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Founder of the collectives Casa Drag Latina and House of Gad, Gad Yola is an Afro-Peruvian multidisciplinary artivist based in the city of Madrid. As part of a trans-Atlantic Latinx queer media history, Gad Yola's career allows us to inquire about what can be described as transvestite, antiracist, and transfeminist drag "positioning" against injustices happening on both sides of the Atlantic. Be this their rejection of state violence in Peru, their support for the massive regularization of migrants in Spain, their critique of the racist gaze, or their celebration of brown bodies, Gad Yola's interventions significantly contribute to the cultural articulation of antiracism in Spain. The following interview will consider the digital and feminist interrelation by focusing on Gad Yola's identification with antiracism, transfeminism, and their references, as well as on the use of social networks as identity and community resources. [ABSTRACT FROM AUTHOR]

This biology lesson uses the science of central dogma to "critique and question the politics of representation that systematically devalue[s] Blackness" (hooks, 131). Students' understanding of protein synthesis is extended in discussing melanin and its significance to protecting the body from harmful radiation from the sun. Through data analysis, students are able to explain the function of melanin and the evolutionary benefits to various skin colors. In addition to a discussion on the biology of skin color and the gene responsible (mc1r), students engage in a lesson that is culturally relevant/responsive. Through challenging racist ideologies and understanding the biology of skin color, students are the center of discussions on racism and the impacts of the social construction of race. The title "Black is Beautiful" is inspired by Jamaican reggae artist Chronixx and the work of Michelle Grace Williams, "They Never Told Us Black is Beautiful: Fostering Black Joy and Pro-Blackness Pedagogies in Early Childhood Classrooms." Through artivism, students challenge eurocentric ideologies on beauty and genius through literary or visual arts. In addition to being an act of activism, artwork will also demonstrate an understanding of melanin's role. [ABSTRACT FROM AUTHOR]

The synchronic analysis of the contemporary cultural life in the Latin American communicative community shows that the art of embroidery, traditionally transmitted from generation to generation mainly by women, undergoes significant changes in terms of values. Embroidery has come to be perceived not as an applied art but as one of the fine arts as it has evolved from a simple decorative process toward the transmission of meanings, emotions, and ideas through methods of working with fabrics and threads specific to a particular nation. Since the second half of the 20th century, the «intimate» art of embroidery has become collective. It has spread beyond people’s homes to be practiced in garment workshops, hence fostering a space of communication between artisans and allowing them to work together, in unison. The public space created around embroidery gradually goes beyond workshops and begins to embrace broader sectors, encouraging numerous dialogues, namely those between seamstresses and authorities, between artisans from different workshops, from different towns, cities and countries. By exposing injustice and the denial of human rights embroidery has become an international instrument of social and political struggle. The authors of this study examine embroidery within the framework of Latin American artivism and define it as a traditional form of protest art in the region. The diachronic analysis of Latin American embroidery of the past century is instrumental in shedding new light on certain events of regional history. Thus, embroidery has become an invaluable encyclopedia of people’s heroism in their struggle against inequality and oppression.

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The body occupies a prominent place in the social sciences literature, where it is understood to be an important social marker. The body is either used to classify and supervise individuals and certain social groups, or as a tool for individual agency. The body might, for this reason, be conceived as a political device in the sense that the structures of power and dominant groups have always applied methods or control, surveillance and regulation over it. Thus, several social groups have, throughout history, been stigmatised, diminished or supervised based on their skin colour, gender or sexual orientation. Equally, the body also functions as a tool of resistance, disruption and afront to the ruling norms and the status quo. In this article, we base our arguments on research developed in Portugal on young people's activism and citizenhood. Our project focussed on creative forms of engaged citizenship and political participation encompassing a range of practices, particularly in the context of artivism. This article is based on interviews conducted with young artivists, focussing on the way in which the body assumes a central role in their political efforts and artistic practices. We have concluded that it occupies a prominent place in their discourses, becoming either a source of inspiration or a tool for their artivist endeavours. [ABSTRACT FROM AUTHOR]

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As the mainstream representations of the contested space of the U.S.-Mexico border often neglect to reflect the diversity of border stories and miss rhetorical dimension, the aim of this paper is to analyze Ana Teresa Fernández’s most recent act of border artivism – her performance, At the Edge of Distance (2022) and its documentation, from the visual rhetoric’s perspective. This analysis is to examine the argumentative power of images created by the artist as well as their function. The article explores versatile border stories Fernández’s paintings convey and analyzes how they function as a call for action – to challenge hostipitality Latinx experience in the U.S. and replace it with acts of transborder conviviality.

Recently, two deadly garment factory disasters in Dhaka, Bangladesh – the 2012 Tazreen Fashions factory fire (117 killed; over 200 injured) and the 2013 collapse of Rana Plaza, an eight story complex including garment factories (1,135 killed, over 2,500 injured) – inspired a series of artworks addressing globalisation, gendered labour exploitation, memorialisation, and the power of empathy. This essay explores the work of four visual artists: Robin Berson, Taslima Akhter, Reetu Sattar, and Dilara Begum Jolly. Each engages in physically and/or emotionally challenging creative processes, including enactments of repetitive garment labour, weaving the names and faces of deceased workers into textiles, and displaying personal effects such as family photographs salvaged from the ruins of the destroyed factories. In this way, the artists call attention to the human cost of so-called 'fast fashion' and agitate for moral responsibility in the face of these disasters. More universally, this essay offers examples of how visual art can expose the causal dimensions of structural violence and socio-economic power imbalances while also memorialising, expressing solidarity, and aiding with community healing. [ABSTRACT FROM AUTHOR]

Scientific authorities increasingly caution that industrialised nations need to implement substantial transformations to meet environmental targets. To mobilize people for this transformation and press for policy reforms, socio-environmental movements combine strategies from art and activism. While existing studies conceptualise this phenomenon asartivism, empirical research on the design, function, and reception of social movements' artivist practices remains scarce. Therefore, this article examines the socioenvironmental movement Extinction Rebellion's (×R) art-actions. Through visual analysis and focus group research, it analyses five of XR's recent art-actions in the Netherlands, their design and their reception among the activists and their target group. Drawing on Susanne C. Moser's ten tasks for transformative climate change communication, we argue that XR's art-actions use principles of transformative communication to serve movement-external goals, such as awareness-raising and mobilization, as well as movementinternal goals, such as the sharing of emotions and the prevention of activist exhaustion. Our analysis then shows that XR's art-actions often succeed in reaching movement-internal goals. Regarding movement-external goals, our findings indicate that XR's artactions carry potential in mobilizing an ecologically aware audience for environmental action. The realisation of this potential, however, hinges on striking a careful balance between salient-image, specific call for action and positive outcome. Overall, we emphasize the relevance of considering the internal and external dimensions of artivism in social movement research and practice - and we show how reception research can serve this endeavour. [ABSTRACT FROM AUTHOR]

This article is the result of research that developed an experiment uniting practices of artivism and critical reading of the media using feminist pedagogy, exercising computational thinking. The question was the search on the contributions of artivism in the formation of critical users of digital culture. The data were built by observing the workshops, interviews and examining the material produced through prose analysis. The results suggested that the participants master basic skills such as identifying patterns, hierarchizing information, but demonstrate little familiarity with the critical analysis of representations, which reinforces the relevance of Informational Media Literacy (MIL) in the school curriculum. [ABSTRACT FROM AUTHOR]

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Inspector Yoda the Wrinkled (Inspektor Yoda Zgužvani) is an artivist project by Nikola Herman (alias Nikša), who also involved his pug Yoda in creating a street art alter ego to bring critical commentary and humor to the streets of Belgrade, Serbia, between 2014 and 2018. Inspector’s work is closely intertwined with the LGBTQ+ history and street art interventions in Belgrade over the past two decades. It provides an example of a locally contextualized and critical appropriation of the concept and term queer (in Serbian, kvar, which literally translates to “malfunction”). In nearly 200 graffiti and visual messages, Inspector Yoda the Wrinkled playfully appropriated vernacular language, often subverting their meaning, and offering an important gender and social critique in the nationalistic and sometimes violent public space of Belgrade in the mid-2010s. It is paramount to look at these interventions in a contextualized and embodied manner: as situational artworks which serve as tools of queer place-making. The stenciled little pug with speech balloons that Nikša used to tag the city may be seen as a sign of resistance and hope within an environment prone to desensitization to violence and general apathy [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El hip hop usó las plataformas digitales para mostrar una postura crítica ante el referendo promovido por el presidente de Ecuador, Guillermo Lasso. El canal de hip hop BoomBapKillaz generó contenido con un cypher para establecer su artivismo en épocas electorales. El objetivo fue indagar los discursos multimodales de las tecnopoéticas y tecnopolíticas insumisas, además de la forma hipermedial de distribución del video «#No», producido ante el referendum 2023. La metodología fue cualitativa, descriptiva e interpretativa, se utilizó análisis de discurso e inmersión etnográfica para conocer el uso de plataformas y el contenido de las elocuciones políticas multimodales. Entre los resultados está que la fragmentación fue la estrategia para la propagación y distribución hipermedial del video. Las visualidades mostraron una reapropiación del espacio público; el cuerpo se utiliza para visibilizar diversidades; las sonoridades poseen hibridaciones entre lo moderno y lo tradicional; las líricas insumisas deslegitimaron el discurso oficial en el referéndum, construyó un “nosotros” crítico y reflexivo para rechazar propuestas cortoplacistas e impulsar que haya políticas integrales en lo social y la seguridad para el pueblo.

This case study presents the artistic research and production process for an interactive installation, Epic Sock Puppet Theater (ESPT), that uses artivist tactics to engage with the divisive socio-political content of online disinformation campaigns. The project allows viewers to interact with a dataset of social media posts made by “sock puppets” or imposter accounts used as part of state-sponsored disinformation campaigns so the viewer can become better equipped to recognize disinformation in their own social media feeds, less susceptible to its negative effects and less likely to unwittingly share it. The project is based on inoculation theory, a biological metaphor for building resistance against future disinformation through careful preemptive exposure to disinformation messages, as well as research that found that the revelation of a sock puppet account helped social media users identify other sock puppets spreading disinformation. In this case study, we summarize our research, user testing, and artistic process as a resource for others who may be interested in combining research, art and activism. Through our research and experimentation, we carefully selected artistic tactics, focusing on techniques from Brechtian epic theater to present emotionally and politically charged content that is designed to polarize viewers in a way that allows for critical reflection. The result is an artistic solution to a socio-technical problem: an animatronic sock puppet theater that simultaneously helps to familiarize and distance the public from online sock puppet disinformation, to creatively mitigate its negative effects.

This study aims to explore how vulnerable communities, scientists, and artists can collaborate to construct digital community memories to excavate opinion spaces related to socio-natural events, creating a shared and inclusive ground for mutual understanding and collective action. The proposed approach combines web archeology and digital artivism to construct community memories that can be used for social activation in relation to climate change. The research draws on participatory and community-based research techniques, citizen-science approaches, and digital methods to collect dispersed community-memory fragments and create an expressive space for the diverse perspectives and needs of the affected populations. It emphasises the importance of inclusivity and non-polarizing approaches for reconstructing and interpreting narrative streams that propagate in the physical and virtual world, and for representing, through digital art, extreme events and their societal impact. To illustrate the proposed approach, the AquaGranda project is here presented as a case study of community memory related to an extreme event: the high tides that occurred in Venice in November 2019.

Since Dina Boluarte took Peru’s presidency, the Police repression and military violence caused more than 60 deaths. Massive mobilizations reject her, promoting journeys from the Andes to Lima. These urgent claims are echoed by civil groups, among which “Retablos por la Memoria” stands out, appropriating a rural traditional artistic expression to denounce and mourn the assassinated. Initiated by feminist artists, they have spread in Peruvian cities and abroad, creating bridges in a fragmented and depoliticized society. In a country still affected by the internal armed conflict (80s-2000s) and harshly beaten by Covid-19, “Retablos por la Memoria” contests impunity while demanding radical change: a regenerative form of artivism in an extremely violent battleground.

La inmensa mayoría de los museos nacionales de etnología, concretamente en Europa, narran las hazañas de Occidente, señalando la dinámica de los antiguos colonizados, cuyo papel queda relegado al otro lado del proceso. El pasado colonial sigue pesando hoy en día, reforzando una visión unilateral de una narrativa que es diversa. Es fácil concluir que lo que existe en los museos puede decirse de otra manera, contribuyendo a la interculturalidad. Se trata de una dinámica decolonial/postcolonial, que permite la descolonización del conocimiento y en la que puede jugar un papel importante la aportación del artivismo curatorial que, aunque subversivo, puede llamar la atención sobre la necesaria diversidad. En este artículo presentamos la intervención llevada a cabo en el Museo Real de África (Bélgica), así como la perspectiva de Dan Hicks sobre lo que él denomina museos brutales, que siguen exhibiendo los bronces de Benín. The vast majority of national ethnology museums, specifically in Europe, narrate the exploits of the West, pointing to the dynamics of the former colonized, whose role is consigned to the other side of the process. The colonial past still weighs heavily today, reinforcing a one-sided view of a narrative that is diverse. It is easy to conclude that what exists in museums can be said differently, contributing to interculturality. This is a decolonial/post-colonial dynamic, which allows for the decolonization of knowledge and in which the contribution of curatorial artivism can play an important role which, although subversive, can draw attention to the necessary diversity. In this article we present the intervention carried out at the Royal Museum of Africa (Belgium), as well as Dan Hicks's perspective on what he calls brutal museums, which continue to display the bronzes from Benin. [ABSTRACT FROM AUTHOR]

Nowadays, social networks play a central role in communication media. In this scenario, analysing the gender awareness fostered by the influencers is crucial. The research explores the female representation portrayed by eight Spanish influencers who address the gender approach from graphic communication. All of them are women illustrators, cover topics related to gender, and use similar communication strategies. The methodology includes three complementary techniques: first, desktop study to compare the illustrators’ profiles; second, content analysis to delve into the topics addressed and their artivism; third, a Delphi method to assess their contribution to promoting gender egalitarian values, in which experts specialising in communication, philosophy, sociology, psychology, and politics participate. The results show that feminism is a prominent topic in their publications, stimulating a feeling of sisterhood among women, their core target. From a generational perspective, the influence of their message is more significant on millennials and centennials. Conclusions confirm that social media characteristics, artivism, content hybridisation and transmediality enhance their feministic discourse. Future lines of research may focus on identifying other channels and communication strategies more influential for broad target groups, especially men and generations older than millennials, since these external audiences seem crucial to spread gender awareness. [ABSTRACT FROM AUTHOR]

This paper investigates the political implications of public art using frameworks of conflict and antagonism. We introduce 'restor(y)ing' as an analytical scaling device for examining public art's potential to destabilise official planning processes and reclaim cities through acts of re-telling (restorying) and re-making (restoring) urban spaces. We probe how commissioned/formal and unsolicited/informal public art practices can concurrently operate as artistic activism – or 'artivism' – to subvert the status quo in urban contexts that encounter rising socio-spatial inequalities. We deploy restor(y)ing both as an epistemic and real-world commitment to challenging hegemonic powers, and thus amplify activist agendas of marginalised communities. Our argument demonstrates how such politics of restor(y)ing works as a device to unpack conflictual interrelations between 'æffects': affects and effects that political public art can invoke simultaneously, yet potentially unevenly. The politics of æffects reveal contestations around public art in urban planning contexts and policies, public communication, and reception. They foreground intended inclusions vs. systemic exclusions (politics of effects) and the emanating impacts on urban belonging vs. alienation (politics of affects). While much public art scholarship accentuates its alleged positive benefits, we attend to the (oft-ambiguous) negative, conflict-attuned æffects of public art. Ultimately, we advocate for an intersectional approach to restor(y)ing urban justice through public artivism. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article looks at the intersection of web-based comics and print graphic memoirs authored by transgender Brazilian comics artists. Brazilian comics have in recent years opened up to internet platforms, a change that has proved particularly fruitful for LGBTQ+ artists, traditionally marginalised by the Brazilian comics industry. The article examines two case studies - those of Luiza Lemos and Alice Pereira, both authors of comics originally posted on social media and later published in print. By means of a mixed methodology that brings together semi-structured interviews with the authors and close readings, this contribution investigates the dynamics regulating the creative and publishing processes of these works, as well as the relationship that they entertain with the practice of transsexual self-narration and self-portraiture. [ABSTRACT FROM AUTHOR]

Nowadays, social networks play a central role in communication media. In this scenario, analysing the gender awareness fostered by the influencers is crucial. The research explores the female representation portrayed by eight Spanish influencers who address the gender approach from graphic communication. All of them are women illustrators, cover topics related to gender, and use similar communication strategies. The methodology includes three complementary techniques: first, desktop study to compare the illustrators’ profiles; second, content analysis to delve into the topics addressed and their artivism; third, a Delphi method to assess their contribution to promoting gender egalitarian values, in which experts specialising in communication, philosophy, sociology, psychology, and politics participate. The results show that feminism is a prominent topic in their publications, stimulating a feeling of sisterhood among women, their core target. From a generational perspective, the influence of their message is more significant on millennials and centennials. Conclusions confirm that social media characteristics, artivism, content hybridisation and transmediality enhance their feministic discourse. Future lines of research may focus on identifying other channels and communication strategies more influential for broad target groups, especially men and generations older than millennials, since these external audiences seem crucial to spread gender awareness.

Copyright of Revista Latinoamericana de Estudios sobre Cuerpos, Emociones y Sociedad is the property of Revista Latinoamericana de Estudios sobre Cuerpos, Emociones y Sociedad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In various parts of the world we are witnessing massive ecological impact due to human activity and exploitation of the land perpetuated by economic agents, whose interests are far from the local communities of the territories under attack. The phenomenon of land grabbing is responsible, in certain areas, not only for the compromise of the landscape and the exploitation of the land, but also for the destruction of local economic activities, which increases the impoverishment of communities and the phenomenon of depopulation. The rural communities are often too small to be able to thwart the projects of large corporations or the government decisions that are made many miles away. Furthermore, within the same communities we can witness divisions between those who perhaps accept the new impositions, with the hope of being able to benefit from new income, and those who do not want to give up. The false and illusionary promises of development, promoted by the greed of the economic agents without any knowledge of the story of the place, could be fought with the construction of a new communitarian vision and an alternative dream of development. This may be the only possible way to be independent of external decisions imposed by others. This article aims to propose another vision through the description of a project whose aim was to spread small seeds, by imagining another possible future path, cultivating hope. [ABSTRACT FROM AUTHOR]