Several reports have already appeared on aspects of cultural dimensions of BRICS (Brazil, Russia, India, China and South Africa). Admittedly, BRICS has broadened its scope of operations and activities, indicating its strength and the level of its development. As already known, Russia has passed on the BRICS Chairmanship to India, which officially starts January 2021. That however, Kester Kenn Klomegah from Modern Diplomacy contacted to know a few more detailed developments in the cultural directions of BRICS.
Elena Marinina, Co-Chair of the International Cultural Exchange Group of the BRICS Civil Forum, Deputy CEO of the Roscongress Foundation and Director of the Innosocium Foundation, discusses the question of cultural diversities among BRICS members, the various initiatives that were adopted during the last interactive working session, and combined efforts to pave the way forward with the Association of NGOs as part of BRICS. Here are the interview excerpts:
Q: How do you assess the importance and the results of the online roundtable discussions on “International Cultural Cooperation for Strengthening BRICS Unity” moderated from Moscow?
Marinina: A lot of serious preparatory work went into the roundtable at the BRICS Civil Forum. The International Cultural Exchange Working Group collected recommendations and initiatives from representatives of various public organizations and institutions, foundations, and socially oriented businesses of the five BRICS countries. All of these recommendations and initiatives were presented during the roundtable, given a serious and balanced assessment.
Cultural exchanges, protecting the cultural heritage of our countries, getting young people involved in the culture of BRICS countries, and developing tourism are the priority focuses that formed the basis of our draft communiqué that was presented to the heads of state at the BRICS Summit under the presidency of the Russian Federation. All the members of the working group, which included more than 30 representatives of the alliance’s member states, agreed that we should join efforts to develop sustainable cultural cooperation between BRICS countries.
It is crucial that all the recommendations are very clear, whether it is the establishment of the BRICS Advanced Thinking and Research Centre or an internship programme for the different activities of young professionals, holding the annual BRICS Literature Fair, or the creation of a general register of cultural, architectural, and landscape monuments of BRICS member states with their subsequent inclusion in the World Heritage List. In other words, we not only outlined paths for further cultural cooperation between our countries, but also identified specific projects that will establish this cooperation.
Of course, we must also keep in mind that many of the projects that have been announced overlap with the competencies of other working groups, which once again demonstrates the diversity and breadth of the coverage of such a phenomenon as culture. Along with the economy, culture is the foundation on which countries build relations.
Q: In your opinion as a member of the BRICS Working Group on Culture, do you agree that there are some diversities in culture among the group? Russia, India and China are geographically close, Brazil and South Africa a bit distant – but do this present any challenges in realizing fully the expected tourism and cultural dimension of BRICS?
Marinina: The vision of man and the world is truly distinct for different nations, and sometimes even the exact opposite in some ways. If we are talking about culture, uniformity is unacceptable even within a single country. The main thing that unites the representatives of BRICS countries, though, is the desire to speak from a unified position on the global development of civil society and the establishment of a global socio-cultural architecture, and in this regard, the diversity of the cultural codes of BRICS is more of a unique advantage than a disadvantage. We understand this very well in Russia. As a multinational, multicultural, and multilingual country, Russia is always open to dialogue with other peoples. We see the same approach from our foreign partners.
We are already actively collaborating with representatives of BRICS member countries as part of the events of the Roscongress Foundation’s social platform – the Innosocium Foundation. For example, we recently launched the BRICS Women’s Business Alliance, whose agenda not only covers economic issues, but also cross-cultural exchange and the implementation of joint projects in creative industries and education. The upcoming Eurasian Women’s Forum, which will be held in September 2021 in St. Petersburg, will feature a discussion platform on women’s involvement in the creative economy. As the organizers of Russian Creativity Week, we are also looking forward to seeing creative representatives from BRICS countries at our event in Moscow in summer 2021.
As for tourism, the deterrent today is not so much the geographical position of countries as it is the closure of borders due to the pandemic. However, this is a temporary factor. The final recommendations of the International Cultural Exchange Working Group are designed for a longer horizon and contain a wide range of measures that aim to develop the tourism potential of BRICS countries. This primarily includes the BRICS Cultural Tourism project, which seeks to consider the possibility of direct communication between BRICS nations, simplify the visa procedure for citizens of BRICS countries, open guide schools, and develop tourism routes in the group’s countries. We are also planning to hold the annual five-nation ‘BRICS – Our Common Home’ Cultural Festival, the ‘Great BRICS Cities’ project, various championships, and several other interesting initiatives.
One thing I am definitely certain of is that with all the differences in lifestyle, mentality, and traditions, as we travel or communicate and learn about the culture of another country, we are building a policy of intercultural relations and erecting a big BRICS house brick by brick, where common moral values will shape its foundation.
Q: Could you discuss some of the initiatives that were presented during the meeting? What initiatives presented by Russia, the Chair of BRICS 2020? What were the reactions of your colleagues from Brazil, India, China and South Africa?
Marinina:First of all, I would like to remind you that the BRICS Civil Forum itself was launched in 2015 based on an initiative put forward during the Russian presidency in order to convey the priorities of society and present civil initiatives to the leaders of the five countries. Over the past years, this format has proven to be useful and effective for cooperation between the public organizations of the association’s countries.
The 2020 BRICS Civil Forum came up with public initiatives for healthcare during the pandemic as well as social equality and addressed issues concerning the environment and climate change, the development of green energy, civil rights and freedoms, in addition to the role of education and science in human development. As I already mentioned, we devoted great attention to getting young people involved in the culture of BRICS countries, developing cultural exchanges through literature and art, and protecting cultural heritage as the basis for international cooperation and tourism.
In addition, as part of the cultural focus of the BRICS Civil Forum, Russia presented a number of projects dedicated to the 75th anniversary of victory in World War II. These projects include an initiative to establish the ‘World Day of War Veterans’ under a UN resolution, the international project ‘Libraries as Witnesses of the Great Victory’ based on the materials of the national libraries and archives of BRICS countries, and the five-nation literary and historical project ‘BRICS Peoples: Dedicated to War Heroes’.
All these initiatives were included in the final recommendations and not only garnered broad support from our colleagues in BRICS, but also from participants who were invited from other countries in Europe and Asia. We had a comprehensive exchange of views and engaged in fruitful and interesting work.
Taking advantage of this opportunity, we also invited the working group members to the second Russian Creativity Week Festival and Forum in Moscow in summer 2021, which the Innosocium Foundation is organizing jointly with the Russian Cultural Centre. The event was held for the first time in September 2020 and immediately received international recognition, as evidenced both by the scale of foreign participants as well as their active involvement in the event’s programme.
Q: Now judging from the discussion, what could be the best way to systematize and to combine efforts in implementing all these new initiatives and recommendations arrived at the Civil BRICS 2020? In your view, how do you also see the way forward for the Association of NGOs as part of BRICS?
Marinina: The institutionalization of cultural ties is a key part of our draft communiqué. During the meetings, many Russian and international members of the working group from the five nations advocated for the creation of a ‘Union (Association) of BRICS Non-Governmental Organizations’ and the formation of a single network of BRICS NPOs. I am certain that this will enable us to engage in clear and properly coordinated manner, hold a constructive dialogue with the leaders of states and governments, and jointly implement the proposals and initiatives that received support at the BRICS Civil Forum. (Modern Diplomacy).
“Kharibulbul” festival represents a multi-ethnic, multi-confessional and multicultural Azerbaijan
As a country of multiculturalism, Azerbaijan promotes the cross-cultural dialogue inside the country, but also at the regional level. The modern Republic of Azerbaijan regards the existence of a people as the result of the civil and political self-determination of the peoples in Azerbaijan. For the time being, Azerbaijan is populated by representatives of over 30 national minorities such as Talysh, Kurd, Lezghi, Tat, Russian, Ukrainian, Georgian, Inghiloy, Tatar, Avar, Ahyska Turk, Jewish, German, Greek and others. All of them enjoy the cultural societies. Representatives of three main religious confessions – Islamic, Christian and Judaic communities participate jointly at various public ceremonies and cultural events. Support and preservation of the cultural diversity are reflected in the State policy of Azerbaijan.
The ongoing clashes near Nagorno-Karabakh started after Armenia attacked Azerbaijani civilians and military on September 27. Azerbaijan won its historic Victory in 44 days, liberated its lands, dealt crushing blows to the enemy, and defeated Armenia. As a result of this defeat, Armenia was forced to sign capitulation and surrender. Thus, Armenia’s 30-year policy of aggression has come to an end. During this time, the glorious Azerbaijani Army has liberated many settlements from the enemy. Thousands of citizens have volunteered for military service across the country to fight Armenia’s increased military aggression. The volunteers come from various ethnic, religious, social backgrounds and are united around the cause to restore the country’s territorial integrity as well as justice.
Despite all this, Azerbaijanis are not the enemy of the Armenian people. Azerbaijan is a multinational state. Thousands of Armenians live in Azerbaijan, primarily in Baku. Armenia, which has created a society intolerant towards other nations and religions, has tried to completely erase the ancient Albanian, Orthodox, Muslim religious and cultural heritage that historically existed in the occupied territories of multi-ethnic and multi-religious Azerbaijan. It has either completely destroyed cultural and spiritual heritage of the Azerbaijani people or falsified their history and origins by Armenianizing and Gregorianizing it. In the occupied territories of Azerbaijan, mosques, temples and cemeteries, historical monuments, museums, libraries have been destroyed and looted, Caucasian Albanian Christian temples and Russian Orthodox churches have been Gregorianized, mosques have been turned into barns and subjected to unprecedented insults such as keeping animals forbidden in Islam in them. The Armenian regime, which has been pursuing aggressive policies for years, has ignored the norms of international law and international humanitarian law, has committed environmental crimes in the occupied territories through fires, the use of phosphorus bombs, poisonous substances and mines. Today, Armenians living in Nagorno-Karabakh region, also they can normally live only within the Azerbaijani state. The Azerbaijani people are tolerant.
It is also well known by the world public that the Republic of Azerbaijan, diverse in terms of ethnic and religious background, fought to liberate its historic territories from occupation that had nothing to do with Christianity. Secondly, Muslims, Christians, and Jews – representatives of all nations and religions living in our country – fought alongside Azerbaijanis in the armed forces of Azerbaijan. These people were united around the “ Karabakh is Azerbaijan!” slogan by Mr. Ilham Aliyev, Commander – in – Chief of the victorious army, and not false religious appeals. Among them are those who displayed unequalled heroism falling martyrs, wounded, and awarded with supreme orders and medals of the Republic of Azerbaijan.
As with the beginning of the conflict, there are lots of officers and soldiers – representatives of the nations and religious communities living in Azerbaijan – who serve in Azerbaijan’s national army and display outstanding valor in liberating our country from occupation. Azerbaijani nation doesn’t discriminate between its heroic sons and martyrs on ethnic and religious background.
Mr. President Ilham Aliyev, who played a major role in this historic victory of Azerbaijan, said the followings: “Our advantage lies in the fact that representatives of all nations living in Azerbaijan feel themselves as comfortable as in their families and motherland. The fraternity and friendly relationships between various nations is our big wealth and we have to protect it. Our policy will also be pursued in the future. Representative of all the nations living in Azerbaijan displayed outstanding courage and heroism in the Second Karabakh war, falling martyrs, fighting for the cause of Motherland, and embracing death under the Azerbaijani flag. This is the society we have in our country and it is our big wealth».
For your information, “Kharibulbul” music festival, bearing the name of symbolic flower growing in Shusha, was first organized in Shusha’s fabulous Jidyr glade in May 1989. 30 years later on May, the 12th “Kharibulbul” music festival in Azerbaijan’s cultural capital Shusha was organized by the Heydar Aliyev Foundation and will be held every year hereafter.
Musical creativity of different nations living in Azerbaijan on Jidyr glade within the festival was introduced devoted to “ Multiculturalism in Azerbaijani music” as a program comprising folk and classic musics.
Representatives of various nations living in our country demonstrated stage performance. All nations living in Azerbaijan have contributed to our joint victory. The Patriotic War once again proved that all nations live in fraternity, friendhips, and solidarity in Azerbaijan and there is national unity and solidarity in the country.We are sure that Shusha will host numerous music festivals and international conferences.
Priyanka Banerjee exposes the harsh realities of rape culture in India in her short film “Devi”
Priyanka Banerjee is the writer and director of the award winning film “Devi”. Devi as a film explores ideas related to rape culture in India. The entire short film is shot inside a theatre style single room. All the women in the film are sitting together in a room after their death and discussing how crowded the room is getting. The plot soon reveals that all these women have been raped.
The climax of the film catches all viewers off-guard and exposes them to the harsh realities of today’s India.
Tell us more about your journey as a director and writer
I have no formal education in writing and direction. I took theatre arts in school and got a little experience there and then started a theatre company, Leogirl Productions (today it does content and video for clients). Along the way, I taught myself screenwriting from online courses. Many people believe that films are very technical. However, I think that if you are curious enough, you can learn it on the job. My first short film was released in 2016. I did not then imagine that I would work on a film which will win the filmfare. The idea for Devi came along in 2018 and it took a while to work on the idea and bring it to the screen.
What inspires you to make films?
Movies are very relatable. I end up thinking of movies most often when I am having a moment – good or bad. I think of movie scenes which relate to how I am feeling all the time. I think movies are capable of leaving a deep impression on people and creating an impact. I want to create an impact on people via my storytelling and make films which people will remember.
What inspired you to write and direct Devi?
My very first draft was actually called candlelight. However, once the film was ready, our producer Niranjan Iyengar suggested we call it “Devi” and that immediately stuck.
When the Kathua Rape case happened a few years ago, I watched the news on television and felt numb. For the first time ever, I did not have a reaction to something that usually impacted me a lot. This scared me a little. Not having a reaction meant that rape news was normalised, I was desensitised. I wrote Devi with that frustration in mind.
I am someone who takes time to write and work on films. I started working on Devi in 2018 however, it finally only released in March 2020.
Why was Royal Stag barrel select short films chosen as a platform to launch Devi?
The producers generally choose which platform a film should release on. Royal Stag Barrel Short Films has a great collection of films and I am happy that the film found the right platform for release.
What strikes you as the most impactful scene in “Devi”?
I was deeply impacted by two scenes in the film, even as I was writing them. One scene was when the maushi told the medical student, “You are studying for an exam you are never going to give”. The second impactful scene is a more popular one. It was when the little girl walked into the room and the deaf girl signed and told her, “You are safe here”. The scene implied that the girl was finally safer after her death than while alive. Both scenes impacted me as I was writing them, and I’m glad they were received the same way.
What can be done to change rape culture in India?
I think rape is not so much about sex as it is about power. Many Indians’ sexual desires are repressed, desires are considered taboo, not to mention there is a total lack of empowerment even when it comes to education or employment. Therefore, they find empowerment is hurting another. Not to mention the total lack of sensitivity when it comes to how women are spoken of by the media, by politicians, by influencers in everyday life. Each of these things causes a systemic rot which has to be cleaned out with every generation. Awareness of these various aspects of what can take us to the root of the problem, I think.
Art Is a Mirror Of The Magnitude Of Human Achievement
The ‘From Culture for Peace to Culture of Peace’ (known also as the Culture for Peace – Unifying Potentials for the Future) Initiative was once again participating in the ‘Vienna Processes’ conference series program by wishing to emphasize the importance of cultural diplomacy in the processes of creating and maintaining dialogue and the well-being of society.
On the historic date of March 08th – International Women’s Day, a large number of international affairs specialists gathered for the second consecutive summit in Vienna, Austria. This leg of the Vienna Process event titled: “Europe – Future – Neighbourhood at 75: Disruptions Recalibration Continuity”. The conference, jointly organized by four different entities (the International Institute for Middle East and Balkan Studies IFIMES, Media Platform Modern Diplomacy, Scientific Journal European Perspectives, and Action Platform Culture for Peace) with the support of the Diplomatic Academy of Vienna, was aimed at discussing the future of Europe and its neighbourhood in the wake of its old and new challenges.
This highly anticipated conference gathered over twenty high ranking speakers from three continents, and the viewers from Australia to Canada and from Chile to Far East. The day was filled by three panels focusing on the rethinking and revisiting Europe and its three equally important neighbourhoods: Euro-Med, Eastern and trans-Atlantic (or as the Romano Prodi’s EU Commission coined it back in 2000s – “from Morocco to Russia – everything but the institutions”); the socio-political and economic greening; as well as the legacy of WWII, Nuremberg Trials and Code, the European Human Rights Charter and their relevance in the 21st century.
The event was probably the largest gathering since the beginning of 2021 for this part of Europe.
For this occasion, the selected work of artist Alem Korkut is on the Conference poster.This artist work with the motto/message: ‘Sustainable Future – Quo Vadis?’ is a standing part of the Initiative project. This previously launched initiative refers to the visual arts and the engagement of artists in the field of ‘culture for peace and culture of peace’.
“Europe Future Neighborhood” Conference poster
In addition to the artistic visualization of the theme and message of the conference (same as it was a case with the first conference in the series ‘Vienna Process’), this Conference leg was closed in the big hall of the Austrian Diplomatic Academy with a well-chosen artistic musical performance.
This time, conference participants and attendees were able to listen to the selected parts of Suite No. 1 in G major for solo cello from J.S. Bach, performed by Japanese artist Reine Hirano.As a solo and chamber musician she performs in concert halls worldwide, including the Konzerthaus in Vienna and the Suntory Hallin Tokyo.
It was to emphasize the importance of culture, science and arts as essential binding and effective tool of cultural diplomacy. Utilized to support dialogue, these types of interventions of the Culture for Peace– Unifying Potentials for the Future Platform already became a regular accompanying part of the ‘Vienna Process’, which makes it special – quite different from the usual conference forms of geopolitical, legal and economic contents.
Conclusively, art – indeed – is a mirror of the magnitude of human achievement, but also a message of how fragile those achievements are.
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