A SCHOLARLY BOOK REPOSITORY
In the century and a half since the Civil War, various entities, both private and public, have earnestly sought to safeguard the legacy of that seismic conflict through the preservation of its battlefields. In Altogether Fitting and Proper—a title taken from Lincoln’s Gettysburg Address—Timothy B. Smith provides the most comprehensive synthesis ever written of the long, often fraught history of those preservation efforts, which began even as the war was still raging and have continued up through the present day.
Smith traces the story of battlefield park establishment from the war and the Reconstruction era through the “Golden Age of Preservation” at the turn of the century, to the New Deal period and well beyond. He pays close attention to the evolution of public policy, as the creation and oversight of parks shifted from the War Department to the National Park Service, and explores the evolving ways in which the Civil War has been remembered over the years, most significantly with regard to its causes: slavery and race. While Smith’s primary focus is on the famous national parks—Gettysburg, Shiloh, Antietam, Chickamauga, and others—he also examines the endeavors of state and local governments, as well as an assortment of private organizations, to establish parks and monuments for lesser-known battle sites. The ongoing conflicts between preservationists and commercial developers form another key element of the narrative.
As Smith makes clear, the story of battlefield preservation is in many ways a story of people—from Civil War veterans like Henry Boynton, the Medal of Honor winner who oversaw the development of the first national military park at Chickamauga, to Jim Lighthizer, the president of the Civil War Trust, the private charitable organization spearheading the twenty-first-century preservation movement. In their dedication to this particular cause, such individuals and the groups they represent have kept a central event in American history alive in our collective memory.
Cultural diplomacy—“winning hearts and minds” through positive portrayals of the American way of life—is a key element in U.S. foreign policy, although it often takes a backseat to displays of military might. Americans All provides an in-depth, fine-grained study of a particularly successful instance of cultural diplomacy—the Office of the Coordinator of Inter-American Affairs (CIAA), a government agency established by President Franklin D. Roosevelt in 1940 and headed by Nelson A. Rockefeller that worked to promote hemispheric solidarity and combat Axis infiltration and domination by bolstering inter-American cultural ties.
Darlene J. Sadlier explores how the CIAA used film, radio, the press, and various educational and high-art activities to convince people in the United States of the importance of good neighbor relations with Latin America, while also persuading Latin Americans that the United States recognized and appreciated the importance of our southern neighbors. She examines the CIAA’s working relationship with Hollywood’s Motion Picture Society of the Americas; its network and radio productions in North and South America; its sponsoring of Walt Disney, Orson Welles, John Ford, Gregg Toland, and many others who traveled between the United States and Latin America; and its close ties to the newly created Museum of Modern Art, which organized traveling art and photographic exhibits and produced hundreds of 16mm educational films for inter-American audiences; and its influence on the work of scores of artists, libraries, book publishers, and newspapers, as well as public schools, universities, and private organizations.
From the 1920s—a decade marked by racism and nativism—through World War II, hundreds of thousands of Americans took part in a vibrant campaign to overcome racial, ethnic, and religious prejudices. They celebrated the “cultural gifts” that immigrant and minority groups brought to society, learning that ethnic identity could be compatible with American ideals.
Diana Selig tells the neglected story of the cultural gifts movement, which flourished between the world wars. Progressive activists encouraged pluralism in homes, schools, and churches across the country. Countering racist trends and the melting-pot theory of Americanization, they championed the idea of diversity. They incorporated new thinking about child development, race, and culture into grassroots programs—yet they were unable to address the entrenched forms of discrimination and disfranchisement faced by African Americans in particular. This failure to grasp the deep social and economic roots of prejudice ultimately limited the movement’s power.
In depicting a vision for an inclusive American identity from a diverse citizenry, Americans All is a timely reminder of the debates over difference and unity that remain at the heart of American society.
The commentators include leading preservation professionals, historians, writers, activists, journalists, architects, and urbanists. The essays offer a distinct vision for the future and address related questions, including, Who is a preservationist? What should be preserved? Why? How? What stories do we tell in preservation? How does preservation contribute to the financial, environmental, social, and cultural well-being of communities? And if the "arc of the moral universe . . . bends towards justice," how can preservation be a tool for achieving a more just society and world?
"Civic engagement has been underrated and overlooked. Koritz and Sanchez illuminate the power of what community engagement through art and culture revitalization can do to give voice to the voiceless and a sense of being to those displaced."
---Sonia BasSheva Mañjon, Wesleyan University
"This profound and eloquent collection describes and assesses the new coalitions bringing a city back to life. It's a powerful call to expand our notions of culture, social justice, and engaged scholarship. I'd put this on my 'must read' list."
---Nancy Cantor, Syracuse University
"Civic Engagement in the Wake of Katrina is a rich and compelling text for thinking about universities and the arts amid social crisis. Americans need to hear the voices of colleagues who were caught in Katrina's wake and who responded with commitment, creativity, and skill."
---Peter Levine, CIRCLE (The Center for Information & Research on Civic Learning & Engagement)
This collection of essays documents the ways in which educational institutions and the arts community responded to the devastation wrought by Hurricane Katrina. While firmly rooted in concrete projects, Civic Engagement in the Wake of Katrina also addresses the larger issues raised by committed public scholarship. How can higher education institutions engage with their surrounding communities? What are the pros and cons of "asset-based" and "outreach" models of civic engagement? Is it appropriate for the private sector to play a direct role in promoting civic engagement? How does public scholarship impact traditional standards of academic evaluation? Throughout the volume, this diverse collection of essays paints a remarkably consistent and persuasive account of arts-based initiatives' ability to foster social and civic renewal.
Amy Koritz is Director of the Center for Civic Engagement and Professor of English at Drew University.
George J. Sanchez is Professor of American Studies and Ethnicity and History at the University of Southern California.
Front and rear cover designs, photographs, and satellite imagery processing by Richard Campanella.
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
Collecting Mexico centers on the ways in which aesthetics and commercialism intersected in officially sanctioned public collections and displays in late nineteenth-century Mexico. Shelley E. Garrigan approaches questions of origin, citizenry, membership, and difference by reconstructing the lineage of institutionally collected objects around which a modern Mexican identity was negotiated. In doing so, she arrives at a deeper understanding of the ways in which displayed objects become linked with nationalistic meaning and why they exert such persuasive force.
Spanning the Porfiriato period from 1867 to 1910, Collecting Mexico illuminates the creation and institutionalization of a Mexican cultural inheritance. Employing a wide range of examples—including the erection of public monuments, the culture of fine arts, and the representation of Mexico at the Paris World’s Fair of 1889—Garrigan pursues two strands of thought that weave together in surprising ways: national heritage as a transcendental value and patrimony as potential commercial interest.
Collecting Mexico shows that the patterns of institutional collecting reveal how Mexican public collections engendered social meaning. Using extensive archival materials, Garrigan’s close readings of the processes of collection building offer a new vantage point for viewing larger issues of identity, social position, and cultural/capital exchange.
Current scholarship in museum studies is generally limited to interpretations by scholars and curators. Common Ground brings descriptive data to the intellectual canon and illustrates how museum institutions must be transformed and recreated to suit the needs of the twenty-first century.
Drawing on years of fieldwork, Enriquez shows how forcing artists to adopt “neutral” market solutions reinforces, and generates, overlapping racial and class-based inequalities. Lacking the social and financial resources of their middle-class peers, working-class musicians find it difficult to uphold institutional goals of connecting the city’s cultural roots to global markets and consumers. Enriquez also links the artists’ situation to that of cultural and creative workers around the world. As she shows, musical sponsorship in Recife and the contemporary gig economy elsewhere employ processes that, far from being neutral, uphold governmental and corporate ideologies that produce social stratification.
Rich and vibrant, The Costs of the Gig Economy offers a rare English-language portrait of the changing musical culture in Recife.
Creating Spaniards is a cultural and intellectual history that explains the intersection of politics and culture, and the formation of a national identity, during Spain’s Second Republic and Civil War. It counters recent scholarship claiming that leaders of the Second Republic had no programs for "inventing traditions" to encourage a Spanish national identity.
Focusing on the Second Republic, 1931–1936, Sandie Holguín illustrates how various intellectuals and politicians of the Republican–Socialist coalition used theater, literature, and film to aid the construction of a unified Spanish culture and history. She uses memoirs, journals, newspapers, parliamentary debates, and archival sources in her examination of the impact that cultural reforms had on the transformation of one of Europe’s oldest states.
Based in North and South America, scholars from fields including anthropology, performance studies, history, literature, and communications studies explore specific variations of cultural agency across Latin America. Contributors reflect, for example, on the paradoxical programming and reception of a state-controlled Cuban radio station that connects listeners at home and abroad; on the intricacies of indigenous protests in Brazil; and the formulation of cultural policies in cosmopolitan Mexico City. One contributor notes that trauma theory targets individual victims when it should address collective memory as it is worked through in performance and ritual; another examines how Mapuche leaders in Argentina perceived the pitfalls of ethnic essentialism and developed new ways to intervene in local government. Whether suggesting modes of cultural agency, tracking exemplary instances of it, or cautioning against potential missteps, the essays in this book encourage attentiveness to, and the multiplication of, the many extraordinary instantiations of cultural resourcefulness and creativity throughout Latin America and beyond.
Contributors. Arturo Arias, Claudia Briones, Néstor García Canclini, Denise Corte, Juan Carlos Godenzzi, Charles R. Hale, Ariana Hernández-Reguant, Claudio Lomnitz, Jesús Martín Barbero, J. Lorand Matory, Rosamel Millamán, Diane M. Nelson, Mary Louise Pratt, Alcida Rita Ramos, Doris Sommer, Diana Taylor, Santiago Villaveces
Although such artifacts are ubiquitous in contemporary culture, little attention has been paid to the impact of intellectual property law in everyday life or to how ownership of specific intellectual properties is determined and exercised. Drawing on a wide range of cases, disputes, and local struggles, Coombe examines these issues and dismantles the legal assumption that the meaning and value of a text or image is produced exclusively by an individual author or that authorship has a single point of origin. In the process, she examines controversies that include the service of turbanned Sikhs in the Royal Canadian Mounted Police and the use of the term Olympic in reference to the proposed gay Olympic Games. Other chapters discuss the appropriation of such celebrity images as the Marx brothers, Judy Garland, Dolly Parton, James Dean, and Luke Skywalker; the conflict over team names such as the Washington Redskins; and the opposition of indigenous peoples to stereotypical Native American insignia proffered by the entertainment industry. Ultimately, she makes a case for redefining the political in commodified cultural environments.
Significant for its insights into the political significance of current intellectual property law, this book also provides new perspectives on debates in cultural anthropology, cultural studies, and political theory. It will therefore interest both a wide scholarly and a general audience.
Cultural Resource Management (CRM) refers to the discovery, evaluation, and preservation of culturally significant sites, focusing on but not limited to archaeological and historical sites of significance. CRM stems from the National Historic Preservation Act, passed in 1966. In 1986, archaeologists reviewed the practice of CRM in the Great Basin. They concluded that it was mainly a system of finding, flagging, and avoiding—a means of keeping sites and artifacts safe. Success was measured by counting the number of sites recorded and acres surveyed.
This volume provides an updated review some thirty years later. The product of a 2016 symposium, its measures are the increase in knowledge obtained through CRM projects and the inclusion of tribes, the general public, industry, and others in the discovery and interpretation of Great Basin prehistory and history. Revealing both successes and shortcomings, it considers how CRM can face the challenges of the future. Chapters offer a variety of perspectives, covering highway archaeology, inclusion of Native American tribes, and the legacy of the NHPA, among other topics.
Boyer argues that understanding the unprecedented success that this dissident bourgeois political group had in transforming the basic tenets of political life is crucial to understanding the history of the Central European state and the ways in which it was slowly undermined by popular electoral politics. The movement's efforts to save the Austrian Empire by trying to create an economically integrated but ethnically pluralistic state are particularly enlightening today in the shadow of ethnic violence in Sarajevo, where began the end of the Austrian Empire in 1914.
The most comprehensive account of any mass political movement in late-nineteenth century Central Europe, this two- volume work is crucial reading for anyone interested in Hapsburg history, German history or the history of social democracy.
Drawing on court transcripts, gallery archives, exhibition reviews, private correspondence—and a striking series of cartoons and photographs—The Culture of Property traverses the history of gender, material culture, urban life, colonialism, Irish and Scottish nationalism, and British citizenship. This fascinating book challenges recent scholarship in museum studies in light of ongoing culture wars. It should be required reading for cultural policy makers, museum professionals, and anyone interested in the history of art and Britain.
Williams draws on a rich selection of textual, pictorial, and architectural sources in his exploration of the dynamic nature of educational film and radio, historical preservation, museum management, painting, public architecture, and national delegations organized for international expositions during the unsettled era in which modern Brazil’s cultural canon took definitive form. In his close reading of the tensions surrounding official policies of cultural management, Williams both updates the research of the pioneer generation of North American Brazilianists, who examined the politics of state building during the Vargas era, and engages today’s generation of Brazilianists, who locate the construction of national identity of modern Brazil in the Vargas era.
By integrating Brazil into a growing body of literature on the cultural dimensions of nations and nationalism, Culture Wars in Brazil will be important reading for students and scholars of Latin American history, state formation, modernist art and architecture, and cultural studies.
As the national dance of Sri Lanka, Kandyan dance is identified with the majority Sinhala ethnic group and heavily supported by the state. Derived from the kohomba kankariya—an elaborate village ritual performed by men of the hereditary drummer caste—the dance was adopted by the state as a symbol of traditional Sinhala culture in the post-independence period. When state officials introduced the dance into the school curriculum, it was opened to individuals of all castes, and high-caste women have emerged as prominent teachers and performers. Reed’s evocative account traces the history and consequences of this transition from ritual to stage, situating the dance in relation to postcolonial nationalism and ethnic politics and emphasizing the voices and perspectives of the hereditary dancers and of women performers.
Although Kandyan dance is related to other south Asian dance forms, it is unique, distinguished by an elegant, energetic style, and lively displays of acrobatics and agility. The companion DVD includes unparalleled footage of this vibrant dance in ritual, stage, and training contexts, and features the most esteemed performers of the Kandyan region.
Kerry McCallum and Lisa Waller critically examine how Indigenous health, bilingual education, and controversial legislation are portrayed through public media, and they look closely at how Indigenous people are both being excluded from policy and media discussion, as well as using the media to their advantage.
Yúdice contends that a new international division of cultural labor has emerged, combining local difference with transnational administration and investment. This does not mean that today’s increasingly transnational culture—exemplified by the entertainment industries and the so-called global civil society of nongovernmental organizations—is necessarily homogenized. He demonstrates that national and regional differences are still functional, shaping the meaning of phenomena from pop songs to antiracist activism. Yúdice considers a range of sites where identity politics and cultural agency are negotiated in the face of powerful transnational forces. He analyzes appropriations of American funk music as well as a citizen action initiative in Rio de Janeiro to show how global notions such as cultural difference are deployed within specific social fields. He provides a political and cultural economy of a vast and increasingly influential art event— insite a triennial festival extending from San Diego to Tijuana. He also reflects on the city of Miami as one of a number of transnational “cultural corridors” and on the uses of culture in an unstable world where censorship and terrorist acts interrupt the usual channels of capitalist and artistic flows.
Each essay in its own way addresses the fragmentation of a cultural consensus that prevailed during the “golden age” of post–revolutionary prosperity, a time when the state was still successfully bolstering its power with narratives of modernization and shared community. Combining detailed case studies—both urban and rural—with larger discussions of political, economic, and cultural phenomena, the contributors take on such topics as the golden age of Mexican cinema, the death of Pedro Infante as a political spectacle, the 1951 “caravan of hunger,” professional wrestling, rock music, and soap operas.
Fragments of a Golden Age will fill a particular gap for students of modern Mexico, Latin American studies, cultural studies, political economy, and twentieth century history, as well as to others concerned with rethinking the cultural dimensions of nationalism, imperialism, and modernization.
Contributors. Steven J. Bachelor, Quetzil E. Castañeda, Seth Fein, Alison Greene, Omar Hernández, Jis & Trino, Gilbert M. Joseph, Heather Levi, Rubén Martínez, Emile McAnany, John Mraz, Jeffrey M. Pilcher, Elena Poniatowska, Anne Rubenstein, Alex Saragoza, Arthur Schmidt, Mary Kay Vaughan, Eric Zolov
For German philosophers at the turn of the nineteenth century, beautiful works of art acted as beacons of freedom, instruments of progress that could model and stimulate the moral autonomy of their beholders. Amid the Revolutionary and Napoleonic wars, Germans struggled to uphold these ideals as they contended with the destruction of art collections, looting, and questions about cultural property. As artworks fell prey to the violence they were supposed to transcend, some began to wonder how art could deliver liberation if it could also quickly become a spoil of war. Alice Goff considers a variety of works—including forty porphyry columns from the tomb of Charlemagne, the Quadriga from the Brandenburg Gate in Berlin, the Laocoön group from Rome, a medieval bronze reliquary from Goslar, a Last Judgment from Danzig, and the mummified body of an official from the Rhenish hamlet of Sinzig—following the conflicts over the ownership, interpretation, conservation, and exhibition of German collections during the Napoleonic period and its aftermath.
Jonathan Brooks Platt looks deeply into the motivations behind the Soviet glorification of a long-dead poet—seemingly at odds with the October Revolution’s radical break with the past. He views the Pushkin celebration as a conjunction of two opposing approaches to time and modernity: monumentalism, which points to specific moments and individuals as the origin point for cultural narratives, and eschatology, which glorifies ruptures in the chain of art or thought and the destruction of canons.
In the midst of the Great Purge, the Pushkin jubilee was a critical element in the drive toward a nationalist discourse that attempted to unify and subsume the disparate elements of the Soviet Union, supporting the move to “socialism in one country.”
History after Apartheid explores the dilemmas posed by a wide range of visual and material culture including key South African heritage sites. How prominent should Nelson Mandela and the African National Congress be in the museum at the infamous political prison on Robben Island? How should the postapartheid government deal with the Voortrekker Monument mythologizing the Boer Trek of 1838? Coombes highlights the contradictory investment in these sites among competing constituencies and the tensions involved in the rush to produce new histories for the “new” South Africa.
She reveals how artists and museum officials struggled to adequately represent painful and difficult histories ignored or disavowed under apartheid, including slavery, homelessness, and the attempted destruction of KhoiSan hunter-gatherers. Describing how contemporary South African artists address historical memory and the ambiguities uncovered by the Truth and Reconciliation Commission, Coombes illuminates a body of work dedicated to the struggle to simultaneously remember the past and move forward into the future.
Tarquini sketches the universe of Italian fascism in three broad directions: the regime’s cultural policies, the condition of various art forms and scholarly disciplines, and the ideology underpinning the totalitarian state. She details the choices the ruling class made between 1922 and 1943, revealing how cultural policies shaped the country and how intellectuals and artists contributed to those decisions. The result is a view of fascist ideology as a system of visions, ideals, and, above all, myths capable of orienting political action and promoting a precise worldview.
Building on George L. Mosse’s foundational research, Tarquini provides the best single-volume work available to fully understand a complex and challenging subject. It reveals how the fascists used culture—art, cinema, music, theater, and literature—to build a conservative revolution that purported to protect the traditional social fabric while presenting itself as maximally oriented toward the future.
Las Vegas, says William Fox, is a pay-as-you-play paradise that succeeds in satisfying our fantasies of wealth and the excesses of pleasure and consumption that go with it. In this context, Fox examines how Las Vegas’s culture of spectacle has obscured the boundaries between high art and entertainment extravaganza, nature and fantasy, for-profit and nonprofit enterprises. His purview ranges from casino art galleries—including Steve Wynn’s private collection and a branch of the famed Guggenheim Museum—to the underfunded Las Vegas Art Museum; from spectacular casino animal collections like those of magicians Siegfried and Roy and Mandalay Bay’s Shark Reef exhibit to the city’s lack of support for a viable public zoo; from the environmental and psychological impact of lavish water displays in the arid desert to the artistic ambiguities intrinsic to Las Vegas’s floating world of showgirls, lapdancers, and ballet divas. That Las Vegas represents one of the world’s most opulent displays of private material wealth in all its forms, while providing miserly funding for local public amenities like museums and zoos, is no accident, Fox maintains. Nor is it unintentional that the city’s most important collections of art and exotic fauna are presented in the context of casino entertainment, part of the feast of sensation and excitement that seduces millions of visitors each year. Instead, this phenomenon shows how our insatiable modern appetite for extravagance and spectacle has diminished the power of unembellished nature and the arts to teach and inspire us, and demonstrates the way our society privileges private benefit over public good. Given that Las Vegas has been a harbinger of national cultural trends, Fox’s commentary offers prescient insight into the increasing commercialization of nature and culture across America.
2022 Outstanding Book Award Finalist from the Association for Theater in Higher Education (ATHE)
In a city struggling to determine just how neoliberal it can afford to be, what kinds of performing arts practices and institutions are necessary—and why?
Since the fall of the Berlin Wall, political and economic agendas in the reunified German capital have worked to dismantle long-standing traditions of state‑subsidized theater even as the city has redefined itself as a global arts epicenter. Institutional Theatrics charts the ways theater artists have responded to these shifts and crises both on- and offstage, offering a method for rethinking the theater as a vital public institution.
What is the future of the German theater, grounded historically in large ensembles, extensive repertoires, and auteur directors? Examining the restructuring of Berlin’s theatrical landscape and most prominent performance venues, Brandon Woolf argues that cultural policy is not simply the delegation and distribution of funds. Instead, policy should be thought of as an artistic practice of institutional imagination. Woolf demonstrates how performance can critique its patron institutions in order to transform the relations between the stage and the state, between the theater and the infrastructures of its support. Bold, nuanced, and rigorously documented, Institutional Theatrics offers new insights about art, its administration, and the forces that influence cultural production.
Intellectuals, Socialism, and Dissent was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Once the Berlin Wall fell in 1989, the people of East Germany had little use for the dissident intellectuals who had helped bring it down. Intellectuals, Socialism, and Dissent offers a penetrating look into the circumstances of this fall from grace, unique among the former Communist states.
John Torpey traces the dissident intellectuals' fate to the peculiar situation of the East German regime, which sought to build "socialism in a quarter of a country" on the anti-fascist foundations of Communist opposition to Nazism. He shows how the regime's unusual history and subnational status helped sustain the East German intelligentsia's conviction that socialism could be reformed and humane-that there was a "third way" between Soviet-style socialism and the capitalism that took root in West Germany. How the pursuit of this third way both supported and undermined the regime, and both galvanized and alienated the East German people, becomes clear in Torpey's nuanced analysis. His book makes a powerful contribution to our understanding of the politics of intellectuals during one of the most painful chapters in modern German history.
John C. Torpey is currently a Jean Monnet Fellow at the European University Institute in Florence.
Intercultural Utopias centers on southwestern Colombia’s Cauca region, a culturally and linguistically heterogeneous area well known for its history of indigenous mobilization and its pluralist approach to ethnic politics. Rappaport interweaves the stories of individuals with an analysis of the history of the Regional Indigenous Council of Cauca and other indigenous organizations. She presents insights into the movement and the intercultural relationships that characterize it from the varying perspectives of regional indigenous activists, nonindigenous urban intellectuals dedicated to the fight for indigenous rights, anthropologists, local teachers, shamans, and native politicians.
Kyongju is South Korea's preeminent "culture city," an urban site rich with archaeological wonders that residents compare to those of Nara, Xian, and Rome. By examining these ancient objects in relation to the controversies that engulfed South Korea's high-speed railway line when it was first proposed in the 1990s, Kyongju Things offers a grounded and theoretically sophisticated account of South Korean development and citizenship in the last quarter of the twentieth century. Its sensitivity to issues of place, knowledge, and cultural heritage and its innovative use of network theory will be of interest to a wide range of scholars in anthropology, Asian studies, the history of science and technology, cultural geography, urban planning, and political science.
Robert Oppenheim is Assistant Professor of Asian Studies at the University of Texas at Austin.
"A tale of South Korea's new politics involving antiquarians, weekend hikers, activists, and entrepreneurs, told with wit and theoretical sophistication."
---Laurel Kendall, Curator, Division of Anthropology, American Museum of Natural History
"In Kyongju Things, Robert Oppenheim employs an innovative theoretical blend to insightfully illuminate the interactions of agency and objects in the making of a 'place.'"
---Roger L. Janelli, Professor Emeritus, Department of East Asian Languages and Cultures and Department of Folklore and Ethnomusicology, Indiana University
"Kyongju Things is responsible, pathbreaking, and ambitious, with a stunning and welcoming introduction . . . Oppenheim calls upon a theoretical tool kit that allows him to productively re-think place, locality, technology, things, and subjectivity in ways that really do challenge the existing scholarship on South Korea. Kyongju Things will make a splash in Korean studies."
---Nancy Abelmann, Associate Professor of Anthropology, University of Illinois at Urbana-Champaign, and author of Echoes of the Past, Epics of Dissent: A South Korean Social Movement
Walker pays particular attention to the half century following World War II, when the Smithsonian significantly expanded. Focusing on its exhibitions of cultural history, cultural anthropology, and folk life, he places the Smithsonian within the larger context of Cold War America and the social movements of the 1960s, '70s, and '80s. Organized chronologically, the book uses the lens of the Smithsonian's changing exhibitions to show how institutional decisions become intertwined with broader public debates about pluralism, multiculturalism, and decolonization.
Yet if a trend toward more culturally specific museums and exhibitions characterized the postwar history of the institution, its leaders and curators did not abandon the vision of the universal museum. Instead, Walker shows, even as the Smithsonian evolved into an extensive complex of museums, galleries, and research centers, it continued to negotiate the imperatives of cultural convergence as well as divergence, embodying both a desire to put everything together and a need to take it all apart.
Thomas combines historical research with fieldwork she conducted in Jamaica between 1993 and 2003. Drawing on her research in a rural hillside community just outside Kingston, she looks at how Jamaicans interpreted and reproduced or transformed on the local level nationalist policies and popular ideologies about progress. With detailed descriptions of daily life in Jamaica set against a backdrop of postcolonial nation-building and neoliberal globalization, Modern Blackness is an important examination of the competing identities that mobilize Jamaicans locally and represent them internationally.
Bringing together methodologies of history, sociology, political science, and philosophy, as well as anthropology, Handler centers on the period 1976–1984, during which the independantiste Parti Québéois was in control of the provincial government and nationalistic sentiment was especially strong. Handler draws on historical and archival research, and on interviews with Quebec and Canadian government officials, as he addresses the central question: Given the similarities between the epistemologies of both anthropology and nationalist ideology, how can one write an ethnography of nationalism that does not simply reproduce—and thereby endorse—nationalistic beliefs? Handler analyzes various responses to the nationalist vision of a threatened existence. He examines cultural tourism, ideology of the Quebec government, legislations concerning historical preservation, language legislation and policies towards immigrants and “cultural minorities.” He concludes with a thoughtful meditation on the futility of nationalisms.
In A New Deal for Native Art, Jennifer McLerran reveals how positioning the native artist as a pre-modern Other served the goals of New Deal programs—and how this sometimes worked at cross-purposes with promoting native self-sufficiency. She describes federal policies of the 1930s and early 1940s that sought to generate an upscale market for Native American arts and crafts. And by unraveling the complex ways in which commodification was negotiated and the roles that producers, consumers, and New Deal administrators played in that process, she sheds new light on native art’s commodity status and the artist’s position as colonial subject.
In this first book to address the ways in which New Deal Indian policy specifically advanced commodification and colonization, McLerran reviews its multi-pronged effort to improve the market for Indian art through the Indian Arts and Crafts Board, arts and crafts cooperatives, murals, museum exhibits, and Civilian Conservation Corps projects. Presenting nationwide case studies that demonstrate transcultural dynamics of production and reception, she argues for viewing Indian art as a commodity, as part of the national economy, and as part of national political trends and reform efforts.
McLerran marks the contributions of key individuals, from John Collier and Rene d’Harnoncourt to Navajo artist Gerald Nailor, whose mural in the Navajo Nation Council House conveyed distinctly different messages to outsiders and tribal members. Featuring dozens of illustrations, A New Deal for Native Art offers a new look at the complexities of folk art “revivals” as it opens a new window on the Indian New Deal.
According to Apter, FESTAC expanded the horizons of blackness in Nigeria to mirror the global circuits of its economy. By showcasing masks, dances, images, and souvenirs from its many diverse ethnic groups, Nigeria forged a new national culture. In the grandeur of this oil-fed confidence, the nation subsumed all black and African cultures within its empire of cultural signs and erased its colonial legacies from collective memory. As the oil economy collapsed, however, cultural signs became unstable, contributing to rampant violence and dissimulation.
The Pan-African Nation unpacks FESTAC as a historically situated mirror of production in Nigeria. More broadly, it points towards a critique of the political economy of the sign in postcolonial Africa.
As Askew shows, the genres of ngoma (traditional dance), dansi (urban jazz), and taarab (sung Swahili poetry) have played prominent parts in official articulations of "Tanzanian National Culture" over the years. Drawing on over a decade of research, including extensive experience as a taarab and dansi performer, Askew explores the intimate relations among musical practice, political ideology, and economic change. She reveals the processes and agents involved in the creation of Tanzania's national culture, from government elites to local musicians, poets, wedding participants, and traffic police. Throughout, Askew focuses on performance itself—musical and otherwise—as key to understanding both nation-building and interpersonal power dynamics.
The first section provides a context for the volume, with its analyses of the historical, political, and social aspects of the Uruguayan experience. The following chapters explore various aspects of cultural production, including personal experiences of exile and imprisonment, popular music, censorship, literary criticism, return from exile, and the role that culture plays in redemocratization.
This book's appeal extends well beyond the study of Uruguay to scholars and students of the history and culture of other Latin American nations, as well as to fields of comparative literature and politics in general.
Contributors. Hugo Achugar, Alvarro Barros-Lémez, Lisa Block de Behar, Amanda Berenguer, Hiber Conteris, José Pedro Díaz, Eduardo Galeano, Edy Kaufman, Leo Masliah, Carina Perelli, Teresa Porzecanski, Juan Rial, Mauricio Rosencof, Jorge Ruffinelli, Saúl Sosonowski, Martin Weinstein, Ruben Yáñez
Revolutionary Parks tells the surprising story of how forty national parks were created in Mexico during the latter stages of the first social revolution of the twentieth century. By 1940 Mexico had more national parks than any other country. Together they protected more than two million acres of land in fourteen states. Even more remarkable, Lázaro Cárdenas, president of Mexico in the 1930s, began to promote concepts akin to sustainable development and ecotourism.
Conventional wisdom indicates that tropical and post-colonial countries, especially in the early twentieth century, have seldom had the ability or the ambition to protect nature on a national scale. It is also unusual for any country to make conservation a political priority in the middle of major reforms after a revolution. What emerges in Emily Wakild’s deft inquiry is the story of a nature protection program that takes into account the history, society, and culture of the times. Wakild employs case studies of four parks to show how the revolutionary momentum coalesced to create early environmentalism in Mexico.
According to Wakild, Mexico’s national parks were the outgrowth of revolutionary affinities for both rational science and social justice. Yet, rather than reserves set aside solely for ecology or politics, rural people continued to inhabit these landscapes and use them for a range of activities, from growing crops to producing charcoal. Sympathy for rural people tempered the radicalism of scientific conservationists. This fine balance between recognizing the morally valuable, if not always economically profitable, work of rural people and designing a revolutionary state that respected ecological limits proved to be a radical episode of government foresight.
When the dust settled after World War II, the United States stood as the world’s unquestionably pre-eminent military and economic power. In the decades that followed, the country exerted its dominant force in less visible but equally powerful ways, too, spreading its trade protocols, its media, and—perhaps most importantly—its alleged values. In A Righteous Smokescreen, Sam Lebovic homes in on one of the most prominent, yet ethereal, of those professed values: the free flow of information. This trope was seen as capturing what was most liberal about America’s self-declared leadership of the free world. But as Lebovic makes clear, even though diplomats and public figures trumpeted the importance of widespread cultural exchange, these transmissions flowed in only one direction: outward from the United States. Though other countries did try to promote their own cultural visions, Lebovic shows that the US moved to marginalize or block those visions outright, highlighting the shallowness of American commitments to multilateral institutions, the depth of its unstated devotion to cultural and economic supremacy, and its surprising hostility to importing foreign cultures. His book uncovers the unexpectedly profound global consequences buried in such ostensibly mundane matters as visa and passport policy, international educational funding, and land purchases for embassies. Even more crucially, A Righteous Smokescreen does nothing less than reveal that globalization was not the inevitable consequence of cultural convergence or the natural outcome of putatively free flows of information—it was always political to its core.
For more than a hundred years, outsiders enamored of the perceived strengths of American Indian cultures have appropriated and distorted elements of them for their own purposes—more often than not ignoring the impact of the process on the Indians themselves. This book contains eight original contributions that consider the selling of American Indian culture and how it affects the Native community. It goes beyond studies of “white shamanism” to focus on commercial ventures, challenging readers to reconsider how Indian cultures have been commercialized in the twentieth century.
Some selections examine how Indians have been displayed to the public, beginning with a “living exhibit” of Cocopa Indians at the 1904 Louisiana Purchase Exposition and extending to contemporary stagings of Indian culture for tourists at Tillicum Village near Seattle. Other chapters range from the Cherokees to Puebloan peoples to Indians of Chiapas, Mexico, in an examination of the roles of both Indians and non-Indian reformers in marketing Native arts and crafts.
These articles show that the commercialization and appropriation of American Indian cultures have been persistent practices of American society over the last century and constitute a form of cultural imperialism that could contribute to the destruction of American Indian culture and identity. They offer a means toward understanding this complex process and provide a new window on Indian-white interactions.
CONTENTS
Part I: Staging the Indian
1. The “Shy” Cocopa Go to the Fair, Nancy J. Parezo and John W. Troutman
2. Command Performances: Staging Native Americans at Tillicum Village, Katie N. Johnson and Tamara Underiner
3. Savage Desires: The Gendered Construction of the American Indian in Popular Media, S. Elizabeth Bird
4. “Beyond Feathers and Beads”: Interlocking Narratives in the Music and Dance of Tokeya Inajin (Kevin Locke), Pauline Tuttle
Part II: Marketing the Indian
5. “The Idea of Help”: White Women Reformers and the Commercialization of Native American Women’s Arts, Erik Trump
6. Saving the Pueblos: Commercialism and Indian Reform in the 1920s, Carter Jones Meyer
7. Marketing Traditions: Cherokee Basketry and Tourist Economies, Sarah H. Hill
8. Crafts, Tourism, and Traditional Life in Chiapas, Mexico: A Tale Related by a Pillowcase, Chris Goertzen
Based on extensive oral history and archival research, Ali Igmen follows the rise of culture clubs beginning in the 1920s, when they were established to inculcate Soviet ideology and create a sedentary lifestyle among the historically nomadic Kyrgyz people. These “Red clubs” are fondly remembered by locals as one of the few places where lively activities and socialization with other members of their ail (village or tribal unit) could be found.
Through lectures, readings, books, plays, concerts, operas, visual arts, and cultural Olympiads, locals were exposed to Soviet notions of modernization. But these programs also encouraged the creation of a newfound “Kyrgyzness” that preserved aspects of local traditions and celebrated the achievements of Kyrgyz citizens in the building of a new state. These ideals proved appealing to many Kyrgyz, who, for centuries, had seen riches and power in the hands of a few tribal chieftains and Russian imperialists.
This book offers new insights into the formation of modern cultural identity in Central Asia. Here, like their imperial predecessors, the Soviets sought to extend their physical borders and political influence. But Igmen also reveals the remarkable agency of the Kyrgyz people, who employed available resources to meld their own heritage with Soviet and Russian ideologies and form artistic expressions that continue to influence Kyrgyzstan today.
In cultural history, the 1950s in Venezuela are commonly celebrated as a golden age of modernity, realized by a booming oil economy, dazzling modernist architecture, and nationwide modernization projects. But this is only half the story. In this path-breaking study, Lisa Blackmore reframes the concept of modernity as a complex cultural formation in which modern aesthetics became deeply entangled with authoritarian politics. Drawing on extensive archival research and presenting a wealth of previously unpublished visual materials, Blackmore revisits the decade-long dictatorship to unearth the spectacles of progress that offset repression and censorship. Analyses of a wide range of case studies—from housing projects to agricultural colonies, urban monuments to official exhibitions, and carnival processions to consumer culture—reveal the manifold apparatuses that mythologized visionary leadership, advocated technocratic development, and presented military rule as the only route to progress. Offering a sharp corrective to depoliticized accounts of the period, Spectacular Modernity instead exposes how Venezuelans were promised a radically transformed landscape in exchange for their democratic freedoms.
Author Arlene Davila focuses on the Institute for Puerto Rican Culture, the government institution charged with defining authenticated views of national identity since the 1950s, and on popular festival organizers to illuminate contestations over appropriate representations of culture in the increasingly mass-mediated context of contemporary Puerto Rico. She examines the creation of an essentialist view of nationhood based on a peasant culture and a "unifying" Hispanic heritage, and the ways in which grassroots organizations challenge and reconfigure definitions of national identity through their own activities and representations.
Davila pays particular attention to the increasing prominence of corporate sponsorship in determining what is distinguished as authentic "Puerto Rican culture" and discusses the politicization of culture as a discourse to debate and legitimize conflicting claims from selling commercial product to advocating divergent status options for the island. In so doing, Davila illuminates the prospects for cultural identities in an increasingly transnational context by showing the growth of cultural nationalism to be intrinsically connected to forms of political action directed to the realm of culture and cultural politics. This in-depth examination also makes clear that despite contemporary concerns with "authenticity," commercialism is an inescapable aspect of all cultural expression on the island.
But modernization theory was more than simply an expression of Cold War ideology. As the essays in this volume show, the ideal of modernization proliferated throughout the postcolonial world and across ideological lines in places as diverse as East Asia, Southern Africa, and South Asia. Indeed, it was embraced by all who shared the American enthusiasm for the increased production and higher standards of living promised by industrialization -enemies and allies alike.
Situating modernization theory historically, Staging Growth avoids conventional chronologies and categories of analysis, particularly the traditional focus on conflicts between major powers. The contributors employ a variety of approaches-from economic and intellectual history to cultural criticism and biography-to shed fresh light on the global forces that shaped the Cold War and its legacies. Most of the pieces are comparative, exploring how different countries and cultures have grappled with the implications of modern development. At the same time, all of the essays address similar fundamental questions. Is modernization the same thing as Westernization? Is the idea of modernization universally valid? Do countries follow similar trajectories as they undertake development? Does modernization bring about globalization?
In addition to the editors and Akira Iriye, contributors include Michael Adas, Laura Belmonte, Gregg Andrew Brazinsky, Christina Klein, J. Victor Koschmann, and Michael R. Mahoney.
Contributors. Homi Bhabha, Jacqueline Bhabha, Lindsay Bremner, Finbarr Barry Flood, Rosario Hubert, Alina Payne, Kay Kaufman Shelemay, Shu-mei Shih, Diana Sorensen, Karen Thornber, Xiaofei Tian
Through French Windows is a journey into contemporary French culture and society. By describing the country's education, religion, politics, finances, technology and telecommunications, and social and ethical issues, Corbett draws a portrait of present-day France.
The author provides background information necessary for understanding the changes that continue to evolve. Corbett conscientiously avoids the traditional and simplistic means of portraying France that emphasizes the cultural heritage of the country. Instead he provides an insider's view of France, separating that mythic image from the current reality. Further, he presents an accurate portrayal of the diversity of France by moving beyond the typical dichotomy between Paris and the rest of the country or the oversimplification of dividing the country into north and south.
Illuminating key issues and reflecting the rapid growth of the field of arts and cultural policy, this book will be of interest to students at both the undergraduate and graduate levels, to arts educators and management professionals, government agency and foundation officials, and researchers and academics in the cultural policy field.
In September 1999, Sensation, an exhibition at the Brooklyn Museum, opened its doors, igniting a controversy still burning in the art world. This collection of cutting-edge art from the Saatchi collection in England, and the museum’s arrangements with Charles Saatchi to finance the show, so offended New York City mayor Rudolph Giuliani that he attempted to shut the museum down by withholding city funds that are crucially needed by that institution. Only a legal ruling prevented him from doing so. Like the Robert Mapplethorpe exhibition before it, Sensation once again raises questions about public spending for “controversial” art, but with the added dimension of religious conflict and charges of commercialization.
The contributors to this volume use the Sensation exhibition as a stepping-stone to analyze larger questions such as the authority the government has to withhold funds, various interpretations of the First Amendment, how to respect divergent cultural and religious values; and the economic stake of museums and dealers in art. In their articles—written expressly for this volume, and spanning the disciplines of law, cultural studies, public policy, and art—the contributors consider issues at the center of arts policy. They propose various legal strategies, curatorial practices, and standards of doing business intended to serve the public interest in the arts.
In September 1999, Sensation, an exhibition at the Brooklyn Museum, opened its doors, igniting a controversy still burning in the art world. This collection of cutting-edge art from the Saatchi collection in England, and the museum’s arrangements with Charles Saatchi to finance the show, so offended New York City mayor Rudolph Giuliani that he attempted to shut the museum down by withholding city funds that are crucially needed by that institution. Only a legal ruling prevented him from doing so. Like the Robert Mapplethorpe exhibition before it, Sensation once again raises questions about public spending for “controversial” art, but with the added dimension of religious conflict and charges of commercialization.
The contributors to this volume use the Sensation exhibition as a stepping-stone to analyze larger questions such as the authority the government has to withhold funds, various interpretations of the First Amendment, how to respect divergent cultural and religious values; and the economic stake of museums and dealers in art. In their articles—written expressly for this volume, and spanning the disciplines of law, cultural studies, public policy, and art—the contributors consider issues at the center of arts policy. They propose various legal strategies, curatorial practices, and standards of doing business intended to serve the public interest in the arts.
The contributors to Whither China? describe how, instead of spearheading the popular-mandated and state-sanctioned project of modernization, intellectuals now find themselves caught amid rapidly changing structures of economic, social, political, and cultural relations that are both global in nature and local in an irreducibly political sense. Individual essays interrogate the space of Chinese intellectual production today, lay out the issues at stake, and cover major debates and discursive interventions from the 1990s. Those who write within the Chinese context are joined by Western observers of contemporary Chinese cultural and intellectual life. Together, these two groups undertake a truly international intellectual struggle not only to interpret but to change the world.
Contributors. Rey Chow, Zhiyuan Cui, Michael Dutton, Gan Yang, Harry Harootunian, Peter Hitchcock, Rebecca Karl, Louisa Schein, Wang Hui, Wang Shaoguang, Xudong Zhang
The study covers the period from the Vietnamese communists' initial ascent to power in 1945 to the beginning of the escalation of the American involvement in the country's conflict in 1965, by which time a full-fledged socialist state had been in place in North Vietnam for eleven years. Through a nuanced examination of critical intellectual works, A World Transformed presents a complex view of a period fraught with contradictory possibilities and tensions that continue to resonate in Vietnam today. The extensive use of Vietnamese-language materials, access to archival data never before available, and innovative incorporation of literary and historical sources combine to make this study an invaluable depiction of the Vietnamese revolution.
Kim N. B. Ninh is Assistant Director of the Governance, Law, and Civil Society Programs, The Asia Foundation, San Francisco.
Attracting controversy as readily as they do crowds, art museums--the Grand Louvre project and the new Orsay in Paris, or the proposed Whitney and Guggenheim additions in New York, for example--occupy a curious but central position in world culture. Choosing the art museums of provincial France in the previous century as a paradigm, Daniel Sherman reaches toward an understanding of the museum's place in modern society by exploring its past. He uses an array of previously unstudied archival sources as evidence that the museum's emergence as an institution involved not only the intricacies of national policy but also the political dynamics and social fabric of the nineteenth-century city.
The author ascertains that while the French state played an important role in the creation of provincial museums during the Revolutionary era, for much of the next century it was content simply to send works of art to the provinces. When in the 1880s the new Republican regime began to devote more attention to the real purposes and functions of provincial museums, officials were surprised to learn that the initiative had already passed into the hands of local elites who had nurtured their own museums from their inception.
Sherman devotes particular attention to the museums of Bordeaux, Dijon, Marseilles, and Rouen. From their origins as repositories for objects confiscated during the Revolution, they began to attract the attention of local governments, which started to add objects purchased at regional art exhibitions. In the period 1860-1890, monumental buildings were constructed, and these museums became identified with the cities' bourgeois leaders. This central connection with local elites has continued to our own day, and leads into the author's stimulating reflections on the art museum's past, present, and future.
This original and highly readable account should attract those with an interest in cultural institutions and art history in general as well as those who study the history and sociology of modern France.
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