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- Critical Arts : A Journal of South-North Cultural and Media Studies
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- Volume 17, Issue 1_2, 2003
Critical Arts : A Journal of South-North Cultural and Media Studies - Volume 17, Issue 1_2, 2003
Volume 17, Issue 1_2, 2003
Whose Diaspora is this anyway? Continental Africans trying on and troubling Diasporic identity : editorialAuthor Handel Kashope WrightSource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 1 –16 (2003)More Less
African intellectuals in the belly of the beast : migration, identity and the politics of African intellectuals in the NorthAuthor Francis Njubi NesbittSource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 17 –35 (2003)More Less
This paper examines the 'double consciousness' of black African intellectual migrants in the North. It argues that the migrant is forced to come to terms with Africanité for the first time in the North. This condition of Africanite is particularly poignant for intellectual migrant who must negotiate new identities that can no longer depend on the security of nationality and ethnicity. This dilemma of being - not exactly African but not Afro-European or African-American - is the peculiar challenge of migrant African scholars. The resolution of this identity crisis is a political act that manifests itself in the lives and work of academics producing three 'types' of migrant intellectuals: the comprador intelligentsia, the postcolonial critics and the progressive exiles. This paper examines each of these categories and argues that we can best understand the crisis by drawing on W.E.B. DuBois' (1903) theory of 'double consciousness.'
Author Jacinta K. MuteshiSource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 36 –51 (2003)More Less
Several simultaneous aesthetic movements have emerged in the African Diaspora that critically explore and reference Africa to address the questions of 'history, migrations and trans-national practices'. This paper critically examines some of these recent processes of deploying and displaying particular African aesthetic forms in North American museums to raise questions about the re-telling of Africa's past in the Western museum. <br>The paper also seeks to explore the new deployments that diasporic blacks, who are revisiting, exploring and evoking Africa, are evolving in the process of making art. Art that nourishes the act of becoming, articulating new identities and forging new meanings of existence that extends the meanings and identities of the black self even as they speak from a particular place, history, and experience.
Author Awad IbrahimSource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 52 –70 (2003)More Less
Based on personal narrative and 'critical ethnographic research, ' this paper is about the process of '<I>becoming black, </I>' the interrelations between race, culture, and identity, and their impact on what, who and how we as social beings existing within a social space, identify with. It contends that, having arrived in North America, an immigrant and refugee group of continental Francophone African youths attending an urban Frenchlanguage high school in southwestern Ontario, Canada, enters, so to speak, <I>a social imaginary</I>, a discursive space where they are already imagined, constructed, and thus treated as 'blacks' by hegemonic discourses and groups, respectively. This imaginary is directly implicated in who they identify with - black America - which in turn influences what and how they linguistically and culturally learn. They learn, I will show, 'black English as a second language' (BESL) which they access in and through hip-hop culture and rap lyrical / linguistic styles. Translation and negotiation, I will conclude, are significant identity formation processes which in this study produced a hybrid, temporal and ambiguous 'African' identity existent in North America.
Author Wendy W. WaltersSource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 71 –92 (2003)More Less
This essay presents an analysis of V.Y. Mudimbe's novel, <I>The Rift</I> (1979/ 1993). I read this novel as an engagement with both the colonial archives of discourse about Africa, and also as an engagement with psychoanalytic attempts to create an archive of a discourse about identity and sexuality. I argue that desire and sexuality are often silenced topics in the critical responses to this novel, and that they should be made central to a reading of this diaristic text. This essay shows how <I>The Rift</I> problematises both psychoanalysis and ethnography as sciences of self and culture which must necessarily be seen as infinitely open to interpretation.
Author Malka ShabtaySource: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 93 –105 (2003)More Less
In this article, I present the emergence of a recent phenomenon among young Ethiopians in Israel, in which they appropriate and identify with specific black musical genres such as Reggae and Rap, and develop a new sub-culture of Afro-Israeli identity. <br>This is part of their struggle for belonging and integration into Israeli society, that is currently in a state of crisis and alienation, as well as an opening of future participation in black Diaspora identity and struggle.
Source: Critical Arts : A Journal of South-North Cultural and Media Studies 17, pp 106 –122 (2003)More Less
One of the most powerful images to emerge from the pool at the Sydney 2000 Olympics was that of Eric Moussambani from Equatorial Guinea who swam his heat of the 100-meter freestyle alone after the other two swimmers in his heat were disqualified. Moussambani completed the distance over one minute slower than eventual gold medallist Pieter van den Hoogenband. The media coverage of Moussambani's performance illustrates that the discourses of colonialism, paternalism, and racial stereotyping remain central in the modern Olympic movement. This paper analyses media reports of Moussambani and identifies three main frames used to contextualize his performance at the Olympics. We situate Moussambani's swim within a broader framework that reveals the mechanisms used to display African bodies for the European gaze as well as the paternalist Olympic discourse that seeks to universalize Western sporting practices within a global culture that privileges Western cultural and economic practices.