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81. Bridging Political Engagement and the Arts

Author:
Isabel Roemer
Publication Date:
12-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
A new position at The Palestinian Museum combines MAAS alum’s professional and personal passions. In September, MAAS alum Dr. Adila Laïdi-Hanieh (’92) became Director General of The Palestinian Museum in Birzeit, Palestine—a position she says brings together her academic and artistic loves. “I was always interested in the interaction between artistic-cultural practice and political engagement,” says Laïdi-Hanieh. “So I’m happy to combine both pursuits in my job at The Palestinian Museum.”
Topic:
Politics, Arts, Culture, and Museums
Political Geography:
Middle East and Palestine

82. For the Love of Music

Author:
Isabel Roemer
Publication Date:
12-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
MAAS alum combines language skills, industry savvy, and a bit of “wasta” to bring Arab musicians to Washington audiences. In 2003, MAAS alum David Chambers (‘88) received a call from the family of the late Munir Bashir, the celebrated Iraqi musician widely regarded as “King of Oud.” Chambers had spent much of the 1990s in the entertainment industry in the Arab world—notably, for the Showtime Arabia satellite TV network. Now back in Washington, D.C., he faced a challenge: how to arrange a gig for Omar Bashir, Munir’s son, in the nation’s capital?
Topic:
History, Culture, Higher Education, and Music
Political Geography:
Iraq, Middle East, North America, Washington, and D.C.

83. Saudi Arabia’s Artists of Change

Author:
Sean Foley
Publication Date:
12-2018
Content Type:
Working Paper
Institution:
Center for Contemporary Arab Studies
Abstract:
MAAS alum Sean Foley (‘00) discusses his forthcoming book, Changing Saudi Arabia: Art, Culture, and Society in the Kingdom.
Topic:
Civil Society, Gender Issues, Arts, Natural Resources, Culture, and Authoritarianism
Political Geography:
Middle East, Saudi Arabia, North America, United States of America, and Gulf Nations

84. Preserving a Genre under Duress

Author:
Brittni Foster
Publication Date:
12-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
How a class assignment led to MAAS alum Dan Walsh’s lifelong passion for preserving Palestine’s visual heritage. When Dan Walsh (MAAS ’11) was serving as a Peace Corps volunteer in Marrakesh in the early 1970s, his language tutor encouraged him to practice his budding Arabic and Moroccan Darija skills by translating the posters that papered the buildings around town. Walsh, now the curator of the world’s largest collection of posters on Palestine, remembers how grateful he was for the break from verb conjugations but says he never could have imagined how that assignment would change the course of his career. He credits his hours spent walking the streets of Marrakech and Rabat reading posters—Arabic dictionary in hand—with not only improving his language skills, but also igniting what has become one of his life’s passions.
Topic:
Culture, Media, Peace Corps, and Higher Education
Political Geography:
Middle East, Israel, Palestine, North America, and United States of America

85. Time to Yell “Cut?” An Evaluation of the California Film and Production Tax Credit for the Motion Picture Industry

Author:
Michael Thom
Publication Date:
01-2018
Content Type:
Journal Article
Journal:
California Journal of Politics and Policy
Institution:
Institute of Governmental Studies, UC Berkeley
Abstract:
Enacted in 2009, California’s Film and Production Tax Credit was a policy reaction to fears that the state had lost motion picture industry jobs to other states and countries. The incentive has since been allocated over $1 billion in taxpayer funding. Advocates hail the tax credit as a success, but is there evidence to support that claim? This study examines motion picture industry employment in California from 1991 through 2016 to determine the impact of the Film and Production Tax Credit and competing incentives offered by other governments. Results show the tax credit had no significant effect on changes in three occupational categories associated with the motion picture industry. Employment was similarly unaffected by competing incentives. Motion picture industry employment in California instead appears to track the national labor market. These findings were robust to several alternative measures and model specifications and advise that California policymakers should eliminate the Film and Production Tax Credit as soon as possible.
Topic:
Governance, Culture, Budget, Film, and Economic Policy
Political Geography:
United States and California

86. THE OUTSTANDING VIEW OF GLOBALIZATION: ROMAN GAME AIR AS CATEGORY OF WORLD MUSIC

Author:
Zeynep Gonca GİRGİN
Publication Date:
02-2018
Content Type:
Journal Article
Journal:
Alternative Politics
Institution:
Department of International Relations, Abant Izzet Baysal University, Turkey
Abstract:
The category of world music is a new genre-title created by that latest embodiment of globalization, the glocal (global-local) market in the music industry. The increase in the power of the world music market in late 1980's and the popularization of the Romani musician as an identity in that regard plays an important role in the popularization of the 9/8 Romani dance tune both in Turkey and in the Balkans sound. The Gypsy-Romani themed films in the last quarter century by Emir Kusturica and Tony Gatlif, the Gypsy-Romani music festivals held in Europe and North America, and the increase in the Romani instrumentalist and performer productions in the Balkans popular music market; also, the rise in the scientific and artistic interest in the academia show the emphasis on both the distinctive and the European identity of the Gypsies, while supporting the new political economic conditions. This article critically reviews the popularization process of Turkish Roma musicians and musics in the world music industry via correlation with Balkan territories.
Topic:
Globalization, Culture, and Music
Political Geography:
Europe, Turkey, Asia, and Balkans

87. WOMEN EMPLOYMENT IN ASIA: A CROSS-COUNTRY COMPARISON BETWEEN INDIA, SOUTH KOREA AND TURKEY

Author:
H. Işıl Alkan
Publication Date:
10-2018
Content Type:
Journal Article
Journal:
Alternative Politics
Institution:
Department of International Relations, Abant Izzet Baysal University, Turkey
Abstract:
In line with the recognition of the significance of women in the path to development, various countries have sought to increase female labor market participation over the past decades. While many European countries have been successful, numerous Asian countries have failed. The purpose of this study is to compare the patterns of female employment in three Asian countries since the 1990s including India, South Korea, and Turkey and to discover the main determinants of the issue. Female employment is a multidimensional concept that should be evaluated from cultural, economic and political perspectives. The study thus adopts a broad perspective containing cultural, economic and political factors in different nations.
Topic:
Gender Issues, Culture, Women, Employment, Economic structure, and Feminism
Political Geography:
Europe, Turkey, India, Asia, and South Korea

88. Democracy’s “Near Misses”

Author:
Tom Ginsburg and Aziz Huq
Publication Date:
10-2018
Content Type:
Journal Article
Journal:
Journal of Democracy
Institution:
National Endowment for Democracy
Abstract:
Democracies can collapse or erode beyond repair, but they can also suffer substantial yet “non-fatal” deterioration in the quality of democratic institutions, and then experience a rebound. Such “near misses” have received little or no attention in the new wave of scholarship on why democracies die (or survive). This article develops the concept of a democratic near miss. It first considers numerical metrics of democratic quality as a means of identifying near misses, but finds that these metrics provide inconsistent and conflicting guidance. Instead, this essay uses a case study method—focusing on Finland in 1930, Colombia in 2010, and Sri Lanka in 2015—to capture the dynamics of democratic near misses. These cases suggest that nonmajoritarian actors, including political-party elites and unelected judges and bureaucrats, have a critical role to play in averting democratic erosion.
Topic:
Culture, Military Affairs, Democracy, and Institutions
Political Geography:
Finland, Sri Lanka, Colombia, and Global Focus

89. The Return of Cultural Genocide?

Author:
Leora Bilsky and Rachel Klagsbrun
Publication Date:
04-2018
Content Type:
Journal Article
Abstract:
Cultural genocide, despite contemporary thinking, is not a new problem in need of normative solution, rather it is as old as the concept of genocide itself. The lens of law and history allows us to see that the original conceptualization of the crime of genocide – as presented by Raphael Lemkin – gave cultural genocide centre stage. As Nazi crime was a methodical attempt to destroy a group and as what makes up a group’s identity is its culture, for Lemkin, the essence of genocide was cultural. Yet the final text of the Convention on the Prevention and Punishment of the Crime of Genocide (Genocide Convention) does not prohibit cultural genocide as such, and it is limited to its physical and biological aspects. What led to this exclusion? In this article, we examine the various junctures of law, politics and history in which the concept was shaped: the original conceptualization by Lemkin; litigation in national and international criminal courts and the drafting process of the Genocide Convention. In the last part, we return to the mostly forgotten struggle for cultural restitution (books, archives and works of art) fought by Jewish organizations after the Holocaust as a countermeasure to cultural genocide. Read together, these various struggles uncover a robust understanding of cultural genocide, which was once repressed by international law and now returns to haunt us by the demands of groups for recognition and protection.
Topic:
Genocide, International Law, History, Culture, Courts, and Holocaust
Political Geography:
Europe and Germany

90. Dancing the Cold War: An International Symposium

Author:
Lynn Granola
Publication Date:
06-2018
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
David Caute, in The Dancer Defects, a wide-ranging volume about the Cold War struggle for supremacy in many realms of cultural activity, devotes his one chapter on dance to the high-profile defections that, beginning with Rudolf Nureyev’s “leap to freedom” in 1961, captured so many headlines. But as we will see in the next two days, there was more – far more – to the story than defections and far more even than ballet, although ballet certainly played a big part in Cold War battles for supremacy. Musicals like West Side Story and dances like the Twist belonged as much to the Cold War imaginary as events at the Bolshoi or the old Met that began with the playing of national anthems and even, on occasion, the display of national flags. Movie theaters and television were also battlegrounds, with millions of Americans tuning in to the Ed Sullivan Show for their first glimpse of real Russian dancers. Although the United States and the USSR were the main protagonists of the Cold War, they were not its only ones. The ideological struggle that was said to pit capitalist freedom against communist oppression took place on many fronts and involved allies, clients, and surrogates of those countries in different parts of the world. The two powers dueled at festivals in Africa, Western Europe, and the Middle East. Master teachers and choreographers were dispatched, and students sent to metropoles. Companies large and small embarked on long tours, spreading the gospel of dance along with a dose of ideology, earning foreign currency for their governments or budget relief for themselves, and contributing to the international visibility of the dance boom. Many breathed a sigh of relief when they returned home, but over the years the exposure to other repertories and other training regimes could be felt in the globalization of works, performance styles, and techniques. In the Cold War struggle for hearts and minds, people outside the corridors of power played a huge part. When the Moiseyev Dance Ensemble first toured the United States, the dancers were mobbed when they bought teddy bears for their children; Americans invited them home, believing that people-to-people diplomacy was the way to peace. Dancers were diplomats; in their dresses and pumps they met artists and dignitaries. They performed in opera houses and on improvised stages, giving full-scale performances and lecture- demonstrations – sometimes to people who had never glimpsed ballet or modern dance before, or witnessed performances by a company of African- American virtuosi. At a time before mass air travel, they traversed oceans and continents, encountered strange foods, languages, and customs. They became members of a global dance culture. The cultural Cold War has become a minor cottage industry. But when Naima Prevots published Dance for Export: Cultural Diplomacy and the Cold War in 1998, it was the first book to examine the phenomenon with respect to dance. Since then a number of scholars have followed in her footsteps, and several will be giving papers on their work at this symposium. Dancing the Cold War had its inception two years ago when the late and sorely missed Catharine Nepomnyashchy and I curated a symposium on Russian movement cultures of the 1920s and 1930s. The event was multidisciplinary in that it prominently featured both visual iconography and film. This time, in addition to film, photographs, and memorabilia, we will be hearing from dancers from ten US companies who took part in multiple Cold War tours, as well as Soviet-trained artists who have pursued post-Cold War careers outside Russia. We are also fortunate in being able to share Cold War images from the remarkable collection of Robert Greskovic and to show a film of Balanchine’s Western Symphony, specially loaned to us by the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts, which was made in Paris in 1956 with Cold War dollars. Tonight we begin with another Cold War film, Plisetskaya Dances, about the legendary Bolshoi ballerina, Maya Plisetskaya. It was made in 1964 by Moscow’s Central Documentary Film Studio and introduces us to the star who blazed so brightly over the international dance firmament. In Moscow she danced Swan Lake for innumerable foreign leaders, including Fidel Castro (shown on the symposium program and poster after a performance). Abroad she danced it to ecstatic crowds. We know from her memoir, I, Maya Plisetskaya, that her path was not easy. Her father was killed in the late 1930s, and she danced her first Dying Swan (or something that approximated it) at an outdoor concert in the city of Chimkent before an audience of political exiles, including her mother. She was denied permission to take part in the Bolshoi’s 1956 tour of London because one of her father’s brothers had settled in New York, had children, and grown prosperous. None of this appears in the film, of course. What you see instead is the magnificent Bolshoi ballerina, with her outsized temperament and splendid jumps, a dancer who had scaled the heights of international fame but remained at heart deeply Russian.
Topic:
Cold War, Arts, Culture, and Dance
Political Geography:
United States, Europe, Eastern Europe, Soviet Union, Cuba, and North America