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ID: 187075

On fleeing colonial captivity: fugitive arts in the occupied Jawlan / Karkabi, Nadeem; Ibraheem, Aamer

Karkabi, Nadeem	Journal Article
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Summary/Abstract

This article examines artistic production in the formerly Syrian land of the Jawlan (Golan Heights) as a way of tracing Indigenous politics of decolonization. Through consideration of the Jawlanis’ longstanding refusal to integrate into the Israeli state, the article demonstrates how Yasser Khanger’s poetry and the music of the band Toot Ard are practices of artistic fugitivity that flee colonial captivity. It argues that these cases offer two different modes of metaphoric and actual fugitive mobility. Khanger’s is a mental movement toward disengagement from the settler-colonial state while physically staying in place. It evades subjugation by redefining confinement as a tool for staging poetic insurgency. The second mode is based on physical nomadic movement in international space while embracing a stateless condition. Fugitivity here becomes a movement that forces the Indigenous stateless self into the outside world, to realise the possibility of decolonisation by transgressing nation-state borders.

Key Words

Golan Heights ; Syria ; Decolonisation ; Refusal ; Indigenous Art ; Fugitivity

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ID: 145114

Radical dreaming: indigenous art and cultural diplomacy / Bleiker, Roland; Butler, Sally

Bleiker, Roland	Article
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We examine links between art and foreign policy through two important instances of cultural diplomacy in Australia’s history. Each time—in 1941–1942 and in 2009—the government staged an extensive exhibition in the United States. Each time, the exhibition displayed Indigenous art with the explicit purpose of increasing Australia’s political legitimacy and influence. But in each case, the artworks in question resisted and subverted this form of diplomatic instrumentalization. Art managed to insert and communicate political claims that highlighted—against governmental intentions and policies at the time—the suppression of Indigenous rights and demands for sovereignty. In doing so, art challenged not only legal and political norms but also an entire verbal and visual narrative of nation building that emerged out of colonialism. Art thus became political in the most fundamental way, for it directly interfered with what Jacques Rancière called the distribution of the sensible: the boundaries of what is visible and invisible, is thinkable and unthinkable, and thus, can and cannot be debated in politics.

Key Words

Cultural Diplomacy ; Radical Dreaming ; Indigenous Art

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