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This research intends to analyze how the social, political, economical and cultural transformations of the retrocession of Macao S.A.R. to China influenced the contemporary grassroots artistic production, namely their response to the issue of One Country, Two Systems policy. This transitional state of these places in-between creates a somehow ambivalent situation where some of the core values of identity and heritage are fading away due to the forces of the current development. In this sense, it urges to consider the ways in which artists in the post-retrocession era in their lived experiences, form their own sense of community and consciousness of place, time and belonging and, by doing so, can contribute to the preservation of some of the local and specific characteristics, enhancing the cultural vitality of the region. The growing interest by the artists in the issues of preservation and engagement with the locality, trough memory and history, manifested in ‘alternative’ modes of production, is providing a different model of ‘place making’ and a narrative that contrasts and complements some of the top-down cultural policies. Since the focus of development in these territories has been on the idea of creative industries, entertainment and tourism as possible realities for the pressing economical diversification, these grassroots models, functioning as the ‘second system’ open up complexity, providing different questions and answers to the future of artistic production. Finally, departing from these examples, we analyze the possibility of a new image for these kinds of artistic practices, through their incorporation into the possibility of relational aesthetics ‘with Chinese characteristics’, within the perspective of integration, and as emergent features in the field of contemporary art
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últimos assumidos remanescentes provavelmente de um território cultural antes bem mais vasto vivem atualmente nos municípios de Baía da Traição, Marcação e Rio Tinto, no litoral setentrional da Paraíba - nem sobre s seus espaços, culturas e gentes. É preciso dobrar a primeira metade do século XX para se encontrar nos títulos gerais de histórias da Paraíba alguma atenção pelos Potiguara e a sua movimentação histórica no processo longo e contraditório de formação da capitania e da instalação portuguesa na região, enfrentando primeiro a concorrência comercial e militar francesa, depois no século XVII a ocupação holandesa e sempre, até quase meados de seiscentos, a oposição muitas vezes feroz e brutal de vários grupos e milícias potiguaras. A arqueologia confirma um processo recente de formação histórica dos espaços atualmente reivindicados como originais e tradicionais pelos Potiguara. Os estudos linguísticos disponíveis sobre os Potiguara também não destacam a memória rigorosa de um espaço cultural arcano e pré-colonial. Os espaços Potiguara de hoje com este sistema de organização agrícola quase binário são tudo menos naturais. Trata-se, antes, de um espaço em recorrentes transformações históricas, demográficas, económicas e sociais que desafia qualquer ideia de um espaço ‘natural’, ‘original’ ou ‘essencial’ dos Potiguara. Seja como for, estas polarizações estruturais são historicamente aquelas que presidiram à exata produção dos espaços que atualmente os Potiguara apresentam como seus, originais, antigos e tradicionais seguindo, afinal, um modelo colonial de ocupação de espaços e especialização das gentes do Brasil.
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Hong Kong and Macau were politically reunified with Mainland China in 1997 and 1999, respectively. These two cities culturally originated from Mainland China, but due to their own colonial experiences, the Chinese cultural identities within Hong Kong, Macau, and Mainland China became different. The nature of Chinese cultural identities within Hong Kong and Macau were hybridized, and they have formed their own Chinese cultural identities with their own peculiarities. The Internet is a popular communication medium and it facilitates cultural communication inside and outside of these three places. The high-speed development of modern technology leads to the variety of services that emerge in the Internet, such as discussion forum, Blog, Facebook, Twitter, etc. These new and open spaces serve as a platform for ordinary people to express themselves in different ways. General observations in the Internet reveal that the discussion on Chinese cultural identity among Hong Kong, Macau, and Mainland China exists. The combination of self-identity and reconstruction of self-cultural identity are happening in these differently colonized places. Some local Chinese people in Macau, and Taiwanese in Taiwan, share this kind of experience as well. Meanings in different issues via different symbols are formed and they can be seen from the photos that circulate in the Internet using threads posted in Blogs or discussion forums. All these kinds of images or contexts become symbols of recognizable identities. Internet use, therefore, has facilitated the cultural communication between Hong Kong, Macau, Mainland China, and Taiwan. It has also intensified the enlightenment of Chinese cultural identity, showing and highlighting in effect the remnants of recognizable traits in these territories that were once colonized by different states. In essence, they may arguably have formed heterogeneous Chinese cultural identities. This study presents the uniqueness of the formation of Macau identity in comparison to Hong Kong, and how different it was from Hong Kong after the end of the colonial period. This ‘awakening process’, it is argued, provides a new perspective for understanding the attendant connotations and evaluations of cultural identities, and the different perspectives used to understand how the Internet is reshaping the social world. The reconstruction of cultural identity is a global issue and cultural hybridity is an essential element for reconstruction of self-cultural identity in the postcolonial period. This study employs postcolonial theory, along with observation, in-depth interview and online data collection and content analysis that were adapted during the course of the research, in order to discuss this phenomenon
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Nowadays, contemporary art practices have been expanding into fields outside their own borders. According to Claire Bishop (2012), this expanded field of post-studio practices currently goes under a variety of names: socially engaged art, community-based art, experimental communities, dialogic art, littoral art, interventionist art, participatory art, collaborative art, contextual art and (most recently) social practice. By engaging, artists nurture the sense of belonging and search for an identity of the place they inhabit. In Hong Kong and Macao, as well as in the Pearl River Delta and China in general, the speed of urban transformation is forcing artists to reconsider their participation in the city in order to develop a creative place making process that is according to the new identity of the place. By doing so, they are also included in what has been defined as “creative industries” that tries to build a new image of the urban fabric. Linked with this sort of collective attitude, there is also an attempt to find a sense of local identity that has been disappearing in the face of these major developments. Engaging with the city and the communities may constitute, therefore, a challenge for the young generation, especially in hybrid places such as Hong Kong and Macao, where artists find themselves in an effort to understand the core values of their fragmented identity. In this paper we will analyze some projects that artists are doing in both SAR´s, in order to create a sense of place in this state of transition.
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eoi/doi Deposit-Electronic Object Identifierhttp://eoi.citefactor.org/10.11248/ehum.v6i2.1385RESUMO: A aldeia dos índios Potiguara não é somente um aglomerado de casas e pessoas. Trata-se de um espaço social muito mais complexo, somando ao habitat modelos de parentesco, cruzando práticas culturais e economicas, juntando aos humanos bichos e plantas, rotinas de trabalhos e “libertações” de lazeres. A aldeia Potiguara embora se apresente como singular, ela comunicava e continua a comunicar hoje com redes mais amplas de aldeias rurais e indígenas, gerando transformações culturais e sociais profundas. Embora as alterações marquem as mudanças nos habitos da aldeia Potiguara acredita-se que as práticas culturais que se estendem das festas ao turismo das suas aldeias são tão tradicionais como singulares.PALAVRAS-CHAVES: Aldeia indígena – Espaço social – Práticas culturais – TransformaçõesABSTRACT:The village of Potiguara Indians is not only a cluster of houses and people. This is a social space much more complex, adding to habitat kinship models, crossing cultural and economic practices, joining human animals and plants, work routines and "releases" of leisure.The Potiguara village despite presenting as singular, she communicated and continues to communicate today with wider networks of rural and indigenous villages, generating deep cultural and social transformations. Although the changes mark the changes in the habits of the village Potiguara is believed that cultural practices that extend parties to tourism from their villages are so traditional and unique.KEYWORDS: Indian Village - social area - Cultural practices - TransformationsRecebido: 31/08/2014 Aceito: 01/10/2014
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O ponto central da reflexão da obra é o jornalismo produzido na Região Administrativa Especial de Macau – detentora da maior densidade de media no mundo – em língua portuguesa. O autor discute quais as verdadeiras possibilidades de exercício de um jornalismo livre, isento e responsável não apenas na RAEM, mas também em Portugal, demonstrando que nos dois territórios as ameaças existentes são distintas mas reais, o que se traduz no facto de resultarem da conjugação entre o modelo de jornalismo ocidental e a realidade local.O livro apresenta dados concretos sobre questões que são hoje centrais no mundo da comunicação, aferindo o nível de liberdade permitido aos jornalistas para desenvolverem o seu trabalho numa das regiões administrativas da China, e que suscitam uma dicussão sobre temas específicos do dia-a-dia de Macau, como o convívio de diferentes grupos culturais que, coexistindo no mesmo espaço geográfico, utilizam diferentes canais para disseminar e debater informação no espaço público.
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