Empire of Islands: Contemporary Art and Unforgetting in Colonial Landscapes

McMillan, Kate

doi:10.1007/978-3-030-17290-9_1

Cited by 2 publications

(2 citation statements)

References 6 publications

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“…Graugaard, 2009; Jensen, 2018). As McMillan (2019) has recently argued, artistic engagements with colonial and settler-colonial history often undertake a political task of “unforgetting violence,” whereby they counter collective processes that erase or veil the imperial pasts through amnesiac procedures.…”

Section: Introductionmentioning

confidence: 99%

Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq

Viljoen

Zolkos

2021

Memory Studies

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The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments—as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.

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Section: Introductionmentioning

confidence: 99%

Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq

Viljoen

Zolkos

2021

Memory Studies

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“…2 According to McMillan, authorities built several prisons around Australia using these architectural principles, including the Quod 3 at the Rottnest Island Aboriginal Prison Settlement in Western Australia. 4 Figure 1 Floor Plan of the Quod, in its original form Credits: Office of the Registrar of Indigenous Corporations, with annotations by Michael Sinclair-Jones Thousands of Aboriginal prisoners themselves (some as young as eight) built the Panopticon-style prison in 1863. It had small cells (3 x 1.7m), each to hold up to seven people (often cruelly more than a dozen at one time) with no windows, no beds, no bucket for the basics of sanitation.…”

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confidence: 99%

La prison aborigène de l’île de Rottnest

Stasiuk¹

2021

etudes-benthamiennes

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contrôlés et réformés en créant l'illusion qu'ils étaient à tout moment sous surveillance. Cet article examine l'influence du Panoptique sur l'une des plus anciennes cultures du monde -les Aborigènes du Western Australia -qui ont été, à partir de 1864, incarcérés dans un bâtiment appelé Quod. L'expérience de l'incarcération a déshumanisé, dépossédé et colonisé les populations fières et indépendantes.

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Empire of Islands: Contemporary Art and Unforgetting in Colonial Landscapes

Cited by 2 publications

References 6 publications

Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq

Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq

La prison aborigène de l’île de Rottnest

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