Journal articles: 'Nationalism in art'

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Tarwanto, Roni Desi, Dwi Susanto Susanto, and Wakit Abdullah Abdullah. "A Discourse of Theater Performance in Improving Nationalism in Surakarta." International Journal of Multicultural and Multireligious Understanding 8, no. 7 (August 8, 2021): 718. http://dx.doi.org/10.18415/ijmmu.v8i7.2867.

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Indonesian nationalism is the manifestation of Indonesians’ love to their State and homeland based on Pancasila. Nationalism is now in new civilization vortex called globalization and encounters increasingly big challenge. The feeling of nationalism has been eroded now and faded gradually as time progresses. Therefore, many parties begin to revive nationalism spirit through some activities, one of which is through theatrical art. Theatrical art was expected to improve nationalism in Surakarta City. Surakarta City or so called Solo is an autonomous area with city status under Central Java Province. This article attempted to discuss “what the role of theatrical art is in improving nationalism”. For that through theater performances with themes that uphold the values of nationality have represented and increased nationalism in the city of Surakarta. Keywords: Discourse, Theatrical Performance, Nationalism, theater comunity in Surakarta City

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Boeva, Luc. ""Yet another book on nationalism." Enkele recente bijdragen tot de theorievorming." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 72, no. 1 (April 1, 2013): 68–86. http://dx.doi.org/10.21825/wt.v72i1.15954.

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Deze bijdrage bespreekt aan de hand van een aantal recente publicaties drie thema's uit het actuele theoretisch debat rond nationalisme: de moderniteit van naties en nationalisme, nationale identiteit en de comparatieve methode. Over het eerste verscheen een boek dat een nieuwe, op historische bronnen gebaseerde, start voor de studie van het nationalisme wil betekenen, tegen het modernistisch paradigma in. Volgens auteur Caspar Hirschi ligt de oorsprong van nationalisme in de late Middeleeuwen, vroege vormen van nationalisme kwamen reeds tijdens de Renaissance voor en modern nationalisme kon enkel dergelijke mobiliserende kracht verwerven omdat het reeds lang aanwezig was in politiek, geleerdheid en kunst. Niet de aantrekkingskracht voor de massa was belangrijk, maar wel de nabijheid van de nationalisten tot de macht. Het identiteitsdebat wordt steeds meer gevoerd, maatschappelijk maar ook in verschillende wetenschappelijke disciplines. Zoals in de discursieve benadering door Ludo Beheydt van de culturele identiteit van de Nederlanden langs taal en kunst, of in de verzamelbundel rond de spanningsrelatie met het internationale en het lokale bij de nationale legitimering in België en Nederland tijdens de 19de eeuw, bij literatuur- en taalbeschouwing, de geschiedschrijving en de productie van 'eigen' literatuur. Ten slotte passeren enkele bijdragen rond de methodologie voor de vergelijkende studie van het nationalisme alsmede enkele recente toepassingen de revue.___________ "Yet another book on nationalism". Some recent contributions to the generation of theories This contribution discusses three themes from the current theoretical debate about nationalism on the basis of a number of recent publications: the modernity of nations and nationalism, national identity and the comparative method. In reference to the first theme, a book was published that hopes to provide a new beginning for the study of nationalism, based on historical sources, and contrary to the modernist paradigm. According to the author Caspar Hirschi, the origin of nationalism dates from the late Middle Ages. Early forms of nationalism already existed during the Renaissance whilst modern nationalism was only able to acquire such a mobilising power because it had been present for such a long time in politics, erudition and art. What was important was not its attractiveness for the masses, but the nationalists’ proximity to power. The identity debate is taking place more and more frequently, in society as well as in several scientific disciplines. For instance, it is found in Ludo Beheydt’s discursive approach to the cultural identity of the Netherlands via language and art, or in the collected works about the field of tension between the international and local level for the national legitimation in Belgium and the Netherlands during the 19th century, in debates about literature and language, the historiography and the production of the ‘own’ literature. Finally, some contributions are reviewed about the methodology for the comparative study of nationalism as well as some recent applications thereof.

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Rusnock, K. Andrea. "All the Folk Art News Fit to Print." Experiment 25, no. 1 (September 30, 2019): 244–57. http://dx.doi.org/10.1163/2211730x-12341341.

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Abstract Neo-nationalism was concerned with a new aesthetic, not just in the fine arts but also in the crafts, particularly needlework. One way that this aesthetic was disseminated for needle art was through publications—magazines, pattern books, how-to-manuals, guides for schools, and the like. Publications on needlework were produced throughout the nineteenth century, and their output increased toward the end of the 1800s, with many portraying peasant imagery and patterns associated with this new style of Neo-nationalism. This article explores how needlework publications propagated Neo-nationalist art to a broad audience and the key role they played in shaping the cultural milieu of the Russian late Imperial period.

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Bromwich, David. "Comment: On Art and Nationalism." Yale Journal of Criticism 15, no. 1 (2002): 211–16. http://dx.doi.org/10.1353/yale.2002.0003.

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Dhuhri, Saifuddin, Hamka Hasan, Ahmad Sholeh Sakni, and Iffatul Umniati Ismail. "Passive Islamophobia and cultural national construction: a critical note on art curriculum." Indonesian Journal of Islam and Muslim Societies 11, no. 1 (June 21, 2021): 1–27. http://dx.doi.org/10.18326/ijims.v11i1.1-27.

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This study aims to explore the passive Islamophobia in the arts and culture subjects on the KTSP and K-13 curriculum of secondary schools. Employing the representation theory, this article explores the relationship between marginality and Islamophobia integrated into the fine arts curriculum. Through content analysis of 2 textbooks for grades VII and VIII, some elements of marginalization in the Islamic cultural values were found. The conception of Indonesian nationality originates from various internal solidarity and contestation between Islamism, Hinduism and secularism in resistance to imperialism. The fallacy in the narrative of the mainstream of Indonesian nationalism seen as deeply rooted in the legacy of Majapahit/Hinduism, which unwittingly calls Indonesia the new Majapahit needs to be straightened out. The construction of cultural nationalism, meanwhile, overrides Islamic culture and identity. This article indicates that the teaching of the nationality of Indonesian culture does not consider the heritage of Islamic arts and culture. The marginality and exclusion of Islamic arts and culture in the construction of Indonesian nationality through the art curriculum and art education policy shows passive Islamophobia internalized therein, instead of the existence of accommodation and respect for Islamic culture.

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ÇOLAK, Erdem. "CONTEMPORARY ART AND THE CRITIQUE OF EVERYDAY NATIONALISM." Moment Journal 9, no. 2 (December 31, 2022): 370–92. http://dx.doi.org/10.17572/mj2022.2.370-392.

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In discussions of everyday nationalism, bottom-up readings of nationalism that take into account human activities have brought a remarkable dynamism to the study of both nationalism and everyday life. However, since most of the studies on everyday nationalism focus on how ordinary people construct their national identities in everyday life, they do not sufficiently address the relations of production and distribution of critiques of nationalism produced in everyday life. This paper will discuss some artworks created by different artists from different countries around the world by intervening in national symbols and the critical perspectives they bring to national identity, national history, and national policies of states. I argue that artworks produced in this way disrupt the rhythm of everyday life and make controversial interventions into ethical, aesthetic, legal, and political spheres.

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Hector, Tim. "The Steelband as Nationalism and Art." CLR James Journal 8, no. 1 (2000): 108–15. http://dx.doi.org/10.5840/clrjames2000/20018114.

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Tobin Stanley, Maureen. "La guerre est fini y/o ¿La guerra ha terminado?: El film de Alain Resnais y Jorge Semprún y su papel en la exposición permanente del Centro de Arte Reina Sofía." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 133–61. http://dx.doi.org/10.5399/uo/peripherica.1.2.7.

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This article analyzes the ambiguity in the film La guerre est finie ([The War Is Over] 1966, director Alain Resnais, screenwriter Jorge Semprún) whose declarative title becomes a question in the title of the permanent exhibit at the Reina Sofía National Museum in Madrid: Is the War Over? Art in a Divided World (1945-1968). The works invite the viewer to question the nationalism that catapulted the Spanish Civil War, whose victory marked the first triumph for European fascisms and concomitant genocides. While the film entirely lacks symbols of irrefutable national identity, the paintings incorporate and subvert certain icons of (regional, Francoist, Nazi or Fascist) nationalism, as well as emblems of the Spanish Republic and Spain. The artworks respond in theme and form to nationalist ideology and esthetics. Although the film—whose screenwriter Jorge Semprún had been imprisoned in the Nazi camp at Buchenwald—limits itself to implicit allusions to the eradication of the domestic enemy on Iberian soil and the so-called stateless undesirables exiled in foreign lands, the exhibit explicitly references Nazism and other 20th-century genocides. The collection of works exemplifies Aharon Appelfeld’s assertion: that only art has the ability to redeem suffering from the abyss. The film and the plastic works respond not only to nationalist ideologies and concomitant lived and witnessed experiences, but also to nationalist art. Through the visual counternarratives that give voice to myriad victimizations, these works make manifest and denounce, in theme and form, the anti-intellectualization and the fervent sentiment of political zeal.

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Clark, Roland. "Orthodoxy and nation-building: Nichifor Crainic and religious nationalism in 1920s Romania." Nationalities Papers 40, no. 04 (July 2012): 525–43. http://dx.doi.org/10.1080/00905992.2012.685057.

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This article uses the early career of Nichifor Crainic (1889–1972) to show why Orthodox Christianity became a central element of Romanian ultra-nationalism during the 1920s. Most Romanian nationalists were atheists prior to the First World War, but state-sponsored nation-building efforts catalyzed by territorial expansion and the incorporation of ethnic and religious minorities allowed individuals such as Crainic to introduce religious nationalism into the public sphere. Examining Crainic's work during the 1920s shows how his nationalism was shaped by mainstream political and ideological currents, including state institutions such as the Royal Foundations of Prince Carol and the Ministry of Cults and of Art. Despite championing “tradition,” Crainic was committed to changing Romanian society so long as that change followed autochthonous Romanian models. State sponsorship allowed Crainic to promote religious nationalism through his periodical Găndirea. Crainic's literary achievements earned him a chair in theology, from which he pioneered new ways of thinking about mysticism as an expression of Romanian culture and as crucial to understanding the Romanian nation.

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Ramalho, Marcel. "Folkloric Nationalism and Essential Nationalism in José Siqueira’s Loanda and Maracatu." Per Musi, no. 42 (May 6, 2022): 1–24. http://dx.doi.org/10.35699/2317-6377.2022.38325.

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This article describes how Brazilian composer José Siqueira (1907-1985) used musical elements from the folkloric tradition known as Maracatu in the composition of the songs titled Loanda and Maracatu. A secondary goal is to suggest interpretative performance approaches that take into consideration the musical, textual, and sociocultural aspects of these songs. The methodology for the analyses was based on the categories and terms for examining the musical frameworks of art songs outlined by Carol Kimball in her two books about art song, as well as Siqueira’s own-devised Trimodal System. In Loanda and Maracatu, the composer uses several rhythmic cells that are characteristic of the Maracatu folkloric tradition, as well as a clear twentieth-century musical language, confirming Siqueira’s two aesthetic orientations: Folkloric Nationalism (when the composer uses the pure elements of folklore) and Essential Nationalism (when the composer draws inspiration from folklore to create his own musical language).

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Zemel, Carol. "Jewish Art, Naturally." IMAGES 1, no. 1 (2007): 26–28. http://dx.doi.org/10.1163/187180007782347610.

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AbstractThis essay sets out an agenda for the study of modern Jewish visual culture. Topics and issues raised encompass questions of idolatry, the ethics of visuality and picturing the unrepresentable, nationalism in traditional cultural historiography, diasporic art production, and a suggested review of Jewish cultural issues in theorists such as Aby Warburg, Erwin Panofsky and others of the interwar generation.

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Kolt, Robert Paul. "Nationalism in Western art music: a reassessment." National Identities 17, no. 1 (June 10, 2014): 63–71. http://dx.doi.org/10.1080/14608944.2014.920806.

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Miller, Elizabeth. "Nationalism and Cosmopolitanism in Egyptian Modern Art." ARTMargins 5, no. 1 (February 2016): 59–79. http://dx.doi.org/10.1162/artm_a_00141.

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Art in Egypt during the first half of the twentieth century has frequently been understood as closely tied to Egyptian nationalism, emerging suddenly in 1908 with the founding of the Cairo School of Fine Arts to provide the nation with visual representations. I look at art writing during the first half of the twentieth century in both the Arabic and French-language Egyptian press to show instead that a public discourse surrounding the fine arts emerged slowly over the course of several decades to constitute a locus for the negotiation of mutually constitutive cosmopolitan and national subject positions. Through their work, artists and critics positioned themselves, often ambivalently, in relation to the manifold claims of Egyptian, Arab, and European identity jostling for recognition within the context of the British occupation and the struggle for independence.

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Tucker, Joshua. ":Vodou Nation:Haitian Art Music and Cultural Nationalism." Journal of Latin American and Caribbean Anthropology 12, no. 1 (April 2007): 295–96. http://dx.doi.org/10.1525/jlat.2007.12.1.295.

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SWEENEY, J. G. "Racism, Nationalism, and Nostalgia in Cowboy Art." Oxford Art Journal 15, no. 1 (January 1, 1992): 67–80. http://dx.doi.org/10.1093/oxartj/15.1.67.

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Oguibe, Olu. "Appropriation as Nationalism in Modern African Art." Third Text 16, no. 3 (September 2002): 243–59. http://dx.doi.org/10.1080/09528820110120704.

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Jansen, Joost. "Nationality swapping in the Olympic Games 1978–2017: A supervised machine learning approach to analysing discourses of citizenship and nationhood." International Review for the Sociology of Sport 54, no. 8 (May 10, 2018): 971–88. http://dx.doi.org/10.1177/1012690218773969.

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While the practice of nationality swapping in sports traces back as far as the Ancient Olympics, it seems to have increased over the past decades. Cases of Olympic athletes who switched their national allegiances are often surrounded with controversy. Two strands of thought could help explain this controversy. First, these cases are believed to be indicative of the marketisation of citizenship. Second, these cases challenge established discourses of national identity as the question ‘who may represent the nation?’ becomes contested. Using state-of-the-art machine learning techniques, I analysed 1534 English language newspaper articles about Olympic athletes who changed their nationalities (1978–2017). The results indicate: (i) that switching national allegiance has not necessarily become more controversial; (ii) that most media reports do not frame nationality switching in economic terms; and (iii) that nationality swapping often occurs fairly unnoticed. I therefore conclude that a marketisation of citizenship is less apparent in nationality switching than some claim. Moreover, nationality switches are often mentioned rather casually, indicating the generally banal character of nationalism. Only under certain conditions does ‘hot’ nationalism spark the issue of nationhood.

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Pehlivan, Hakan. "War Peace and Art." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 497. http://dx.doi.org/10.26417/ejms.v5i1.p497-497.

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The world is going to a darkness without end. War, nationalism, discrimination and various conflicts tearing people. They are forced to migrate. Chemical weapons are being used. The children are being killed. Environmental disasters are happening. Boundary walls are built. The wars of religion are at the door. Kin hate seeds are being planted and transferred to future generations. Nationalism is on the rise. We are losing our desire to live together. Despite this, peace and tranquility in our surroundings are our greatest desires and we are right. Civil society should do something to stop it. In this sense, artists are the strongest propagandists. To support peace, art practices have become more important than the past. The artist's initiative is used both to rehabilitate society and to eliminate prejudices. Many international plastic art form is exemplified in this study. Complementary arts workshops, public artworks are examples of these. In addition, the results obtained from the workshop of Turkish Greek artists are presented with preliminary results and related examples.

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Hames, Scott, and William Storrar. "Lucky Thinker: An Interview with Tom Nairn." Scottish Affairs 25, no. 4 (November 2016): 436–50. http://dx.doi.org/10.3366/scot.2016.0151.

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Needing no introduction to readers of Scottish Affairs, Tom Nairn is that very rare thing: an intellectual whose writings have genuinely transformed political debate. His analysis of Scotland in the UK from The Breakup of Britain in 1977 to Old Nations, Auld Enemies, New Times in 2014 has been seminal in shaping the movement for independence as well as the academic study of nationalism. What is too little known is the intellectual journey that led him to be one of the few thinkers on the left to take nationalism seriously as the modern Janus, a progressive as well as regressive force. In this interview, we retrace the unplanned course of his thinking from art school to aesthetics, philosophy to politics, nationalism studies to the study of globalisation, Benedetto Croce to Iris Murdoch, Antonio Gramsci to Hamish Henderson, Perry Anderson to the New Left Review. Such interests and friendships took him from Pisa to Hornsey, Amsterdam to Melbourne; yet always circling back north again. The interview concludes with impressions and hesitations on UK ‘nationality politics’ in the weeks prior to the 2015 General Election.

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Nafde, Dr Mrs Tanuja. "Nationalism and Music." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4982–84. http://dx.doi.org/10.22214/ijraset.2021.36040.

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It is a well-known fact, that music alone of all the arts and sciences has that dominating note of supreme mastership which compels unquestioned universal recognition. In painting, in sculpture, in architecture, in poetry, and in general literature in all its varying and varied moods and modes of expression, Indian music has won fame and occupied the highest place of appreciation in the world. It is admitted that Music is the last art to develop in any civilization, it must also be admitted that Indian civilization and culture have reached a point that would predicate a degree of development in Music, commensurate with our progress in other and kindred fields of creative activity.

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Nadel, J. H. "Vodou Nation: Haitian Art Music and Cultural Nationalism." Ethnohistory 55, no. 2 (April 1, 2008): 355–57. http://dx.doi.org/10.1215/00141801-2007-077.

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Akingbe, Niyi. "Subverting Nationalism." Matatu 49, no. 1 (2017): 28–53. http://dx.doi.org/10.1163/18757421-04901003.

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The thematics of Femi Fatoba’s They Said I Abused the Government (2001) and Wole Soyinka’s Samarkand and Other Markets I Have Known (2002) demonstrate the potential of art to bear witness to the bizarre, depressing anomie bedevilling Nigeria between 1993 and 1998. This anomie was ruinously orchestrated by the power-hungry military, who annulled the free and fair presidential election won by Chief M.K.O. Abiola. This military incursion into Nigeria’s political sphere was facilitated by a nebulous nationhood plagued by contending differences among its federating units. The notorious brutality of General Abacha’s regime was a cavalcade of incarceration and killings of real and imagined political dissidents. Especially, outspoken politicians who fell victim to unstable power-plays were kept in detention facilities across the country. They Said I Abused the Government and Samarkand and Other Markets I Have Known’s articulation of these ‘years of the locusts’ is epitomized by the closing of newspapers, brain drain, and the imagery of stasis and displacement. These occurrences are captured by the accusatory tone of Femi Fatoba and Wole Soyinka’s poetics as they protest the military brigandage in their works. The essay seeks to explicate how protest and satire have been harnessed to articulate the subversion of nationalism in postcolonial Nigeria.

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Lionis, Chrisoula. "Peasant, Revolutionary, Celebrity." Middle East Journal of Culture and Communication 8, no. 1 (2015): 69–84. http://dx.doi.org/10.1163/18739865-00801005.

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In the last decade, the international profile of Palestinian art has grown at an unprecedented rate. In the context of international exhibitions, the work of contemporary Palestinian artists is consistently framed as inherently political and is almost always discussed in terms of the conflict with Israel. This article examines the ways that a new generation of Palestinian artists have used their work to problematize the iconography of Palestinian nationalism developed by previous generations and the international framing of their work as inherently political. It considers the role of art in the development and dissemination of Palestinian nationalist iconography and maps the history of popular iconography to show the Nakba, the battle of Karameh and the Oslo Accords as events that each transformed Palestinian popular iconography. Examining the work of artists Khaled Hourani, Emily Jacir, Larissa Sansour and Monther Jawabreh, in this article I argue that contemporary art plays a significant role in subverting the trend of reducing the Palestinian experience to one of victimhood and loss.

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Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (February 28, 2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.

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This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescents with doing various activities includes of dancing traditional dances and playing traditional percussion patrol instruments such as kenong, saron, tambourine, drums, plastic drum, iron drum, gong and all members should to memorize the national song and folk songs. The appearance of nationalism is that the members t-shirts have nuances or patterns of batik and it doesn’t have feeling inferior or inferiority when playing traditional musical instruments and dancing traditional dances. The develeoping nationalism among youths is also inseparable from the obstacles when realizing nationalism among youths Bendho Agung Percussion Patrol Music Art Group, these obstacles are the include the time clashes between school time and the time of the event and the lack of dance costumes of Bendho Agung Percussion Patrol Music Art Group. In overcoming these obstacles the Bendho Agung Percussion Patrol Music Art Group makes efforts to overcome them by giving permission to schools and borrow or rent dance costumes in an art studio Turen. Kajian ini bertujuan mendiskripsikan cara menumbuhkan nasionalisme, bentuk perwujudan nasionalisme, kendala yang dihadapi dalam menerapkan nasionalisme, dan solusi dalam menghadapi kendala penerapan nasionalisme di kalangan remaja Kelompok Seni Musik Patrol Perkusi Bendho Agung. Kajian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan analisis interaktif. Pengecekan keabsahan data menggunakan triangulasi sumber. Cara menumbuhkan sikap nasionalisme di kalangan remaja diantaranya melalui kegiatan menari tari tradisional, bermain alat musik tradisional patrol perkusi seperti kenong, dig dug, saron, rebana, kendang, drum plastik, drum besi, gong dan mewajibkan seluruh anggota untuk hafal lagu nasional dan lagu-lagu daerah. Bentuk perwujudan nasionalisme diantaranya kaos anggota ada nuansa atau corak batik dan tidak ada rasa minder atau rendah diri ketika bermain alat musik tradisional dan menari tarian tradisional. Dalam menumbuhkan nasionalisme di kalangan remaja tidak lepas dari kendala-kendala yang muncul saat mewujudkan nasionalme di kalangan renaja Kelompok Seni Musik Patrol Perkusi Bendho Agung, kendala tersebut yaitu waktu yang bentrok antara waktu sekolah dengan waktu event dan kurangnya kostum tari yang dimiliki Kelompok Seni Musik Patrol Perkusi Bendho Agung. Dalam mengatasi kendala-kendala tersebut, Kelompok Seni Musik Patrol Perkusi Bendho Agung melakukan upaya-upaya dalam mengatasinya dengan cara memberian surat izin ke sekolah dan meminjam atau menyewa kostum tari di sanggar seni Turen.

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Weller, Shane. "For a migrant art: Samuel Beckett and cultural nationalism." Journal of European Studies 48, no. 2 (April 16, 2018): 168–82. http://dx.doi.org/10.1177/0047244118767822.

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This essay charts Samuel Beckett’s linguistic migration from English to French at the end of the Second World War, locating this within the context of other twentieth-century literary migrations. It then proceeds to identify some of the principal ways in which Beckett seeks to resist forms of cultural nationalism (Irish, French and German). The distance that Beckett takes from these European forms of cultural nationalism is reflected not only in the migrant status of his characters, but also in the way in which he deploys national-cultural references. The essay argues that Beckett’s aim in this respect bears comparison with that of the ‘good European’ as defined by Nietzsche. An important difference, however, is that in Beckett’s case the emphasis falls not upon cosmopolitanism but rather upon a perpetual migrancy that is captured above all in his movement between languages.

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Seggerman, Alex Dika. "Beautiful Black Cloud of Modern Egyptian Art." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 40–53. http://dx.doi.org/10.1215/10757163-9435653.

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This paper contextualizes the Art and Liberty group within the scope of Egyptian modern art. In doing so, it argues that this movement does not simply translate “central” Parisian surrealism to so-called “peripheral” Cairo. Rather, Art and Liberty represents a pivot in a continuum of Egyptian modern art and an important node in the transnational expansion of surrealism in the late 1930s. To situate the movement in a larger arc, this article spans the 1910s to the 1950s. An analysis of famous sculptor Mahmoud Mukhtar (1891–1934) first represents the nationalist and classicist origins of Egyptian modern art. Second, an examination of the Long Live Degenerate Art manifesto explicates the complexity of the group’s ideology in its early days. Third, Kamel Telmisany’s (1915–72) shift from expressionist painter and draftsman to realist filmmaker signals how aesthetics and mediums adapted to new iterations of the Art and Liberty ideology. Fourth, painter Abdel Hadi el-Gazzar (1925–66) and the Contemporary Art Group epitomize the impact of Art and Liberty after World War II. This chronological progression illustrates how the Egyptian Art and Liberty group reacted vociferously against nationalism in politics and art, both locally and regionally. In doing so, they shifted the audience of modern Egyptian art and created a new, transnational public. For these reasons, the author calls this movement the “Beautiful Black Cloud” of modern Egyptian Art. It was violent, stormy, and did not always look “pretty,” but it was beautiful in its legacy.

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Winegar, Jessica. "LILIANE KARNOUK, Contemporary Egyptian Art (Cairo: American University in Cairo Press, 1995). Pp. 137." International Journal of Middle East Studies 32, no. 2 (May 2000): 304–6. http://dx.doi.org/10.1017/s0020743800002440.

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Studies of contemporary visual art in the Middle East are scarce compared with the vast literature on historical Islamic arts. In the past ten years, however, several notable books and articles have featured this important but under-recognized realm of visual culture in the region. These recent works often examine the ways in which art reflects social trends such as nationalism and struggles for religious identity. Karnouk's book is a worthy introduction to the world of contemporary art in Egypt, and is the first major English-language book of its kind on the subject (see also Wijdan Ali, Modern Islamic Art: Development and Continuity [Gainesville: University Press of Florida, 1997]). Contemporary Egyptian Art is a sequel to Karnouk's earlier Modern Egyptian Art: The Emergence of a National Style (Cairo: American University in Cairo Press, 1988), in which she outlined the prominent artists and styles of the first half-century of the modern art movement within the context of Egyptian nationalism. This recent book picks up from the 1952 revolution and presents the major trends in art since that time while offering possible socio-political explanations for these trends.

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Giustino, Cathleen M. "Rodin in Prague: Modern Art, Cultural Diplomacy, and National Display." Slavic Review 69, no. 3 (2010): 591–619. http://dx.doi.org/10.1017/s003767790001216x.

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Fin-de-siècle Prague, a provincial capital city in the Habsburg empire, was a site of Czech-German nationality conflict. In 1902 it was also home to the largest exhibition of Auguste Rodin's art outside France during his life. Due to the nationalism that enveloped Czech culture and politics, the Rodin spectacle was no mere display of modernism. National activists in the Manes Association of Visual Artists, including Stanislav Sucharda and Jan Kotera, designed the Rodin exhibition to advance Czech cultural maturity through cosmopolitan art and to convince foreigners of the Czech nation's singularity, unity, and progressiveness. Ultimately, though, the events surrounding the exhibition of Rodin's works in Prague projected Czech disagreement over the meanings of folk heritage and western progress for national identity. Still, the blending of modern display and cultural diplomacy strengthened French-Czech relations and in small but significant ways helped secure Czechoslovakia's creation at the end of World War I.

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Strzemżalska, Aneta. "Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana." Slavic Review 79, no. 2 (2020): 323–44. http://dx.doi.org/10.1017/slr.2020.86.

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Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.

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Ritesh Ranjan, Ritesh Ranjan. "Folk Art and Nationalism in the 20th Century India." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 2743–48. http://dx.doi.org/10.24247/ijmperdjun2020258.

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O’Hanlon, Oliver. "Art O’Brien and Irish Nationalism in London, 1900–25." Irish Studies Review 29, no. 3 (June 24, 2021): 391–92. http://dx.doi.org/10.1080/09670882.2021.1947466.

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Wilcken, Lois. "Vodou Nation: Haitian Art Music and Cultural Nationalism (review)." Latin American Music Review 28, no. 1 (2007): 161–65. http://dx.doi.org/10.1353/lat.2007.0025.

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Roff, William R. "Public Art, Nationalism and National Unification in Malaya/Malaysia." Journal of the Malaysian Branch of the Royal Asiatic Society 85, no. 1 (2011): 99–100. http://dx.doi.org/10.1353/ras.2011.0022.

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Berryman, Jim. "Nationalism, Britishness and the ‘Souring’ of Australian National Art." Journal of Imperial and Commonwealth History 44, no. 4 (July 3, 2016): 573–91. http://dx.doi.org/10.1080/03086534.2016.1210250.

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Mathews, Jana. "The scrapbook as repurposed and transplanted illustration: The ABCs of medieval alphabet compilations in nineteenth-century England." Journal of Illustration 8, no. 2 (December 1, 2021): 155–86. http://dx.doi.org/10.1386/jill_00043_1.

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The so-called Gothic Revival long has been viewed as a mode of resistance to the mechanization and mass production of culture wrought by industrialization. Throughout the nineteenth century, society’s nostalgic longing for the distant past manifests itself in the form of medieval-inspired art, architecture, theatre, fashion and interior design. It also involves the uniquely contemporaneous literary fad of extracting illuminated letters (elaborately decorated initials) from parchment bibles, books of hours and other medieval religious texts, and reassembling them into handmade alphabet scrapbooks. Using illustrative cases in point, this article examines how certain medieval alphabet scrapbooks operate in the service of British nationalism by embodying nationalist identity and values.

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Setyowati, Rini. "NATIONALISM APPLYING IN LEARNING CIVIC EDUCATION AS MORAL LEARNING MEDIA IN UNIVERSITY." JETL (Journal Of Education, Teaching and Learning) 1, no. 1 (March 1, 2016): 22. http://dx.doi.org/10.26737/jetl.v1i1.30.

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This research will review about nationalism in university. The first part of this research will introduce the meaning of nationalism and relation with civic education in university. Nationalism is defined as a love of their country and most citizens feel a sense of nationalism. Civic education in the university is required to strengthen the students in shaping the attitude of nationalism. Students are spearheading the future of a country that they have to love their country because the science which is accepted must be applied in their social life. The main mission of civic education is to help students establish the values of their personality, in order to be able to realize the basic values of Pancasila consistently, also their sense of nationalism in developing science, technology and art with morality. The obstacle of applying nationalism in Civic Education is because of too theoretical and not oriented to the practice of students in community. Inculcation of nationalism should not use indoctrination.We need a civic education in students moral fortify until finally embedded as strong nationalism. This paper using library research. Secondary data was collected by identifying the relevan papers, books, and journal. The data was interpretated and analyzed descriptively. The second part: this research will give solution about method to inculcation of nationalism toward higher educational education. The final part : will give conclusion the best method to inculcation of nationalism in higer educational education and give suggestion to further research about inculcation of nationalism.

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BASINI, LAURA. "Cults of sacred memory: Parma and the Verdi centennial celebrations of 1913." Cambridge Opera Journal 13, no. 2 (July 2001): 141–61. http://dx.doi.org/10.1017/s0954586701001410.

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Parma's lavish commemoration of the centennial of Verdi's birth took to an extreme the post-Unification trend to memorialize great figures of Italy's past. This essay examines the encyclopedic nature of the commemoration in the context of the local and national political climate. Its reception and display were symptomatic of contemporary changes in the physical sites of politics, sharing features with later, more overtly nationalist exhibitions and suggesting a symbiotic relationship between culture and ideology. The reception history of the monument to Verdi built on this occasion, however, warns against historical generalizations, underlining the contingency of the interactions between art, politics and ideology, and demonstrating that current concerns with nationalism often obscure more than they clarify.

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Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity." Australia, no. 28/3 (January 15, 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.

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The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.

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Essawy, Rana Moustafa. "Closing the Doors on Health Nationalism: The Non-emptiness of the Legal Duty to Cooperate in Pandemic Response under Lex Specialis." Max Planck Yearbook of United Nations Law Online 25, no. 1 (December 23, 2022): 115–47. http://dx.doi.org/10.1163/18757413_02501021.

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No one is safe until everyone is safe. Although this phrase has received wide consensus during COVID-19, this pandemic has witnessed a surge in health nationalism. States have imposed export restrictions on COVID-19-related medical supplies and vaccines seeking to preserve them for their own populations. This has adversely affected the availability of those necessary tools in other countries undermining their efforts in fighting the pandemic. Thus, it could be argued that States have violated their obligation to cooperate under Art. 44 of the 2005 World Health Organisation (WHO) International Health Regulations (IHR). Nevertheless, States’ export restrictions have been legally justified under the General Agreement on Trade and Tariffs (GATT). Does this mean that the duty to cooperate is an empty obligation that fails to counter health nationalism? It is the purpose of this paper to demonstrate otherwise using the principle of lex specialis derogat legi generali. Under this principle, the duty to cooperate in pandemic response under Art. 44 of the IHR prevails over States’ rights under gatt, rendering health nationalism legally unjustified.

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HOPE, WILLIAM. "Vodou Nation: Haitian Art Music and Cultural Nationalism byMichael Largey." American Ethnologist 39, no. 3 (July 17, 2012): 656–58. http://dx.doi.org/10.1111/j.1548-1425.2012.01385_24.x.

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Asher, Catherine. "Uneasy Bedfellows: Islamic Art and the Politics of Indian Nationalism." Religion and the Arts 8, no. 1 (2004): 37–57. http://dx.doi.org/10.1163/1568529043602801.

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Conversi, Dr Daniele. "Art, Nationalism and War: Political Futurism in Italy (1909-1944)." Sociology Compass 3, no. 1 (January 2009): 92–117. http://dx.doi.org/10.1111/j.1751-9020.2008.00185.x.

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Olson, Christa J. "“Raíces Americanas”: Indigenist Art, América, and Arguments for Ecuadorian Nationalism." Rhetoric Society Quarterly 42, no. 3 (May 2012): 233–50. http://dx.doi.org/10.1080/02773945.2012.682844.

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Warren, Richard. "Charles Gleyre's ‘Les Romains’: Classics and nationalism in Swiss art." Nations and Nationalism 22, no. 2 (March 1, 2016): 248–65. http://dx.doi.org/10.1111/nana.12149.

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Shrum, Nicholas B. "Mormon-American Nationalism and the Religiopolitical Art of Jon McNaughton." Journal of Mormon History 50, no. 2 (April 1, 2024): 43–77. http://dx.doi.org/10.5406/24736031.50.2.04.

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Caballero, Carlo. "Patriotism or Nationalism? Fauré and the Great War." Journal of the American Musicological Society 52, no. 3 (1999): 593–625. http://dx.doi.org/10.2307/831793.

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Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styles attached to pre-Revolutionary traditions. Fauré felt that such a narrow characterization of French music falsified the diversity of the historical record. His preface therefore takes issue with Jean-Aubry's book and insists that German composers had played an irrefutable role in the formation of modern French music. We may understand Fauré's-and other composers'-wartime decisions in terms of a distinction between patriotism and nationalism. Composers such as Fauré, Bruneau, and Ravel emerge as patriots. Debussy, who sought to purify French music of foreign contamination, emerges as a nationalist. Both nationalism and patriotism call on collective memory and experience, but nationalism exercises its power protectively and tends toward exclusion, while patriotism, favoring political over ethnic determination, tends toward inclusion. Fauré's patriotism emerges through the evidence of the preface; charitable activities; his refusal to sign a French declaration calling for a ban on contemporary German and Austrian music; and his attempt to unite the Société Nationale and the Société Musicale Indépendante. Fauré's wartime music, in contrast to his writings and activities, evades connections with historical events and raises methodological questions about perceived relations between political belief and artistic expression.

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Smolik, Bartosz. "Współczesne nurty polskiej myśli nacjonalistycznej — próba podziału w aspekcie kategorii „tradycji”." Wrocławskie Studia Politologiczne 21 (March 14, 2017): 52–66. http://dx.doi.org/10.19195/1643-0328.21.4.

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Contemporary currents of the Polish nationalist thought —an attempt at division in terms of the category of “tradition”This article aims at outlining the method of dividing the Polish political thought. For this purpose the category of “tradition” is used “Tradition” is perceived by the author as a type of conscious and reflective choice of achievements of the past made in the present. Based on “tradition” the author distinguishes the following currents of the Polish nationalist thought: the current of Neo-National Democracy, the current of National Radicalism, the Catholic National current, as well as the Progressive current and the current of Slavonic Neo-Paganism. Apart from political thought the tradition of Polish nationalism also includes political movement issues, literature and art. An important role in the reception and transmission of “tradition” to contemporary times is played by its guardians, which means people who endeavor to pass it on in a form desired by them.

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Caroline, Florencia Angelia, Riris Loisa, and Nigar Pandrianto. "REPRESENTATION OF NATIONALISM ON YOUTUBE CREATIVE CONTENT WRAPPED IN INDONESIAN CULTURE (PEIRCE SEMIOTICS ANALYSIS ON PENTAS SWARA INDONESIA)." International Journal of Application on Social Science and Humanities 1, no. 1 (February 20, 2023): 931–41. http://dx.doi.org/10.24912/ijassh.11.931-941.

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Indonesia's cultural diversity is evidence of differences in society. Along with the times, the sense of nationalism of the Indonesian people needs to be improved. The high number of social media use, especially YouTube in Indonesia, can be media aims to preserve culture and increase people's sense of nationalism. The purpose of this study was to determine the representation of nationalism in content wrapped in Indonesian culture with the scope of the YouTube video SkinnyIndonesian24 Pentas Swara Indonesia. The literature review contains theories and concepts regarding representation, nationalism, social media, and semiotics. This study uses a qualitative approach with an interpretive paradigm and discourse analysis methods. Peirce's Semiotics (Triadic Model) is used as a data analysis technique that examines Object as a significant reference, Representamen as a sign, and Interpretant as an interpretation. The primary data was collected from the Pentas Swara Indonesia video, while the secondary data was from literature studies and documentation. The validity of data uses triangulation of data sources. This research found a representation of nationalism in the footage of Pentas Swara Indonesia. Signs of nationalism are obtained through reference to signs that represent a sense of nationalism. The signs are from visuals (costumes, camera angles and shots, lighting) or audio (dialogues or songs) in selected scenes. The study concludes that nationalism in Pentas Swara Indonesia is a kind of effort to preserve Indonesian culture through modern art videos performance.

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Patel, Alpesh Kantilal. "Staging Art and Chineseness: The Politics of Trans/Nationalism and Global Expositions, Jane Chin Davidson." Journal of Curatorial Studies 11, no. 2 (October 1, 2022): 256–58. http://dx.doi.org/10.1386/jcs_00077_5.

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Review of: Staging Art and Chineseness: The Politics of Trans/Nationalism and Global Expositions, Jane Chin Davidson Manchester: University of Manchester Press (2020), 224 pp, h/bk, ISBN: 978-1-5261-3978-8, $120 US

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Mantillake, Sudesh. "Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka." Sri Lanka Journal of the Humanities 43, no. 2 (August 17, 2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.

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This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative work of the new nation were drawn from “folk” sources. A classic example of this genre is E.R. Sarachchandra’s play Maname, which became the marker of modern Sinhala theatre, and which was based on the folk theatre tradition, the nadagama. Here, the assumption is that folk art already existed in the villages, and that the Sinhala literati merely borrowed from it to create new performing art forms that represented the nation. However, this assumption is an oversight in folk dance in Sri Lanka, as demonstrated in this article which presents an alternative interpretation of the history of performing arts in Sri Lanka, a history which has not been highlighted in the 1956 cultural revolution discourse. As I demonstrate in this article, Sinhala choreographer Panibharata invented certain dances which are considered Sinhala folk dance today. Sinhala nationalists groomed Panis, a village drummer and dancer, considered to be a low-caste, underprivileged individual into Panibharata, a cosmopolitan artist. Fulfilling these nationalists’ desires, Panibharata created repertoires of “folk dance” that portrayed village life in an exotic and romantic guise, which is aptly exemplified in his goyam näțuma (rice-harvesting dance). Panibharata’s model of folk choreography continues to be interpreted as the genuine and only Sri Lankan folk dance tradition, a narrative that was institutionalized and disseminated through the system of public education. In contrast to that canonical narrative of the Sinhala folk dance tradition, I argue that the staged model of Sinhala folk dance is a fairly recent invention. I analyze archival records, dance curricula, and secondary sources and interpret them according to my personal experiences as a dancer. To contextualize the purely Sinhala folk dance tradition, I compare the Russian folk dance and the Morris dance of England, that developed as separate national folk dance traditions.

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Journal articles on the topic 'Nationalism in art'

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