Shakespeare scholar Stephen Greenblatt discusses his book, “Shakespeare’s Freedom,” presented by Harvard Book Store. Greenblatt discusses how Shakespeare was averse to the authorities of his time — religion, monarchs, and social structure — and how this spirit manifested itself in his work. (This talk took place on November 15, 2010)
There’s drama stirring in the Oslo National Theatre, but not the kind most cultural institutions expect. Under the auspiciousness of The Union of Theaters of Europe, the Oslo National Theatre has committed to a two-year project titled “TERRORisms”:
From 2013 to 2015, theatres from Oslo, Stuttgart, Belgrade, Tel Aviv, London and Reims will get closer to their TERRORisms. They will elaborate different points of view, exploring different aspects likely to determine fundamentally our societies… dealing with the issue of terrorism and its appropriation by artists.
I’ve just come back from Oslo, and to be honest, Norwegians- as individuals and as a society- didn’t strike me to be particularly “determined fundamentally” by “their” “terrorisms”. Admittedly, I’m not an expert on European contemporary art, but it doesn’t seem to me like there’s a lot of artistic appropriation of terrorism being done in the European cultural sphere, and the notion is rather- let’s just say- foreign.
The Union of Theaters of Europe: The New Propaganda Front for Israel’s TERRORisms
Today, [Creative Community for Peace] say, there is not a single musical act, from Justin Timberlake to the Rolling Stones to Alicia Keys, that they have not approached and coached in advance of their performance in Israel. ~Times of Israel
It’s no surprise that the genocidal Times of Israel is so eager to push anti-BDS initiatives. It’s also no surprise that one of Israel’s most well connected, elite whitewashing team, Creative Community for Peace [CCfP], is doing exactly what it vowed to do- whitewash genocide. However one might wonder about some of the names on the below statement that CCfP has published:
This was published at the National…
For a week in June, Syrian writers and artists toured England, giving readings and workshops to promote “Syria Speaks: Art and Culture From the Frontline”, a book reflecting the country’s new revolutionary culture. British-Syrian novelist Robin Yassin-Kassab describes the experience.
In Bradford we met a woman who had tried as hard as she could to forget she was Syrian. We didn’t discover her original trauma, but we heard its symptoms over a British-Pakistani curry. She hadn’t spoken Arabic for years, and never told anyone where she was from. Once a policeman detained her for an hour because she refused to tell him her origin.
In Bristol, on the other hand, we met a little old woman who, with her red hair and flowery dress, we might have mistaken for English. But she was a Damascene, and she wept when I read a description of her city. Afterwards she came to introduce herself. “I’ve lived in England for thirty years, and I didn’t realise until the revolution that I had a fear barrier inside. Then I noticed I’d never talked about Syria. I’d tried not to even think about it. But those brave youths gave me courage; they gave me back my identity and my freedom.”
So the Syrian revolution is alive and well in Bristol if not in Bradford, for this is where the revolution happens first, before the guns and the political calculations, before even the demonstrations – in individual hearts, in the form of new thoughts and newly unfettered words. Syria was once known as a ‘kingdom of silence’ in which public discourse was irretrievably devalued by enforced lip-service to the regime and its propaganda pieties. As a result, many Syrians describe their first protest as an ecstatic event, a kind of rebirth. In “Syria Speaks”, Ossama Mohammed’s story “The Thieves’s Market” concerns a woman who attends the state’s official demonstrations, until her friend is murdered for participating in an oppositional one. “I grew up,” she says, “came of age, abandoned someone and was abandoned, on a march that finished yesterday.” When that coerced march ended and a thousand new ones began, Syrians found unprecedented liberation simply by expressing honest opinions in the presence of their neighbours, by breaking the barriers of fear.
I spent the last eight days on tour with Syria’s greatest novelist Khaled Khalifa, artist Khalil Younis, and writers Malu Halasa and Zaher Omareen. We were promoting the Syria Speaks book, a collection of art, cartoons, essays, short stories and novel extracts from revolutionary Syria. It felt useful to approach the subject through human stories rather than banging the head against the tired old political discourses. I’m writing about the tour and book for a piece which should be published next month. In the meantime, here on BBC Radio 4′s Front Row, Khaled, Malu and I discuss the new culture, Khaled’s experience under bombs, and the ISIS phenomenon.
Frances Saunders talked about how the Central Intelligence Agency created the Congress for Cultural Freedom in 1947 as a secret program of cultural propaganda in Western Europe. The program focused on creating and sponsoring pro-American arts and literature. Following her remarks she answered questions from the audience.
Frances Saunders is the author of The Cultural Cold War: The CIA and the World of Arts and Letters, published by the New Press.
The article that first sparked Saunders’ interest in this subject can be read here: Abstract Expressionism, Weapon of the Cold War.
Organizing Committee, Haqeeqat-e-Kashmir
Press release, 5 September 2013
On 22 August 2013, the German Embassy, New Delhi, issued a press release that Zubin Mehta would be conducting an orchestra on 7 September 2013, at the Mughal Garden, Shalimar Bagh, in Srinagar, Jammu and Kashmir. On 26 August 2013, civil society members of Jammu and Kashmir – from lawyers and businessmen to poets and scholars – registered a strong protest against the proposed concert and concerns were communicated to the German Embassy and the people of Germany – from political representatives to artists and activists.
The people of Jammu and Kashmir take immense pride in our rich history of resisting oppression. We also have historically cultivated a sublime tradition in, and love for, music. Music – which appeals to the higher values of love, justice, dignity, and peace; which genuinely acknowledges the long-suffering, yet bravely resisting, Kashmiris; and which is performed for the actual public – is wholeheartedly welcome.
However, legitimizing an occupation via a musical concert is completely unacceptable. Art as propaganda, as abundantly documented in history, is put to horrific use across the world. Art as propaganda in Jammu and Kashmir is unacceptable. The Zubin Mehta concert is organized and controlled by Government of India and the German Embassy, with extensive corporate sponsorship. It serves to build on the State narrative that seeks to dilute the reality of Jammu and Kashmir and peoples’ aspirations. It seeks to promote an image of a “peaceful” and “normal” Jammu and Kashmir. The pain, suffering, courage and bravery of the resistance will find no place in this concert. Indian State operations that seek to support the occupation must be resisted. To build this Statist narrative of Jammu and Kashmir, an estimated Rs.100 crores [INR 10 billion or USD 16 million] is reported to being spent, and invitations have been sent to corporate India (Tatas, Birlas, Ambanis, Bajajs, CII, FICCI..), the film world (Amitabh Bachchan, Rajinikanth, Katrina Kaif…) and sportsmen (Sachin Tendulkar, Boris Becker…). It is most condemnable that the Government of Germany has chosen to be party to the Indian States’ continued political machinations in Jammu and Kashmir. So far Indian army and various Indian institutions have been organizing psychological operations which are termed by Indian military as Sadbhavana Operation. We protest German government’s joining the efforts of Indian army. It appears an attempt by the Indian State to outsource its military psychological operations to the international community. (more…)