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1. Ensuring Respect for Indigenous Cultures: A Moral Rights Approach

Author:
Brigitte Vézina
Publication Date:
05-2020
Content Type:
Working Paper
Institution:
Centre for International Governance Innovation
Abstract:
From commercials to movies to fashion, Indigenous artworks have been misused in ways that are offensive to the artists who created them and disrespectful of the cultures that inspired them. Using Indigenous traditional cultural expressions (TCEs) without acknowledging their sources or providing financial compensation to the artists undermines the TCEs' traditional value and amounts to cultural theft. This paper looks at protecting TCEs using copyright's moral rights approach, which provides intellectual property protection based on acknowledgement, respect and integrity.
Topic:
Arts, Intellectual Property/Copyright, Culture, and Indigenous
Political Geography:
Canada and North America

2. Engage Your Senses! Cultural Exchanges from the Mediterranean to the Indian Ocean

Author:
Susan Douglass
Publication Date:
04-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
Each year, in conjunction with the Middle East Studies Association (MESA) Annual Conference, institutional members of its affiliate, the Middle East Outreach Council (MEOC), hosts a workshop for educators and conference attendees. In November of 2017, the MESA Annual Conference in Washington D.C. featured a collaborative workshop extravaganza cosponsored by four local member organizations: the Center for Contemporary Arab Studies, the Institute for Middle East Studies at George Washington University, the Middle East Policy Council, and the Sultan Qaboos Cultural Center, which graciously hosted the workshop at its beautiful building. Each organization sponsored speakers and funds to make this enjoyable day accessible to more than forty educators, outreach professionals, and MESA members.
Topic:
Education, Arts, Culture, and Literature
Political Geography:
Middle East, Arab Countries, and North America

3. Artist Q&A

Author:
Vicki Valosik and Helen Zughaib
Publication Date:
12-2018
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
Helen Zughaib, currently based in Washington D.C., is known for her colorful gouache works that emphasize hope and human dignity, even while depicting themes of mass displacement, political upheaval, and war. Born in Beirut but forced to evacuate during the 1975 civil war, Zughaib spent much of her life in Europe and other parts of the Middle East before coming to the United States to earn her BFA at Syracuse University’s College of Visual and Performing Arts. Her art has been exhibited at museums, galleries, embassies, and in private collections around the world, including at the White House, the Library of Congress, and the World Bank. Zughaib has served as a U.S. State Department Cultural Envoy to Europe and the Middle East and was recently awarded a grant from the D.C. Commission on the Arts and Humanities. In November, she gave a talk at CCAS on her visual documentation of the Arab Spring, after which she shared the following reflections on her work.
Topic:
Arts, Culture, Arab Spring, and Memory
Political Geography:
Middle East, United States of America, North America, Washington, and D.C.

4. 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

5. The 1001 Black Men Online Sketchbook and the Art of Social Justice

Author:
Ajuan Mance
Publication Date:
03-2018
Content Type:
Video
Institution:
Clarke Forum for Contemporary Issues
Abstract:
Ajuan Mance created 1001 Black Men: An Online Sketchbook as a reaction against the controlling images that have limited and defined media representations of Black men. In this lecture at Mills College, Mance uses a slideshow of images from her series as the basis of a wide ranging discussion of art, Black maleness and gender performance, and representation.
Topic:
Gender Issues, Race, Arts, Media, Social Justice, Identities, and Representation
Political Geography:
North America and United States of America

6. 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

7. The Revolution Turns Five: Faculty reflections on the fifth anniversary of the Arab uprisings

Author:
Fida Adely, Michael Hudson, Joseph Sassoon, Noureddine Jebnoun, Marwa Daoudy, Emad El-Din Shahin, and Rochelle A. Davis
Publication Date:
04-2016
Content Type:
Special Report
Institution:
Center for Contemporary Arab Studies
Abstract:
In this fifth year anniversary of the Arab revolts or “Arab Spring,” we might ask ourselves “what has changed in the region?” Given the conflicts raging in the Arab world as we speak, many have concluded that the revolts failed, or that rather than bringing “progress” they have pushed us back—entrenching authoritarianism, displacing millions, exacerbating sectarian differences, etc. But such conclusions reflect a short view of history and a truncated understanding of change. More troublesome, they can fuel a view of the region as unchanging, stagnant, and even backward.
Topic:
Arts, Culture, Social Movement, Economy, Arab Spring, Youth, Syrian War, Revolution, and Counterrevolution
Political Geography:
Middle East, Libya, Arab Countries, Syria, North America, Egypt, and Tunisia