"Die vorliegende Studie untersucht die Entwicklungen der Diasporagemeinschaften aus Osteuropa, die in Deutschland und seinen östlichen EU-Nachbarländern seit 2020 an Größe und Bedeutung gewinnen – bedingt durch politische Krisen und Repressionen im autokratisch regierten Belarus und Russland u
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nd den Krieg in der Ukraine. Die Studie beschreibt Herausforderungen, Bedürfnisse und Potenziale dieser Gemeinschaften und fragt, inwiefern emigrierte bzw. im Exil lebende Kulturtätige als „Brückenbauer:innen“ den kulturellen Austausch in Zeiten von Konflikten und schrumpfenden Handlungsräumen (shrinking spaces) unterstützen und die interkulturelle Verständigung nachhaltig fördern können. Analysiert werden sowohl gruppenbezogene Rahmenbedingungen und Formen der deutsch-belarussischen, deutsch-russischen und deutsch-ukrainischen kulturellen Zusammenarbeit als auch länder- wie gruppenübergreifende Strategien und Projekte, die die einzelnen Diaspora-Vertreter:innen in Verbindung bringen (können) und dialogfähig sind. Das Hauptaugenmerk liegt dabei auf (1) der Einbindung der osteuropäischen Kulturtätigen in den deutschen Kulturbetrieb, (2) möglichen internationalen Kooperationen auf EU-Ebene und (3) dem Erhalt zivilgesellschaftlicher Räume in Herkunftsregionen und im Exil." (Zusammenfassung)
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"During the Covid 19 pandemic, a digital transformation happened in all spheres of life, including cultural relations. The DICE Digital R&D Fund emerged in this context as part of a wider Digital Skills Programme, an effort by the British Council to keep the flow of international cultural exchanges
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going. Hence, the overarching question of this research: what can international cultural relations (CR) look like online based on the experience of the fund? [...] The fund has shown that it is possible to create new, strong collaborations and team work digitally, to do so more cheaply and for some at least, also more efficiently. Through their experience in the fund, a sense of a universal ‘we’ developed among many Digital Partners (DPs). They recognised that despite differences from one country to another, people faced similar problems in working for social change and in experiencing the pandemic. Although for many DPs, the experience of the fund did not change how they thought of other cultures, they learnt new things about other countries and sometimes also about their own. This challenged their assumptions about these countries and recognising that they were, after all, stereotypes." (Executive summary, pages 6-7)
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"The aim of this book is to explore digital media and intercultural interaction at an arts college in Tanzania through innovative forms of ethnographic representation. The book and the series website weave together visual and aural narratives, interviews and observations, life stories and video docu
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mentaries, art performances and productions. It paints a vivid portrayal of everyday life in East Africa's only institute for practical art training, while tracing the rich cultural history of a state that has mixed tribalism, nationalism, Pan-Africanism, and cosmopolitanism in astonishingly creative ways. While following the anthropological tradition of thick description, Digital Drama employs a more artistic and accessible style of writing. Dramatic, ethnographic details are interspersed with theoretical reflections and postulations to explain and make sense of the unfolding narratives. The accompanying Web site visualizes and sensualizes the stories narrated in the book, unfolding a dramatic world of African dance, music, theater, and digital culture." (Back cover)
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"The most striking impression is the fact that little research exists. Our review touched studies and discussions of many kinds, all with some relation to the central question, "What are the effects of cross-cultural broadcasting?" Much of what we found is based on fear or undue optimism. The lack o
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f studies firmly rooted in data: this is the overriding fact about this inquiry. While the image of cross-cultural broadcasting may be one of the ''cultural'' interchange, the reality is that of the marketplace. Commercial values are the rule; non-commercial broadcasting is not a major competitor to commercial programming. Programmes intended for any type of social improvement are rare. If they exist at all, they can be found on radio much more than on television or in films. General entertainment programming has a definite social value, but most observers would hope for programming more explicitly geared to the social needs of their diverse audiences. Furthermore, imported entertainment programmes produced for foreign audiences penetrate the host culture in ways that are not understood. Lack of understanding generates uneasiness and fear." (Implications of this report, 40)
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"One of the significant approaches to the problem of reducing international tensions and thus liberating forces for economic and social development has been the phenomenal increase in recent years in international exchanges. These have been defined in the Unesco Handbook of International Exchanges a
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s "the movement of persons, materials and information across frontiers in such a way as to communicate ideas and knowledge by word or image". The notion of exchange, it goes on, 'împlies some degree of reciprocity, in the sense that there are two or more partners in the process and that they have a more or less mutual effect on each other, but it does not necessarily imply an exact head-to-head accounting of persons sent and received". The magnitude of exchange activity is also indicated in this publication which provides information on the activities of 295 international organizations and over 4, 750 governmental and non-governmental agencies and institutions. It also lists no fewer than 4, 600 bilateral and multilateral agreements. While these agreements are primarily the concern of the nations themselves, Unesco and other international organizations can make an important contribution to the developing strategy for surmounting the obstacles to international understanding and co-operation. The present publication attempts to describe both the needs and the difficulties in the development of cultural co-operation as well as Unesco's efforts in this field." (Introduction)
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