The Filipina novelist Merlinda Bobis – like both Appadurai and Ahmed in their own ways – asks us to move past familiar horizons and imagine something beyond life as we know it. For Bobis, as she narrates in her short film for the collaborative arts project Art/Hope/Culture, these are gendered, raced, classed and embodied landscapes. For Appadurai, globalisation is evolving along a ‘double apartheid’ (2000, p. 3), characterised by a divorce between the first form – Western internal or parochial concerns that can be characterised as ‘Americanization disguised as human rights or as MTV’ (p. 2) – and the second form which Appadurai calls that of the poor, or ‘globalizations from below’ (2000, pp. 2-3). Intercultural arts practices in research contexts (like Art/Hope/Culture) can critically theorise this divorce, and also push back against it by offering new forms of institutional practice that resist the Western universalising aesthetic and theoretic through deep intercultural collaboration. Appadurai ‘makes it clear that globalization has given the imagination a larger role in social life’ (Robbins, 2003, p. 203) and in socialimaginaries of those publics which do not yet exist. These publics might well grow out of the most ordinary of collaborative relationships, in the most local of contexts.
|Title of host publication||The Routledge International Handbook of Intercultural Arts Research|
|Editors||Pam Burnard, Elizabeth Mackinlay, Kimberly Powell|
|Place of Publication||Abingdon Oxon UK|
|Number of pages||10|
|Publication status||Published - 2016|
|Name||Routledge International Handbook |