Producing a World of Remains in Indian Ocean Africa: Discrepant Time, Melancholy Affect and the Subject of Transport in Capital Art Studio, Stone Town, Zanzibar.
This article reads a photographic studio and the visual archive compiled therein of the stone town of Zanzibar City. Capital Art Studio is analysed as negotiating the fraught interface between the Indian Ocean world and continental Africa in both the 1950s and again after the revolution in nationali...
| Publicado en: | African Studies Vol. 75; no. 2; pp. 233 - 257 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=116620667&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 116620667 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00020184 35L jtl: African Studies issn: 00020184 maglogo: N pubinfo: dt: Aug2016 vid: 75 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 116620667 10.1080/00020184.2016.1182318 ppf: 233 ppct: 24 formats: fmt: – @attributes: type: T – @attributes: type: P size: 4.1MB tig: atl: Producing a World of Remains in Indian Ocean Africa: Discrepant Time, Melancholy Affect and the Subject of Transport in Capital Art Studio, Stone Town, Zanzibar. aug: au: Samuelson, Meg affil: University of Cape Town su: Melancholy Artists' studios Palimpsests Commodification Indian Ocean sug: subj: Indian Ocean Melancholy Artists' studios Palimpsests Commodification keyword: Capital Art Studio Indian Ocean world photography Zanzibar ab: This article reads a photographic studio and the visual archive compiled therein of the stone town of Zanzibar City. Capital Art Studio is analysed as negotiating the fraught interface between the Indian Ocean world and continental Africa in both the 1950s and again after the revolution in nationalist and neoliberal eras. The article explores the ways in which the studio produces discrepant temporalities to both the heritage industry currently reconstructing Stone Town and that emerging from other photographic studios of the postcolonial world, which extend surfaces for ludic forms of self-fashioning by which their subjects. In striking contrast, Capital Art Studio articulates a visual idiom that re-calls a time in which Zanzibar was an ‘island metropolis’ while simultaneously refusing the heritage industry’s consignment of this time to the past. This articulation and refusal is rendered through a visual idiom of transport or in the re-presentation of Stone Town as melancholy palimpsest. Both convey into a present framed by a neoliberal global order a past that was ambivalently both cosmopolitan and commodifying. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of African Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: African Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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