A Spirit of Cosmopolitanism Happily Prevailing in Art
The Chinese Camera Club of South Africa and Transnational Networks of Photography
Bibliographic Data
| ID | 8364172 |
|---|---|
| Authors | Malcolm Corrigall (0000-0001-5412-7072, University of Johannesburg, corresponding author) |
| Year | 2018 |
| Volume | 53 |
| Issue | 1 |
| Pages | 3-26 |
| Publication date | 2018-01-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | de arte (JOURNAL) |
| Journal identifiers | ISSN: 0004-3389 • E-ISSN: 2471-4100 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00043389.2017.1372071 |
| OpenAlex | W2791731939 |
| Language | EN |
| Citations received | 1 |
| References cited | 12 |
The Chinese Camera Club of South Africa was formed in 1952 by members of Johannesburg’s small Chinese community who found themselves excluded from local circuits of photography on the grounds of race. The membership of the Chinese Camera Club sought international recognition as well as local visibility by engaging with transnational networks of photography. In so doing, they became agents in the global dissemination of photographic practices and technologies and asserted a cultural cosmopolitanism that subverted the parochialism of apartheid’s racial hierarchy. Alongside their cosmopolitan patterns of association, they also convened and sustained racially exclusive communities of photographic practice. They staged two international photographic salons in Johannesburg in 1956 and 1964 that were open to photographers from across the worldwide Chinese diaspora and thereby helped forge an imagined community of overseas Chinese photographers. In so doing, the Club and its members established a proprietorial connection with so-called “Chinese” approaches to photography and stressed their enduring connection to idealised and ahistorical notions of Chinese culture and civilisation. This paper explores both of these globally articulated identities—the cosmopolitan and the diasporic—as the result of transnational strategies that fostered autonomy and pride in the face of local racial discrimination
Aesthetics · Art · Club · Cosmopolitanism · Diaspora · Identity (music) · Media studies · Photography · Political science · Politics · Sociology · Visual arts · African history and culture studies · Gender Studies · Historical and Contemporary Political Dynamics · Law · South African History and Culture
Colour, confusion and concessions
Portraiture and Photography in Africa
Ethnography in/of the World System
The Politics of Race, Class and Nationalism in Twentieth Century South Africa
Accepting the Group, but Not the Area’
Chinese Merchants on the Rand, c.1850–1910
Intersecting Archives
African Photography
Invisible Communities and Their Visible Cameras
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,13 |
| Citation span | 2018 - 2018 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |