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First Person Encounters is a series of podcasts presented by Games Studies India, about our first experiences with Games while growing up in India. This our second podcast where we interview Satyajit Chakraborty, a game developer, game designer and researcher. He also founded Flying Robots Studios in 2012 and has made various unique games. Here he talks about his first experiences with gaming in India.

First Person Encounters is a series of podcasts presented by Games Studies India, about our first experiences with Games while growing up in India. This our third podcast where we talk with Poornima Seetharaman. She is the first Indian to be inducted in the Women in Games (WIGJ) Hall of Fame and is also the lead game designer at Zynga. Hear as we talk about her foray in the world of gaming.

"Les liens entre l'art contemporain et les questions de colonialité, postcolonialité, et décolonialité sont anciens et multiples. Des artistes occidentaux et non-occidentaux, depuis plusieurs décennies déjà, s'en sont emparés pour produire des œuvres qui témoignent de leurs engagements politiques, sociétaux et esthétiques. Des concepts que les études postcoloniales ont approfondies ou inventées – agency (agentivité), mimicry (mimétisme/simulacre), ou essentialisme stratégique –, en autant d'outils utiles à démêler la complexité des relations coloniales et, au-delà, de toutes les relations de domination, sont ainsi revisités par les artistes. D'autre part, des auteurs, relevant de ces champs d'études qui conservent aujourd'hui toute leur actualité politique et leur pertinence théorique, disent à leur tour l'intérêt qu'ils portent à la création contemporaine. Associant vingt historiens de l'art et chercheurs en littérature, philosophie, droit ou psychanalyse, Postcolonial/Décolonial. La preuve par l'art présente des travaux portant sur des démarches artistiques (Betye Saar, Fred Wilson, Sarkis, Lidwien van de Ven, Voluspa Jarpa, des artistes du collectif Mira au Mexique, Iris Kensmil, Jean Renoir, et bien d'autres), mais aussi sur des propositions institutionnelles (notamment initiées par le Centro de Arte y Comunicación de Buenos Aires, la Biennale de Venise ou le Van Abbemuseum d'Eindhoven), associées en de nouveaux réseaux de solidarités. Une place particulière est réservée aux singularités artistiques, théoriques et juridiques en Amérique latine, lieu d'émergence des théories décoloniales. Sous un angle historiographique et épistémologique, on trouvera ici des analyses des fondements historiques, théoriques et idéologiques du postcolonial dont les théorisations, loin de la saturation conceptuelle dont certains veulent les accuser, concernent particulièrement l'histoire de l'art. "

The Latinx Research Center's Revista N'oj hosted a round table discussion on Decolonial Aesthetics titled, "Decolonizing Art & Praxis in the Time of Covid-19." The talk included Jesus Barraza, Dr. Guisela Latorre, Dr. Mauricio Barros de Castro, and Dr. Laura E. Pérez. The panel was moderated by Revista N'oj editor, Abraham Ramirez.

This chapter examines the intersection of popular culture and populism in Turkey by focusing on the TV show Payitaht Abdulhamid. Our motivation to analyze the recent TV series Payitaht Abdulhamid stems from our interest in the instrumental mobilization of popular culture for the Turkish government’s dual desire to both establish cultural hegemony and consolidate its populist style of government. Our analysis reveals that television, especially in the Global South, still plays a central role in governments’ desire to reconstruct history and establish cultural hegemony. This is particularly important as Turkey is going through a crisis of hegemony since the public is completely divided in its support for the government. Within the context of this hegemonic crisis, televised popular culture is vital, perhaps more than ever. Specifically, the show reduces a complicated history into easily understandable dichotomies and projects them on to contemporary politics in order to consolidate support for the government. Through televised popular culture, the government mobilizes history for purposes of cultural hegemony and populist politics flavored with nationalist, Islamist, and anti-Western motifs. Ultimately, the TV show presents yet another moment for understanding the mediated nature of 21st-century politics outside Western contexts.

African television is at the crossroads. This chapter surveys, describes, analyzes and explains the major changes that have taken place in the African television landscape since the 1990s. It focuses on three major developments that have marked the African television landscape: (1) liberalization of the television space to keep abreast of international developments, and the tension between entrenched governmental public broadcasting systems and newly licensed “independent” TV stations, (2) the process and impact of the analogue to digital TV switchover shepherded by the International Telecommunications Union, and (3) the diffusion of Chinese electronic technology, television, and film content on the African television market as part of the Asian giant’s “soft power” diplomacy and State capitalism. African television is constrained by political regimes that restrict freedom of expression, and regulatory agencies that preside over systems in which the law takes precedence over rights.

When E. Carmen Ramos organized Our America: The Latino Presence in American Art (2013) at the Smithsonian American Art Museum in Washington, DC, art holdings of Latinx artists at the institution were minimal and unbalanced. The museum lacked works by foundational figures; entire groups like Dominican Americans were missing, as were genres like abstract art; and with a collection dominated by colonial and folk art and work by Mexican Americans, it was impossible to produce any comprehensive exhibition of contemporary Latinx art, much less one that represented the diversity of artists and trends. Ramos was one of the few Latinx curators hired in the aftermath of the infamous 1994 “Willful Neglect” report documenting a historical pattern of discrimination at the Smithsonian Institute and calling for the hiring of Latinx curators to help direct the Smithsonian’s priorities in research, collections, and exhibitions.1 Twenty-five years later, this pattern of exclusion continues apace. In 2018, a study by UCLA’s Chicano Studies Research Center found that while the Smithsonian’s Latinx workforce grew from 2.5 percent to 10.1 percent, this growth falls short of representing the growth of the Latinx population, which since 1994 has doubled to 17.8 percent of the total population. In sum, the task of putting a dent in a mostly white canonical art history and collection was a daunting one, and whatever Ramos did would be a politically charged intervention. This would be the first major scholarly survey exhibition of Latinx art, a statement to insert it as central to US art history, and the first major show of its type in a major North American museum in decades.

Depuis quelques décennies, certains artistes colombiens cherchent à repenser ce que peut être aujourd’hui l’identité colombienne, et plus concrètement celle de l’artiste. Au-delà du stéréotype de ce qu’est le « Colombien » vu de l’extérieur, au-delà d’une histoire coloniale – et toutes ses problématiques – commune aux pays d’Amérique latine, ainsi que d’une histoire récente plus particulière connue pour son extrême violence, nous pouvons affirmer que l’identité colombienne est le résultat d’identités multiples, diverses et variées. Par ailleurs, il existe un dénominateur commun qui peut la définir car elle s’est construite durant ces deux derniers siècles à partir d’un concept : celui de « l’hybridité ».

In the Togelese game Origin - the Rise of Dzitri that was developed in Lome, the character Edoh takes you on a journey to historic places in the city to revive the spirit of Dzitri. Deyfou-lah Sani Bah-Traore, programmer and game developer, spoke with Lisa Kienzl about his and his Teammate s work on Origin - the Rise of Dzitri

In the 1960s, topless entertainment became legal in San Francisco, although cross-dressing continued to be criminalized. This article documents queer Latina/x visual and performance cultures of San Francisco’s strip club industry during this critical moment. It employs visual and performance analyses that draw from ethnographic interviews and archival research about three Latinas who performed as exotic dancers during this period, two of whom were out transsexuals: Roxanne Lorraine Alegria, Vicki Starr, and Lola Raquel. Engaging Marcia Ochoa’s notion of “spectacular femininities” and Juana María Rodríguez’s theory of “queer gesture,” the article maps out a queer Latina/x herstoriography about the early days of topless entertainment in San Francisco. It demonstrates how the transgressive practices of these Latina performers enrich genealogies of queer and Latina/x performance and visual cultures since the 1960s. It thus contributes to the expansion and intersection of the fields of performance studies, Latina/x studies, and feminist, gender, and sexuality studies. These fields and their intertwinings offer critical tools to resist the sexism, homophobia, racism, transphobia, and whorephobia that pervade every level of society, as well as the cultural amnesia to which San Francisco has been increasingly prone due to its incessant gentrification and growing technocracy since the early 2010s.RESUMEN Este artículo documenta las culturas visuales y de performance latinas/x queer de los clubes de striptease de San Francisco durante un momento crítico en la historia de la ciudad. En la década de 1960, los shows en topless se legalizaron en San Francisco, aunque el travestismo se continuó criminalizando. Otálvaro-Hormillosa emplea análisis visuales y de performance que se basan en entrevistas etnográficas e investigación de archivo sobre tres latinas que actuaron como bailarinas exóticas durante este período, dos de las cuales reconocían públicamente que eran transexuales: Roxanne Lorraine Alegria, Vicki Starr y Lola Raquel. En diálogo con la noción de “feminidades espectaculares” de Marcia Ochoa y la teoría de “gestos queer” de Juana María Rodríguez, Otálvaro-Hormillosa describe una historiografía latina/x queer propiamente femenina sobre los primeros días del entretenimiento en topless en San Francisco. El artículo demuestra cómo las prácticas transgresoras de estas intérpretes latinas enriquecen las genealogías de las culturas visuales y de performance queer y latinas/x desde los años sesenta. Al hacerlo, contribuye a la expansión e intersección de los campos de los estudios de performance, estudios latinas/x, y estudios feministas, de género y de sexualidad. Estos campos y sus entrecruzamientos pueden ofrecer herramientas críticas para resistir el sexismo, la homofobia, el racismo, la transfobia y la putafobia que permea todos los niveles de la sociedad, así como la amnesia cultural a la que San Francisco ha sido cada vez más propenso debido a su incesante gentrificación y creciente tecnocracia desde principios de los años 2010.RESUMO Este artigo documenta a cultura visual e de performance na indústria de clubes de strip-tease de São Francisco, durante um momento crítico da história da cidade. Nos anos 60, o entretenimento topless se tornou legal em São Francisco, embora a prática do cross-dressing continuasse criminalizada. Otálvaro-Hormillosa emprega análise visual e de performance baseadas em entrevistas etnográficas e pesquisas de arquivos sobre três latinas que se apresentaram como dançarinas exóticas durante esse período, duas das quais eram transexuais: Roxanne Lorraine Alegria, Vicki Starr e Lola Raquel. Engajando a noção de “feminilidades espetaculares” de Marcia Ochoa e a teoria do “gesto queer” de Juana María Rodríguez, Otálvaro-Hormillosa mapeia uma herstoriografia queer latina/x sobre os sobre os primórdios do entretenimento topless em São Francisco. O artigo demonstra como as práticas transgressivas dessas artistas latinas enriquecem as genealogias das culturas visual e de performance queer e latina/x desde os anos 1960. Deste modo, contribui para a expansão e intersecção dos campos de estudos da performance, estudos latinos e estudos feministas, de gênero e sexualidade. Esses campos e seus entrelaçamentos podem oferecer ferramentas críticas para resistir ao sexismo, homofobia, racismo, transfobia e putafobia que permeiam todos os níveis da sociedade, bem como a amnésia cultural para a qual San Francisco tem sido cada vez mais propensa devido à sua gentrificação incessante e crescente tecnocracia desde o início dos anos 2010.

Mapping Modernisms" brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally-inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. 'Mapping Modernisms' is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world."

La perspectiva de género en el arte del Caribe colombiano se puede contextualizar con el movimiento feminista planetario. La comparación se establece en las creaciones de mujeres artistas de esta región, ya que subvierten, manifiestan y revelan con denotada libertad expresiva, no solamente sus inquietudes intimistas, sino toda una serie de cuestionamientos a las condiciones que culturalmente se le han impuesto a la mujer en el Caribe. Son dos generaciones diferentes; las primeras, analizadas en esta entrega, pueden ser catalogadas como pioneras de la perspectiva de género en el arte colombiano. Las segundas, consolidan problemáticas en apuestas individuales, de manera diaspórica y cada vez más comprometidas con el movimiento social de mujeres. En ambos casos lo hacen a través de las artes visuales, audiovisuales, performáticas e híbridas. Estamos ante artistas vanguardistas, de las artes visuales y performáticas en el Caribe colombiano; preferimos llamarlas, en ambos casos, visionarias. Gender perspective in the Colombian Caribbean art can be contextualized within the worldwide feminist movement. The comparison is established in the artwork of female artists from this region, as they subvert, demonstrate, and reveal with poignant expressive freedom, not only their intimate concerns, but a whole series of questions to the conditions that have been culturally imposed on women in the Caribbean. They come from two different generations. The first generation, analyzed in this installment, can be defined as the pioneers of gender perspective in Colombian art. The second generation consolidates issues through individual pledges in a diasporic way and increasingly committed to the social women’s movement. Both generations do this through performative, hybrid, visual and audiovisual art. These are avant-garde artists of the visual and performative art in the Colombian Caribbean. We prefer to call them, in both cases, visionaries.

Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and culture across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland.

Video games are inherently transnational by virtue of their industrial, textual, and player practices. This collection includes essays from scholars from eight countries analyzing game cultures on macro- and micro-levels and investigates the growing transnational nature of digital play

This book explores crucial moments in the emergence of feminine culture in Colombia hitherto unexamined in English-language criticism through an examination of the work of ground-breaking artist Débora Arango, best-selling novelist Laura Restrepo, and three generations of documentary filmmakers.

In this chapter, the creation of a value chain during the process of digital games development in Turkey is discussed using a critical political economy approach. This study claims to be the first of its kind that intends to examine the topography of the digital game industry in Turkey and gives a brief history and describes the present status of digital games production in Turkey. All the components of a value chain, namely, the industrial structure and development process, publishing and licensing, distribution and marketing structure, labor force, legal regulations, and governmental policies will be considered in that order to map out the present topography of the industry. The final part of the study will deal with possible solutions for further development in the industry. At this point, the study stresses the fact that all components of the value chain must be performed uninterrupted if the actors in Turkey’s digital game industry desire to position themselves as “producers” in global or local markets.

Five years after Hurricane Katrina devastated New Orleans, Louisiana, life remained not normal still for many residents of the city. And while mainstream news organizations remembered the fifth anniversary of the hurricane with extensive coverage, it was the work of filmmaker Spike Lee and television program creators David Simon and Eric Overmyer that perhaps created the greatest buzz about the fifth anniversary of Katrina in 2010. Spike Lee’s first documentary, When the Levees Broke , was released in 2006. It documented what happened in New Orleans through the voices of local residents, politicians, and experts during and immediately after the storm.

This important book showcases institutional and private efforts to collect, document, and preserve African American art in American's fourth largest city, Houston, Texas. Eminent historian John Hope Franklin's essay reveals his passionate commitment to collect African American art, while curator Alvia J. Wardlaw discusses works by Robert S. Duncanson, Henry Ossawa Tanner, Horace Pippen, and Bill Traylor as well as pieces by contemporary artists Kojo Griffin and Mequitta Ahuja. Quilts, pottery, and a desk made by an African American slave for his daughter contribute to the overview. The book also focuses on the collections of the "black intelligentsia," African Americans who taught at black colleges like Fisk University, where Aaron Douglas founded the art department. A number of the artists represented were collected privately before they were able to exhibit in mainstream museums.