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1. Book Talk. "Orbánland" by Lasse Skytt

Publication Date:
03-2022
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
From Europe to America, political landscapes have shifted in recent years in a way summed up in microcosm no better than by the trajectory of one small country, Hungary—whose leader, Viktor Orbán, has gained outsized international notoriety as the bad boy of the European Union for his steadfast alternative to the liberal democracy that has dominated the Western world since 1989. Orbánland is the fascinating story of a Danish journalist who moves to Hungary to gain an insight into the political complexities of this divisive European country. Along the way, he encounters people from all walks of life, and he learns as much about the Hungarians as about himself. In a narrative as absorbing and as it is vital for the lessons it carries as America prepares for its 2020 presidential elections, he asks: Can we get along with those on the other side of the fence? Is it worth even trying? His answers are surprising. By guiding us through a polarized landscape of differing opinions, Lasse Skytt delivers a broader perspective on Viktor Orbán’s Hungary, one that suggests possibilities for the future of Europe and America. His journey will leave us questioning our own truths, and, ultimately, which side we are on.
Topic:
Politics, Authoritarianism, Liberal Order, and Far Right
Political Geography:
Europe and Hungary

2. Things Washed Ashore

Publication Date:
03-2022
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
One could not physically leave totalitarian autarchic Albania, but one could always escape it. Ardian Vehbiu, who has extensively written on totalitarian language and semiotics, will talk about the out-sized effects of found western objects, casual merchandise, media and images in the Albanian popular imagination. Looking at this “flotsam” that washed ashore, we will explore the relationship between these objects and images and how they shaped the imagination and experiences of Europe and of ourselves. How did these objects, images and messages reach an otherwise impervious Albania? How did they circulate once in Albania and what life and meanings did they take on? Did this relationship with the “beyond”, cherished and suffered by the citizens-inmates of a country otherwise closed to the world, lead to an inadvertent “colonization” of minds by these ethereal images built by and for Western media? Or, did these highly censored or scarcely available objects and images allow Albanians to clandestinely escape across the porous borders of the imagination?
Topic:
Authoritarianism, Media, Totalitarianism, and Identity
Political Geography:
Europe and Albania

3. Dancing the Cold War: An International Symposium

Author:
Lynn Granola
Publication Date:
06-2018
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
David Caute, in The Dancer Defects, a wide-ranging volume about the Cold War struggle for supremacy in many realms of cultural activity, devotes his one chapter on dance to the high-profile defections that, beginning with Rudolf Nureyev’s “leap to freedom” in 1961, captured so many headlines. But as we will see in the next two days, there was more – far more – to the story than defections and far more even than ballet, although ballet certainly played a big part in Cold War battles for supremacy. Musicals like West Side Story and dances like the Twist belonged as much to the Cold War imaginary as events at the Bolshoi or the old Met that began with the playing of national anthems and even, on occasion, the display of national flags. Movie theaters and television were also battlegrounds, with millions of Americans tuning in to the Ed Sullivan Show for their first glimpse of real Russian dancers. Although the United States and the USSR were the main protagonists of the Cold War, they were not its only ones. The ideological struggle that was said to pit capitalist freedom against communist oppression took place on many fronts and involved allies, clients, and surrogates of those countries in different parts of the world. The two powers dueled at festivals in Africa, Western Europe, and the Middle East. Master teachers and choreographers were dispatched, and students sent to metropoles. Companies large and small embarked on long tours, spreading the gospel of dance along with a dose of ideology, earning foreign currency for their governments or budget relief for themselves, and contributing to the international visibility of the dance boom. Many breathed a sigh of relief when they returned home, but over the years the exposure to other repertories and other training regimes could be felt in the globalization of works, performance styles, and techniques. In the Cold War struggle for hearts and minds, people outside the corridors of power played a huge part. When the Moiseyev Dance Ensemble first toured the United States, the dancers were mobbed when they bought teddy bears for their children; Americans invited them home, believing that people-to-people diplomacy was the way to peace. Dancers were diplomats; in their dresses and pumps they met artists and dignitaries. They performed in opera houses and on improvised stages, giving full-scale performances and lecture- demonstrations – sometimes to people who had never glimpsed ballet or modern dance before, or witnessed performances by a company of African- American virtuosi. At a time before mass air travel, they traversed oceans and continents, encountered strange foods, languages, and customs. They became members of a global dance culture. The cultural Cold War has become a minor cottage industry. But when Naima Prevots published Dance for Export: Cultural Diplomacy and the Cold War in 1998, it was the first book to examine the phenomenon with respect to dance. Since then a number of scholars have followed in her footsteps, and several will be giving papers on their work at this symposium. Dancing the Cold War had its inception two years ago when the late and sorely missed Catharine Nepomnyashchy and I curated a symposium on Russian movement cultures of the 1920s and 1930s. The event was multidisciplinary in that it prominently featured both visual iconography and film. This time, in addition to film, photographs, and memorabilia, we will be hearing from dancers from ten US companies who took part in multiple Cold War tours, as well as Soviet-trained artists who have pursued post-Cold War careers outside Russia. We are also fortunate in being able to share Cold War images from the remarkable collection of Robert Greskovic and to show a film of Balanchine’s Western Symphony, specially loaned to us by the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts, which was made in Paris in 1956 with Cold War dollars. Tonight we begin with another Cold War film, Plisetskaya Dances, about the legendary Bolshoi ballerina, Maya Plisetskaya. It was made in 1964 by Moscow’s Central Documentary Film Studio and introduces us to the star who blazed so brightly over the international dance firmament. In Moscow she danced Swan Lake for innumerable foreign leaders, including Fidel Castro (shown on the symposium program and poster after a performance). Abroad she danced it to ecstatic crowds. We know from her memoir, I, Maya Plisetskaya, that her path was not easy. Her father was killed in the late 1930s, and she danced her first Dying Swan (or something that approximated it) at an outdoor concert in the city of Chimkent before an audience of political exiles, including her mother. She was denied permission to take part in the Bolshoi’s 1956 tour of London because one of her father’s brothers had settled in New York, had children, and grown prosperous. None of this appears in the film, of course. What you see instead is the magnificent Bolshoi ballerina, with her outsized temperament and splendid jumps, a dancer who had scaled the heights of international fame but remained at heart deeply Russian.
Topic:
Cold War, Arts, Culture, and Dance
Political Geography:
United States, Europe, Eastern Europe, Soviet Union, Cuba, and North America

4. Historical Dialogue on Cham Issues

Author:
The Harriman Institute
Publication Date:
02-2015
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
Professor Lambros Baltsiotis (Adjunct Lecturer, Research Centre for Minority Groups - Athens, Panteion University) and Professor Pellumb Xhufi (Professor of History, Albania Institute of History) participated in the second meeting. The organizers requested them to prepare scholarly perspectives of about 1,000 words commenting on the following statement: "Cham-Albanians suffered internment beginning in 1940, killings in 1944-45, and expulsion in 1945. Thousands of Cham-Albanians were killed in 1944 and 1945. These events occurred in a context and cycle of violence. It is alleged that Cham-Albanians were collaborators with the fascist and Nazi governments of Italy and Germany during World War II."
Topic:
Genocide, Human Rights, Violence, and World War II
Political Geography:
Europe, Germany, Balkans, Albania, and Italy

5. Decoding the Soviet Press by Tom Kent

Author:
Tom Kent
Publication Date:
05-2015
Content Type:
Working Paper
Institution:
The Harriman Institute
Abstract:
Every press has its goals. In the United States, reporters focus on the role of the press as a counterbalance to government power. In some cultures, the press can be tasked with advancing national or religious causes. In the Soviet Union, the press was about serving the interests of the Communist Party.
Topic:
Communism, Media, Journalism, The Press, Freedom of Press, and State Media
Political Geography:
Europe, Eastern Europe, and Soviet Union