Sarajevo100 is an international invitational poster action organized by the Association of Applied Artists and Designers of Bosnia and Herzegovina, the Academy of Fine Arts Sarajevo, and the Department of Art and Design of Missouri State University.
In the light of the centennial commemoration of the assassination of Archduke Franc Ferdinand, 30th anniversary of the 14th Winter Olympic Games in Sarajevo, and in memory of 1992-95 war and siege of Sarajevo, over 200 international and regionally recognized as well emerging designers responded to our call with their personal creative points of view to the assigned theme – Sarajevo100 (1914-2014). The project is enriched by the creative contributions of students from Bosnia and Herzegovina, Serbia, Montenegro and USA.
The result of the action is a collection of over 250 posters and new media projects that will be exhibited in 2014 at the Sarajevo City Gallery Collegium Artisticum (June), at the Vila Mediterranee in Marseille (July), at the 13th International Poster Biennial in Mexico (October) and at the MSU Department of Art and Design galleries (November).
Coordinators of project are: Cedomir Kostovic for International selection, Amra Zulfikarpasic for regional selections, Dalida Karic-Hadziahmetovic for academic cooperation, and Mila Melank for organization as whole.
The Handmaid’s Tale: Making a drama out of a crisis
The Handmaid’s Tale, an award-winning television series, may be about a fictional “alternative reality”, but the show’s creators have gone to great lengths to ensure that references to themes such as climate change, human rights abuses, and refugees, are as real and accurate as possible, by collaborating closely with UN experts.
The TV version of The Handmaid’s Tale is based on the classic 1985 book of the same name by acclaimed author Margaret Atwood, about a dystopian USA, renamed Gilead, ruled by a brutal theocracy in which people, particularly women, have been stripped of their rights.
In the story, an environmental disaster has led to most women becoming infertile, and the small number who are still able to become pregnant are forced to become handmaids, sexual slaves who are raped by the ruling elite in order to provide them with children.
Atwood frequently said in interviews that everything described in the book is happening, or has happened, somewhere in the world. The producers of the TV version, mindful of the status of the book’s legacy, have been careful to take the same approach.
Playwright Dorothy Fortenberry is one of the writers of the show. She told UN news that, whilst the book reflects 1980s concerns about the environmental impact of nuclear incidents, and acid rain pollution, the writing team felt that it was important to make climate change the backdrop to the societal collapse that brings about Gilead.
“We researched how things like higher temperatures and plastic pollution could affect fertility (we’re currently seeing a decline in fertility worldwide), and the emergence of climate-related diseases. We wanted the series to feel as grounded in reality as possible.”
One of the ironies of the show is that the authoritarian rulers of Gilead have successfully dealt with many aspects of climate change, banning fossil fuels, driving in electric vehicles, and ending plastic pollution.
“Climate change is an event, it doesn’t have a politics, and it’s not necessarily the case that accepting and dealing with climate change would lead to progressive policies: a pro-environment movement could also be fascist, anti-immigrant and repressive”.
Ms. Fortenberry and her colleagues also wanted to ensure that the many human rights issues raised in the show are realistic, frequently discussing the issues with Andi Gitow, who runs the UN’s Creative Community Outreach Initiative (CCOI). Ms. Gitow said that the team took great pains to get the details right.
“We started with open-ended conversations, where the team would ask, for example, what it’s really like to live in a conflict zone, how does international law work in practice. Then I brought in experts, including someone who lived in Aleppo, Syria, and an international human rights lawyer”.
“The team wanted to know what refugees experience emotionally and practically, and how refugee centres operate. For example, when Emily, one of the characters, crosses the border into Canada, she’s met by an all-female team who tell her that she’s safe. And when Hannah (the lead character), is reunited with her daughter, it’s not the usual Hollywood reunion: there’s a mix of fear, anger and misunderstanding, which is what can often happen in the real world”.
The power of drama
The international success of The Handmaid’s Tale has meant that millions of people are now aware of the issues contained within the drama, often for the first time.
“Drama is one of the most powerful mediums”, says Ms. Gitow. “Of course, reports, documents and meetings are very important. But drama give you the ability to reach a mass audience who might not otherwise be exposed to these issues, and might not otherwise seek out information about them”.
However, the writers strive to avoid pushing a particular agenda, and focus on telling strong stories, with complex, three-dimensional characters coping with extraordinary circumstances.
“If you want to get across a certain point of view, it’s better to write an op-ed”, says Ms. Fortenberry. “That said, we consciously show normal, middle-class women in the US going through some of the experiences that are happening right now to women elsewhere in the world. By doing so, we’re bringing specificity and humanity to some of the horrors taking place, from climate change to gender violence. When you see the effects on one person, you can relate to them”.
“With a drama, you see issues lived and played out by a character you connect with”, adds Ms. Gitow. “You think of yourself, your mother, boss, or best friend in that situation, and it becomes very real. You imagine how you would react in that situation. The news can give you detail, but it can’t do that”.
Emily in Paris: An exotic portrayal of the French from a modern coloniser
“I feel like Nicole Kidman in ‘Moulin Rouge’”
That was how Emily Cooper, a young American marketeer described her feelings towards Paris: an exotic dreamland she had always wanted to visit. With experience for which all the young professionals would envy, she moved from Chicago to Paris for work, and that mean an eye-opening journey laying ahead.
As a director of a renowned franchise like ‘Sex and The City’, Darren Star once again created a romantic dramedy piece that illustrated how it was like to be a strong young woman against the world, especially, a world called ‘Paris’, where the people constantly ignored those who didn’t speak French. The arrogance of the Parisians was legendary, and hundred-year-old building pipes were always broken when you used the shower. You could stumble upon a hot French neighbour who was coincidently a chef that saved your life at the last minute when you couldn’t reserve any table for your boss on Saturday night. Everything was so glamorous as well as threatening. Emily found it challenging to get to know the city as well as her boss and colleagues who thought she was a real nightmare. If this wasn’t a portrayal of Paris from exotic eyes, what could it be?
From a well-known 1978 book by Edward Said, ‘Orientalism’, the westerners from colonial period, especially from Europe (France and England) used to portray the land in the east of Europe as ‘exotic’. They created pictures of ‘the Orient’, mostly Arabic-Islamic cultures and India, as bizarre and barbaric as well as romanticising it to create lands that were vulnerable for exploration. What laid behind was Eurocentric prejudice that gave them power to rule the ‘inferior’ people of those lands and to exploit their lands. One of the example was how they usually pressed Christianity into local people’s life and commanded them to abandon their pre-existed faiths or religions with a claim that Christianity is the religion of the civilised. History of local people that proved them as competent was erased and redefined by the colonisers’ point of view to ‘educate’ local people and make them better human beings.
“Arabs, for example, are thought of as camel-riding, terroristic, hook-nosed, venal lechers whose undeserved wealth is an affront to real civilization. Always there lurks the assumption that although the Western consumer belongs to a numerical minority, he is entitled either to own or to expend (or both) the majority of the world resources. Why? Because he, unlike the Oriental, is a true human being.” – Edward W. Said, Orientalism
As well as what the westerners had done to the Arabs, Emily had a mission to educate her colleagues about modern technology like social media. She was even an influencer herself with numerous Instagram followers and must show the French how to be up-to-date and increase transparency in their organisation. For one time, her French client had to stop a fashion shoot because she couldn’t stand his ‘sexist’ portrayal of women’s dream. All the French people she knew had messed up some ways in their life, including Sylvie, her supervisor, who had an affair with her client. How unprofessional!
We cannot deny that America is a representation of modern day cultural imperialism, with Hollywood as its flagship. In Hollywood films, American culture is illustrated as ‘superior’ to others, including those of the ex-colonisers as the French and the British. American culture has massive power to speak for itself and it infiltrates every corner of the world. We can see the effects when America wants to exercise its power over some lands in the name of peace. And It’s ironic that the French, who used to be the colonisers, must try to decolonise themselves today by speaking up about how Paris really is and how to Parisians really behave, not how it ‘seems’ like in the eyes of the Americans!
When we talk about space, we’re just talking about our future
Jared Angaza is a US based activist who is working towards making space more inclusive and accessible to people. He is currently the Brand Strategist at Space for Humanity, a non profit organisation which is cultivating a movement to expand access to space for all of humanity. Space for Humanity is built on Harvard Professor Frank White’s philosophy of The Overview Effect which explains the perspective shift which can occur when people go to outer space.
In this interview with Modern Diplomacy, Jared Angaza discusses more about space exploration and his work towards making it more inclusive.
Tell us more about how you entered activism.
At 17 years old, I began volunteering for the American Indian Movement. I couldn’t understand why the indigenous ways were not being used to heal our planet and unite humanity. I dedicated my life to studying human behavior, politics, and economics, so I could be an effective activist. I am working to contribute to a global culture that celebrates our uniqueness and prioritizes our unity and the vitality of our planet. This is my lifelong mission.
Why did you decide to work for Space for Humanity.
We are “building a foundation for an inclusive future in space”. When we talk about space, we’re just talking about our future. S4H is focused on utilizing the Overview Effect to alter people’s perspective, to understand our innate interconnectedness. I believe this is imperative for humanity and our planet to come back into alignment.
Do you think that going to space can solve issues like racism on Earth? How?
Absolutely. The first photo of Earth from Space changed the way we see our entire world. Some of our most profound moments of international collaboration have come from space exploration. The environment of space forces us to work together, to strive to understand each other more deeply. The more we understand that we are all made out of start stuff, riding on the same spaceship (Earth), the easier it is to deconstruct the world’s tradition of upholding racism.
What are some changes in the US space exploration program which need to be advocated?
It definitely needs to be more inclusive and we are working towards that. I also believe we have a long way to go in the effort to make space a more collaborative effort, rather than a competition. We will never realize our full potential as space fairing beings unless we commit to cooperation and unity.
You have worked closely with Frank White. What intrigues you most about him.
Frank is one of the kindest, most patient, empathetic humans I know. He cares so deeply about humanity and our relationship with the solar ecosystem. I believe he’s discovered something truly profound in his Overview Effect studies. He’s showing us the threads of our humanity, and how they weave together seamlessly with our planet. Even after many years of working together, I am still continually inspired by his wisdom and fortitude.
Which space organisations are you currently working with? What does your work entail?
I work with Space for Humanity, the Human Space Program, Conscious Space Economy, and a global environmental protection alliance called Earth Forest Collaboratory on a daily, long-term basis. I also work on short term consultancies with other space and environmental organizations. In all of them, my role is to create their identity and help them build foundations, processes and relationships to make them thrive.
What is the biggest hurdle to space exploration for humans?
To leave behind the perspective and habits of a divisive, competitive, capitalistic society. Until we are committed to unity and coherence, we will never fully break out into our solar system.
Do you think space exploration will increase collaboration in the world?
Most definitely. What we learn out there helps us heal our perspective back on Earth, and it teaches us how to work together more effectively.
Has the pandemic slowed down space programs in the world?
Yes, but only momentarily. It did not take long for people to realize that continued and expanded space exploration will play a profound role in helping us overcome this pandemic, and prevent them from happening in the future.
Do you see organisations like Space for Humanity starting in other parts of the world?
We will never fully represent humanity until we do. We must continue to expand and invite new cultures into the discussion and planning. We are working hard to expand across the planet, and someday, into the broader solar system.
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