This book critically examines multiple ways in which cultural diversity is represented and handled in a variety of contexts, from the artistic to the scientific, from the political to the theatrical, in media, fashion and everyday life,... more
This book critically examines multiple ways in which cultural diversity is represented and handled in a variety of contexts, from the artistic to the scientific, from the political to the theatrical, in media, fashion and everyday life, today as well as in the past. By drawing from the observation that specific socio-cultural features are made relevant to create asymmetries and hierarchies between individuals, groups and cultural resources, the volume questions, on the one hand, contingent processes of regulation, standardization, and homogenization of diversity. It points at contradictory processes of in- and exclusion related to the construction of differences between the Self and the Other in processes of doing culture. On the other hand, it recognizes and emphasizes the fluidity of cultural entanglements by adopting a transcultural perspective, which unifies the variety of the topics and of the contexts covered by the chapters, as well as their inter- and transdisciplinarity. While processes such as globalization, decolonization, migration, and mediatization have contributed to place diversity at the centre-stage of both scholarly and non-scholarly debates, this book invites to re-think norms, practices and negotiations of diversity and otherness through a variety of narrations, standardizations, imaginations, and negotiations. By emphasizing the contrast between emancipatory vs. standardizing approaches to diversity and otherness it also invites to “transculturalize” the study and the politics of culture.
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Research Interests: Political Science and DDC
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Dieser Beitrag beschäftigt sich mit der Frage, wie kulturelle Diversität in den performativen Künsten kuratiert wird. Dieser Frage zugrunde liegt die Annahme, dass derzeit vor allem zwei gegensätzliche 'Strömungen' existieren, wie... more
Dieser Beitrag beschäftigt sich mit der Frage, wie kulturelle Diversität in den performativen Künsten kuratiert wird. Dieser Frage zugrunde liegt die Annahme, dass derzeit vor allem zwei gegensätzliche 'Strömungen' existieren, wie kulturelle Diversität in künstlerischen Projekten kuratiert wird.
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Who decides what is included in the contemporary canon of ‘global arts’? This empirical mixed-methods study examines how different notions of the ‘global’ are curated in socalled ‘global’ visual arts in two German museums. Decolonial... more
Who decides what is included in the contemporary canon of ‘global arts’? This empirical mixed-methods study examines how different notions of the ‘global’ are curated in socalled ‘global’ visual arts in two German museums. Decolonial aesthetics, postcolonial thought, and the provenance of exhibition objects have challenged the legitimacy of German museums and have triggered a debate on their Eurocentric perspective, their situatedness, the differentiation between artefact and artwork, and the reproduction of colonial thinking and patterns of domination. Although a critical turn in current curatorial practice can be observed, it is not clear whether this change is the result of a genuine effort to decolonize art organizations. In this regard, the potentials, restrictions and applications of academic concepts such as “anti-racist” or “postcolonial curating” are discussed. This study found indications of a decolonial turn in a predominantly White European curatorial practice and emphas...
This study examines the complex relationship between music and cities. More specifically, it explores how, when and why distinct urban atmospheres and unique urban spaces are created through music, specific sounds or creative social... more
This study examines the complex relationship between music and cities. More specifically, it explores how, when and why distinct urban atmospheres and unique urban spaces are created through music, specific sounds or creative social practices such as busking. As Andreas Reckwitz has shown, it has become a social regime in accordance to the creativity dispositif to act creatively and to strive for originality and uniqueness. Busking and other creative expressions in public sphere seem to satisfy this demand, but at the same time, they also tend to symbolise practices of resistance against neo-liberal discourses. According to Reckwitz, this social aestheticisation can be observed especially in cities, for example, in neo-liberal discourses such as city marketing. To examine this ambivalent if not contradictory divide, this empirical study focuses on STAMP, an international street arts festival in Hamburg, Germany, and especially, on related music practices. It considers macrostructure...
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Seit circa drei Jahrzehnten werden vermehrt globale Kunstwelten und ihre historischen Verortungen wissenschaftlich verhandelt. In dieser Debattenlandschaft scheinen zwei Perspektiven einander gegenuberzustehen: Auf der einen Seite wird... more
Seit circa drei Jahrzehnten werden vermehrt globale Kunstwelten und ihre historischen Verortungen wissenschaftlich verhandelt. In dieser Debattenlandschaft scheinen zwei Perspektiven einander gegenuberzustehen: Auf der einen Seite wird versucht, meist aus postkolonialer Theorie heraus, die binaren Zuschreibungsmechanismen der Moderne aufzulosen, und auf Traditionen fokussierte Blickwinkel kritisch zu hinterfragen. Auf der anderen Seite sind nostalgische Stromungen zu beobachten, die – auch aus postkolonialer Perspektive – auf neokoloniale Herrschaftsstrukturen mit Versuchen der Wiederbelebung einer „authentischen“ Kulturpraxis reagieren.