Trauma, space and embodiment: the sensorium of a divided city

Koureas, Gabriel

doi:10.1386/jwcs.1.3.309_1

Cited by 5 publications

(3 citation statements)

References 6 publications

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“…Embodiment has been unpacked in a variety of conflict contexts: embodiment as memory work (Conway, 2007; Frankel, 2019; Ribeiro de Menezes, 2014), embodiment and conflict trauma (Gobodo‐Madikizela, 2020; Koureas, 2008), the gendered dimensions of embodiment (Fisher, 2011; Inkle, 2014), and how embodiment unfolds under the occupation (Bishara, 2015; Cooperman, 2021; Sasson‐Levy and Rapoport, 2003; Shalhoub‐Kevorkian, 2017). In the case of embodiment under occupation, Rema Hammami considers a neglected aspect of the occupation: moving away from the regular analyses of the spatial dimensions of the conflict and Israel's technological advances, she suggests that we look at “the embodied dirty work at its core” (2019, p. 87).…”

Section: Embodied Edgelandsmentioning

confidence: 99%

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

Gandolfo¹

2023

Sociology Lens

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The carceral edgeland occupies a unique position. At times, it is acknowledged; at others, it remains unseen by those outside its boundaries. In cases where the edgeland is architectural, such as a prison or a detention center, it can prompt viewers to consider the power dynamics exercised within. This article, however, is concerned with the possibilities for the edgeland to be moveable and embodied. Focusing on the transformation of the area of Masafer Yatta in the occupied West Bank into a military training zone, the article shifts the discourse from the connection between the edgeland and the symbolic power of carceral architecture to suggest alternative carceral edgelands: the occupying edgeland, wherein the moveable and embodied converge to form a tapestry of edgelands. The Israeli military presence varies in intensity, yet the result is the realization of Achille Mbembe's ‘infrastructural warfare’ (2003) that manifests through the moveable edgeland, and second, the embodied edgeland that is enacted by the military personnel who symbolize the state. In Masafer Yatta, the army's long‐term presence has had an impact on the communities that evokes Lauren Berlant's ‘political depression’ (2011). Building on Paul Farley and Michael Symmons Roberts' recognition of multitudinous edgelands (2012), this article suggests that there can be multiple carceral edgelands at one site, all of which facilitate exclusion and political depression through enclosure, whether through fences, walls, or moveable checkpoints.

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Section: Embodied Edgelandsmentioning

confidence: 99%

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

Gandolfo¹

2023

Sociology Lens

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“…Secondly, and drawing on ongoing debates also hosted by this journal on divided cities (e.g. Diez & Hayward, 2008;Kostovicova, 2004;Koureas, 2008;Marshall, 2013;Rafferty, 2012;Shirlow, 2006), we wish to push forward and revitalize the discussion about how to approach and frame research in these politically fragile environments. By engaging with complexities, we are not arguing that cities like Mostar (i.e.…”

Section: Contributions Of the Special Issuementioning

confidence: 99%

Challenging the representation of ethnically divided cities: perspectives from Mostar

2019

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In this introduction, we discuss the scope of the edited volume by outlining the position of Mostar within much broader academic debates on 'ethnically divided cities'. We question the representations of such contested cities as hopeless spaces of division, and suggest to explore instead the cracks that challenge overpowering logics of partition: the self-directed attempts at inter-ethnic solidarity, grassroots movements for social justice and dignity, and the inconsistent ways people in these cities inhabit and perform ethnic identities. We also introduce the themes of this Special Issue; Divided Cities as Complex Cities; Memories, Affect and Everyday Life; and Grassroots Politics.

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“…Koureas thought about the installation. According to him, if the impact of a painting is limited to colour and visual space, then installation art can create a multi-sensory experience [18]. The installation asks the viewer to immerse themselves in the space and sometimes interact with it, to be a part of it.…”

Section: Introductionmentioning

confidence: 99%

Lampah: expression canvas of Java’s spirituality in the new media art

Wibisono,

Sunarto,

Soewarlan

2022

Int. J. Vis. Perform. Arts

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Malioboro is an integral part of the architectural artwork of the city of Yogyakarta, which is full of meaning, philosophy, and noble values of Javanese culture. Currently, Malioboro has developed into a tourist area and a quite existing public cultural space. However, along with the times, the philosophical meaning and noble values embedded in the architecture of the city of Yogyakarta by HB I as the founder of Ngayogyakarta Hadiningrat seem to be unclear and increasingly difficult to read. The video art installation Lampah is a form of creative response to the existence of contemporary Malioboro as a public space as well as a meaningful piece of architectural art. By using interpretative-subjective approaches and artistic methods, the creator reads this phenomenon and represents it in the form of Lampah artwork. As a contemplative space, 'Lampah' also offers an alternative way to transform Javanese noble values and spirituality by using idioms and ways of speaking in Javanese culture. Models in architecture are used to complete the design of this work. It is hoped that this concept can provide new insights and discourses in art, especially new media art

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Trauma, space and embodiment: the sensorium of a divided city

Cited by 5 publications

References 6 publications

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

A Tapestry of Edgelands: Defining Carceral Edgeland(s) in Masafer Yatta (Firing Zone 918)

Challenging the representation of ethnically divided cities: perspectives from Mostar

Lampah: expression canvas of Java’s spirituality in the new media art

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