“to say water is life, land is our first teacher, and to ignore Indigenous presence and relationship with those lands and waters, is to miss the point entirely. Indigenous feminist scholarship has been especially careful to remind: there is no decolonization without Indigenous presence on Indigenous land and waters.”
The inaugural issue is now out.
Is South a Northern Thing?
Artists and writers from the colder climes of northern Europe have long felt the lure of the South of the continent. Goethe was revitalised by his encounters with Mediterranean culture on his journey to Italy. Nietzsche took flight to the south to begin his life anew. D H Lawrence sought the health-giving southern sun in Sicily and Sardinia.
You are invited to celebrate the launch of a new publication from the Aboriginal Humanities Project in association with Discipline
The People’s Tribunal: An Inquiry into the ‘Business Improvement Program’ at The University of Melbourne
The book will be launched by Helen Johnson
on Thursday 18 February from 6 to 8 pm at West Space, Level 1, 225 Bourke Street, Melbourne, Vic, 3000
Source: Women in Academia Crossing North–South Borders: Gender, Race, and Displacement, Edited by Zuleika Arashiro and Malba Barahona – Contributions by Zuleika Arashiro; Malba Barahona; Eugenia Demuro; Rosalba Icaza; Sara C. Motta; Marisol Reyes and Jeanne Simon,
SOUTHERN PANORAMAS: PERSPECTIVES FOR OTHER GEOGRAPHIES OF THOUGHT (Bilingual: Portuguese/ English)
Edited by Sabrina Moura
Texts by Milton Santos, José Rabasa, Arjun Appadurai, Jean e John Comaroff, Joaquín Torres García, Artur Barrio, Cildo Meireles, Rasheed Araeen, Southern Conceptualisms Network, Moacir dos Anjos, Anthony Gardner, Charles Green, Geeta Kapur, Néstor García Canclini, Achille Mbembe, Sasha Huber, Ana Longoni
Part of the publications launched by the 19th Festival of Contemporary Art SESC_Videobrasil (São Paulo, Brazil), the book SOUTHERN PANORAMAS | PERSPECTIVES FOR OTHER GEOGRAPHIES OF THOUGHT organized by Sabrina Moura, explores the notion of Global South as an axis of thought and knowledge production.
Conceived in the form of an anthology of texts, the book features contributions from various disciplines and offers a critical perspective on the formation of the concept of South. “Over the last twenty years, the South expands on a global level, configuring a map of historical and political experiences that have refused to keep within hemispheric lines. If its uses sometimes incur in the contradictions inherent in binary thought, they also indicate new and complex flows of economic, cultural and symbolic capital”, says Sabrina, who brought together works of artists Joaquin Torres-Garcia and Cildo Meireles, philosopher and political scientist Achille Mbembe, researcher and writer Ana Longoni, art critic Geeta Kapur, among others.
By revisiting essays, historical documents and manifestos, the publication presents debates previously unpublished in Portuguese — as the work of South African anthropologists Jean and John Comaroff on Southern theories — and translates into English reference texts written by Brazilian authors, such as Spatiotemporal relations in the developing world, written by the geographer Milton Santos in 1976 during his exile in Paris.
From the claims of non-aligned countries that gained strength during the Cold War, to the emergence of post-colonial thought and its critique, the publication offers an important contribution to the debates that question the validity of Eurocentric representations and narratives.
About the editor:
SABRINA MOURA is a researcher and curator based in São Paulo, Brazil. She is a PhD candidate at the University of Campinas (Unicamp) and holds a master’s degree in aesthetics and art history from University Paris VIII and in cultural projects direction from University Paris III Sorbonne Nouvelle. She is the curator of Public Programs of the Contemporary Art Festival SESC_Videobrasil (2013, 2015).
A wonderful act of scholarly generosity by Raewyn Connell:
We have just produced a written version of my workshop for early career researchers called “Writing for Research”. It discusses the nature of writing, research journals and how they operate, writing programmes, and related questions. It has a practical section on how to write a journal article, and a list of resources. It also has pretty pictures and some solid ideas about the social character of knowledge and the situation of knowledge workers.
You can download this important new publication (in Spanish):
Desde 1960, se reconoce la presencia de una estructura internacional desigual en la producción y circulación del conocimiento en el sistema científico internacional, fenómeno que se ha denominado dependencia académica. Esta realidad motivó acciones para promover la formación de cuadros científicos y estimular el vínculo entre instituciones y académicos de la periferia. Esto, teniendo en cuenta que las estructuras de producción de conocimiento de la periferia se veían comprometidas por el colonialismo y sus efectos perdurables.
McGaw, Janet, and Anoma Pieris. 2014. Assembling the Centre: Architecture for Indigenous Cultures: Australia and Beyond. 1 edition. New York: Routledge.
A new book looks at issues around the architecture of Indigenous cultural centres. It confronts the challenge of de-colonising architecture through a methodology of mutual engagement. This includes discussion of the possum-skin cloak, which has been used by members of the Kulin nation in south-east Australia as a way of representing the gathering of communities. This form of mapping is related to the Deluezian concept of striated representation of space.
Below is the opening of the chapter ‘Skin’ (pp. 152-3) which discusses this form of representation:
At the same time, a parallel architectural discourse influenced by post – structural literary and feminist theory (by scholars such as Michel Foucault, Julia Kristeva, Luce Irigaray and Hélène Cixous), has called into question other aspects of the surface. Architectural theorists and philos ophers Elizabeth Diller, Jennifer Bloomer, Elizabeth Grosz and others, have challenged architecture to consider the inscriptive practices perpetuated by a male-dominated profession on the gendered body. Their work drew out similarities between architectural and urban surfaces and bodily skins. The third wave of feminist discourse, through the work of bell hooks, Chandra Talpade Mohanty and Trinh T. Minh-ha has extended the critique to include other ‘minored’ bodies. Relatively few Indigenous cultural centre designs have been informed by these critiques, and yet Indigenous place-making practices have a long-standing relationship with surfaces – both ancient and modern.
We chose the term ‘skin’ – a term commonly substituted with ‘surface’ in architectural discourse – to frame our discussion for its more immediate bodily connotations. Interestingly, skins are at once material and expressive surfaces, a site of inscription and marking. As a vehicle for assembling and
stabilising social identity, the skin has a significant history. In this chapter, we explore the importance of skin as a site of place-making through three historic periods. The connections between inscriptive practices and Storyplaces in pre-colonial Indigenous culture are addressed first. We argue that painting, etching, and other kinds of surface markings in pre-colonial culture were not purely decorative; they had particular symbolic content that some scholars have likened to text. However, we prefer the term ‘(s)crypts’ coined by Jennifer Bloomer, as it alludes to writing (script) that has both spatial (crypt-like) and enigmatic (encrypted) qualities, about Stories that are often sacred (scriptural) (Bloomer 1993).
During the colonial period, new motifs were introduced. The rock art of this period – an early graffiti written over Story-places – reveals the social upheaval that took place as a result of colonisation. The moment of colon – isation signals a process of de-territorialisation enacted through a range of bodily inscriptions by settlers and instituted by the colonial authorities. Thus, the social and physical bodies of Indigenous people were transformed: tradi tional possum skin cloaks were replaced with Western clothes and woollen blankets; initiation ceremonies involving scarification were abruptly ceased; the protective surfaces of ethno-architecture were replaced with institutional buildings. Western garb and architecture became new ‘skins’ that de-territorialised Indigenous social identity. Contemporary Indigenous artists’ responses to these inscriptions include new expressions on the surfaces of the city and the body. They range from the overt, such as stencil, street and body art, to the covert, such as enigmatic inscriptions that retain secret knowledges. Alongside Indigenous voices in this chapter, we include images of surfaces, (sc)rypts and other inscriptions by Indigenous artists. We ask how knowledge of these contemporary practices of re-territorialising Indigenous identity through surface markings might inform a new practice of making Indigenous cultural centres. In particular, we consider how attending to the specificities of Indigenous surface inscriptions might lead Indigenous cultural centre design to eschew aesthetics in favour of politics.
This chapter considers two case studies that do display an overt interest in the surface. The first is international: the Musée du Quai Branly, Paris, designed by Jean Nouvel, incorporates a vertical garden on its exterior skin, thus melding living and constructed environments into the fabric of an architecture that explores material innovation in cladding design. However, the Musée du Quai Branly has also been widely critiqued for its application of Indigenous artwork to its interior surfaces as a decorative tool, without reference to the artworks’ cultural contexts or the practices of inscription from which they arise. The second case study is Australian. The National Museum of Australia, Canberra, designed by ARM is a building that engages productively with formal and inscriptive possibilities of the surface to critically challenge political orthodoxies. However, it has also been critiqued as ‘populist’.
By Peter Beilharz
To be launched by Nikos Papastergiadis at 7pm on 9 March, 2015
Greek Centre, 168 Lonsdale Street, Melbourne, Mezzanine level
Please RSVP to Monash University Publishing at [email protected] by 4 March Co-sponsored by The Greek Centre, Melbourne, and the Thesis Eleven Centre, La Trobe University
In 1956 Bernard smith wrote that we in Australia were migratory birds. This was to become a leading motif of his own thinking, and a significant inspiration for sociologist peter Beilharz. Beilharz came to argue that the idea of the antipodes made sense less in its geographical than its cultural form, viewed as a relation rather than a place. Australians had one foot here and one there, whichever ‘there’ this was. This way of thinking with and after Bernard smith makes up one current of Beilharz’s best Australian essays.
Two other streams contribute to the collection. The second recovers and publicises antipodean intellectuals, from Childe to Evatt to Stretton to Jean Martin, who have often been overshadowed here by the reception given to metropolitan celebrity thinkers; and examines others, like Hughes and Carey, who have been celebrated as writers more than as interpreters of the antipodean condition.
The third stream engages with mainstream views of Australian writing, and with the limits of these views. if we think in terms of cultural traffic, then the stories we tell about Australia will also be global and regional in a broader sense. Australia is the result of cultural traffic, local and global.