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Since the departure of the UN Transitional Authority (UNTAC) in 1993, the Cambodian Muslim community has undergone a rapid transformation from being an Islamic minority on the periphery of the Muslim world to being the object of intense proselytization by foreign Islamic organizations, charities and development organizations. This has led

Since the departure of the UN Transitional Authority (UNTAC) in 1993, the Cambodian Muslim community has undergone a rapid transformation from being an Islamic minority on the periphery of the Muslim world to being the object of intense proselytization by foreign Islamic organizations, charities and development organizations. This has led to a period of religious as well as political ferment in which Cambodian Muslims are reassessing their relationships to other Muslim communities in the country, fellow Muslims outside of the country, and an officially Buddhist state. This dissertation explores the ways in which the Cham Muslims of Cambodia have deployed notions of nationality, citizenship, history, ethnicity and religion in Cambodia's new political and economic climate. It is the product of a multi-sited ethnographic study conducted in Phnom Penh and Kampong Chhnang as well as Kampong Cham and Ratanakiri. While all Cham have some ethnic and linguistic connection to each other, there have been a number of reactions to the exposure of the community to outside influences. This dissertation examines how ideas and ideologies of history are formed among the Cham and how these notions then inform their acceptance or rejection of foreign Muslims as well as of each other. This understanding of the Cham principally rests on an appreciation of the way in which geographic space and historical events are transformed into moral symbols that bind groups of people or divide them. Ultimately, this dissertation examines the Cham not only as an Islamic minority, but as an Islamic diaspora - a particular form of identity construction which has implications for their future development and relations with non-Muslim peoples. It reconsiders the classifications of diasporas proposed by Robin Cohen and William Safran, by incorporating Arjun Appadurai's conception of locality as a construct that must be continuously rendered in praxis to generate the socially shared understanding of space, geography and its meaning for communitarian identity. This treatment of Islamic transnationalism within the context of diaspora studies can contribute to the broader conversation on the changing face of Islamic identity in an increasingly globalized world.
ContributorsPérez Pereiro, Alberto (Author) / Jonsson, Hjorleifur R (Thesis advisor) / Eder, James F. (Thesis advisor) / Woodward, Mark (Committee member) / Arizona State University (Publisher)
Created2012
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Assyrians face numerous concerns resulting from the status of a stateless people. Overcoming immigrant transitions, difficulties related to diaspora, and the implications of these on Assyrian culture are pressing matters to be addressed in the evolution of the Assyrian nation. In order to develop a strategy to benefit individuals, families

Assyrians face numerous concerns resulting from the status of a stateless people. Overcoming immigrant transitions, difficulties related to diaspora, and the implications of these on Assyrian culture are pressing matters to be addressed in the evolution of the Assyrian nation. In order to develop a strategy to benefit individuals, families and the nation, Hometown Associations, a form of nonprofit organization, may be used to connect, assist, and progress Assyrian communities. This thesis provides background, rationale for, and guidelines to creating Hometown Associations for Assyrian communities. Ultimately, Hometown Associations and other forms of cultural organizations appear to be a viable means toward community solidarity and cultural preservation. However, further research and more diverse subjects are required to assess the generalizeability of the findings discussed.
ContributorsTamo, Samuel (Author) / Behl, Natasha (Thesis advisor) / Ali, Souad (Committee member) / Maghoub, Miral (Committee member) / Arizona State University (Publisher)
Created2014
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After the implementation of the racial laws sanctioned by Mussolini in 1938, many Italians Jews looked for safe haven in Argentina and Uruguay. This research study aims to investigate the transnational cultural space that emerges as result of the Italian Jewish diaspora to the La Plata River during fascism. This

After the implementation of the racial laws sanctioned by Mussolini in 1938, many Italians Jews looked for safe haven in Argentina and Uruguay. This research study aims to investigate the transnational cultural space that emerges as result of the Italian Jewish diaspora to the La Plata River during fascism. This phenomenon has not been fully addressed by contemporary Jewish Latin American Studies conducted in the US and in Latin America. This study attempts to illustrate how this particular diaspora is closely linked to the specific nature of the host countries, in particular, to the fact that these are countries with a strong immigration tradition and with a significant representation of Italians. This research emphasizes the transnational dimension of the experience, the phenomenon is approached from a regional perspective, encompassing two countries that share common cultural and historical roots, Argentina and Uruguay. The study is also rooted in a global perspective, linking the region with Italy in the context of the Europe of the time. On this basis, the study is guided by the following main assumption: The specific Italian diaspora generated original spaces of transnational cultural production that had an impact in the River Plate region and in Italy. This is done by studying some of the cultural manifestations of this multifaceted experience. This work is theoretically guided by an integration of perspectives emerging from cosmopolitanism, diasporic criticism and Bakhtinian dialogism. More specifically, when studying autobiographical texts, the research focused on critical essays on life narratives in general and on studies linking this discursive typology to the narratives of the Shoah, including the human capacity for resilience and adaptation in the face of adversity and trauma. The diaspora has created a prolific and unique body of transnational cultural expressions and, moreover, this particular diaspora has proved to be closely linked to the specific nature of the host countries. The findings make contributions to the field of Jewish Latin American Studies and Transatlantic Studies.
ContributorsMarsiglia, Edith (Author) / Volek, Emil (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos (Committee member) / Arizona State University (Publisher)
Created2015
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The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the

The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the West, as Chinese artists dealt with the twentieth-century version of the recurring question of modernizing Chinese painting for its times: how does one reconcile an ancient painting tradition with all the possibilities Western interactions introduced? This dissertation focuses on one artist's lifelong struggle, often overlooked, to answer this question. By examining C. C. Wang (1907-2003) and his life in art, this case study reveals broader truths about how twentieth century Chinese diaspora painters, such as Wang, modernized the tradition of Chinese ink painting.

Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.

To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is

asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
ContributorsHua, Ming (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2014
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The number of Brazilian immigrants in the United States has greatly increased over the past three decades. In Phoenix, Arizona, this population increase reveals itself through a greater number of large Brazilian cultural events and higher demand for live Brazilian music. Music is so embedded in Brazilian culture that it

The number of Brazilian immigrants in the United States has greatly increased over the past three decades. In Phoenix, Arizona, this population increase reveals itself through a greater number of large Brazilian cultural events and higher demand for live Brazilian music. Music is so embedded in Brazilian culture that it serves as the ideal medium through which immigrants can reconnect to their Brazilian heritage. In this thesis, I contend that Brazilian immigrants in Phoenix, Arizona maintain their identity as Brazilians through various activities extracted from their home culture, the most prominent being musical interaction and participation. My research reveals three primary factors which form a foundation for maintaining cultural identity through music within the Brazilian immigrant community in Phoenix. These include the common experiences of immigration, diasporic identity, and the role of music within this diaspora. Music is one of the stronger art forms for representing emotions and creating an experience of relationship and connections. Music creates a medium with which to confirm identity, and makes the Brazilian immigrant population visible to other Americans and outsiders. While other Brazilian activities can also serve to maintain immigrants' identity, it is clear to me from five years of participant-observation that musical interaction and participation is the most prominent and effective means for Brazilians in Phoenix to maintain their cultural identity while living in the U.S. As a community, music unites the experiences of the Brazilian immigrants and removes them from the periphery of life in a new society.
ContributorsSwietlik, Amy (Author) / Solís, Ted (Thesis advisor) / Norton, Kay (Committee member) / Pilafian, Sam (Committee member) / Arizona State University (Publisher)
Created2012
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A new sect of Swaminarayan Hinduism emerged in the late eightieth century. This sect rapidly grew into a global organization due their highly structuralized nature. Fascinatingly, the new sect was able to create the feeling of home away from home in multiple countries. Through the establishments of mandirs, Hindu place

A new sect of Swaminarayan Hinduism emerged in the late eightieth century. This sect rapidly grew into a global organization due their highly structuralized nature. Fascinatingly, the new sect was able to create the feeling of home away from home in multiple countries. Through the establishments of mandirs, Hindu place of worship, practitioners were able to solidify the feeling of home away from home. Through books, magazine articles and letters the evidence of the new sect creating this feeling is overwhelming. Diaspora theory is woven within the thesis due to the global nature of the sect. This thesis uses a broad definition of diaspora to encompass the change in literature due to the ability of one to maintain close ties to their old homeland. The Swaminarayan sect treaded through diaspora by assimilating to their new homeland all the while keeping a close tie with their old homeland.
ContributorsPatel, Amisha (Author) / Bruner, Jason (Thesis advisor) / Bennett, Gaymon (Committee member) / Henn, Alexander (Committee member) / Arizona State University (Publisher)
Created2016
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The Philippine Sea refers to the East and West Philippine Sea that are within the sovereign territory of the 7,641 islands of the Philippine archipelago. Historically, Spain, the United States, and Japan have colonized the islands, and the United States and China continue to maintain imperial interests in the area.

The Philippine Sea refers to the East and West Philippine Sea that are within the sovereign territory of the 7,641 islands of the Philippine archipelago. Historically, Spain, the United States, and Japan have colonized the islands, and the United States and China continue to maintain imperial interests in the area. Filipino/a/x diasporic activists in the U.S. and allies have participated in the anti-imperial struggle in support of demilitarization of the Pacific and of neo-colonized states across the globe. Responding to the problematics of anti-imperialism and solidarity, this dissertation advances the concept of agos or moving relations to attune to the sea as an analytic in theorizing activism, communication, and performance. This project was written on the unceded ancestral homelands of the Onk Akimel O’odham and Xalychidom Piipash, was inspired by the works of Black and Indigenous communities and scholars, and was influenced by Kale Fajardo’s notion of crosscurrents and Loma Cuevas-Hewitt’s concept of archipelagic poetics. Across critical organizational communication, critical intercultural communication, and performance studies, agos theorizes the relationalities of movements and the movements of relationalities. Utilizing critical qualitative, rhetorical, and performance methods, this project develops three instantiations of agos. In “Whirlpool Organizing,” the processes of anti-imperial organizers’ relationship and coalition building are examined to demonstrate the liquidities that animate dialectics and differences. In “Anchored Relationality,” U.S. diasporic Filipino/a/x’ varied and complex reconnections with Philippine waters are explored to illustrate the fluidities of positions and relations. In “Archipelagic Performance,” the staged production of “What sounds do turtles make?” is analyzed to showcase the flows of a decolonial and relational mode of performance.
ContributorsLabador, Ma Angela San Luis (Author) / LeMaster, Loretta (Thesis advisor) / Kim, Heewon (Thesis advisor) / Leong, Karen (Committee member) / Hastings, Rachel (Committee member) / Arizona State University (Publisher)
Created2023
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“Mix Mix Tayo: The Many Pieces in Our Stories'' is a written reflection, exploring the creation of the dance documentary, Carried Across the Water as well as the community event, Mix Mix Tayo. The ideas behind these works are centered in storytelling, filipino american identity and community. This

“Mix Mix Tayo: The Many Pieces in Our Stories'' is a written reflection, exploring the creation of the dance documentary, Carried Across the Water as well as the community event, Mix Mix Tayo. The ideas behind these works are centered in storytelling, filipino american identity and community. This research explores the use of film, dance, event production and the mixing of elements to create new wholes in order to communicate these ideas. These works were imagined in response to a call that was felt from people actively searching for healing, community and ancestral knowledge.
ContributorsCurry, Nicole (Author) / Standley, Eileen (Thesis advisor) / Fitzgerald, Mary (Committee member) / Nascimento, Eliciana (Committee member) / Arizona State University (Publisher)
Created2020
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Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his

Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his death in 1990 at his home city of East Hampton, New York. He is among the few Philippine-descended artists living in 20th-century America producing museum-collected works. Since America’s colonial occupation of the Philippines in the 19th-century, immigration has been increasing as a result of migrant labor, military recruitment, and economic exchange. However, the Philippine diaspora’s artistic contributions and visual identity before 1980 are largely under-researched in the United States. Queer artists of color, especially Filipinx-Americans, rarely feature in the dominant narratives of American modernity. Ossorio deeply inflected the trajectory of the American avant-garde yet his marginal place in the history demonstrates how art communities excluded queer and Philippine-American identities in the 20th-century during the development of two major American modernist movements. The scholarship has increased since Ossorio’s death in 1990 as a result of museum and gallery exhibitions. Previous writers focus on biographical description or contextualize Ossorio’s work within a broad movement category without considering Ossorio’s Filipino-American and gay identities in advanced detail from queer and critical race frameworks. These studies lack specific theoretical analysis around race, sexuality, and colonialism on Ossorio’s identity and his artistic communities. Through the analysis of his paintings and archival documents, this thesis argues that Ossorio’s negotiation of these intersecting minority categories is central to understanding his artistic production and his relationship to the American avant-garde. This research applies the current literature on queer theory, critical race theory, and postcolonial theory on Filipinx-American identity to Ossorio’s life and artwork. I center the work of Philippine psychologist Virgilio G. Enriquez with additions from Filipinx-American scholars Martin F. Manalansan IV, Vicente Rafael, Denise Cruz and American scholars art historian Richard Meyer and queer theorist Judith Butler when examining the artworks Untitled 1944 (1944) and Astonished Mother (1950) in the context of Surrealism and Abstract Expressionism respectively.
ContributorsMiranda, Matthew Villar (Author) / Afanador-Pujol, Angélica J. (Thesis advisor) / Mesch, Claudia (Committee member) / Bailey, Marlon M. (Committee member) / Guevarra Jr., Rudy P. (Committee member) / Arizona State University (Publisher)
Created2021
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The Past in Front of Us: Imagining Black Diasporas in the 21st Century seeks aesthetic connections between Black artists working around the world today. This project prioritizes aesthetic perception and affect in relation to Black Diasporic studies and reimagines the canon of work by Black artists. This project does not

The Past in Front of Us: Imagining Black Diasporas in the 21st Century seeks aesthetic connections between Black artists working around the world today. This project prioritizes aesthetic perception and affect in relation to Black Diasporic studies and reimagines the canon of work by Black artists. This project does not relegate aesthetics to surface or formal analyses, but understands aesthetic motifs as intelligent entities which communicate the experience of existence. This project affirms Black Diaspora as a dynamic imaginary. I extend traditional analyses of Black Diaspora from the continental edges of the Atlantic Ocean to the Pacific. I look horizontally and create juxtapositions between artists working in Africa, the Caribbean, Europe, and the Pacific Rim. I use transdisciplinary terms from art history, psychoanalysis, semiotics, philosophy, rhetoric, trauma theory, and critical race studies. Analyses build on multiple discourses because Black Diaspora is a mutable concept that shifts and evolves. This project is one of the first investigations of twenty-first century artistic production by Black artists globally. Until now, these artists’ work has been covered primarily in magazines, exhibition catalogues, and art reviews in the popular press. Chapters, organized by themes rather than regions, focus on emerging artists Dannielle Bowman, Sandra Brewster, Susana Pilar Delahante Matienzo, Kambui Olijimi, and Frida Orupabo. In addition, this thesis contributes a new theoretical frame to existing scholarship on artists Sammy Baloji, Sanford Biggers, Mark Bradford, Glenn Ligon, and Cauleen Smith. As a speculative work, this thesis articulates a vocabulary and uncovers a multitude of aesthetic connections between art practices globally. A significant component of this work is to foreground Black artists’ historically sidelined insights about being in the world.
ContributorsLawson, Dhyandra (Author) / Hoy, Meredith (Thesis advisor) / Afanador-Pujol, Angélica (Committee member) / Grabski, Joanna (Committee member) / Arizona State University (Publisher)
Created2021