His most recent book seeks to uncover the significance of visual art in the making of national identity in France and Britain, which presents an original typology of national art Smith John Hutchinson has done much to enrich the understanding of cultural nationalism.
Here he also discusses the relationship of cultural nationalism to religion, suggesting that cultural nationalists must either appropriate religious myths and symbols or find alternatives. More recently, Hutchinson has focused on the role of contestation in the endurance of national communities, suggesting that the often intense struggles among nationalists over national identity can paradoxically serve to reify the nation Hutchinson He has also recently disavowed the commonly-held view that cultural nationalists will invariably turn to organic myths and symbols of common descent, suggesting that they may be just as predisposed to characterise the nation as a voluntary community grounded in civic principles Hutchinson Interestingly, Yoshino finds that it is the businessmen who are the more committed carriers of the ideas of the intellectuals.
The study of postcolonial nationalism in Asia and Africa has contributed much to our understanding of cultural nationalism. This dynamic has recently taken on particular importance.
This even had an impact on the study of nationalism in the former metropole, in which scholars have focused on the cultural politics of the formerly colonised who now make their home in Britain e.
Gilroy ; Hall A central figure in the study of postcolonial nationalism is Partha Chatterjee. Chatterjee subsequently applies his approach to a study of the emergence of a national ideology in Bengal through attention to a wide variety of cultural practices, while also focusing on efforts by marginalised groups within India to make claims for their inclusion in the emergent national discourse.
The challenge of constructing novel national identities also characterises settler nationalism. The significance of gender for cultural nationalism has begun to attract increasing attention. An earlier intervention in this area of research by George Mosse observes that the rise of nationalism in Europe coincided with the widespread acceptance of the patriarchal family. A landmark book by Nira Yuval-Davis has provided a catalyst for research on the gendered symbolism of nationalism.
An important area of research asks questions about the persistence of cultural nationalism in an era characterised by the increasing globalisation of culture. For many scholars, globalisation undermines nationalism. Until recently, the view that American cultural dominance was leading to the cultural homogenisation of the world was widespread. Others, such as Anthony Giddens , have suggested that globalisation produces a paradoxical simultaneous movement away from the nation towards large-scale continental identities and much smaller, local identities.
Pointing to the proliferation of new imagined worlds that do not readily fit within a national schema, Arjun Appadurai suggests that global flows are leading to new forms of identification. Against the arguments that globalisation and nationalism are inimical, Smith and Hutchinson have mounted an impressive alternative reading.
Taking a long-view of globalisation as a process that has been underway for centuries, Hutchinson , 75 suggests that ethnicity and nationalism are actually engendered by globalisation. Arguments over the impact of globalisation have been prevalent in the study of film and cinema. In an analysis of the film Braveheart, Tim Edensor , chapter 5 shows how a film made in Hollywood, whose largest audience was American, had significant impact on Scottish nationalism.
Cultural Nationalism in itself was a practice of black liberation. It allowed black people to articulate their own history and reality through their experiences, and not from the perspective of white people. It gave black people the power to create their own representation in the media.
Black people were refusing to participate in their own subordination, by upholding themsleves to European standards. Although often times branded as unpatriotic of anti-white, cultural nationalism's sole purpose was to promote the ideology that many cultures can coexist within one society and not just one. It promotes the ideology that black people need refuge and safe places in what is familiar.
It gave a voice to the voiceless, and a face to the invisible. Chicano cultural nationalism played out primarily through the Chicano art movement, which emphasizes the appreciation, preservation, and continuation of Chicano culture and demanded recognition in the artistic zeitgeist of America.
Throughout the first half of the 20th century, advertisers and traditional art institutions explicitly ignored and rejected Chicano interests and works, suppressing Latin culture.
The group then spray painted their names on a wall of the museum building and took a picture to create Spray Paint LACMA, now an iconic photograph. Thus, many activists took up art, learning to paint, dance, act, write or sing, and taking an interest in art history.
This pamphlet, an agenda for a Chicano art festival, is representative of not only the emphasis on creating and sharing traditional Latin art, but also the often blurred and mixed nature of culture, acknowledging that Chicano art and culture draws on black, Asian and anglo cultural traditions as well.
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