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In Macao, Special Autonomous Region of China, there are two professional codes of journalists: one by the Portuguese and English Press Association of Macao and the other by the Macao Journalists’ Association, and there is no regulator in the territory or anyone who administers the rules or sanctions the journalists activity. here’s also no cases of known or reported censorship. However, according to the latest human rights report for this small region of Asia, “the Government has taken steps to limit the coverage of unfavorable news”, admitting the practice of self-censorship by the media.
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Este trabalho consiste numa análise multimodal das estratégias discursivas de Bernie Sanders e Hillary Clinton num excerto de um debate sobre as benesses dadas pela senadora norte americana aos bancos no pós-crise económica global de 2008. Bernie Sanders e Hillary Clinton evidenciaram uma linguagem corporal diferente, tanto na posição de locutor como na de interlocutor. No entanto, mesmo utilizando estratégias de comunicação verbal e física diferentes, os gestos utilizados enquadram-se no campo dos gestos recorrentemente observados em figuras políticas em estudos feitos por outros autores. Reforça-se assim a ideia de que os gestos em questão são regularmente utilizados por figuras políticas.
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In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema’s forms of experience and production.
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Malacca Portuguese Creole (MPC) (ISO 639-3; code: mcm), popularly known as Malacca Portuguese or locally as (Papiá) Cristang, belongs to the group of Portuguese-lexified creoles of (South)east Asia, which includes the extinct varieties of Batavia/Tugu (Maurer 2013) and Bidau, East Timor (Baxter 1990), and the moribund variety of Macau (Baxter 2009). MPC has its origins in the Portuguese presence in Malacca, and like the other creoles in this subset, it is genetically related to the Portuguese Creoles of South Asia (Holm 1988, Cardoso, Baxter & Nunes 2012).
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In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.
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This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
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Macao inhabit a population of 683,100. The birth rate has been dropping while the death rate has risen compared to two years ago. Cemeteries are becoming crowded, and burial spots are demanding. In this case, video calls and social media can be the solution. How about our beloved ancestors? Can we video call them on their memorial days? This paper presents a VR experience of immersing oneself in the 3D VR of the Chapel of St. Michael of Macao to create a peaceful atmosphere for grave mourning. The chapel is also a personal space where we can be truly isolated in serenity. It is a retreat to pray, disconnect, and reconnect to the beloved deaths that may not be buried in an easily accessible location. The authors propose a possible future of mourning our loved ones through virtual reality and telepresence: an immersive experience connected with Macao's extraordinary and cultural unicity.
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Virgílio de Lemos (1929-2013), poeta de vanguarda, é um dos precursores da modernidade e experimentalismo como criador do “barroco estético” que ele próprio designou como a linguagem poética marcante nas letras moçambicanas no das décadas de 50 e 60
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African women from different countries and social classes, from those seeking refugee status to diplomats and peasants' daughters, have been arriving in increasing numbers on Chinese shores since the 1980s. The amazing stories of some of these "invisible" but dynamic women have been ignored, yet they reveal great diversity and deserve scholarly attention, as they provide rich material for studies on the African diaspora in China. This article focuses on African migration to Macao, a former Portuguese colony and primary migration destination in the Pearl Delta River Region, which currently hosts the densest African population in China. It explores both the more recent and the relatively longer-term migration of African women and university students to Macao, and examines the intersection of these communities resulting from the overlap between the ongoing global movements of African diasporas and new African migratory trends to China. The article draws on the life stories as well as the educational and entrepreneurial experiences of African women in Macao, and investigates the relevance of ethnic networks of trust and reciprocity for their communities' survival. This article places specific emphais on the experiences of African women, recognizing their achievements in the face of multiple intersections of racism and sexism on the part of both state and society, and reveals how the women employ a resistance strategy by reinforcing ethnic migrant networks.
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Recent scholarly studies and media coverage have primarily focused on China’s increasing presence and sometimes asymmetrical engagement with Africa in tandem with the new trend of Chinese migration to that continent. Yet, the inverse flux of Africans to China and the emergence of African communities in Southern China over the last decades is influencing some areas of the Pearl River Delta Region, and changing the fabric of cities like Guangzhou, Macau and Hong Kong, in a way without precedent. There are representations or exotic descriptions from some mass circulation magazines and newspapers on the infamous Chungking Mansions in Hong Kong or the so-called “Chocolate-city,”an area centered aroundHongqiao, the village-district and Canaan market in the city of Guangzhou, with its arcades and strip malls filled with ethnic businesses and transnational migrants. In Macau, significant concentrations of African population of different origins are also seen in the “Papa pun” commercial center or in downtown areas. Despite many studies devoted to the “ethnoburbs” in other latitudes, only very recently, these entrepreneurial African communities in Mainland China are starting to become worthy of serious scholarly attention. Yet,there is total absence of studies dealing with the presence of more and more African students and the cultural manifestations of African communities well portrayed in the new African cinema, in music produced by Afro-Chinese bands or even singers.Besides a continuing inward flow of transient Africans who come to China for business on a regular basis, a significant number of settler African traders, particularly Nigerians, have already married local Chinese women, set up families, autonomously run their businesses without recourse to Chinese intermediaries, and established a web of informal and formal committees representing their home nations and states, to solve disputes while maintaining personal and business links with Africa. Besides, those emigrant ‘bushfallers’ who are coming to China solely for business purposes, a new form of “silent” migration of Nigerians comprising students from different backgrounds is enrolling in higher education institutions in the Macau Special Administrative Region of China. These students are coming to pursue their studies or to seek a job to pay their student fees at the margin of the PRC scholarship and stipendprograms for visiting African students that were popular in China in the 1960s and mid-1970s as part of CCP’s foreign policy for Third World aiming friendly relations with Africa. Today, these “transnational” Nigerian students are in their own way affirming their identity and difference, in southern China, in particularly in Macau SAR, thanks to their network of multiple interrelations across nation-states from Africa to Asia and to a combination of perseverance, zeal, and gentleness without subservience. Although they have not been targets for the hostility and even violence like the Shanghai incident of July 1979 or the Nanjing protests in December 1988 at Hehai University targeting African students, today these Nigerian students are facing more subtle forms of ethnocentrism and legal discrimination from immigration laws to daily practices, which always try to associate their citizenship to problematic or easy stereotypes of scam or colour. Yet, at the same time, everything seems to indicate that these newcomers are quick adapting and finding new forms of negotiating their social integration in the Chinese local society which in turn is offering more opportunities.This paper is part of a more ambitious project which aims to assess the new forms of migration from Africa to China and from China to Africa as well as their impact and contribution of globalization. First, this paper considers why and how Macau has evolved from a Portuguese outpost where slavery was a an institutionalized commodity to special administrative region of China where a new urban African community, mostly composed by Nigerian students, is in formation due to opportunities and rapid changes occurring in the region in the first years of the twenty-first century, by comparing the new to old African communities of students and business people/migrant workers from former Portuguese colonies (Angola, Cape Verde, São Tomé and Príncipe, Guinea-Bissau, and Mozambique).Finally, borrowing the title from a sequel movie with the same title of the promising New African cinema, the paper focus on the “China Wahala”or the troubles of these Nigerian students through their tales of their experiences of racism(s) and their negotiations and responses which radically contradicts not only the slogans of cultural diversity propagated by the official discourse and tourist channels as these Nigerians are confronted daily with often dramatic situations ranging from indifference and ostracism to exclusion.
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<em>Gale</em> OneFile includes Macao Caught between the "Tropical China&q by Isabel Morais. Click to explore.
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