Kathryn Sears – “Cultural Identity and Diaspora” by Stuart Hall
In “Cultural
Identity and Diaspora,” Stuart Hall discusses the visual representation of the “new
post-colonial subject” with an interest in understanding the cultural identity
imposed upon the black subject.[1] He begin his argument with the assertion: “practices
of representation always implicate the positions from which we speak or write—the
positions of enunciation.”[2] Hall’s argument is important because it
acknowledges that in any form of representation, be it visual, personal,
communal, etc., there is a position from which we speak both as represented and
as representative. Furthermore, this creates
a cultural identity that deserves a deeper and more invested
consideration. According to Hall, there
are two different ways of thinking about cultural identity: in terms of “one,
shared culture, a sort of collection ‘one true self’” and in terms of “critical
points of deep and significant difference”.[3] The former is important insofar as the
collective works as an act of “imaginary reunification” which allows for
connection across location and time to create a larger movement for the work of
decolonization.[4] The latter method of cultural identity is
important to properly acknowledge and interact with the varying axes of
difference and identity formation required to construct cultural identity and
to aid in, again, the work of decolonization.
This is another iteration of intersectionality. It highlights the multiplicity of struggle
and oppression with which colonized peoples must be in sync. With such understanding, according to Hall,
the complexity necessary to exceed the binary structure of representation is
possible.
As with
many of the readings thus far, these theories are more abstractly related to my
larger project than they are immediately applicable. However, my thesis project discusses the
representation of the body according to artist, Carolee Schneemann, in her
plans for Body House as an
architectural and theoretical representation of the female body. Hall’s discussion of the multiple methods for
constructing cultural identity make me think about the multiple factors
informing Schneemann’s interest in theoretical architecture as a fluid
form. The majority of Schneemann’s work
deals with notions of the body, but manner in which she represents the body in Fantastic Archtecture, the anthology in
which I am discussing her work, is important as it stands to reexamine the
boundaries of architecture at the body simultaneously.
Discussion
Question:
·
How are these differing methods of thinking
about cultural identity currently being utilized in politics? This question seems rather straightforward,
but I am interested in discussing how these are used now and how we can use
them in an alternative manner?
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