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Lecture - Diasporic Convergences-Intersecting Narratives of Migration within South Asia, Africa and Canada
A special EAHR symposium featuring talks by Jon Soske and Sharlene Bamboat, in which they will engage with issues that are related to the South Asian diaspora.
Jon Soske is an Assistant Professor of History and Classical Studies at McGill University, and he will discuss two projects that appeared independently in 2009--South-South: Interruptions & Encounters and Chimurenga 14: "Everyone Has Their Indian"--reflecting on different literary and aesthetic strategies of "mapping" the intersecting histories of Africa and South Asia. Well, not exactly, since the maps in question lead to a different place each time one tries to use them, and when one finally returns to where one started, whether "Africa" or "India," the meaning of the each term has been enriched and displaced by the other, creating geographies of unlikely inheritance and difficult intimacies.
Sharlene Bamboat is a Toronto-based artist who will be speaking about her film, video and performance practice, in relation to her programming experience for both SAVAC (South Asian Visual Arts Centre) and the Pleasure Dome Experimental Film & Video Collective. Bamboat will also discuss MONITOR, SAVAC's annual South Asian experimental film and video program; opening up the archive of work from the last 7 years to speak about the shifting nature of identity markers within the diaspora, as well as shifts in politics within a global context. Her discussion will also address the challenges programmers face within a specific South Asian context in Toronto, as well as the ways in which her curatorial and art practices attempt to push the boundaries of conceptual art.
Diasporic Convergences-Intersecting narratives of migration within South Asia, Africa and Canada has been organized by Ethnocultural Art Histories Research (EAHR), a 100% student-driven work group that engages with issues of cultural representation in the visual arts in Canada.
EAHR's activities are made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and the Department of Art History at Concordia University.
