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Eine kulturelle Geographie der Ökonomie
Deutschsprachiger Rap seit 2000. 20 Einzeltextanalysen
Interkulturelle Perspektiven auf Raum, Identität und Literatur

Mexican region that highlights the Hispanic past as part of its identity discourse. Meanwhile, Oaxaca is famous because of the Guelaguetza, an indigenous traditional festival whose roots go back in time for five centuries. Focused on cultural change and sustainability, tourist perception, identity narrative, and city theming, the analysis included anthropological and urban views and methodologies. Results show high contrasts between the analyzed events, due in part to antagonist (Indigenous vs. Hispanic) identities. Such tension is characteristic not only in

61 Lukas K. Sosoe CRITICAL NOTE. IS AFRICAN PHILOSOPHY DIFFERENT? In this paper I will apply the notion of the making and unmaking of differ- ences to discussions on the existence of an African philosophy which is—as I want to show—an identity discourse. My proposal is that Africans should look in other directions for the emergence of genuine African philosophy since the cultural elements exhibited to be the basis of African identity are neither spe- cifically African nor are they the self-images of the Africans themselves; rather, they are the images


national identity discourses in Chile between 1780 and 1870. Email: Schwarz, Tobias, is Senior Researcher at the ‘Global South Studies Center Cologne’ at the University of Cologne. He holds a PhD in ‘Europäische Ethnologie’ from Humboldt-University in Berlin, where he studied Cultural Studies and Sociology with an emphasis on immigration policies, the administration of foreigners, and the contemporary German discourse of expulsion. His current research project focuses on naturalization ceremonies in the Global South. His regional

Beitrags Taiwans auf der Venedig-Biennale weiterhin spielt), merkt Sophie McIntyre an: »The TFAM played a critical role in the legitimization and advancement of this identity discourse and the TFAM Director, Chang Chen-yu (張振宇), who was directly appoin- ted by the DPP, was a renowned advocate of Taiwan independence. During his short tenure, lasting a mere nine months (September 1995-June 1996), Chang initiated the landmark exhibition ›Quest for Identity‹ (台灣藝術主體), which was the first curated Taipei Biennial of art held in 1996 and which marked a critical turning

, said: “We often support the following position: Contemporary art is first of all international. The universal dimension of art is paramount. Its logic is op- posed to any location” (Giordan 2004). However, it is precisely this per- 2 For further details on the Italian newsreels cf. Sainati 2001; Mazzarelli 2010; and Frabotta 2001. 104 | CATALINA RAVESSOUD, GIANNI HAVER ceived ‘universal’ character of the art which allows the production of a na- tional identity discourse, because it is built on a relationship

an identity discourse for displaced northern Sudanese communities in Cairo, a conclusion drawn from personal experience. Through the dual processes of negotiating my roles as ‘spouse’ and ‘researcher’, I learned much about the problems inherent in the use of labels and labeling, the epistemological process of ‘making’ gender (Ortner 1996), and the nature of ‘authenticity’ itself. When I first embarked on my field research, I expected that I would have to deal with, and overcome, the various labels attached to my position in the global order, such as ‘American

differences by pointing at a common, generational perspective? Quite naturally it then too became a hot topic between the “German” and “Israeli” groups, when we first met in Jerusalem, and it determined the dynamics of the interaction process. Suddenly it was not possible anymore to rely on theoretical analyses, we were thrown back to our own situativeness in the identity discourse we aimed at getting rid of. The more we “Germans” tried to distance ourselves from any notion of a national identity that inescapably creates personal links to the Nazi past, and aimed