New Jersey Nets to a new arena in Brooklyn. Informed by cultural studies scholarship, the paper explains the context through which basketball and hip hop were articulated with authenticity, and were deployed towards the goal of managing a career transition for Jay-Z, and was also used to gain public support for a controversial proposal to build an arena in the Atlantic Yards area of Brooklyn.

Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmu

Rap as identity music: from the black ghetto to Polish pop-nationalismIn today’s world, cultural products, technologies, information and ideologies more and more permeate from one society to another, crossing all kinds of borders in the least expected way. Rap career is an illustration of this process. It was created in the late seventies and eighties of the twentieth century in New York ghettos and today it represents one of the most popular genres on the global scale. Rap is not only a symbol of revolution and the domination of Western capitalist business practices but also a cultural tool by which different groups, often marginalized or considering themselves as such, express their own identity. I am analyzing the indicated above phenomenon using two, extreme at first glance, examples. First, I present the story of the emergence and development of hip-hop culture in the United States. I try to show how rap music, which is an important element of this culture, allowed a marginalized part of American society for manifesting and communicating their views, beliefs and values, becoming a “transmission channel” for various ideologies, including the ideology of black nationalism. In the second part of the text, I am additionally analyzing the artwork and public appearances by Tadeusz “Tadek“ Polkowski, a Polish rapper, whom I consider a representative of an expanding hip-hop society relating to or sympathizing with the national movement. The music he creates is designed not only to restore the Poles’ “memory”, and therefore also the pride in their heroic and admirable past, but also to open their eyes to what is happening in their country that he believes is being colonized by the occupants. Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmuWe współczesnym świecie wytwory kultury, technologie, informacje i ideologie coraz częściej przenikają z jednego społeczeństwa do drugiego, przekraczając różnego rodzaju granice w najmniej oczekiwany sposób. Przykładem tego procesu jest kariera rapu, który powstał na przełomie lat 70. i 80. XX wieku w nowojorskich gettach, a współcześnie jest jednym z najbardziej popularnych gatunków muzycznych w skali globu. Rap jest bowiem nie tylko symbolem rewolucji informatycznej i dominacji zachodnich, kapitalistycznych praktyk biznesowych, lecz także kulturowym narzędziem, za pomocą którego różne grupy, często marginalizowane bądź za takie się uważające, wyrażają własną tożsamość. Zasygnalizowany powyżej fenomen analizuję, posługując się dwoma, skrajnymi na pierwszy rzut oka, przykładami. W pierwszej części artykułu przedstawiam historię powstania i rozwoju kultury hip-hopowej w Stanach Zjednoczonych. Staram się przy tym pokazać, w jaki sposób muzyka rapowa, będąca ważnym elementem tej kultury, pozwoliła marginalizowanej część społeczeństwa na manifestowanie i komunikowanie swoich poglądów, przekonań oraz wartości, stając się „kanałem transmisyjnym” dla różnych ideologii, w tym także ideologii czarnego nacjonalizmu. W drugiej części tego tekstu analizuję twórczość i wypowiedzi medialne Tadeusza „Tadka” Polkowskiego, polskiego rapera, którego postrzegam jako przedstawiciela coraz liczniejszej grupy hiphopowców związanych bądź sympatyzujących z ruchem narodowym. Tworzona przez niego muzyka ma za zadanie nie tylko przywrócić Polakom „pamięć”, a zatem także dumę z ich heroicznej i godnej podziwu przeszłości, lecz także otworzyć oczy na to, co dzieje się w ich „skolonizowanym przez okupantów państwie”.

Creating the Black Ghetto

Were black ghettos a product of white reaction to the Great Migration in the 1920s and 1930s, or did the ghettoization process have earlier roots? This article takes advantage of recently available data on black and white residential patterns in several major northern cities in the period 1880–1940. Using geographic areas smaller than contemporary census tracts, we trace the growth of black populations in each city and trends in the level of isolation and segregation. In addition we analyze the determinants of location: which blacks lived in neighborhoods with higher black concentrations, and what does this tell us about the ghettoization process? We find that the development of ghettos in an embryonic form was well underway in 1880, that segregation became intense prior to the Great Migration, and that in this whole period blacks were segregated based on race rather than class or southern origin.