Browsing by Subject "Fashion"

This dissertation examines the relationship between city planning and everyday life in Kigali, Rwanda. It focuses on markets, neighborhoods, and streets where Kigali residents encounter emerging technologies of architecture, finance, and expertise. These technologies are aimed at converting Kigali into a global metropolis with world-class tourist facilities, hi-tech service industries, and a “green” urban metabolism. Many city residents, however, experience these processes through mass evictions, market closures, and an ongoing utility crisis in the city. In response, they are going kukikoboyi (literally “to cowboy”), creating rogue markets, housing settlements, and ad-hoc utility networks. While Kigali’s international team of managers and consultants disavow these spaces and practices as informal, illegal, and antithetical to the city’s “world-class” future, they are nevertheless unable to erase them from the city’s surface. My research explores these divergent practices of city-making to show that a new Kigali is being built: a 21st century metropolis that, despite being a rogue version of its planned future, is a cosmopolitan urban center that no single interest, process, or population fully controls. Methodologically, this dissertation places the popular practices and expertise that hold a city together in conversation with global city modeling and design theory. Instead of focusing on a single neighborhood or population, The Kigali Model is an ethnography of an entire city that asks how differently situated social actors share the costs of producing, subverting, and negotiating their urban future. During twenty-seven months of fieldwork in Kigali, I interviewed foreign technocrats who were employed by multinational design and consultancy firms, paid by international finance organizations, and housed in Rwandan government ministries. I spent months following illegal street traders as they produced nomadic market spaces and (often correctly) anticipated that city authorities would be unable to enforce new zoning and tax laws. I participated in community infrastructure building projects and—when the pipes we laid failed to deliver services—became myself incorporated into the city’s hydraulic system by lugging twenty-liter jerry cans of water up forty-degree slopes. I also mapped the social and economic networks that produce and continually re-make Kigali’s largest “slum,” and debated views of urban modernity with second-hand clothing vendors, their hipster clients, and planners who wish to demolish the markets that both populations depend on. I use these ethnographic encounters to theorize Kigali beyond the categories of slum, crisis, and laboratory so often applied to African cities. I show how these seemingly disparate spaces, populations, and practices produce urban ecologies, cultures, and human and material infrastructures that persistently reinvent the city and the people who live there.

My dissertation, "The People's Republic of Capitalism: The Making of the New Middle Class in Post-Socialist China, 1978-Present" draws on a range of visual cultural forms - cinema, documentary, and fashion - to track the cultural dimension of the emergence of the new middle class subject in China's encounter with global capitalism. Through cultural studies methodologies and critical theoretical practices, I explore the massive reorganization of national subjectivity that has accompanied the economic reforms since 1978. How, I ask, has the middle class replaced the proletariat as the dominant subject of Chinese history? What are the competing social forces that contribute to the making of the new middle class subject, and how do they operate? By considering these questions in terms of the cultural cultivation of new sensibilities as much as identities, I trace China's changing social formations through the realm of cultural productions. This project is organized into three parts, each of which attends to a particular constellation of middle class subjectivities and ideologies. In Part I (Introduction and Chapter 1), I explore how the Chinese middle class subject is shaped by historical, political-economic, and cultural forces. I show that the new social actor is structurally dependent on the national and transnational bourgeoisie and the post-socialist party-state. In Part II (Chapters 2-5), I focus on the relationship among fashion, media, and Chinese consumer culture in the socialist and post-socialist eras. By engaging with films such as Xie Tieli's Never Forget (1964), Huang Zumo's Romance on Lushan (1980), Qi Xingjia's Red Dress is in Fashion (1984), and Jia Zhangke's The World (2004) and Useless (2007), I suggest that the representation of fashion and consumption in Chinese cinema, documentary, and new media is a privileged site for deciphering otherwise imperceptible meanings of class, ideology, and history in the formation of the Chinese middle class subject. In Part III (Chapter 6), I attend to the repressed underside of Chinese consumer culture: rubbish. This project reorients our understanding of socialist and post-socialist China, seeing them as underpinned by the contradictions emblematized in the Chinese middle class.