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To browse Academia. Susy Zepeda. Often times, it is through collaboration and ceremony across generations and with sacred elements that the stories are formed and hidden histories are unearthed. This article demonstrates how art and cultural production can be a form of decolonization.
By focusing on the vision of transformation of queer Indigenous artists and cultural producers, I demonstrate how they construct decolonized knowledge that simultaneously reconceptualizes the past, present, and future for Xican s and Latin s. Significantly, the historical memory constructed by these cultural producers offer critiques of U. Abdi Osman. Referencing social media works by African, Muslim, non-binary trans artist Maroodi, Abdi Osman discusses the ways in which the legacies of colonialism and imperialism shape debates on sexual minority cultures in the African, Black, and Muslim worlds.
Robert Diaz. Denzel Yorong. This study is concerned with how moving images linguistically participate in the meaning-making of queer and the theoretical prospects of New Queer Cinema.
Mobilizing Burn's kineikonic method of metamodal analysis, the study reveals how these spaces are configured with oppressive heteronormativity, but are also actively challenged by the queer's subversive possibilities, ultimately articulating how the film, as a kineikonic text, renders these spaces as dense sites of resistance and negotiation.
