STPEC 493H, Art, Activism and African Diasporas in Contemporary Europe
THURSDAYS from 4:00-6:30, Fall 2012. Instructor: Anna Schrade
Syllabus (subject to change)
Decolonial thinkers approach the connection between racism and the current configurations
of citizenship and belonging in Europe (and beyond) not from the perspective of the
theories, rules, laws and social structures that created them, but from the perspective of the
resistances to them, thereby empowering culture and the production of counter-realities to
the dominant orders as sites and ground of such resistances. This course aims at discussing
new forms of activism and artistic practices that relate to this notion of resistance by
locating them within the ‘cultural’ politics of their respective afrodiasporic formations as well
as within the framework of national and/or European Union regulative policies. Examples
include new forms of activism and artistic practices that were developed in the context of
the Black Art Movement in Britain, the Afro-German, Queer of Color and Turkish-German
communities and Black and Beur identities-in-difference in France.
Sep. 6
Course overview and introduction/course expectations
Sep. 13
(African) Diasporas (Discussion of Readings)
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Clifford, James (1997) Diasporas. In: Routes. Travel and Translation in the Late
Twentieth Century. S. 244-277.
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Patterson TR, Kelley RDG (2000) Unfinished migrations: reflections on the African
diaspora and the making of the modern world. In: African Studies Review 43(1), pp.
11-45.
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Brent Hayes, Edwards (2001) The Uses of Diaspora. In: Social Text 66, Volume 19,
Number 1, Spring 2001, pp. 45-73.
Sept. 20
Dimensions of Diaspora in Europe (Discussion of Readings)
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Gilroy, Paul (1993) The Black Atlantic as Counterculture of Modernity. In: The Black
Atlantic. Modernity and Double Consciousness, pp. 1-40.
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Blakely, Allison (2009) The Emergence of Afro-Europe: A Preliminary
Sketch In: Black Europe, pp. 3-28.
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El Tayeb, Fatima (2011) Dimensions of Diaspora: Women of Color Feminism, Black
Europe and Queer Memory Discourses. In: European Others, Chapter II, pp. 43-80.
Sept. 27 Race in Europe (Discussion of Readings)
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El-Tayeb, Fatima. 2008. The Birth of a European Public: Migration, Postnationality,
and Race in the Uniting of Europe. In: American Quarterly - Volume 60, Number 3,
September 2008, pp. 649-670.
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El-Tayeb, Fatima (2011) European Others, Introduction, pp. xii-xlvi.
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Lentin, Alana (2008) Europe and the Silence about Race. In: European Journal of
Social Theory 2008, p.487 – 503.
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Stam, Robert and Ella Shohat (2011) The Culture Wars in Translation. In: Ribeiro
Sanches, Manuela et.al (eds.) Europe in black and white: immigration, race and
identity in the 'Old Continent' [electronic resource] pp. 19-34.
Video screening: Hall, Stuart (1997) Race the floating signifier. Video. Media Education
Foundation. 62 min.
Oct. 4 National Configurations in Comparison: Germany, France and Britain. (Discussion
of Readings)
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Lindner, Ulrike et.al (2010) Hybrid Cultures – Nervous States. Britain and Germany in
a (Post)Colonial World. (Electronic resource) Introduction p.xii –xlvi.
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Schiffauer, Werner et.al (2004) Civil Enculturation. Nation-State, School and Ethnic
Difference in the Netherlands, Britain, Germany and France. Introduction and Chap. 3
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Brubaker, Rogers (1992) Citizenship and Nationhood in France and Germany,
Introduction and Part I: The Institution of Citizenship. pp. 1-72.
Oct. 11
Key-Texts on Artistic (Counter) Territories (Discussion of Readings)
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Munoz, José Esteban (1999) Disidentifications. Queers of Color and the Performance
of Politics, Chapter 1 (Famous and Dandy like B.’n’ Andy. Race, Pop and Basquiat), pp.
37-56.
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Araeen, Rasheed (2011) Art and Postcolonial Society. In: Harris Jonathan (ed.)
Globalization and Contemporary Art, pp. 366 – 374.
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Papastergiadis, Nikos (2011) Collaboration in Art and Society. A Global Pursuit of
Democratic Dialogue. In: Harris Jonathan (ed.) Globalization and Contemporary Art,
pp. 277-288.
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Verstreate, Ginette (2010) Diasporas in the B-Zones. Artistic Counterterritories. In:
Tracking Europe. Mobility, Diaspora and the Politics of Location. Chapter 5, pp. 111134.
Black German and Queer of Color Territories in Germany
Oct. 18 Afro-German Spoken Word Interventions: May Ayim, Olumide Popoola, and
Phillip Khabo Köpsel (Student Presentation and Discussion of Readings)
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Al Samarai, Nicola Lauré (2005) History, Theory, Experience: Aspects of Diaspora in
Black German Feminist Thought.
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El Tayeb, Fatima (2011) Stranger in my own Country. European Identities, Migration,
and Diasporic Soundscapes. In: European Others, Chapter 1, pp. 1-41.
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Popoola, Olumide and Beldan Sezen (eds.) Talking home: Heimat aus unserer eigenen
Feder: Frauen of Color in Deutschland. (selected readings)
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Khabo Köpsell, Philipp (2010) Die Akte James Knopf. Afrodeutsche Wort-und
Streitkunst. (selected readings)
Film screening: Hope in my Heart. The May Ayim Story/ or: Black Deutschland by Oliver Hardt
Oct. 25 ‘Kanak Attak’: Agit-Prop and the Formation of Counter Publics (StudentPresentation and Discussion of Readings)
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Heidenreich, Nanna and Vojin Saša Vukadinović (2011) In Your Face: Activism, AgitProp and the Autonomy of Migration. The Case of Kanak Attak.
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Göktürk, Deniz (2009) Postcolonial Amnesia? Taboo Memories and Kanaks with
Cameras. In: Langbehn, Volker (ed.) German Colonialism, Visual Culture, and Modern
Memory, pp. 278-301.
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El Tayeb, Fatima (2011) Because it’s our Stepfatherland. In: European Others, Chapter
4, pp. 121-161.
Video screening: ‘Recolonize Cologne’ and ‘White Ghetto’ a.o.
Nov. 1 Ingrid MwangiRobertHutter (Student-Presentation) and Guest Lecture by Prof.
Daniel Kojo Schrade, Hampshire College
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Nagl, Tobias (2011) Afrolization. Blueberry Hill Dub. In: Schrade, Anna (ed.) AfroSat I.
Revolver Verlag, Berlin.
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Njami, Simon (2003) Memory in the Skin: The Work of Ingrid Mwangi. In: Farrell,
Laurie Ann (ed) Looking Both Ways. Art of The Contemporary African Diaspora, pp.
145-153.
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IngridMwangiRobertHutter (2002) Ripples. A resume of personal thoughts about art
and changing the world and other texts at:
http://www.ingridmwangi.de/ingrid_mwangi_robert_hutter/home.html
Performing Black and Beur Identities-in-Difference in France
Nov. 8 Barthelemy Togou - ‚Transit‘ (Student-Presentation and Discussion of Readings)
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Pfeffer, John (2005) The Diaspora as Object. In: ArtAfrica ?? and other texts at:
http://www.barthelemytoguo.com
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Stovall, Tyler (2003) National Identity and Shifting Imperial Frontiers: Whiteness and
the Exclusion of Colonial Labor After World War I. In: Representations vol 84, No.1,
pp. 52-72.
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Rosenberg, Clifford (2006) The Evolution of Immigration Control. In: Rosenberg,
Clifford Policing Paris: The Origins of Modern Immigration Control Between the Wars,
Chapter. 2.
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Marquèz, John D. (2010) Nations Re-bound: Race and Biopolitics at EU and US
Borders. In: Ribeiro Sanches, Manuela et.al (eds.) Europe in black and white:
immigration, race and identity in the 'Old Continent' [electronic resource] pp. 39-51.
Nov. 15 Zoulikha Bouabdellah – ‘Danson’ / Zineb Sedira –‘Mother Tongue’ / Campement
Urbain ‘Je et Nous’ (Student-Presentation and Discussion of Readings)
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El Tayeb, Fatima (2011) Secular Submissions. Muslim Europeans, Female Bodies, and
Performative Politics. In: European Others, Chapter 3, pp. 82 – 120.
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Keaton, Tricia Danielle (2009) Black (American) Paris and the French Outer
Cities: The Race Question and Questioning Solidarity. In: Black Europe, pp. 95-118.
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Edith Marie Pasquir. Zineb Sedira. Letters of transit, in: Laurie Ann Ferrell (2003)
Looking Both Ways. Art of the Contemporary African Diaspora, S.153 – 161.
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Zineb Sedira in Collaboration with Jawad Al-Nawab (2005) On Becoming an Artist:
Algerian, African, Arab, Muslim and Black British? A Dialogue of Visibility. In: Baily
David. A. et. al. (eds.) Shades of Black, pp. 67-77.
Thanksgiving Recess
‘Black Arts’ in Britain
Nov. 29 The Black Audio Film Collective: John Akomfrah: Handsworth Songs (1986)
(Student-Presentation and Discussion of Readings)
Gilroy, Paul (2007) Black Britain. A Photographic History (Preface by Stuart Hall)
Hall, Stuart (2005) Assembling the 1980s: The Deluge – and After. In: Baily David. A. et. al.
(eds.) Shades of Black, pp. 1-21.
Araeen, Rasheed (2005) The Success and Failure of the Black Arts Movement. In: Baily David.
A. et. al. (eds.) Shades of Black. pp.21-35.
Film screening: ‘Handsworth Songs’ by John Akomfrah
Dec. 6 Sonja Boyce – Nation and Narration and Final Discussion
‘Sonia Boyce’ In: People [electronic resource] / 4 Learning (Firm), New York, N.Y. : Films
Media Group, [2007], c2003.
Tawadros, Gilane (1997) Sonja Boyce. Speaking in Tongues. Exhibition Catalogue.
COURSE PARTICULARS AND EVALUATION CRITERIA
IN STPEC 493H: ART, ACTIVISM AND AFRICAN DIASPORAS IN CONTEMPORARY EUROPE
>PLEASE READ CAREFULLY<
ATTENDANCE AND CLASS PARTICIPATION: Regular attendance, preparation for class and
active participation in class discussions are basic expectations for this course. You must come
to class on time. Persistent tardiness is unacceptable under any circumstances. I will only
accept three excused absences. If you can not come to class please write me an email on the
very same day and explain briefly the reason for your absence. I will NOT accept unexcused
absences.
READINGS AND QUESTIONS FOR DISCUSSION: It is very important that you come prepared
to class. Complete the readings prior to class meetings, otherwise you will not be able to
contribute to class discussions. Our goal is to build a learning community where we all can
feel comfortable and equally engaged. Except for the sessions of student presentations, I’ll
send around questions for discussion related to the readings of the following week every
Tuesday evening and those questions will serve as guidelines for our discussions of the
readings, the films and other visual materials. But you should also bring in your own
questions to our discussions and therefore prepare the readings carefully.
RESPONSE PAPERS: Each student will write a weekly response paper. The response papers
should be no shorter than 2 full double-spaced pages in length. Each paper is an opportunity
to take class discussions further and to explore in greater depth the readings, the artworks
and the concepts and ideas discussed in the course. A good response paper should strike a
balance between demonstrating an effort to understand an author’s argument, while
reflecting on your own response to and questions about the ideas presented. But the
response paper form is also intended to allow you to express your doubts and uncertainties
– you need not have reached a final conclusion about the ideas you are considering.
STUDENT PRESENTATION AND DISCUSSION FACILITATION: Each student will prepare and
execute a 20-30 minute presentation on one of the artists or artist collectives indicated in
the syllabus. I’ll provide you with some basic materials for your presentation but additional
research is needed and expected. Following the presentation, the presenter will lead the
class in a meaningful discussion about their subject.
 Please plan on meeting with me on September 20th (before or after the class) to
discuss your presentation.
FINAL PAPER: For your final paper, you should choose a manageable theme closely related
to our course that corresponds with your interests. Ideally your presentation should result in
your final paper but you can also come up with your own theme and discuss it with me. Your
final paper should be 12-15 pages in length and include your analysis and comparison of at
least three texts, artworks or films we have covered in class. You should demonstrate clear
ideas by presenting your own original analysis and thoughts. However, you should support
your arguments textually and draw broader connections between your themes and
arguments and other themes of the course.
 Please plan on preparing an outline and meeting with me during the week of
November 15th (before Thanksgiving) to discuss your final paper. Due Date Friday, December
14th.
COURSE EVALUATION POLICY: Attendance and active participation in class discussions 30%,
response papers 15%, student presentation 25%, final paper 30%.
NO LAPTOPS: UNLESS OTHERWISE NOTED, YOU ARE NOT ALLOWED TO USE YOUR LAPTOP,
CELL PHONES, IPOD, ETC. DURING COURSE MEETINGS.