#colonialism robbed us of a national identity crisis

[cyndaquillt]

"No bro, we can't give you Gorkhaland bro. Best we can do is give you a whole regiment in the army and recruit you in like Kashmir so that neither you nor they get sovereignty. We cool bro? You're getting posted to Jannat on earth bro. Literally Jannat on earth bro!"

[the-final-straw-blog]

Palestine and Challenging Settler Colonial Imaginaries

This week on the show, we’re airing a portion of our 2018 interview with filmmaker and activist Yousef Natsha about his film about his hometown, Hebron, and the Israeli occupation of Palestine. We invite you to check out our full interview with him from March 25, 2018, linked in our show notes and we’re choosing to air this right now because of the flare up in violent evictions, home destruction and the assassination of around 100 Palestinian residents of Gaza by the “Israeli Defense Forces”. Podcast image by Yousef Natsha. [00:10:24]

Then, we’ll be sharing a panel from the 2021 UNC Queer Studies Conference called “No Blank Slates: A Discussion of Utopia, Queer Identity, and Settler Colonialism” featuring occasional Final Straw host, Scott Bransen alongside E. Ornelas and Kai Rajala. This audio first aired on Queercorps, on CKUT radio in Montreal. If you’d like to engage in this project, reach out to noblankslates@riseup.net [00:24:05]

Also, Sean Swain on aparthied [00:01:48]

No Blank Slates: A Discussion of Utopia, Queer Identity, and Settler Colonialism

Presenter(s)

Scott Branson, E Ornelas, Kai Rajala

Abstract

Under the neoliberal regime of multiculturalism, the settler colonial project has relied on the assimilation of certain subaltern communities into its project for the effective dispossession and control of indigenous lands. This discussion will present ideas from a book project we are collaborating on in order to invite conversation around the intersection and tension around ideas of liberation and forms of appropriation and oppression. Our main challenge for radical queers is to rethink the kinds of futures we try to include ourselves in, and how our liberatory work can subtly replay exclusion and erasure. How do neoliberal utopian gay politics perpetuate settler colonial erasure and genocide? How do politics that seek inclusion and representation--in other words assimilation--disavow the work by indigenous self-determination movements, which are also poised on the frontlines of planetary self-defense? The workshop will be divided up into short presentations by each writer, followed by a structured discussion facilitated by the presenters.

Description:

The utopian project that underwrote the Canadian/American settler colonial states that still exist today was eventually transmuted into a neoliberal utopian sense of identity. The entire concept of space and self that we inherit is imbued with utopian longing for a time and place that we can fully be ourselves. This kind of rhetoric is largely at play in mainstream identity-based movements, like gay rights. But this longing often works in favor of the regime of violence and dominance perpetrated by the modern nation state. We can see how the attempt at inclusive representation of queer cultures leads to assimilation and appropriation. What gets included in regimes of representation ends up mimicking the norms of straight/cisgender heteronormativity, in terms of class aspirations, behaviors, and family structures. This therefore contributes to systematic erasure of Black and Brown queer folks, who are still the most targeted “identities” for state violence and its civilian deputies. With images of diversity that appeal to bourgeois urban gays, businesses and governments can pinkwash their violence.

A radical queer politics that relies on unquestioned utopian and dystopian visions risks aligning itself with a settler colonial imaginary of terra nullius or “blank slate” space. On the one hand, dystopian and apocalyptic visions perpetuate the unquestioned assumption that a societal collapse is impending, as if the continual degradation of human and more-than-human communities has not already arrived. Particularly dangerous in this assumption is the kind of crisis rhetoric that fosters opportunities for settler colonial sentiments of insecurity and, in the face of this insecurity, assertions of belonging and sovereignty in land and lifeways. Furthermore, visions of radical utopias as-yet-to-be-realized (or, as-yet-to-be-colonized) discount the ongoing presence of Indigenous alternatives to the current settler colonial dystopian reality, and instead preserves a view of geographic and social space as blank and ready to be “improved” with a “new” model.

Here we have a problem of erasure of the oppressions and resistances that have been ongoing in different iterations, in favor of the blank space of the utopian frontier. We argue against these linear progression narratives of societal and environmental collapse which promise to bring about a future idealized world of rainbow-diverse identities. Instead, we propose ways for radical politics, particularly those espoused by non-Indigenous people, to disavow such settler colonial mindsets. There are a few ways to offer a glimpse into the lived realities—what we might still call utopian moments—that make up the non-alienated, revolutionary life: queer and indigenous histories of resistance, rituals and moment of community care and mutual aid, and science fiction revisions of the world. We argue that this other world does in fact exist—has existed and has not stopped existing—if only in the interstices or true moments of communing and inhabiting the land alongside friends and family.

This is not an argument in favor of utopia, but one that seeks to bypass the utopian/dystopian divide. The world we inhabit is clearly dystopian for most, and utopian for some, and in many estimations, constantly on the verge of ending. The disaster scenarios, repeating the puritanical eschatology that helped settle the colonies in America, perpetuates the history of erasure of ways of life that aren’t in fact gunning for that disaster. We still argue that the purpose of dreaming, of envisioning alternatives, is to make action possible today, through recognition of the power we do already hold. Our discussion will interrogate the settler-utopian impulses that get hidden within apparently liberatory movements, such as radical queers and strands of environmentalism, as well as the way these identities and politics are represented in narratives of liberation that rely on the same logic they claim to oppose.

Bios

E Ornelas (no pronouns or they/them) is a Feminist Studies PhD candidate in the Department of Gender, Women, & Sexuality Studies. As the descendant of a survivor of the Sherman Institute, a Native boarding school in Riverside, California—and therefore robbed of cultural, linguistic, and tribal identity—E’s research interests focus on the continued survivance and futurity of BIPOC communities, particularly through the use of literature. E's dissertation illuminates community-based, abolitionist-informed, alternative models of redress for gendered, racialized, and colonial violence by analyzing Black and Indigenous speculative fiction. When not on campus, E can be found reading feminist sci-fi, making music, baking vegan sweets, and walking their dog. [00:45:06]

Kai Rajala (pronounced RYE-ah-la) is a queer, nonbinary, white-settler of Finnish and mixed European descent. They are a writer, and an anarchist anti-academic working and living on the unceded territories of the Kanien'kehá:ka peoples on the island colonially referred to as Montréal, and known otherwise as Tiohtià:ke. They are currently pursuing studies as an independent researcher and are interested in sites outside of the university where knowledge production occurs. You can find Kai on twitter at @anarcho_thembo or on instagram at @they4pay. [00:57:28]

Scott Branson is queer trans Jewish anarchist who teaches, writes, translates, and does other things in Western so-called North Carolina. Their translation of Jacques Lesage De la Haye’s The Abolition of Prison is coming out with AK Press this summer. Their translation of Guy Hocquenghem’s second book, Gay Liberation After May 68, is due out next year with Duke University Press. They edited a volume of abolitionist queer writings based on two iterations of the UNC Asheville queer studies conference, due out with PM Press next year. They are currently working on a book on daily anarchism for Pluto Press and researching a book on the institutionalization of queerness in the academy. They also make books of poems and artwork. You can find Scott on Instagram @scottbransonblurredwords or check out sjbranson.com for more of their work or on twitter at @sjbranson1. [00:30:41]

. ... . ..

Featured tracks:

Dabkeh Melody by Mecky from The Combination Soundtrack

Born Here by DAM from The Rough Guide To Arabic Revolution [00:20:21]

Check out this episode!

[amikotong-blog]

Literature Review (IAT309W Assignment)

My Topic : Queer Film in Hong Kong around 1997

Summary of “ Gender Trouble in Hongkong Cinema” by Tammy Cheung and Michael Gilson

The topic of the article is about the bending and stereotypical portrayals of male and female characters appear in Hong Kong movies in the 1990s. Especially in Hong Kong, a densely populated city, the authors think that the true portrayals of various male, female, and homosexual characters did not appear in the movies. The authors have introduced the political and economy  environment of Hong Kong. The authors approach the topic by introducing the development of feminist in the society and traditional portrayal in films. The author provides examples in movies to tell the different of female, male, gay, lesbian between in film portrayal and in reality. The main argument is that many stereotypes about gender appears in Hong Kong movie. They found male is usually positive and gentlemen hero, but female, gay, and lesbian are usually described as negative and dark in films.

Summary of “ Queering Chineseness: The Queer Sphere of Feelings in Farewell My Concubine and Green Snake ” by Jen-Hao Hsu

The topic of the article is about the queerness in film Farewell My Conbine and Green Snake. The author approach the topic from the International point of Queer in cinema to the two films, and then back to the International point of view. The main argument is that the films can be read as a national allegory intent in the representation of homosexuality. Through analyzing the main characters and conflicts in the two films, the author found that new forms of affective subject like queer culture can combine into traditional Chinese story and background in movie. The queer feeling in films have affected the ethico-politial order of Chineseness.

Summary of “ Farewell my concubine and its Nativist critics” by Ben Xu

The topic of the article is about the Chinese critics toward movie Farewell my concubine. The critics show asymmetrical power relationships between the first and third worlds. The critics are helpful for studying post- 1989 China. The main argument is that people in the West critics the film differently than Chinese native film critics due to culture differences. The author approach the topic by introducing the history background of the film. In the end, the author find out that the film Farewell my concubine is “not just China’s bygone past construed for Western gaze.” However, the film is a cultural self-refection for Chinese themselves.

Summary of “ Beyond the crisis: the “chaotic formula” of Hong Kong cinema” by Petra Rehling

The topic of the article is about the history of Hong Kong film industry from the unique crisis cinema was established to 2000, which Hong Kong film market combined into China mainland’s. The author approach topic from the Hong Kong crisis cinema and the successful economic environment and unique political environment during the 1980s to 1990s. The author also explained the crisis of Hong Kong cinema during 2000s, the phenomenon is also related the society and economy factors, as well as, the global factors. The main argument of this paper is that the “chaotic formula”, also called “China factor” applied strong affects to Hong Kong cinema and film market. After 1997, Hong Kong film market is handed over to China. The author found that Hong Kong film became more “popular”; however, the freedom and unique became classic.

Summary of “ Queer at Your Own Risk Marginality, Community and Hong Kong Gay Male Bodies” by Travis Kong Shiu-Ki

The topic of this article is about  the gap between personal and community political of Hong Kong gay man. The author approach the topic through interview of individuals. The author attempt to see the interviewees as the representative of Hong Kong gay population. The interviewees have different age and education level. The mostly repeatedly data are taken by the author. The main argument in this article is that “society at large limits the emergence of gay space; even inside the gay world, certain gay bodies are marginalized.” Through the data collection and analysis the author find that gay identity in Hong Kong do not challenge the gendered and sexual order of society in public, however gay man in Hong Kong can use “their own embodied cultural capital” to against the ideals in order “to form intimate relationship.”

Summary of “ The changing spectacle of Glamour Heroines in Contemporary Hong Kong Cinema” by Stephen C.K.Chen

The author is interested in that “in what ways have the new currents of [trans-nationality] affected existing forms of cultural sensibility in the ‘post-colony’. ” The article is focused on the alter of spectacle of Hong Kong through the heroine mediation changing in films. The author intends to exam that how the cinematic action in Hong Kong has been “re-imagined and re aligned.” The author approach the topic through explaining culture complexity, which individual can be influenced and shaped by the surrounding culture environment. The author provides examples of films and theories from research. So, after Hong Kong return to China in 1997, the culture sharing environment has changed in Hong Kong, and the popular genre of “women warrior” in action cinema is influenced. Through analyzing the cases of action film in Hong Kong the author finds the “changing signs of culture relevance, identity, and sensibility. Due to Hong Kong’s unique national and political environment, the culture identity to people is also complex.

Summary of “ Queerscapes in Contemporary Hong Kong Cinema” by Helen Hok-sze Leung

The topic in this article is about the respond from Hong Kong cinema through queer films toward the uncertain and changing of government. The conflict and fear are indirectly represented or symbolized with the struggles in the queer films. The author approach this topic from Chau’s argue, which there is no “tongzhi” film in Hong Kong but films about “tongzhi”. Through his argue, information about identity of sexual minorities is presented. The author also pulls out examples in the movie “hold tight” and the song “Undercurrent”. The main argument in this article is that the fear, worry, and struggle toward the uncertain government in Kong Hong 1997 are showed in queer film. Queer, as a un-normal sexuality, represents the abnormal days during the postcolonial transition in Hong Kong. The author fins that queer films have succeeded during that time is relate to the local political and social situation.

Summary of “ First Contact: Queer Theory, Sexual Identity, and ‘Mainstream’ Film” by Rob Cover

The topic in this article is about the “role of queer theory in media critique, entering on a discussion of four recent “mainstream” mass-circulation films with significant lesbian and gay content.” The author approach the topic through introduce the first non-heterosexual film and its development and spread in audience through time, and research about construction of sexuality. The author discussed four lesbian and gay films in the quire theory. The main argument in this article is that the four films with significant homosexuality content of the construction of youth sexuality might be the first contact with lesbian and gay discourse for younger generation. Through analysis and research the author finds that “a predominance of bisexuality and a need or desire towards experimen- tation that might be dependent on time, place, and other factors that influence desire. In other words, the categorisations of sexuality into “homosexual” and “heterosexual” found in the above films, plus the exclusiveness of each category, is one that is not co-related in actual human behaviour.”

Summary of “ Archiving queer feelings in Hong Kong” by Helen Hok-Sze Leung

The topic in this article is about “ the revitalization of a productive tension between ‘queer’ and ‘theory’.” The author also “underscores its necessity for a study of ‘local queer theory.’” The author approach the topic by analyzing “three examples of queer writing by Hong Kong authors,” during the year 1984 to 2000. The author will focus on “the text’s archival effect and affective expression.” The main argument in this article is that queer writings, which is base on the global queer theory, in Hong Kong might has a gap between the writing and queerer’s real lives.  The author points out that the queer writings in Hong Kong “can offer fruitful interventions into current theoretical debates.” In the end, the author concludes with a call foe more creative and irreverent in short, queerer ways go localizing the global phenomenon of queer theory.”

Summary of “ An Unruly Death: Queer Media Loci Hong Kong” by Denise Tse-Shang Tang

The topic in this article is about the proliferation of queer media productions in Hong Kong near the dark times, which the city is handover from British to China government. The hopeless in Hong Kong has shaped public discussions, media representations of Hong Kong, and literary circles. The author indicates that LGBT lives in Hong Kong “are not immune to this message of fatalism.” The author approach the topic by pull out examples of queer films in 1997 that “speak to local queer sensibilities and sexual politics.” The author “exam the scope of Hong Kong queer media in four broad area:” Leung’s term, theatre and writings of indie pop and independent film, “queer media concerns gender-crossing performances and cultural productions from mainstream media icons in popular culture”, and “gossip magazine coverage of queer celebrity rumours.” The main argument in this article is that the broad sentiments of sadness, fear, indifference, and frustration Hong Kong faced in 1997 have made the “affect of politics ripe for exploration in film and other cultural productions.” In the conclusion, the author finds that “Hong Kong has not fulfilled its prediction of death, but rather thrives on premature rumours of its death to bring queerness into everyday life.”

[punkmuseology-blog]

It’s May in the UK. For good and for ill. Meterologically, May is being peculiar, and politically, the Other May has called a snap election, accused EU officials of meddling in Brexit and the government is hopping like a box of frogs. The refugee “crisis” is ongoing, healthcare and welfare in the UK and the US are more than facing disaster, awful things are happening to LGBT people in the east of Europe and elsewhere, and quite frankly we wouldn’t be surprised if the planet decided to jump ship and leave homo sapiens to fuck itself over in the grand void of space.

Museums in England have failed to close the participation gap between the highest and the lowest socio-economic groups, says the Taking Part report from the UK’s Department of Culture, Media and Sport. The report does note, however, that in certain areas of participation, museums are making real strides. So, perhaps there’s hope somewhere. 

There was craziness in the Daily Fail over various activities of the National Trust - in particular those making themselves more accessible and open to people from all walks of life. We’re not going to link you to the original article, largely because we don’t want to give that particular redtop any more time than it deserves, but we will link you to an excellent blog by the mighty Rob Clarke from the School of Museum Studies at the University of Leicester, who praises the  NT for trying to do something other than it has, or has been expected to do, historically. Kudos particularly for the Prejudice and Pride project. And yes, we know the NT ain’t exactly punk, but we’re not proud about giving credit where credit is due. 

Fortunately, it’s becoming more and more possible for people to use the internet to educate themselves against such bigotry for free, and museums are often at the forefront of this practice. Recently, the Guggenheim made more than 200 modern art books available to download at the Internet Archive. Go, look, learn. 

The potential, and peril, of the internet and social media is reflected here, in this interesting piece by Chole Turner -  As people trying to use social media for good, for pragmatic critique, it is necessary for us to reflect on the rammifications of our work. We want to talk more, to offer dialogue, conversation and grassroots support. We want to be activists for the good we think museums can do from the ground up - even if destruction has to come first. And it may. *may* *cough*

On the SUPER PLUS side, this glorious thing showed up in our twitter feed the other day  Without wishing to belabour a point, Oh My God YEESS. Shame about bodies is something humans can well do without, particularly those parts of us which help create other people and bring them into the world, and if there is someone out there who can educate, advocate and inspire pride for people with vaginas - and people who associate with vaginas - of all genders, then that can only be a good thing. We have to say, though, the use of imagery in this article does speak volumes about social/internet censorship laws. Here’s the museum’s own website.

Finally, we are in tears over this piece, reflecting on the need to and methods for transmitting stories of the Holocaust, even after the survivors have departed. As memory becomes history, and that history becomes further disconnected from the lives of people today, it becomes ever more important to remember the consequences of intolerance, of fascism, of a form of selfish politics which (apparently) protects only what you know. Museums as agitators can force us to remember when we forget; because innocence is ignorance, and ignorance begets error, and intolerance and an externally located fear, rather than an anxiety about your own capacity to hurt, and to heal. 

Upcoming events

The AAM Expo is taking place in St. Louis 7-10 May . Also in the US, the Emily Lowe Gallery at Hofstra University Museum has just opened the Converging Voices: Gender and Identity exhibition, which will be open until December. 

Fancy getting down with some English weird? Or is that wyrd? Compton Verney is screening The Wicker Man on the 19 May for Museums at Night.

MuseumNext Europe will be taking place in Rotterdam on the 26-28 June. 

Shout Outs

@SYFUCollective are a collective formed from the Baldwin’s Nigger Reloaded Project, who reject the notion that we live in a post-racial, post-patriarchal, post-heteronormative and post-colonial society, and seek to critique the hegemony. Follow them.  

It’s the month of the UK’s @MuseumsAtNight festival. Why not go explore a museum in the darkness. Darkness does strange things to us all.

Book of the Month

The Concept of Anxiety: A Simple Psychologically Oriented Deliberation in View of the Dogmatic Problem of Hereditary Sin, Søren Kierkegaard. Yes, it’s highly problematic at points, and overtly religious always. But, but. It tells us about the human tendency to avoid potential and fear capacity. Yes, it speaks to the anxious politics which has resulted in Brexit and the rise of the right. But, but. To act on our abilities for tolerance, for growth, for expansion as a species, can be imagined as a radical act. Imagine if we all acted on our anxiety to become radically kind.   

Track of the Month