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Writing queer transnational South Asian art histories

According to the author, queer as an identification and subjectivity is important to his writing of transnational South Asian art histories. This book talks about new transnational South Asian art histories, to make visible histories of artworks that remain marginalised within the discipline of art history. This is done through a deliberate 'productive failure', by not upholding the strictly genealogical approach. The book discusses authorship by examining the writing about the work of Anish Kapoor to explore the shifting manner in which critics and art historians have identified him and his work. It focuses on the author's own identification as queer and South Asian American to put pressure on the coherency of an LGBTQI art history. It connects formal similarities of abstract work produced in the 1960s in New York City by Cy Twombly and Natvar Bhavsar. The book deals with an art history that concerns facile categories such as South Asian/non-South Asian and black/white, and discusses the works of Stephen Dean, Mario Pfeifer, Adrian Margaret Smith Piper, and Kehinde Wiley. It focuses on practice-led research by discussing 'Sphere:dreamz,; which was produced by queer-identified South Asian women. Continuing the focus, the book looks at the multi-site exhibition 'Mixing It Up: Queering Curry Mile and Currying Canal Street', organised by the author in 2007. It addresses the question of how certain subjects are considered as 'belonging' and others as not; and the role of art in the reconstitution of notions of 'home' and transnational South Asian art histories.

constrained women, which is what the Sex Discrimination Act sought to address. Rather than satisfying demands for equality, the legislation is better understood as a prompt to further investigation into the causes of and explanations for sex inequalities in the workplace.72 South Asian women’s workplace activism As gender inequality occupied a more prominent position in public debates during the 1970s, it is important to recognise there was an increasing awareness of racial discrimination in British workplaces as well. The case studies in the following chapters focus on the

in Women, workplace protest and political identity in England, 1968-85
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Producing art, producing art history

irreconcilable, but also that queerness was largely male and culturally ‘white’. In addition, many of the restaurant’s waiters helped to point out the bed to customers, and often enthusiastically described its queer content.67 The experience of seeing the waiters in a Curry Mile restaurant enjoy such work and hearing them advertising an art project concerned with queer, transnational South Asian women’s issues further challenged the dominant construction of Curry Mile restaurants as implicitly masculinist and heterosexualist. Another of Sphere:dreamz’s beds was installed in

in Productive failure
The Indian diaspora

globalized world values, as well as individuals who have done well in various fields. In reality, Indians living abroad often have hyphenated or hybrid identities, such as BritishAsian or Indian-American. Moreover, the emphasis on cultural differences can be divisive and even promote racism inadvertently.The present author’s research on South Asian women and multiculturalism in Britain in the 1990s revealed many problems that immigrants faced, and also the fuzziness surrounding the concept (Dutt, 1996). Kazancigil writes that multiculturalism is a democratic policy

in India in a globalized world
Gender and nationalism in the early fiction of Flora Nwapa

’ of human history covered by The Temple of My Familiar – has continued to hold out much promise of communion and liberation. The South African dramatist Gcina Mhlope, for example, has expressed her loyalty to this mythical maternal entity, speaking of the ‘Women of my country’ as ‘Mother Africa’s loved daughters’.21 Motherhood remains closely linked to the configuration of African, Caribbean and South Asian women’s identities in many of the sociocultural contexts they inhabit.22 Yet the problematic facing motheroriented women is whether and how such apparently

in Stories of women
Women as citizens

discourses about modernity and gender explicitly invoked. Yet, despite what Stoler calls this “colonial aphasia”, imperial discourses have a long shelf life and uncannily echo many contemporary positions on “Muslim” or South Asian women around dress, marriage and divorce, and intimate life. This aphasia absolves contemporary discourses from the taint of colonialism but it also forecloses links to a longer historical perspective. As Stoler puts it, ‘By bracketing the history of colonial racism, the popularity of the National Front’s extreme Right racism in the 1990s 162

in Postcolonial minorities in Britain and France
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part south Wales); 10.7 percent came from London; the south-eastern region contributed 9 percent, and the midlands .2 percent.4 Migrants from outside the home nations did not settle in oxford in significant numbers until after World War Two. It was estimated that in early 1959 there were about 400 to 500 non-white workers in oxford, about 0 to 70 percent of them being West Indian and the rest Indian and Pakistani. Most migrants at this time were men, and the number of women was relatively small.49 However, South Asian women started to arrive in larger numbers from

in Modern motherhood

’, Journal of Ethnic and Migration Studies , 42:12 (2016), 2078–2083. 10 O. Scharbrodt, ‘Shaping the public image of Islam: the Shiis of Ireland as “moderate” Muslims’, Journal of Muslim Minority Affairs , 31:4 (2011), 518–533; T. Abbas, ‘The impact of religio-cultural norms and values on the education of young South Asian women’, British Journal of Sociology of Education , 24:4 (2003), 411–428. 11 A. Portes and R. Rumbaut, Immigrant America: A Portrait (Berkeley, CA: University of California Press, 2nd edn, 1996), pp

in Immigrants as outsiders in the two Irelands
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same time, some of the women reported feeling ashamed at asking the public for money during the dispute, whilst others felt uncomfortable talking about particular aspects of the strike that violated ‘gendered scripts of appropriate behaviour’.67 Anitha et al. emphasise how these personal, social and cultural factors intersected with women’s material experiences of paid work to shape South Asian women’s narratives about the dispute.68 These examples of existing studies illustrate the value of oral history as a methodology for understanding the everyday motivations and

in Women, workplace protest and political identity in England, 1968-85
Britons and their collectibles in late eighteenth-century India

life in South Asia. 60 At Daylesford, Hastings commissioned architects and artists to fill the estate with reminders of his past in India. He called in the sculptor Thomas Banks to design a fireplace for him. The result, which still exists in the house today, was a marble mantel balanced on the heads of two South Asian women between whom Banks carved a series of scenes

in The cultural construction of the British world