Series |
Studi e ricerche
Volume 30 | Edited book | Postcolonial Publics: Art and Citizen Media in Europe
Postcolonial Publics: Art and Citizen Media in Europe
open access | peer reviewed
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edited by
- Bolette B. Blaagaard - Aalborg University - email orcid profile
- Sabrina Marchetti - Università Ca’ Foscari Venezia, Italia - email orcid profile
- Sandra Ponzanesi - Utrecht University, The Netherlands - email orcid profile
- Shaul Bassi - Università Ca’ Foscari Venezia, Italia - email orcid profile
Abstract
Postcolonial Publics: Art and Citizen Media in Europe presents a collection of sixteen chapters that explore the themes of how migrants, refugees and citizens express and share their political and social causes and experiences through art and media. These expressions, which we term ‘citizen media’, arguably become a platform for postcolonial intellectuals as the studies pursued in this volume investigate the different ways in which previously excluded social groups regain public voice. The volume strives to understand the different articulations of migrants’, refugees’, and citizens’ struggle against increasingly harsh European politics that allow them to achieve and empower political subjectivity in a mediated and creative space. In this way, the contributions in this volume present case studies of citizen media in the form of ‘activistic art’ or ‘artivism’ (Trandafoiu, Ruffini, Cazzato & Taronna, Koobak & Tali, Negrón-Muntaner), activism through different kinds of technological media (Chouliaraki and Al-Ghazzi, Jedlowski), such as documentaries and film (Denić), podcasts, music and soundscapes (Romeo and Fabbri, Western, Lazzari, Huggan), and activisms through writings from journalism to fiction (Longhi, Concilio, Festa, De Capitani). The volume argues that citizen media go hand in hand with postcolonial critique because of their shared focus on the deconstruction and decolonisation of Western logics and narratives. Moreover, both question the concept of citizen and of citizenship as they relate to the nation-state and explores the power of media as a tool for participation as well as an instrument of political strength. The book forwards postcolonial artivism and citizen media as a critical framework to understand the refugee and migrant situations in contemporary Europe.
Keywords Borders • Counter-publics • Chimamanda Ngozi Adichie • Decoloniality • Performance and spatial politics • Justice • Italy • Black intellectuals • Politics • Celebrity • Citizenship • Social engagement • Racism • Black portraitures • Relay • Visual art • Renaming • Postcolonial theory • New media • Slavery • Migrant Voices • Discrimination • Crisis ordinariness • Postcolonial Europe • Syria war • Blackness • Refugee Tales • Activism • Decolonial citizenship • Flesh witnessing • Postsocialism • Warsan Shire • Structural racism • Eastern Europe • Black comedians • Activist curating • Palestine • Conflict news • Humour • Decoloniality of knowledge • Postcolonial • Anticolonialism • Borderscape • Hostile environment • Cinema • Research • Mainstream media • Digital activism • Intersectionality • Participatory art and public spaces • Knowledge • Multimodal narration • Postcolonial France • Black Italian women intellectuals • Diaspora • Romania • Border culture • Podcasts • Estonian art • Coloniality • Visibility • Teju Cole • Theatre and refugees • Artivist engagement • Radio • Memory • Social media • Literature of migration • Post-socialism • Colonialism • Intellectual • Reni Eddo-Lodge • Citizen media • Failure • Bowie • Documentary auto-ethnography • Rhythm • Relation • User-generated content • African-European
Permalink http://doi.org/10.30687/978-88-6969-677-0 | e-ISBN 978-88-6969-677-0 | ISBN (PRINT) 978-88-6969-678-7 | Published Jan. 26, 2023 | Language en
Copyright © 2023 Bolette B. Blaagaard, Sabrina Marchetti, Sandra Ponzanesi, Shaul Bassi. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
