Postcolonial Disorders (Ethnographic Studies in Subjectivity)

Postcolonial Disorders (Ethnographic Studies in Subjectivity)

Language: English

Pages: 480

ISBN: 0520252241

Format: PDF / Kindle (mobi) / ePub

The essays in this volume reflect on the nature of subjectivity in the diverse places where anthropologists work at the beginning of the twenty-first century. Contributors explore everyday modes of social and psychological experience, the constitution of the subject, and forms of subjection that shape the lives of Basque youth, Indonesian artists, members of nongovernmental HIV/AIDS programs in China and the Republic of Congo, psychiatrists and the mentally ill in Morocco and Ireland, and persons who have suffered trauma or been displaced by violence in the Middle East and in South and Southeast Asia.

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begins to figure prominently in association with the development of practices of kale borroka (street fighting or urban guerrilla) by an increasingly radicalized youth. These encapuchados, mentioned earlier, emerged as political actors after , when the leadership of ETA was arrested. By the second half of the decade it had become a quotidian scene in towns and cities to see a group of youngsters coming into the central streets and plazas, their faces covered with hoods and kerchiefs and

sakit—as “sick” or “disordered” or “in pain”—resonates with the experience of many of Indonesia’s leading contemporary artists that resulted in an outpouring of vivid political paintings during the immediate post-Suharto era. In this chapter, we explore creative responses to the world of reformasi Indonesia by three artists, all based in Yogyakarta:Yulikodo, a graduate of the Art Institute of Indonesia in Yogyakarta (ISI—Institut Seni Indonesia), who specializes in super-realist and surrealist

regarded by many as “a cudgel of control and conformity . . . with political parties required to incorporate the constitution and Pancasila into their charters” in  (J. G.Taylor : , –). . We tape-recorded two conversations with Alex Luthfi in January .These were transcribed in Indonesian and translated into English with the assistance of Ninik Supartini. Our initial conversations with Pak Alex were in August . . Here Yulikodo refers to his super-realist painting of

filmed in a house that sort of looked like his. Instead, the film he showed me was a European film with big European actors and actresses set in bars and mock hotel settings. Soleh wasn’t to be fooled by these camera tricks. “Look at that wooden bed stand,” he yelled and ran over to the disassembled door and, angling it up on the floor, showed that it was the same size and cut as the bed stand in the film. “Look at that doorway, the paint on the wall is the same color.” He marched all over the

174 Disordered States ible image of productivity, these individuals and groups tend to lose sight of the humanitarian impulse that initially propelled them in to this world, favoring instead the priorities of international donors and the whims of a media that thrives on a pietàs aesthetic. Paradoxically, these processes produce a new politicization of humanitarianism (Badie ). As these new men and groups gain independence from institutional frameworks they must conform to the rules of the

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