National monuments in the Uzbek public sphere are often viewed as indicators of A concerted effort to break from Russian historiography and establish counter-narratives predating both Tsarist imperialism and the Soviet experience. However, if one carefully examines 20th century mechanisms of control in Central Asia, it is clear that Uzbek strategies to resignify historical and literary figures are derived from Soviet historiography.
Another installment of the Emerging Scholarship series, where we sat down with Dr. Lior Sternfeld and talked about the Polish refugee community in Iran during and after World War II. Dr. Sternfeld explains Iranian relations with other countries during World War II and what this meant for its new European refugee community.
“We create our own prisons.” Prashanth Kamalakanthan describes the works of Nuri Bilge Ceylan using his words, his images, and his work’s inspirations.
The post-Soviet art of Central Asia and the Caucasus comes out of a Soviet-era conversation of artistic styles that looks not just to Moscow but also to Mecca. An understanding of the high and low registers of this Soviet cultural heritage allows the humor and self-confidence of the work to be appreciated — aesthetically as well as financially — by audiences.
Slavs and Tatars’ work introduces audiences to cultural exchanges between seemingly unlikely places, reminding us of the interconnected nature of culture and highlighting histories obscured by the rigid workings of modern geopolitics. In a world full of heavy-handed visual depictions of political and social issues that rely on simplistic, reductionist constructions of culture, Slavs and Tatars offers work rooted in a nuance and more subtle understanding of history.
The politics of language in the Russian and Soviet domains, focusing on Abdullah Tuqay’s fight to reform the Tatar language and oppose the linguistic imperialism in vogue in the early 20th century. This fight would have lasting implications for cultural production across the region. A guest post from “The Tuqay.”
Far from the tacit dismissal of handicrafts and folklore that has often characterised the modern project, Slavs and Tatars tend to see no less than the currents of history, political emancipation, and ideology in these otherwise discreet craft objects and practices. Some of these traditions – such as the mirror-mosaic – have been instrumentalized for ideological ends.
This piece was originally published on The Tuqay before it became part of Ajam Media Collective. “Poetry is the queen of language, the sovereign of the word.…
This piece was originally published on The Tuqay before it became part of Ajam Media Collective. About 150 years ago, a Tatar man arrived in Järvenpää, a Finnish city 37…