AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: ANDREI TIBERIU MĂJERI.
VIEW PDF: MUG SHOT: TRANSRACIALITY – ANALYSING THE RACE WITH RACE IN ART
In the present article, we analyse the concept of transraciality in art, especially within the performance field, by connecting it with its firestorm manifestations in the modern society. Is transraciality the new frontier in public acceptance or just pure utopia? We’ll talk about our findings by focusing on some pertinent artistic examples and social behaviours. Focusing on the homo fingens as a part of the postmodern deconstruction of the human being, we reach the expending community of persons with mixed background and their interactions with art or the public perception. Hollywood stereotypes, cultural appropriation methods, race bending, collage and pastiche, all form the list of tools we operate with. Furthermore, we’ll focus on media cases involving raw definitions of transraciality, also on some pop culture examples, trying to connect their meanings with theatricality and the theatre/the stage phenomenon. The anxieties of a potential post-racial society put pressure on how we want to be seen by others and break the rules of racial differentiation. The enormous growth in self-consciousness opens a gate for alterity/otherness.
Keywords: transracial, post-racial, skin, theatricality, identity, bovarism, cultural appropriation.
References:
Arroyo, Eduardo, (2009), The Moustache of La Gioconda, Museo de Bellas ARTES de Bilbao/Museo Nacional Centro de Arte Reina Sofia
Bishop, Claire, (2012), Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso London. New York
Cuibus, Miriam, (2011), Efectul de culise, Teatralitatea ambiguităţii şi ambiguitatea teatralităţii, (English: The Backstage Effect. The theatricality of ambiguity and the ambiguity of theatricality), Casa Cărţii de Ştiinţă, Cluj-Napoca
Huizingha, Johan, (1970), Homo Ludens, New Yok: Harper
Levi-strauss, Claude, (2014), Toţi suntem nişte canibali, (English: We are all cannibals), Cuvânt înainte de Maurice Olender, Traducere de Giuliano Sfichi, Polirom, 2014
Maliţa, Liviu, (2010), Extremele artei, (English: The extremes of art) Editura Accent, Cluj-Napoca
Modreanu, Cristina, (2014), Utopii Performative, Artişti Radicali ai scenei americane în secolul 21, (English: Performative utopias. Radical artists of the American stage in the 21th century), Prefaţă de Marian Popescu, Humanitas, Bucureşti
Novitz, David, (2001), The Boundaries of Art, A Philosophical Inquiry into the Place of Art in Everyday Life, Revised and Enlarged Edition, Cybereditions
Şevţova, Maria, (2010), Robert Wilson, (Romanian edition), Traducerea din limba engleză: Odette Kaufman-Blumenfeld şi Oltiţa Cîntec, Fundaţia Culturală “Camil Petrescu”, Revista Teatrul azi (supliment), prin Editura Cheiron, Bucureşti
Ubersfeld, Anne, (1999), Termenii cheie ai analizei teatrului, (English: Key terms of theatre analysis), Traducere de Georgeta Loghin, Institutul European
Online publications:
Nittle Kareem, Nadra, (2015), What Is Cultural Appropriation and Why Is It Wrong? [Online], Available: http://racerelations.about.com/od/diversitymatters/fl/What-Is-Cultural-Appropriation-and-Why-Is-It-Wrong.htm, July 15th 2015
Smith, Roberta, (2009), Robert Colescott, Painter Who Toyed With Race and Sex, Dies at 83, [Online], Available: http://www.nytimes.com/2009/06/10/arts/design/ 10colescott.html?_r=0, July 20th 2015
Stelarc, (2015), http://www.stelarc.org/July24th2015
Published Online: 2015-10
References:
Arroyo, Eduardo, (2009), The Moustache of La Gioconda, Museo de Bellas ARTES de Bilbao/Museo Nacional Centro de Arte Reina Sofia
Bishop, Claire, (2012), Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso London. New York
Cuibus, Miriam, (2011), Efectul de culise, Teatralitatea ambiguităţii şi ambiguitatea teatralităţii, (English: The Backstage Effect. The theatricality of ambiguity and the ambiguity of theatricality), Casa Cărţii de Ştiinţă, Cluj-Napoca
Huizingha, Johan, (1970), Homo Ludens, New Yok: Harper
Levi-strauss, Claude, (2014), Toţi suntem nişte canibali, (English: We are all cannibals), Cuvânt înainte de Maurice Olender, Traducere de Giuliano Sfichi, Polirom, 2014
Maliţa, Liviu, (2010), Extremele artei, (English: The extremes of art) Editura Accent, Cluj-Napoca
Modreanu, Cristina, (2014), Utopii Performative, Artişti Radicali ai scenei americane în secolul 21, (English: Performative utopias. Radical artists of the American stage in the 21th century), Prefaţă de Marian Popescu, Humanitas, Bucureşti
Novitz, David, (2001), The Boundaries of Art, A Philosophical Inquiry into the Place of Art in Everyday Life, Revised and Enlarged Edition, Cybereditions
Şevţova, Maria, (2010), Robert Wilson, (Romanian edition), Traducerea din limba engleză: Odette Kaufman-Blumenfeld şi Oltiţa Cîntec, Fundaţia Culturală “Camil Petrescu”, Revista Teatrul azi (supliment), prin Editura Cheiron, Bucureşti
Ubersfeld, Anne, (1999), Termenii cheie ai analizei teatrului, (English: Key terms of theatre analysis), Traducere de Georgeta Loghin, Institutul European
Online publications:
Nittle Kareem, Nadra, (2015), What Is Cultural Appropriation and Why Is It Wrong? [Online], Available: http://racerelations.about.com/od/diversitymatters/fl/What-Is-Cultural-Appropriation-and-Why-Is-It-Wrong.htm, July 15th 2015
Smith, Roberta, (2009), Robert Colescott, Painter Who Toyed With Race and Sex, Dies at 83, [Online], Available: http://www.nytimes.com/2009/06/10/arts/design/ 10colescott.html?_r=0, July 20th 2015
Stelarc, (2015), http://www.stelarc.org/July24th2015
Published Online: 2015-10
