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22. 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
23. An Untold Story: The Role of Women in Art & Peacebuilding in the Middle East
- Author:
- Alia Ali, Lulwa Al Khalifa, Helen Zughaib, and Neda Ulaby
- Publication Date:
- 09-2017
- Content Type:
- Video
- Institution:
- Middle East Institute (MEI)
- Abstract:
- The Middle East Institute's (MEI) Arts and Culture Program was pleased to host a panel conversation examining the critical role Middle Eastern women play in building more stable and tolerant communities through the lens of the arts. The panel took place in conjunction with programming around I AM, an exhibition of 31 Middle Eastern women contemporary artists from 12 countries, at the American University Museum at the Katzen Arts Center, with a general public opening reception on September 9. Organized by CARAVAN, an international NGO that focuses on building bridges through the arts, the exhibition highlights the role that Middle Eastern women play in their societies and the power of the arts to articulate their ambitions. The panel featured three participating artists and a scholar of women's issues and was moderated by NPR's Neda Ulaby. The panelists drew upon their experiences to challenge common misconceptions about women in the region and explore how the arts can serve as a form of creative and non-violent resistance.
- Topic:
- Arts, Culture, and Women
- Political Geography:
- Middle East, Yemen, Lebanon, Bahrain, and United States of America
24. Art and Cultural Production in the GCC
- Author:
- Center for International and Regional Studies
- Publication Date:
- 01-2017
- Content Type:
- Working Paper
- Institution:
- Center for International and Regional Studies: CIRS
- Abstract:
- In an effort to explore the evolution of the art and cultural scene in the Gulf Cooperation Council (GCC) states, and to understand the complexities of these fields, the Center for International and Regional Studies (CIRS) at Georgetown University in Qatar undertook a two-year research initiative titled “Art and Cultural Production in the GCC.” Artists, cultural administrators, curators, critics, and academics were invited to Doha to attend two separate meetings in which they debated topics of relevance to the GCC’s cultural field. The research culminated in the publication of original studies in a special issue of the Journal of Arabian Studies (September 2017). This project builds on the available literature by contributing towards furthering knowledge on the prevailing issues around art and cultural production in the Gulf.
- Topic:
- Regional Cooperation, Arts, and Culture
- Political Geography:
- Middle East, Qatar, Persian Gulf, and Gulf Cooperation Council
25. The Domestication of an Itinerant Object: The True Cross Reliquary from the Louvre Museum
- Author:
- Zina Uzdenskaya
- Publication Date:
- 01-2017
- Content Type:
- Journal Article
- Journal:
- Hiperboreea
- Institution:
- Balkan History Association
- Abstract:
- The Reliquary of the True Cross from the Louvre Museum serves as a good illustration of some key ideas which are of high interest for modern art historians studying medieval art. These ideas are: hybridity (syncretism, compositeness), portability (mobility), circulation, and transparency (crossing borders). The Reliquary is a product of a complicated cross-cultural exchange with more than one participant. First of all, it is a composite, or hybrid, object. The cross-shaped reliquary was produced in the Holy Land in the twelfth century, most likely in Jerusalem, while the casket, in which the cross is housed, was produced later, probably in a South Italian or Sicilian workshop of the late twelfth or early thirteenth century. Furthermore, the reliquary belongs to a big family of portable objects, which are defined by the feature of portability, and which add to its material value significant symbolical value when they are transported beyond the borders – geographical, cultural, or political – of the region of their production. In order to better understand the reliquary and its value, I answer two sets of questions. First is the set of “traditional” questions of Western European art history, namely authorship, style, date, and periodization. Then I consider this reliquary as an “object without borders,” in terms of Jennifer Purtle, and find answers to the kinds of questions related to the specificity of portable objects: What is the object within the context in which it exists? How and why does an object move beyond borders? What meaning and what cultural and economic value accrue to an object when it exists without borders? Answering these questions, I show how the reliquary moved from one cultural and political context to another, being re-shaped and re-considered on the course of its travels
- Topic:
- Religion, History, Arts, and Museums
- Political Geography:
- Europe
26. 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
27. A Euro Border Guard and Hybrid Warfare. An Art Theft Perspective: Human Dimensions and a Moral Imperative
- Author:
- Charles Hill
- Publication Date:
- 09-2016
- Content Type:
- Journal Article
- Journal:
- Connections
- Institution:
- Partnership for Peace Consortium of Defense Academies and Security Studies Institutes
- Abstract:
- Art theft, particularly the looting of works of art from antiquity, is an element of today’s terrorism. Stealing and looting art works, including theft by destruction, are ancient and continuing practices. To counter art theft, modern hybrid, multifaceted or multidimensional warfare requires innovation. Integrated with the human dimension in countering art theft, there is an enduring moral imperative to combat and contain the worst effects of looting and the theft of art through anti-terrorism work. The idea of a European Army may be better thought of and developed as a Euro Border Guard, a gendarmerie with anti-smuggling art and antiquities training, leaving NATO to continue its mission
- Topic:
- Terrorism, Arts, and Hybrid Warfare
- Political Geography:
- Global Focus
28. Art and Ecstasy in Arab Music
- Author:
- A.J. Racy
- Publication Date:
- 12-2010
- Content Type:
- Working Paper
- Institution:
- Center for Contemporary Arab Studies
- Abstract:
- Throughout history, the emotional power of music has concerned philosophers, scientists, educators, moralists, and musicians. Growing up in a small rural village in southern Lebanon, I observed such power first hand. When the mijwiz (a double-pipe reed instrument) was played, traditionally using the technique of circular breathing, I saw the local listeners succumb to the instrument's magic spell. Its irresistible Dionysian ethos seemed to compel them to sing and dance. Some villagers maintained that the mijwiz enabled the shepherds, who often played it, to entrance their goats and make them stand still and listen. As an ethnomusicologist who specializes in music of the Middle East, especially of the Arab world, I have come across other similarly compelling cases of musical transformation. When singers chanted their poetry at medieval Abbasid courts in Baghdad, the listeners, including the caliphs themselves, displayed a variety of strong reactions, including moving their feet, dancing, sobbing, weeping, and tearing their garments—or in some cases listening to the performers attentively and bestowing upon them lavish compliments. Meanwhile, medieval Arabic treatises, which in the ancient Greek tradition often treated music as a science, left us ample writings about music's extraordinary cosmological associations and therapeutic effects. And for the Sufi mystics, music and dance became an integral path to transcendence, or the attainment of spiritual ecstasy.
- Topic:
- Islam, Arts, and Culture
- Political Geography:
- Middle East, Arabia, and Lebanon
29. Staging the Revolution(s)
- Author:
- David T. Gies
- Publication Date:
- 02-2008
- Content Type:
- Working Paper
- Institution:
- Institute of European Studies
- Abstract:
- Spanish playwrights in the period between the French Revolution and the Spanish War of Independence became increasingly sensitized to militarization and conflict. Manuel José Quintana's ground-breaking Pelayo (1805) drew on tropes from Spain's historical past to discuss current and coming events. A new reading of Quintana's play suggests that he, among others, marked this rapidly changing cultural and political milieu with works that projected a growing nationalism and defense of Spain against the threats from north of the Pyrenees.
- Topic:
- Civil Society, War, History, and Arts
- Political Geography:
- Europe, France, and Spain
30. Iraq's Cultural Heritage: Preserving the Past for the Sake of the Future
- Author:
- Elizabeth Detwiler
- Publication Date:
- 10-2008
- Content Type:
- Policy Brief
- Institution:
- United States Institute of Peace
- Abstract:
- The looting of Iraq's museums and archaeological sites is an overlooked consequence of the 2003 invasion. The loss of such precious history would be tragic for any nation or culture. As Iraqis struggle to redefine a sense of nationhood after five years of war, they will need to draw on that common heritage to reconstruct their communities. In the words of Donny George Youkhanna, former director general of the Iraq Museum in Baghdad, “The oil will finish one day, but the antiquities will always be there.” The most immediate priorities are to secure Iraq's existing heritage sites, recover stolen artifacts, and develop an infrastructure for their conservation. The question should also be asked: what can be done to prevent such looting in future conflicts?
- Topic:
- Crime, International Cooperation, International Organization, and Arts
- Political Geography:
- Iraq, Middle East, and Baghdad
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