Cultural Activism Flashcards
What does ethical art do? (pres)
-facilitates participation and breaks down he idea of a passive viewer
What ranciere suggest about aesthetic judgements and political judgements? (Pres)
-they are always related
What is the people’s republic of stoke’s croft an example of? (Pres)
-aesthetic and politics, using council motifs and style to make their political point
How are sensuous solidarities formed? (Routledge)
through diverse bodily movements and techniques, mobilizing particular emotions, symbolism and politics
Example of sensuous solidarity? (Routledge)
- protest against G8 meeting in Gelneagles
- In months prior collab of artist toured nine British cities to introduce them to the Clandestine insurgents rebel clown army
What inspires people to participate in political action? (Routledge)
-people’s ability to transform their feeling about the world into actions
What does cultural activism involve? (Routledge)
-art, performance, activism and politics combined in myriad of ways to challenge dominant ways of seeing and constructing the world and present alternate views of the world
What are the three benefits to cultivating a dialogue on ethics in political activism? (Routledge)
- relations of honesty, truth and interpersonal acknowledgement can be nurtured
- a moral language can be constructed
- contributes to us becoming more fully conscious human beings
How is play an important part of the Rebel clown army? (Routledge)
-it can rearrange and question existing social arrangements and through parody and satire
What effect can performance have in the Rebel clown army? (Routledge)
-it heightens everyday behaviour, being interactive liminal and allows for for dominant social norms to questioned, played with, subverted and transformed
What does the totem pole gift to China from BC in honour of 2008 earhquake victims suggest show? (Kisin)
- show the complex alliances between indigenous nations and states,
- the range of interest at different scales of its production and circulation
- we can see how artworks can be politically charged objects, made to enact transfers, while playing on the edges of settler territoriality
How should we understand that process that makes art-as-resource? (Kisin)
-a settler colonial technique of governance that enables various conflations of art, resources and heritage in these bureaucratic regimes to make sense
How do state hertiage policies respond to anxieties about circulating culture? (Kisin)
-through protocols to produce cultural resources for heritage-making within a state - distributing money for the arts via canada council for example- and simultaneously to limit circulation of heritage, preventing objects of national value from leaving the country
What is the notion of aboriginal art bound up with? (Kisin)
-the production of ‘aboriginiality’ as a legal and effective subjects position within the Canadian state: as Aboriginal arts becomes recognisable as such, so do native people as governable subjects
How is the economic and social threat posed by aboriginal rights neutralised? (Kisin)
-by creating and fixing forms of incommensurable aboriginality into product forms, cast in a language of rights and repair
What do recent initiatives emphasise about first nations art? (Kisin)
-that it’s a sustainable economic strategy for remote communities whist contributing to larger government led progrmmes in these regions, including development of mines, and other policies of maintaining sovereignty in these remote regions
What does the conflation of art and industriousness often produce? (Kisin)
-A model of benevolent settler wardship in which sovereignty can only be recognised in conditions of suffering, thereby predcluidng overeignty on other grounds
Example of suzanne Morrisette’s incomplete map (Kisin)
- dense layers of text that address the problem of decolonising space; barely legible these are superimposed on a distorted map of territory in BC
- conceives it as an unmap, settling the extractive process of mapping with its settler colonial territroialities, ordering the landscape with the theoretical tools of decolonisation
- produced out of a refusal to comply with colonial modes of adjudicating taste and causality
What is a reason why artists are no longer interested in the passive process of presenter-spectator? (Bishop)
such communication has been entirely appropriated by the commercial world
What does participatory art do instead of supplying the market with commodities? (Bishop)
-channel art’s symbolic capital towards constructive social change
Why did New Labour prioritise art? and critique of this? (Bishop)
- idea it can increase employability, minimise crime and foster aspiration
- idea that if people become socially excluded they are more likely to pose a problem, therefore encouraged the arts to be socially inclusive
- critique from he left that this seeked to conceal social inequality, rendering it cosmetic rather than structural
What is the social inclusion agenda bout? (Bishop)
-mission to enable all members of society to be self-administering, fully functioning consumers who do not rely on the welfare state and who can cope with regulated privatised world. As such the neoliberal idea of community doesn’t seek to build social relations, but rather to erode them
What is the example of ODA Projesi? (Bishop)
- group of 3 turkish artist who based their activities around a 3 room apartment of istnbul, workshops for community
- argued they wished to open up a context for the possibility of exchange and idalogue motivated with their surroundings.
- they suggest that dynamic and sustained relationshops provide their marker of success rather than aesthetic considerations
Example of Battle of Oregreave (Bishop)
- performance re-enacting violent clash between miner and mounter police in 1984. Reconstructing bought former miners and local residents together with a number of hstorical re-enactment societies
- dialogues with both social and art history
