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From the Introduction to The Location of Culture

A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing.

Martin Heidegger, 'Building, dwelling, thinking'

BORDER LIVES: THE ART OF THE PRESENT

It is the trope of our times to locate the question of culture in the realm of the beyond. At the century's edge, we are less exercised by annihilation - the death of the author - or epiphany - the birth of the 'subject'. Our existence today is marked by a tenebrous sense of survival, living on the borderlines of the 'present', for which there seems to be no proper name other than the current and controversial shiftiness of the prefix 'post': postmodernism, postcolonialism, postfeminism....

The 'beyond' is neither a new horizon, nor a leaving behind of the past.... Beginnings and endings may be the sustaining myths of the middle years; but in the fin de siècle, we find ourselves in the moment of transit where space and time cross to produce complex figures of difference and identity, past and present, inside and outside, inclusion and exclusion. For there is a sense of disorientation, a disturbance of direction, in the 'beyond': an exploratory, restless movement caught so well in the French rendition of the words au-delà - here and there, on all sides, fort/da, hither and thither, back and forth.'

The move away from the singularities of 'class' or 'gender' as primary conceptual and organizational categories, has resulted in an awareness of the subject positions - of race, gender, generation, institutional location, geopolitical locale, sexual orientation - that inhabit any claim to identity in the modern world. What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences. These 'in-between' spaces provide the terrain for elaborating strategies of selfhood - singular or communal - that initiate new signs of identity, and innovative sites of collaboration, and contestation, in the act of defining the idea of society itself.

It is in the emergence of the interstices - the overlap and displacement of domains of difference - that the intersubjective and collective experiences of nationness, community interest, or cultural value are negotiated. How are subjects formed 'in-between', or in excess of, the sum of the I parts' of difference (usually intoned as race/class/gender, etc.)? How do strategies of representation or empowerment come to be formulated in the competing claims of communities where, despite shared histories of deprivation and discrimination, the exchange of values, meanings and priorities may not always be collaborative and dialogical, but may be profoundly antagonistic, conflictual and even incommensurable?

The force of these questions is borne out by the 'language' of recent social crises sparked off by histories of cultural difference. Conflicts in South Central Los Angeles between Koreans, Mexican-Americans and African- Americans focus on the concept of 'disrespect' - a term forged on the borderlines of ethnic deprivation that is, at once, the sign of racialized violence and the symptom of social victimage. In the aftermath of the The Satanic Verses affair in Great Britain, Black and Irish feminists, despite their different constituencies, have made common cause against the 'racialization of religion' as the dominant discourse through which the State represents their conflicts and struggles, however secular or even 'sexual' they may be.

Terms of cultural engagement, whether antagonistic or affiliative, are produced performatively. The representation of difference must not be hastily read as the reflection of pre-given ethnic or cultural traits set in the fixed tablet of tradition. The social articulation of difference, from the minority perspective, is a complex, on-going negotiation that seeks to authorize cultural hybridities that emerge in moments of historical transformation. The 'right' to signify from the periphery of authorized power and privilege does not depend on the persistence of tradition; it is resourced by the power of tradition to be reinscribed through the conditions of contingency and contradictoriness that attend upon the lives of those who are 'in the minority'. The recognition that tradition bestows is a partial form of identification. In restaging the past it introduces other, incommensurable cultural temporalities into the invention of tradition. This process estranges any immediate access to an originary identity or a 'received' tradition. The borderline engagements of cultural difference may as often be consensual as conflictual; they may confound our definitions of tradition and modernity; realign the customary boundaries between the private and the public, high and low; and challenge normative expectations of development and progress.

I wanted to make shapes or set up situations that are kind of open.... My work has a lot to do with a kind of fluidity, a movement back and forth, not making a claim to any specific or essential way of being.'
Thus writes Renée Green, the African-American artist. She reflects on the need to understand cultural difference as the production of minority identities that 'split' - are estranged unto themselves - in the act of being articulated into a collective body:
Multiculturalism doesn't reflect the complexity of the situation as I face it daily... It requires a person to step outside of him/ herself to actually see what he/she is doing. I don't want to condemn well-meaning people and say (like those T-shirts you can buy on the street) 'It's a black thing, you wouldn't understand.' To me that's essentialising blackness.
Political empowerment, and the enlargement of the multiculturalist cause, come from posing questions of solidarity and community from the interstitial perspective. Social differences are not simply given to experience through an already authenticated cultural tradition; they are the signs of the emergence of community envisaged as a project - at once a vision and a construction - that takes you 'beyond' yourself in order to return, in a spirit of revision and reconstruction, to the political conditions of the present:
Even then, it's still a struggle for power between various groups within ethnic groups about what's being said and who's saying what, who's representing who? What is a community anyway? What is a black community? What is a Latino community? I have trouble with thinking of all these things as monolithic fixed categories.

If Renée Green's questions open up an interrogatory, interstitial space between the act of representation - who? what? where? - and the presence of community itself, then consider her own creative intervention within this in- between moment. Green's 'architectural' site-specific work, Sites of Genealogy (Out of Site, The Institute of Contemporary Art, Long Island City, New York), displays and displaces the binary logic through which identities of difference are often constructed - Black/White, Self/Other. Green makes a metaphor of the museum building itself, rather than simply using the gallery space:

I used architecture literally as a reference, using the attic, the boiler room, and the stairwell to make associations between certain binary divisions such as higher and lower and heaven and hell. The stairwell became a liminal space, a pathway between theupper and lower areas, each of which was annotated with plaques referring to blackness and whiteness.'
The stairwell as liminal space, in-between the designations of identity, becomes the process of symbolic interaction, the connective tissue that constructs the difference between upper and lower, black and white. The hither and thither of the stairwell, the temporal movement and passage that it allows, prevents identities at either end of it from settling into primordial polarities. This interstitial passage between fixed identifications opens up the possibility of a cultural hybridity that entertains difference without an assumed or imposed hierarchy:
I always went back and forth between racial designations and designations from physics or other symbolic designations. All these things blur in some way ... To develop a genealogy of the way colours and noncolours function is interesting to me.'

'Beyond' signifies spatial distance, marks progress, promises the future; but our intimations of exceeding the barrier or boundary - the very act of going beyond - are unknowable, unrepresentable, without a return to the 'present' which, in the process of repetition, becomes disjunct and displaced. The imaginary of spatial distance - to live somehow beyond the border of our times - throws into relief the temporal, social differences that interrupt our collusive sense of cultural contemporaneity. The present can no longer be simply envisaged as a break or a bonding with the past and the future, no longer a synchronic presence: our proximate self-presence, our public image, comes to be revealed for its discontinuities, its inequalities, its minorities. Unlike the dead hand of history that tells the beads of sequential time like a rosary, seeking to establish serial, causal connections, we are now confronted with what Walter Benjamin describes as the blasting of a monadic moment from the homogenous course of history, 'establishing a conception of the present as the "time of the now"'.

If the jargon of our times - postmodernity, postcoloniality, postfeminism - has any meaning at all, it does not lie in the popular use of the 'post' to indicate sequentiality - after-feminism; or polarity - anti-modernism. These terms that insistently gesture to the beyond, only embody its restless and revisionary energy if they transform the present into an expanded and ex-centric site of experience and empowerment. For instance if the interest in postmodernism is limited to a celebration of the fragmentation of the 'grand narratives' of postenlightenment rationalism then, for all its intellectual excitement, it remains a profoundly parochial enterprise.

The wider significance of the postmodern condition lies in the awareness that the epistemological 'limits' of those ethnocentric ideas are also the enunciative boundaries of a range of other dissonant, even dissident histories and voices - women, the colonized, minority groups, the bearers of policed sexualities. For the demography of the new internationalism is the history of postcolonial migration, the narratives of cultural and political diaspora, the major social displacements of peasant and aboriginal communities, the poetics of exile, the grim prose of political and economic refugees. It is in this sense that the boundary becomes the place from which something begins its presencing in a movement not dissimilar to the ambulant, ambivalent articulation of the beyond that I have drawn out: 'Always and ever differently the bridge escorts the lingering and hastening ways of men to and fro, so that they may get to other banks.... The bridge gathers as a passage that crosses.'

The very concepts of homogenous national cultures, the consensual or contiguous transmission of historical traditions, or 'organic' ethnic communities - as the grounds of cultural comparativism - are in a profound process of redefinition. The hideous extremity of Serbian nationalism proves that the very idea of a pure, 'ethnically cleansed' national identity can only be achieved through the death, literal and figurative, of the complex interweavings of history, and the culturally contingent borderlines of modern nationhood. This side of the psychosis of patriotic fervour, I like to think, there is overwhelming evidence of a more transnational and translational sense of the hybridity of imagined communities. Contemporary Sri Lankan theatre represents the deadly conflict between the Tamils and the Sinhalese through allegorical references to State brutality in South Africa and Latin America; the Anglo-Celtic canon of Australian literature and cinema is being rewritten from the perspective of Aboriginal political and cultural imperatives; the South African novels of Richard Rive, Bessie Head, Nadine Gordimer, John Coetzee, are documents of a society divided by the effects of apartheid that enjoin the international intellectual community to meditate on the unequal, assymetrical worlds that exist elsewhere; Salman Rushdie writes the fabulist historiography of post-Independence India and Pakistan in Midnight's Children and Shame, only to remind us in The Satanic Verses that the truest eye may now belong to the migrant's double vision; Toni Morrison's Beloved revives the past of slavery and its murderous rituals of possession and self-possession, in order to project a contemporary fable of a woman's history that is at the same time the narrative of an affective, historic memory of an emergent public sphere of men and women alike.

What is striking about the 'new' internationalism is that the move from the specific to the general, from the material to the metaphoric, is not a smooth passage of transition and transcendence. The 'middle passage' of contemporary culture, as with slavery itself, is a process of displacement and disjunction that does not totalize experience. Increasingly, 'national' cultures are being produced form the perspective of disenfranchised minorities. The most significant effect of this is not the proliferation of 'alternative histories of the excluded' producing, as some would have it, a pluralist anarchy. What my examples show is the changed basis for making international connections. [...] The testimony of my examples represents a radical revision in the concept of human community itself.

From The Location of Culture, © 1994, Routledge.

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