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Comics and Race in Latin America

拉丁美洲的漫画和种族

基本信息

批准号：
AH/T004606/1
负责人：
James Edward Scorer
金额：
$ 96.75万
依托单位：
University of Manchester
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2021
资助国家：
英国
起止时间：
2021 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FT004606%2F1
关键词：
Comics Race Latin America

项目摘要

From early caricatures to recent accusations of anti-Asianism, comics in Latin America have a troubled relationship to race. As comics use visual shorthands to communicate complex cultural histories quickly, they are susceptible to simplistic, stereotypical representations of cultural difference. But comics artists in Latin America have also produced more considered explorations of race, sometimes constructing anti-racist discourses. Such work is vital in a region with a long history of racial mixture, produced out of indigenous populations, Iberian colonialists, black slaves and (especially Asian and European) economic migrants. Despite legislative advances addressing structural inequalities and growing awareness that racism is a widespread social problem, Latin America is still shaped by long-standing racial hierarchies, often obscured by celebrations of the region's mestizaje (race mixture).The relationship between comics and race demands attention both because of those racial tensions and also because Latin America is currently undergoing a comics renaissance. There are now more independent publishers dedicated to comics; festivals take place in both countries with established comics traditions (Mexico, Argentina and Brazil) and also in others (Bolivia, Colombia, Chile, Peru); and, as well as growth in print and digital comics, artists are developing international links, not least as festivals abroad are seeking to work with the region's comics creators. This is the perfect moment to unpack how comics in the region have treated issues of blackness and indigeneity, and how the comics world, which remains predominantly white, might seek out ways to be less inscribed by racial inequalities.We cannot speak of Latin American comics 'industries' but rather of precarious, often self-funded grassroots activities. Like most creators in cultural industries, comics artists are underpaid (if at all) and sometimes even discriminated against (in Colombia, for example, drawing comics is not an 'official' profession, which affects employment status). Artists complain about the lack of shared knowledge of working practices and employment conditions. That is compounded by the diffuse nature of Latin American comics networks and the absence of any information about the relationship between race and the professional working environment.This project, therefore, responds to the need for: (a) better awareness of the history of race in Latin American comics by looking at works from the nineteenth century to the present in three different countries - Argentina, Colombia and Peru - that have different racial backgrounds and comics histories; and (b) better knowledge of how race inflects the work of contemporary artists and of the nature of working practices for such artists.To achieve (a), the project will undertake archival research in Latin America, Europe and the US and will focus on four key periods in the history of Latin American comics: Early interventions (1890s-1930s); The Golden Age (1940s-1970s); Crisis and Early Activism (1970s-1990s); Recent Renaissances (2000s-2010s).To achieve (b), we will work with six contemporary Latin American comics artists. During two retreats, we will hold interviews and discussions with these artists, before opening up those conversations for networking events with other local artists, publishing houses, archivists and festival organisers. These meetings will foment shared knowledge about comics production, especially in relation to race. Artists and researchers will collaborate on two fanzines and a curated online exhibition. The former will be circulated around libraries and archives in Latin America and the English-speaking world, to encourage racism awareness. The latter will be promoted via comics platforms, including the Colombian project partner Entreviñetas, and will incorporate space for viewers to submit their own comics as responses to issues raised by artists and researchers.

从早期的漫画到最近的反亚洲主义指控，拉丁美洲的漫画与种族有着麻烦的关系。由于漫画使用视觉速记来快速传达复杂的文化历史，因此它们容易受到简单化，刻板化的文化差异表现的影响。但拉丁美洲的漫画艺术家也对种族进行了更多深思熟虑的探索，有时还构建了反种族主义的话语。在一个有着悠久种族混合历史的地区，这种工作至关重要，这些种族混合是由土著居民、伊比利亚殖民者、黑奴和（特别是亚洲和欧洲）经济移民产生的。尽管在解决结构性不平等方面取得了立法进展，人们也日益认识到种族主义是一个普遍存在的社会问题，但拉丁美洲仍然受到长期存在的种族等级制度的影响，经常被该地区的mestizaje（种族混合）庆祝活动所掩盖。漫画和种族之间的关系需要关注，因为这些种族紧张关系，也因为拉丁美洲目前正在经历漫画复兴。现在有更多的独立出版商致力于漫画;在具有既定漫画传统的国家（墨西哥、阿根廷和巴西）和其他国家（玻利维亚、哥伦比亚、智利、秘鲁）都举办了漫画节;而且，随着印刷和数字漫画的增长，艺术家们正在发展国际联系，尤其是国外的漫画节正在寻求与该地区的漫画创作者合作。这是一个完美的时刻，可以揭示该地区的漫画是如何对待黑人和印第安人问题的，以及仍然以白色为主的漫画界如何寻求减少种族不平等的方式。我们不能谈论拉丁美洲的漫画“产业”，而是不稳定的，通常是自筹资金的基层活动。与文化产业中的大多数创作者一样，漫画艺术家的工资很低（如果有的话），有时甚至受到歧视（例如，在哥伦比亚，画漫画不是一种“正式”职业，这影响了就业状况）。艺术家们抱怨缺乏对工作实践和就业条件的共同了解。由于拉丁美洲漫画网络的分散性和缺乏关于种族与专业工作环境之间关系的任何信息，这一问题更加严重。（a）通过研究从十九世纪至今在三个不同国家--阿根廷、哥伦比亚和秘鲁-有着不同的种族背景和漫画历史;以及（B）更好地了解种族如何影响当代艺术家的作品以及这些艺术家的工作实践的性质。为了实现（A），该项目将在拉丁美洲进行档案研究，欧洲和美国，并将重点放在拉丁美洲漫画史上的四个关键时期：（19世纪90年代至1930年代）;黄金时代（1940年代至1970年代）;危机和早期激进主义（1970年代至1990年代）;最近的文艺复兴（2000年代至2010年代）。为了实现（B），我们将与六位当代拉丁美洲漫画艺术家合作。在两次务虚会期间，我们将与这些艺术家进行采访和讨论，然后与其他当地艺术家，出版社，档案管理员和节日组织者进行交流活动。这些会议将促进关于漫画制作的共享知识，特别是与种族有关的知识。艺术家和研究人员将合作制作两个同人志和一个策划的在线展览。前者将在拉丁美洲和英语世界的图书馆和档案馆散发，以鼓励提高对种族主义的认识。后者将通过漫画平台推广，包括哥伦比亚的项目合作伙伴Anviñetas，并将为观众提供空间，让他们提交自己的漫画，作为对艺术家和研究人员提出的问题的回应。