The Indian collection with the Slovene Ethnographic Museum in Ljubljana consists of some rare prints, that have been collected by Slovene missionaries on bazaars in Kalkuta at the early 20th century India. They open a set of discourses around colonialism and upper caste Hindu nationalism, as well as the patriarchal structures embedded within these. The stylistic features seen in these images are a product of the social cultural milieu they come from, and that’s why the author examines the aesthetics within this context.
The article focuses on the working process in the exhibition project: Up YU Go! Stories About Identities on the Line, which was made up of inclusive work over several months with informants as a democratic approach to creating an exhibition. The first part of the article sheds light on the principle of the functioning of a museum as a democratic institution by combining oral history and a participative way of ensuring the empowerment of witnesses.
For a long time, conspiracy theories have been studied as part of the political discourse and a means of political manipulation, and within the framework of political historiography have been recognised as distorted and alternative constructs of the truth. Only since the end of the last century have the interests of the humanities and social studies been coming into focus.
The article talks about the artistic and cultural production in the post-war Slovene community in Argentina, particularly fine artists and the ways in which their attitude to the memory of exile and the homeland is established in their work, as well as how through their artistic activities they help to shape and reflect diasporic sociality. Artistic and cultural production has a big affective and symbolic power, shown in the preservation of memories and the attitude to the past, exile and the homeland.
In her anthropological work, Vera Stein Erlich (1897−1980) was paying significant research attention to Latin American (Mexican) and Yugoslav (Bosnian Muslim) cultural parallelisms, based on the assumption that both regional cultures shared the same style. This style, named Oriental cultural style, supposedly originated in Al-Andalus, whence it diffused both to Latin America and the Ottoman Balkans.
The article discusses the complex socio-political position of the Mapuche people in Chile, who appear as a symbol of struggle, resistance and as a political player demanding fundamental political change in the country. The first part of the article focuses on the historical context of the Mapuche people in Chile and on an overview of their socio-political movement in the past and in the present, while the second part analyses various aspects of the processes of indigenisation and “Mapucheisation” of Chilean society.
The article discusses the complex socio-political position of the Mapuche people in Chile, who appear as a symbol of struggle, resistance and as a political player demanding fundamental political change in the country. The first part of the article focuses on the historical context of the Mapuche people in Chile and on an overview of their socio-political movement in the past and in the present, while the second part analyses various aspects of the processes of indigenisation and “Mapucheisation” of Chilean society.
