The recent death of the Bulgarian-French cultural theorist and historian of ideas Tzvetan Todorov at the age of 77 flew largely under the radar of the digital commons. Precious few obituaries have appeared in English. The New York Times ran a good one. The literary scholar Françoise Meltzer of the University of Chicago wrote a nice tribute for the blog of the journal Critical Inquiry. That’s about it as far as I can tell, at least as of yet. This is surprising, given Todorov’s enormous influence and voluminous output across a wide swath of fields and themes.
I had the pleasure of interviewing Todorov a decade ago for Critical Inquiry. I had wanted to interview him for some time. I pitched the idea to the journal’s editor, W. J. T. Mitchell, over dinner at the Ethiopian Diamond in Chicago’s Edgewater neighborhood after an event for his book What Do Pictures Want?Mitchell (who would later have his own exchange with Todorov) immediately gave me the green light, for which I remain deeply grateful. Todorov and I covered a range of questions, beginning with his intellectual biography and style, onto a series of political issues — ones that remain strikingly relevant today.
It has been nine months since the introduction of the EU-Turkey deal, under which refugees arriving on Greek islands face the threat of deportation back to Turkey. Since then, thousands of refugees have been stuck in inhumane conditions, in camps lacking basic resources like heat and electricity, as they await to have their asylum requests processed. With the arrival of winter, the situation continues to deteriorate.
Meanwhile, UNHCR and the EU’s aid department (ECHO) have been accused of mismanaging millions in emergency funding earmarked for upgrading shelters, leaving thousands sleeping in freezing conditions in camps across Greece. On Chios, refugees have begun to protest against these intolerable conditions. ‘We all are fighting this battle with the leaders of Europe’s non-humanists. Yes, we are now one team fighting the lies and hatred, racism and the enslavement of human beings and the imprisonment of freedom,’ writes Mohammed, a refugee from Deir ez-Zor.
The following commentary, originally published in Politico last week, was written in response to the European Commission’s proposal to resume ‘Dublin transfers’ back to Greece.
By John-Mark Philo & Ludek Stavinoha
In the same week as the world marked Human Rights Day, the European Commission announced its plans to resume the so-called “Dublin transfers” of refugees back to Greece. If the recommendation is adopted at Thursday’s meeting of European leaders in Brussels, EU member countries will be able to start returning refugees who arrive on their territory back to the country of their first entry into the European Union, wherever that may be.
Chris and Xand van Tulleken – doctors, part-time aid workers and twin brothers – want to see for themselves what conditions are like for migrants fleeing through Europe at the height of winter. They travel to Lesbos in Greece, through the Balkans and on to Berlin and Calais to understand what’s being done on a medical and humanitarian level in response to the refugee crisis.
Spending time with medics, charities and volunteers in camps and clinics, at border crossings and transit points, they find out what the situation is like on the ground and, wherever possible, lend a hand in the biggest migration crisis of our times.
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 ofartistic 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
We appeal all sections of Kashmiri society to join the Haqeeqat-e-Kashmir event to express their solidarity with the resilience and suffering of people of Jammu and Kashmir.
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. Continue reading “More on “Haqeeqat-e-Kashmir”: India and Zubin Mehta’s Psyop Concert in Indian Occupied Kashmir”
We submit that it is incumbent upon the people of Germany to put pressure on the German Embassy to immediately recognize the reality, the horrifying context, within which this proposed concert is to take place, issue a statement that accepts the disputed nature of Jammu and Kashmir, and recognizes the pain and legitimate political and legal struggle of its people. Crucially, pressure must be put on the German Embassy to withdraw its support to the concert.
September 2, 2013
The People of Germany
(Political Representatives, Civil Society, Artists, Activists and Citizens)
Of Occupation, Resistance and Music: An Appeal
1. 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. The press release stated that the concert was “a wonderful cultural tribute to Kashmir,” and intended “to reach the hearts of the Kashmiris with a message of hope and encouragement.” “The ‘Kashmir Concert’ is part of a broader engagement,” it further stated.
2. 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. To date, the German Embassy has failed to respond – privately or publicly – to this letter of protest. Faced with this unforeseen and complete apathy from the German embassy, we believe it is incumbent upon us to reach out to the people of Germany to express our serious concerns with a concert that seeks not to entertain, but to subtly control the political message from Jammu and Kashmir, i.e. manipulate it into a message of “peace” and “normalcy” that ignores ground realities. For example, even as we write this appeal, Jammu and Kashmir Police are conducting door to door searches and identification exercises at the homes of the residents in and around the Shalimar neighborhood, the proposed venue of the concert. Surely this exposes the rot at the core of the much-touted “peace” and “normalcy.”
3. 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 truths 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.
4. 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. We are sure you will understand that we cannot welcome anything even remotely analogous in Jammu and Kashmir. In a state of affairs where the poets and musicians of Jammu and Kashmir, such as Ghulam Nabi Sheikh, well-known Kashmiri national singer, Inayatullah Bhat, a guitar/harmonium player, and Ali Mohammad Shahbaz, a poet from Handwara, have themselves been victims of the violence of the Indian State, it is but obvious that there needs to be a political understanding of the uses and abuses of art. Given this sordid context, which cannot be naïvely wished away, we must then ask this crucial question of the people of Germany, and the world citizenry at large: Should we, as people of conscience, support art which not only does not highlight the sufferings of an oppressed people, leave alone which offers balm to its pain, but instead which, through its setting within the particular landscape of power, actively serves to silence and obfuscate our appeals to the rest of humanity, and thus furthers oppression? Continue reading “Of Occupation, Resistance and Music: An Appeal”