Search Results (14)

This article examines nomadism through the conceptual framework of philosopher Rosi Braidotti, analyzing its implications for contemporary artistic practices. By focusing on case studies, including Italian artist Mario Merz’s igloos and Peruvian artist Jimena Kato’s perilous constructions, this article explores material precariousness and material agency as a means of engaging politically with topics such as migration, diasporic cultures, and the contested notion of home. It seeks to elucidate the dynamic interplay between balance and imbalance, revealing the transformative essence of being. Central to this discussion are three key concepts drawn from Braidotti’s work: (1) the nomadic subject, (2) performativity, and (3) potentiality. These categories are crucial for understanding how nomadism, as both a theoretical and practical approach, redefines subjectivity and materiality in art. The analysis suggests that these artistic practices embody a nomadic ontology, where movement and instability become generative forces for creation, challenging traditional notions of fixed identity and static form. The article contributes to the ongoing discourse concerning the intersection of philosophy and contemporary art, proposing that nomadism offers a valuable lens through which to view the evolving relationship between the artist, their materials, and the broader socio-cultural context. Full article

Culture consists of material and spiritual values and tools that a nation has accumulated in the historical process. In addition to the most basic contexts such as language and religion, contexts such as sporting activities, art, public medicine, and the public calendar are also important environments that reveal their own cultural elements. Among these contexts, religion is very effective in shaping the daily life of the individual and, thus, society through the rules it enjoins. Religion does not dominate only the world of belief of the individual. Through the world of belief, it also directs their relations with the social institutions they are involved in. Sport is one of the most important activities and social institutions that stand out with various functions in daily life, with wrestling being one of the branches of sports that have emerged as a result of the imitation of the struggle of human beings with nature and other creatures with which they share nature. In particular, those involved in the nomadic way of life had to hunt in order not to starve and fight in order to survive. Wrestling, which emerged as a result of these obligations, held an important place among all Turks in the world for a period of time, especially in the transition periods of life, such as birth, marriage, and death. One of the conditions set forth by women as a condition of marriage was that their suitor defeated them in wrestling. Examples of this condition are also observed in literary texts belonging to different periods when Turks were not yet acquainted with Islam and the concepts of halal and haram, which entered their lives together with Islam. According to the provisions of the Holy Qur’an, right/unprohibited thoughts and actions are associated with the words good and halal, while wrong/prohibited thoughts and actions are associated with the words sin and haram. In this study, the social and cultural phases of wrestling as a sports branch among Turks in the historical process will be evaluated on the basis of the history of religions and religious references, in addition to the literary texts belonging to historical periods when Turks were members of different religions, in the context of two events that have been experienced and reported in the news. The study was carried out using the method of document analysis, a method of qualitative research, and the data obtained by this method were evaluated using content analysis. The narratives of Alıp Manaş, Alpamış, Alpamıs, Alıpmenşen, and Bamsı Beyrek, which are evaluated in this context, belong to the periods when the Turks had not been introduced to Islam or had only recently been introduced to it. Alıp Manaş was collated from different Turkic tribes such as the Altais, Alpamış from the Uzbeks, Alpamıs the Kazakhs/Karakalpaks, Alıpmenşen the Bashkirs/Tatars, and Bamsı Beyrek the Oghuz Turks. The narratives of Kirmanshah, Köse Kenan-Dânâ Hanım, Bey Böyrek, Shah Ismail, and Yaralı Mahmut, which are evaluated in the study, belong to the periods when the Turks became Muslim en masse, and are related only among the Oghuz Turks. These narratives are included in the study because they are similar to Alıp Manaş, Alpamış, Alpamıs, Alıpmenşen, and Bamsı Beyrek and they belong to the period when Islam was largely established among the Turkish masses in Anatolia. The effect of the new religion on wrestling, which is a branch of sport, will be revealed through these narratives belonging to different tribes and religious periods. Once more, an event that occurred in recent history, and was the subject of the news, was subjected to document analysis, and content analysis was carried out through the text of the news and evaluated in the context of the study. This study aims to explain the effect of religious rules on sports branches with theological, folkloric, and sociological references based on ancient literary texts belonging to the Turks and two incidents which were experienced. Full article

Afropean anthropologist, philosopher, and art curator Dénètem Touam Bona is an original “border thinker” and “crosser” of geographic and conceptual boundaries working within a tradition of Caribbean historical poetics, notably represented by Édouard Glissant. He explores ideas of “fugue” and “refuge” in light of the experience of maroons or escaped slaves, key actors of the simultaneous expansion of freedom and industrial-scale chattel slavery in the Americas. In “Freedom as Marronage” (2015), Neill Roberts defines freedom itself as perpetual flight, and locates its very origins in the liminal and transitional spaces of slave escape, offering a perspective on modernity that gives voice to hunted fugitives, defiant of its ecology, enclosures, and definition, and who were ultimately excised from its archive. Touam Bona’s “cosmo-poetics” excavates marronage as a mode of invention, subterfuge and utopian projection that revisits its history and representation; sacred, musical, ecological, and corporeal idioms; and alternative forms of community, while also inviting contemporary parallels with the “captives” of the global border regime, namely fugitives, nomads, refugees, and asylum seekers who perpetually evade norms, controls, and domestication. He deploys the metaphor of the liana, a long-stemmed tropical vine that climbs and twines through dense forests, weaving relation in defiance of predation, to evoke colonized and displaced peoples’ subterranean evasion of commodification, classification, control, cultural erasure, and ecological annihilation. This article frames his work within an Afro-diasporic history and transnational cultural criticism that envisions fugitivity and exilic spaces as dissonant forms of resistance to the coloniality of power, and their relevance to understanding racialization, representations of the past, and narratives of freedom and belonging across borders. Full article

For the last three years I have been making walks with my canine companion as part of an Arts and Humanities Research Council funded fine art practice-based PhD at Nottingham Trent University, UK, which considers walking art as a shared human–canine practice. In this paper I reflect upon the doings of deep canine topography as a practice, with particular attention to the ethical questions raised. In the short meditation on the ethics of human animal artistic collaboration that follows, I will wander through the complex web of human–canine kinship, explored through art practice. Joining us on our walk through this tricky landscape are Rosi Braidotti, Jack Halberstam, Dona Haraway, Ron Broglio, Gilles Deleuze and Felix Guattari, and a host of other actors whose concepts and theories provide a rich source of ethical discussion, which fellow artists might find helpful. Full article

Two Iron Age settlements, Tuzusai and Taldy Bulak 2 (ca. 500 BC to 1 CE), located in southeastern Kazakhstan on the Talgar alluvial fan north of the Tian Shan range, have yielded a small collection of bone, antler/horn, bronze, and stone artifacts with an affinity to the nomadic art of the first millennium BC. Both settlements date within the period of late Saka culture. Two pieces have decorative ornamentations with zoomorphic imagery: a small carved fragment with carved images of a wing and an ear and a perforated bone disk with the carving of three birds’ heads. The other artifacts include objects associated with Saka weaponry or nomadic economy, such as two horn psalias (cheek pieces) and a bronze amulet. A carnelian bead will also be described as an imported object. These special finds were found on the occupation floors of mud brick houses and in the pit houses of settlements, not in grave or burial contexts. The objects were placed in a stratigraphic sequence in the settlement sites. The method for placing these objects within the chronological framework of “animal-style art” is through comparisons with similar objects found throughout Eurasia—a method used in Soviet and post-Soviet archaeology. The results show that the functional and stylistic elements of the six objects indicate that the Talgar settlements were part of a larger world-system of trade and communication along the early Silk Route(s). Full article

This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal; such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. It represents a rare type of ornament with a multi-component structure. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. This fact confirms the assumption of the origin of some of Siberian jewelry. Full article

The Scythians, nomads who roamed between the Pontic steppe and the Altai mountains throughout the 7th to 3rd centuries BC, are well known for their iconic animal style art. Composed of vivid stylised representations of animals, but depicting few humans, this art poses a challenge to interpretation. The Scythians left no written sources to give insight on their beliefs, and scholars have often had to make recourse to non-nomadic Greek and Persian sources, but these sources are not without their issues. In this paper I will propose the anthropological concept of cosmological perspectivism, first developed by Eduardo Viveiros de Castro, as a new way through which to think about and develop a better understanding of what Scythians thought and believed about the animal subjects of their art. I will explore the importance of predators, prey, and the contest between them in both perspectivism and Scythian art, and demonstrate how perspectivism might help us approach these works. Turning to a number of objects that combine Hellenistic and Scythian styles, I will examine how they support a perspectivist reading and explore what they can tell us about how the Scythians thought about animals and how they used them to represent human stories. Full article

Since its inception in 2013, the Arte Útil archive has become a collective steadily expanding as a tool for research and a resource for social practitioners. The archive is available for consultation at the website and consists of a growing database of around three hundred case studies that use art as a tool for societal change. It provides artistic strategies, a historical perspective, and a nexus between theory and praxis, besides being a platform to connect artistic projects and “users” from different geographies and contexts. Overall, it has become a nomadic pedagogical device able to trigger the discussion and the analysis of socially engaged art practice, its nature and its context involving not just artists but social agents and communities. As co-curators of the archive and educators, we interrogated ourselves regarding if curating as a social practice could expand the notion of education. Could we embrace the methodology of social practice to curate and generate pedagogical conditions fostering sustainability? Could we go beyond the conventional spaces and dynamics of academia? Could we integrate concepts like co-authorship and co-curating to cross from the arts to collective learning environments? How do we relate with the archive in other local contexts? In the last five years, we have implemented an evolving methodology that addresses all these questions, activating the Arte Útil archive as a pedagogical catalyst. The archive allowed collective experimentation and became a tool to infiltrate social practice both in the academic domain and galleries and museums’ educational ecosystems. In this article, we will analyse two different examples as case studies: from a research and artistic environment, a conversation with Onur Yıldız and Naz Kocadere, co-authors of “Art in use: case studies in Turkey” in May 2018, from a two-day workshop organised in collaboration with the Office of Useful Art at SALT Galata, Istanbul (TR); and from an educational perspective, the recent curriculum developed as part of the International Master Artists Educator (iMAE) in ArtEZ, Armhen (NL). Full article

Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts. Full article

This paper explores the ambiguous Persian Achaemenid attitude towards the horse and the lion. It examines the way these animals appear in imperial official presentations, local artifacts throughout the empire and Greek textual representations. In the case of the stallion, it looks at the imagery of horse riding or the place of the horse in society and religion alongside the employment of steeds in chariots. Images of the lion are addressed in instances where it appears to be respected as having a significant protective power and as the prey of the chase. This paper attempts to show that this ambiguity corresponds roughly to the dual image of the Persians as both pre-imperial/nomad and imperial/sedentary (and hence allegedly luxurious), a schism that is manifest in both the self-presentation of the Achaemenids and in the Greek texts. Full article

Central Asia’s most famous artist Said Atabekov both interrogates and imagines religiosity in post-Soviet Kazakhstan in his art. He has been doing so as a member of the Kyzyl Tractor (Red Tractor) art collective and in his own art practice. They perform as shamans and explore the nomadic steppe culture of the days of yore. Offering a nuanced and often ironic critique of present-day developments in his art, Atabekov seeks to make his audience think about meaning making or the lack thereof. He highlights the inclusiveness of vernacular religion while simultaneously drawing attention to the vacuousness of the hegemonic ideologies of the day, ranging from communism to capitalism to dogmatic religion. From his oeuvre, we discuss works that concern a dervish shaman, the nomadic game of kokpar and the advent of rigid religion, respectively. Full article

This paper asks what is the value of transforming the kitchen into a sonic performative work and public site for art and social practice. A Public Kitchen is formed by recreating the private and domestic space of a kitchen into a public space through a sonic performance artwork. The kitchen table is a platform for exploring, repositioning and amplifying kitchen tools as material phenomena through electronic and manual manipulation into an immersive sonic performance installation. This platform becomes a collaborative social space, where somatic movement and sensory, sonic power of the repositioned kitchen tools are built on a relational architecture of iterative sound performances that position the art historical and the sociopolitical, transforming disciplinary interpretations of the body and technology as something that is not specifically exclusively human but post-human. A Public Kitchen represents a pedagogical strategy for organizing and responding collectively to the local, operating as an independent nomadic event that speaks through a creative practice that is an unfolding process. (Re)imagining the social in a Public Kitchen produces noisy affects in a sonic intra-face that can contribute to transforming our social imaginations, forming daring dissonant narratives that feed post-human ethical practices and feminist genealogies. This paper reveals what matters—a feminist struggle invaluable in channeling the intra-personal; through the entanglement of the self, where language, meaning and subjectivity are relational to human difference and to what is felt from the social, what informs from a multi-cultural nomadic existence and diffractive perspective. The labored body is entangled with post-human contingencies of food preparation, family and social history, ritual, tradition, social geography, local politics, and women’s oppression; and is resonant and communicates as a site where new sonic techniques of existence are created and experiences shared. Full article

In the Colombian Caribbean region, human extraordinary ability to interpret nature’s functioning and mechanical language, has allowed man to manage and use, throughout history, natural elements to improve living conditions. In Architecture, technical-constructive knowledge development has enabled constructions of a temporary and stable nature. In fact, this research project begins with the relationship between the understanding of nature and the creation of Colombian vernacular architecture, which has led to a special and unique form of architecture such as the Corraleja. In this architecture, vernacular constructive tradition and ephemeral character are concurremt. This has been an object of interest due to its folkloric aspects, however, it has rarely been researched for its architecture. Currently, it is usually built only when its real spatial function is needed, becoming a place destined to contain the annual bullfighting-like festivities. In fact, its limited and cyclical permanence, gives it an ephemeral and also nomadic character since it is not always built, necessarily, in the same place. This research study begins by means of the importance of the vertical balance control of the alive branches nailed in the ground, still present in the whole Caribbean region through enclosures. This can be considered as a primordial action and conquest, and has allowed the realization of every vernacular construction. In Europe, the tradition of ephemeral architecture when there are some civil and religious festivities becomes stable architecture over time; bullfighting party in Spain is an emblematic case which is transformed into stable spaces such as bullrings. This tradition extends to the Spanish colony in America in the eighteenth century. In the Colombian Caribbean, for example, the bullfighting festival keeps an ephemeral character that is fed by a vernacular architectural tradition. In addition, existing literature on the vernacular theme suggests that, from long time ago, many examples of tectonic building (a set of finite or pseudo-finite elements such as branches, trunks, etc.) have been nomadic, self-constructed, anonymous and with an emergency appearance which have become stable, just after many constructions, by losing all ephemeral characteristics. Likewise, to understand the Corralejas’ genesis, observing the history of European architecture has been necessary due to the several old associated experiences of transitory constructions, e.g., with recreational spaces, religious or civil celebrations. This study is based on different research methodologies such as drawings of existing cases and bibliographic and iconographic analyzes. This has also been developed through a compulsory contrast with the ancient architecture of bullfighting shows, to formulate morphological reflections and analogies and analyze their ephemeral condition. Today, the Corraleja survives in Colombia, representing an architectural oddity that must be safeguarded not only for its vernacular essence but also for its limited temporal condition. In fact, tectonics, the art of montage, reconfirms the connection allowing its existence and representing a surprising and unique set of values that must be defended and treated as an architectural heritage. After the analysis on the Corralejas genesis, the study will continue through several forms of survey to explore and define constructive aspects in a different scale of detail. Full article

The potential of geospatial big data has been drawing attention for a few years. Despite the larger and larger market penetration of portable technologies (nomadic and wearable devices like smartphones and smartwatches), their opportunities for travel behavior analysis are still relatively unexplored. The main objective of our study is to extract the human mobility patterns from GPS traces in order to derive an indicator for enhancing Collaborative Mobility (CM) between individuals. The first step, extracting activity duration and location, is done using state-of-the-art automated recognition tools. Sensors data are used to reconstruct individual’s activity location and duration across time. For constructing the indicator, in a second step, we defined different variables and methods for specific case studies. Smartphone sensor data are being collected from a limited number of individuals and for one week. These data are used to evaluate the proposed indicator. Based on the value of the indicator, we analyzed the potential for identifying CM among groups of users, such as sharing traveling resources (e.g., carpooling, ridesharing, parking sharing) and time (rescheduling and reordering activities). Full article