Mexican region that highlights the Hispanic past as part of its identitydiscourse. 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
Lukas K. Sosoe
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 identitydiscourse. 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 identitydiscourses in Chile between 1780 and 1870.
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 identitydiscourse 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
“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 identitydiscourse, because it is built on a relationship
an identitydiscourse 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 identitydiscourse 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