Th e Br o o k i n g s Pr o j e c t o n U.S. Re l a t i o n s w i t h t h e Is l a m i c Wo r l d
June 2008 Mi g h t i e r t h a n t h e Sw o r d : Arts and Culture in the U.S.-Muslim World Relationship
Cynthia P. Schneider Kristina Nelson
at Brookings With Research by Mohammed Yousri
Ta b l e o f Co n t e n t s
Acknowledgements ...... v About the Authors ...... vii Methodology and Definitions ...... 1 Executive Summary ...... 4 Introduction ...... 7 Outline of Paper ...... 9 Defining the Problem(s) ...... 10 Why Arts and Culture? ...... 13 The “Canaries in the Coal Mine” of Free Expression ...... 14 Art Disturbs Authority ...... 16 Breaking Down Stereotypes, Humanizing the Other ...... 17 Respect the Past, Earn Respect in the Present: Cultural History and Identity ...... 18 The Power of Feeling and Seeing: The Impact of the Artistic Experience ...... 20 Cultural Connections Between the United States and the Global Muslim Community Today: The Changing Landscape for Arts and Culture in the Muslim World ...... 22 Missed Opportunities, Misplaced Priorities: U.S. Government and Arts and Culture in the Muslim World . . .24 United States Nonprofit Funding and Activities ...... 29 “American” and “European” Donor Models ...... 31 New, International, Multi-Sector Arts and Cultural Landscapes in the Muslim World ...... 33 Arts and Culture and Civil Society ...... 35 New Regional and National Approaches to Supporting Arts and Culture ...... 37 Current Trends in Different Sectors of Arts and Culture ...... 39 Roadblocks to Cultural Interactions with the Muslim World ...... 49 Conclusion and First Steps ...... 50 Appendix ...... 54
T h e Sa b a n Ce n t e r f o r Mi d d l e Ea s t Po l i c y a t BROOKINGS iii
Ac k n o w l e d g m e n t s
ithout the vision of the Project on U.S. ent fields of arts and culture from throughout the WRelations with the Islamic World within Middle East. Their introductions opened many the Saban Center for Middle East Policy at the doors, and Kiki Nelson, in particular, devoted con- Brookings Institution, this study would never have siderable time and effort to organizing meetings been launched. This paper had its genesis when for me in Cairo. With her extensive experience liv- Peter Singer, founding Director of the Project, ing and working in the Arab world, Kiki Nelson invited me to organize a group of Arts and Cultural navigated the complexities of the relationships be- Leaders from the U.S. and the Islamic World to tween the NGO, commercial, and government sec- attend the 2006 U.S. Islamic World Forum (www. tors and players in Egypt and the other countries thedohaforum.org). Peter’s deep interest in popular in the Middle East. Through Mohammed Yousri, I culture inspired Brookings to take a leap of faith, was able to meet many of the innovators working and include hip-hop and rock musicians, film in new media. Throughout the process of research makers and novelists in an international leaders and writing, Kiki and Mohammed ensured that the conference. His vision helped to shape the Arts and project reflected the “two-way street” approach that Culture Initiative which emerged from that first characterizes the most successful examples of cul- meeting, including the mandate for this paper. With tural outreach. the support of Steve Grand, current Director of the Project on U.S. Relations with the Islamic World, Fifty-plus interviewees in over a dozen countries the Arts and Culture Initiative has developed into a enriched this study immeasurably with their experi- dynamic component of the Saban Center. Dr. Grand ences and their recommendations. They are named provided essential guidance and support during the individually in the Appendix, but I would like to writing of this paper. Martin Indyk, Director of the express here my deep gratitude to them for their Saban Center, has been an enthusiastic supporter of time and insights. In addition, the lively discussions the Arts and Culture Initiative from the start. Other —both official and late night—of the Arts and Cul- colleagues at Brookings who have helped include ture Initiative participants at the 2006, 2007, and Hady Amr, Neeraj Malhotra and Yinnie Tse; Rim 2008 U.S.-Islamic World Forum(s) made vital con- Hajji provided valuable research assistance. Finally, tributions to this study. Salman Ahmad, Bader Ben I would like to single out Aysha Chowdhry for her Hirsi, Michael Nozik, Walter Parkes, and Vishakha exceptional editing skills and her infinite patience. Desai have been particularly generous with their time. Others who helped with the research in oth- My collaborators Kristina Nelson and Moham- er ways include Michael Kaiser, Ann Stock, and med Yousri introduced me to key leaders in differ- David Kim of the Kennedy Center, Dick Arndt,
The Saban Center for Middle East Policy at BROOKINGS v Nashwa al Rouwaini, Joy Horowitz, Dalia Moga- report. In addition, Betsy Fader and Nadia Rou- hed, John Esposito, John Voll, JP Singh, Rochelle mani of the Doris Duke Charitable Foundation Davis, Zeina Seikaly, Mohanalakshmi Phongsavan, have provided valuable suggestions and feedback Shamill Idriss, and Farah Pandith. Finally, students on this study, and on the development of the Arts at Georgetown helped with research questions and and Culture Initiative. I am indebted to them, and interviews; I am grateful to Jessica Brown, Ham- to Joan Spero, President of the Doris Duke Chari- mad Hammad, Patrick Huber, Hafsa Kanjwal, and table Foundation, for enabling the Arts and Cul- Hailey Woldt. ture Initiative at Brookings in this study, as in other areas of its work, to develop a bridge between art The Doris Duke Foundation for Islamic Art has and policy in the critical area of the relationship generously funded the research and writing of this with the Muslim world.
vi Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ab o u t t h e Au t h o r s
Cynthia P. Schneider teaches, publishes, Kristina Nelson received her Ph.D. from the and organizes initiatives in the field of cultural di- University of California, Berkeley, specializing in plomacy, with a focus on relations with the global Near East Studies and Ethnomusicology. She is the Muslim community. For the Brookings Institution author of The Art of Reciting the Quran. An Ameri- she leads the Arts and Culture Initiative within can citizen, she has lived and worked in the Middle the Saban Center for Middle East Policy. Sch- East since 1983. She developed and maintained the neider teaches courses in Diplomacy and Culture Arts and Culture program of The Ford Founda- at Georgetown University, where, from 1984-2005, tion’s Middle East/North Africa office (1990-97). she was a member of the art history faculty. From Based in Cairo, she is now a free-lance advisor and 1998-2001 she served as U.S. Ambassador to the mentor to artists and donors working throughout Netherlands. During the 1980s Schneider curated the region. exhibitions at the Museum of Fine Arts in Boston and the National Gallery in Washington. She serves on the Boards of Directors of Wesley Theological Seminary and the Institute of Cultural Diplomacy. Schneider received her B.A. and Ph.D. from Har- vard University.
The Saban Center for Middle East Policy at BROOKINGS vii
Mi g h t i e r t h a n t h e Sw o r d : Arts and Culture in the U.S.-Islamic World Relationship
Me t h o d o l o g y a n d Definitions
he work towards this paper began with a bold in the United States and the Muslim world orga- Texperiment: the invitation of a group of arts and nized under the auspices of the Brookings Institu- cultural leaders from the United States and the global tion contributed additional ideas and perspectives. Muslim community to the 2006 U.S.-Islamic World The Arts and Cultural Leaders Seminar has met Forum.1 Thus, Pakistani rock musician Salman three times, with different participants, at the annual Ahmad, Yemeni film director Bader Ben Hirsi, actress U.S.-Islamic World Forum in Doha in 2006, 2007, Jane Alexander, and novelist Amy Tan, among others, and 2008. Designed to bring together key leaders in joined leaders such as Benazir Bhutto of Pakistan, the fields of politics, business, media, academia, civil the Grand Mufti of Bosnia, and Egyptian scholar society, science and technology, and the arts from and dissident Saad Eddin Ibrahim in discussions of across the Muslim world and the United States, the the relationship between the United States and the U.S.-Islamic World Forum seeks to address the criti- Muslim world. A special session devoted to examining cal issues in the relationship by providing a unique how the power of arts and culture might be harnessed platform for frank dialogue, learning, and the devel- to increase understanding across cultures generated opment of positive partnerships between key leaders considerable interest and momentum. As a result, a and opinion shapers from both sides. In addition, project was developed, the Arts and Culture Initiative, further discussions on the potential impact of arts to explore the topic through a series of meetings in the and culture on the growing divide between the U.S. U.S. and the Muslim world and through a strategy and the Muslim world were held at the regional paper. The Doris Duke Foundation for Islamic meetings of arts and cultural leaders convened in Art (an operating foundation of the Doris Duke New York and Los Angeles in 2006-2007. Charitable Foundation) has generously funded the writing of this paper and the convening of a portion In partnership with other organizations, the Arts of the meetings. and Culture Initiative convened three meetings in L.A. in 2007.2 At a dinner hosted in June 2007 by Research for this paper was conducted in the United Haim and Cheryl Saban for over 100 guests, a panel States and in the Muslim world. It included over presented different perspectives on the state of U.S. forty interviews with individual artists and employ- relations with the Muslim world before opening ees of arts organizations, representing a dozen coun- the floor for discussions at each table of what role tries, including the United States. Eight fields to arts and entertainment have played in addressing include literature—film, theater, music, dance, new other tough issues, and what role they might play in media, visual arts, and cultural preservation—were this context. The following day, a smaller group of covered in the interviews. Discussions in meetings about 50 people met to strategize about next steps
1 Now in its fifth year, the Forum is a global leaders conference co-organized by the Brookings Institution and the Qatar Ministry of Foreign Affairs. Doha Forum,
The Saban Center for Middle East Policy at BROOKINGS 1 in several different working groups, each represent- the literature on arts and culture in the context of ing a target of opportunity—cross-cultural icons; international affairs. For the purposes of this pa- technology/new media; music and literature. At a per, public diplomacy refers to all a nation does subsequent meeting in November, plans were de- to explain itself to the world and involves expla- veloped for creating an online “resource center” to nation and contextualization of policies.3 Cultural facilitate more frequent and more diverse portrayals diplomacy, on the other hand, includes both public of Muslims and Islam in popular culture. Another and private sectors and both states and individu- idea raised at the June meeting was to hold occa- als. Usually cultural diplomacy is considered to be a sional meetings with the entertainment community subset of public diplomacy, but here it stands as the to present speakers or to discuss a topic of interest term for all manner of outreach and engagement related to the Muslim world. At the first of these involving creative expression.4 Cultural diplomacy such meetings, a luncheon co-sponsored by the has received relatively little attention since 9/11, Gallup organization, Egyptian televangelist Amr although its activities sometimes are implicitly in- Khaled spoke to a group of guests from film, televi- cluded in the much more numerous discussions of sion, and the performing arts about his outreach to public diplomacy. the youth population in the Muslim world. “Islamic world” is an admittedly imperfect la- Two meetings in Cairo also contributed significant- bel intended to denote the broad geography that ly to ideas in this paper. At the first, held in April encompasses Muslim populations. For lack of a 2007, Kennedy Center President Michael Kaiser, in better term, in this paper it is used interchange- partnership with the League of Arab Nations, con- ably with “Muslim world,” as well as with more vened over 120 leaders from throughout the Arab unwieldy terminology such as “countries or com- world for an arts management seminar. The dis- munities with majority Muslim populations” or cussion illuminated many of the challenges facing “Muslim societies.” The terms Muslim or Islamic arts organizations in the Arab world. In addition, world have several connotations. Culturally, these in October 2007, the authors vetted ideas for this names describe the worldwide community of Mus- paper before six participants representing the for- lims, adherents of Islam. In a historical or geopo- profit and nonprofit sectors, and including the film, litical sense, the terms usually refer collectively to new media, theater, and music industries. majority Muslim countries, or countries in which Islam dominates politically. In sum, a combination of one-on-one interviews with arts and cultural figures from the Arab and Numbering roughly one-fifth of the world popu- Muslim worlds and the United States, plus discus- lation or 1.3 to 1.5 billion people, the Muslim sions in groups of arts and cultural leaders in Los community spans the globe with significant pop- Angeles, New York, Doha, and Cairo, all have con- ulations throughout the Middle East, in parts of tributed to this paper. Africa (especially in the north and west), in Asia (especially India, Pakistan, and Indonesia), as well Definitions as in Europe and the United States. The worldwide Two terms, “public diplomacy” and “cultural di- Muslim community is also known collectively as plomacy,” often used interchangeably, dominate the ummah.
3 For a complete discussion of the various definitions of public diplomacy see
2 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship The problem with all these labels is that they define Asia was not included in the scope of this project. people through faith, which might be appropriate For this reason, and because few artists from Asian for some, but not for others. Furthermore, these ap- Muslim populations attended the Doha Forum, pellations imply a universality of faith that obscures the authors do not discuss in depth the potential the diversity in many majority Muslim countries. As role for arts and culture in the relationship between Iranian filmmaker Bahman Farmanara commented the U.S. and Muslims in Asia. Furthermore, the during the 2007 U.S.-Islamic World Forum, “I am cultural “ecosystems” of the Asian countries with a Muslim and I am a filmmaker, but I am not a significant Muslim populations, most notably that Muslim filmmaker.” The authors recognize the in- of Bollywood in India, differ so dramatically from evitable shortcomings of these labels, and, as such, those of the Arab world that the subject merits have used them as judiciously as possible. another, separate study. Discussions are underway with the Asia Society, which has launched the “Cre- This paper focuses on the Middle East or the Arab ative Voices of Islam in Asia” project, about collabo- World and also includes Pakistan and Iran. Travel to rating on such a study.
The Saban Center for Middle East Policy at BROOKINGS 3 Ex e c u t i v e Summ a r y
rts and culture, with their capacity to move thropic dollars is dedicated to arts and culture in the Aand persuade audiences and to shape and reveal Middle East and North Africa. Equally important, identities, have untapped potential for increasing only a tiny percentage of the creative production of understanding, knowledge and respect between the the Muslim world reaches American audiences. This United States and the global Muslim community. is especially regrettable since Islam’s rich traditions Artistic and cultural representations—whether they of music, dance, literature and poetry, and storytell- take the form of a play, a T.V. reality show, a novel, ing would help to present it as a civilization and not or hip-hop music—challenge traditional stereotypes an ideology and thus broaden the perspective of the associated with another culture and humanize “the media coverage that focuses on the Iraq war and ter- other.” Thus, investing in arts and culture has the rorism. Artistic expression reveals the inherent spirit potential to ameliorate the disintegrating relations of openness that is an important part of the Islamic between the United States and the Muslim world. civilization but unfortunately is rarely exposed or recognized in the West.6 The United States, with its unique expertise in creative commercial products, has much to offer the Muslim The United States’ lack of support for arts and cul- world, whose distinguished cultural history and pro- ture is surprising given the premium it places on fos- duction is little known in America. Yet, despite the tering freedom of expression and other democratic U.S.’s global dominance in music, film, T.V., and principles. In the Muslim world, as elsewhere, artists new media, and the pervasive influence of American characteristically challenge and criticize the status culture in the Middle East, neither the public nor quo and promote alternatives to monolithic percep- the private sector in the U.S. has engaged with the tions and concepts, generally attempting to cultivate Muslim world in any significant, coordinated way a climate of tolerance and pluralism. By its very na- in the field of arts and culture. Although there ex- ture, creative expression encourages experimentation, ists a plethora of Bridging the Divide Initiatives and initiative, and risk-taking. Artists habitually lead the studies of public diplomacy, the United States lags way in critically examining the world around them; behind European donors and governments in the they are “the canaries in the coal mine” of free expres- quality (episodic) and the quantity (about $11 mil- sion. lion for global cultural programming from the State Department; less than 5% globally of private phi- Our research and interviews indicate a hunger for lanthropy for arts and culture in the entire Muslim cultural connections with American artists and cul- world), of which less than one per cent targets arts tural leaders among their counterparts in the Muslim in the Middle East and North Africa.5 Less than one world. In turn, meetings with the creative communi- tenth of one percent of total international philan- ty in the United States have revealed a keen awareness
5 For the explanation of these figures, see the more complete discussion on p. 26. 6 These observations reflect the discussion at the Arts and Culture Initiative Workshop at the 2008 U.S.-Islamic World Forum.
4 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship of the critical role arts and culture plays in perpetuat- partnerships and strengthen arts and cultural ing or reversing negative stereotypes (such as those institutions within civil society will ultimately associated with Arabs and Islam in American popu- take us further than words or “dialogue.” lar culture) and a desire to contribute positively to increasing understanding across cultures. Finally, the • Support artists and cultural figures in the burgeoning cultural sector in the Muslim world— Muslim world. U.S. public and private insti- including ambitious initiatives in the Gulf and the tutions can assist by translating, exhibiting, growth of new networks and media throughout the and distributing these artists’ work, as well as Middle East—offers new possibilities for non-tra- by inviting them to speak and work in the ditional, public-private, cross-cultural partnerships, United States. as well as new models of sustainability for nonprofit arts and media organizations. • Focus on long-term partnerships. Top-down approaches, where U.S. artists or experts In order to take advantage of these opportunities, “parachute” in for a performance or a train- increase understanding, and build connections with ing workshop, tend to have limited effect in the global Muslim community through arts and cul- terms of building capacity, although they can ture, our research suggests the following recommen- ignite creative sparks for individual artists. dations: Partnerships and exchanges that are imple- mented collaboratively and adapted to the • Recognize that the lack of support for artis- local context tend to leave a more lasting, tic and cultural interactions with the Muslim sustainable footprint. world and the lack of integration of arts and culture into policy and agendas represent lost • Combine cultural outreach with capacity opportunities. At the core of the U.S.-Muslim building. Successful models of partnerships world divide is a lack of understanding and re- that combine training in various aspects of spect. The arts have the potential to persuade media with cross-cultural productions, such and alter stereotypes through their emotional as the collaboration behind the animated impact. Both historically and today, arts and series Ben and Izzy (Layalina Productions, culture have played a critical role in shaping a U.S. nonprofit media company; Fat Rock identity in the Muslim world and in providing Entertainment, a U.S. distribution company; an outlet for freedom of expression, especially Rubicon, a Jordanian animation company), dissent and criticism of authority. should be leveraged and replicated. Engage the private sector; one of America’s strengths • Use the arts as a component of diplomacy to is its expertise in commercial artistic and cul- better understand the historical perspectives tural production. Through mentoring and and current attitudes of other cultures, and, exchanges of knowledge and personnel, the equally importantly, use the arts where diplo- U.S. private sector can help build the ca- macy fails. Artistic expression opens windows pacity within the Muslim world to produce onto societies and cultures and can facilitate commercially viable music, literature, theater discussion of difficult issues where policy mak- and film. Equally important, the U.S. private ers cannot or dare not tread. sector can support the development of cre- ative talent, in the broadest sense, within the • Value art for art’s sake and also as a “post- Muslim world. International filmmakers seek 9/11” bridge builder. Activities that build not only new voices and stories but also new
The Saban Center for Middle East Policy at BROOKINGS 5 sources of less expensive digital production. As a first step, successful mentoring models, New technologies are unhampered by geog- such as the Sundance Middle East Screen- raphy and can “work” anywhere. writers Lab (of which Assad is a graduate), should be replicated and expanded to in- • Support artistic production in the Muslim clude more participants and to cover the world online. New media technologies hold full range of film production. In addition, tremendous potential for artists in the Muslim local film communities who could work on world to be able to share their work with the foreign films in production in the Muslim rest of the world and generate revenue. The de- world should be encouraged and nurtured. velopment and strengthening of the music and The first film school in the region, the Red film industries in the Muslim world through Sea Institute for Cinematic Arts, will begin online production and distribution not only to supply a talent pool for this purpose. holds the potential to generate much needed jobs and income among youth in the region • Leverage the potential of cross-cultural icons. but also creates possibilities for co-productions Celebrities, such as Pakistani rock star Salman and collaborations with young artists in the Ahmed and Iraqi architect Zaha Hadid, have United States in areas of common interest, the ability to work across cultures, thereby such as hip-hop and poetry. Islamic artists and challenging negative stereotypes and broad- entrepreneurs face the same challenges as their ening knowledge of “the other.” American counterparts do: how to harness and monetize the internet, cell-phone based Implementing even a fraction of these recom- entertainment, and other alternative formats. mendations will require, at the least, a significant The huge hurdles (monetary and political) infusion of funds from both the public and pri- hampering production of conventional media, vate sectors. It will also require a restructuring of such as films and T.V. programs, have led to support for arts and culture in diplomacy efforts extraordinary creativity in the Muslim world within the U.S. government, and greater coordina- in exploiting the potential of new media. tion between the government and the private arts and culture sector. This process needs to begin with • Support local filmmakers. As Palestinian a recognition of the importance of arts and culture filmmaker Hany Abu Assad has demonstrat- in shaping the perceptions the United States and ed with his award-winning Paradise Now, the global Muslim community have of each other. there are many talented young filmmakers The deepening divide between the United States in the region with good stories to tell––the and the global Muslim community is a cultural American film industry should help these problem that could be responsive to cultural solu- filmmakers bring their stories to the world. tions.
6 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship In t r o d u c t i o n
“I look at a situation which I’m sure is on the mind of everybody here, the Middle East, where the issue really is one of a very pro- found demonization of conflicting parties. And I wonder what kind of a role culture, the presentation of the ‘other’ in human- ized terms, can play in a situation where politics, diplomacy, ap- pears to fail; where it is the peoples who need to talk to one another, who need to be assisted to talk to one another, rather than the leadership talking between themselves.”7
uring the Revolutionary War, American the potential of arts and culture to affect positively their Dfounding father Thomas Jefferson exhorted the critically important relationship. Given the significant prominent essayist Thomas Paine to, “Go on then in role perception, as well as policy, plays in that relation- doing with your pen what in other times was done ship, neglecting the component of arts and culture has with the sword.”8 In Islam, the phrase evokes the serious consequences. This paper will examine those hadith, or saying of the Prophet Mohammed, “The consequences and will explore how, through strate- ink of the scholar is more sacred than the blood of gic approaches, creative expression could help people the martyr,” often paraphrased as “the pen is mightier from the United States and the global Muslim com- than the sword.”9 Although Jefferson focused on munity better understand each other’s similarities and the persuasive power of the pen, and the Prophet differences, and ultimately, their common humanity. emphasized scholarship and learning, both point to the power of creative expression to move and persuade an Today, opinion of the United States—its people audience. Artistic and cultural productions, whether and its policies—has sunk to an all-time low among they take the form of film, television, music, theater, Muslims worldwide.10 Conversely, in the United or literature, break down stereotypes and reveal the States, the percentages of people who view Islam and humanity behind the faces of an unfamiliar culture. Muslim populations unfavorably, or who say they know nothing about the religion or the people, have Although Americans and Muslims historically have increased since 9/11, despite numerous initiatives valued the power of the pen, neither side has harnessed and efforts to increase understanding.11 Data from
7 Wole Soyinka, White House Conference on Cultural Diplomacy, November 2000. 8 John P. Kaminski, ed., The Quotable Jefferson, (Princeton, New Jersey and Oxford, England: Princeton University Press, 2006), p. 158, quoting from a letter dated June 19, 1792 to Thomas Paine. 9 This translation kindly conveyed to me by Prof. Akbar Ahmed, American University (correspondence, Jan. 2, 2008). Onhadith , see John L. Esposito, Islam: the Straight Path, (London: Oxford University Press, 1998), 81-82, 253, where they are defined as “narrative report(s) of the Prophet Muhammad’s sayings and actions.” 10 Richard Wike, “Widespread Negativity: Muslims Distrust Westerners More Than Vice Versa,” Pew Research Center,
The Saban Center for Middle East Policy at BROOKINGS 7 the 2006 Gallup poll, one of the most extensive Kite Runner. This narrative brings to life the sights, polls of Muslims worldwide, found that cultural the smells, the family, the society, and the politics in factors—a sense of humiliation and a perceived Afghanistan for millions of people. If it were not for lack of understanding from the West—underlie Khaled Hosseini’s novel, many people would know the schism between the West and the global Mus- Afghanistan only as a T.V. news byte, a war zone lim community.12 Among Americans, when asked populated by oppressed citizens and extremists. Art what they admire most about the Muslim world, can transcend borders and boundaries to change the two most frequent responses were, “Nothing,” personal realities where other media cannot. followed by “I don’t know.”13 Meanwhile, the as- sets for sustaining a dialogue outside government The Gallup findings also demonstrate the fallacy of circles, such as cultural and educational exchanges the question posed so frequently in the last seven and programs, have dried up, and the private sec- years, “Why do they hate us?” In fact, Muslim tor has not stepped forward to fill the gap. At pres- views toward America were shaped not by what they ent, only a small fraction of post-9/11 foundation think of Americans but rather by “what they think funding goes toward international art and cultural Americans think of them.”16 This new framing of exchanges and projects.14 If, as the 9/11 Commis- the issue puts the onus on how attitudes toward sion found, a “failure of imagination” prevented other cultures, particularly those in the Muslim and elements of the U.S. government from “imagining Arab worlds, are projected from the United States. the worst,” a similar failure is preventing others in Viewing America through that prism poses a chal- the public and private sectors from imagining con- lenge that cannot be solved through political and structive solutions, whereby the United States and security channels alone. Rather, the perception that the Muslim world seek to understand each other Americans neither understand nor respect Muslims better by listening to the “humanizing voices of or their religion stems from multiple factors, which culture.”15 run the gamut from the Bush administration’s for- eign policy to attitudes detected in media and pop- As the gap between the West and the global Muslim ular entertainment. Similarly, given the negative community widens, the arts offer a way to bridge stereotypes of Muslims and Islam that can be found the divide by presenting a window into different so- at all levels of American culture, and the dearth of cieties and belief systems. Films, music, theater and countervailing information available to the general books shape conceptions and influence the way we public, the ignorance of, or antipathy toward, the view ourselves and others. Take, for example, The Muslim world is hardly surprising.17
12 Esposito and Mogahed, 2008, pp. 91, 159-160. John Esposito and Dalia Mogahed, “Battle for Muslims’ Hearts and Minds: The Road Not (Yet) Taken,”
8 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ou t l i n e o f Pa p e r
espite the ubiquitous presence of American begin with a review of the nature and root causes of Dpopular culture in the Middle East and the the deteriorating relationship between the United important role of culture and media in shaping States and the Muslim world and of the potential and expressing identity in the Arab and Muslim of arts and culture to affect it. The aim is not to world, the use of arts and culture as a means to be encyclopedic but rather to elucidate trends, best bridge the gap between the United States and practices, and roadblocks that need to be overcome the global Muslim community has been neither in order to improve relations between the United studied nor actively engaged. This analysis paper States and the Muslim world. Two final sections, a will critically examine the nature and scope of summary of “Lessons Learned” from the research, arts and cultural interactions—both positive and interviews, and meetings during the course of negative—between the United States and the this project and a list of “Recommendations” will Muslim world today and will suggest directions conclude the paper. for future support and initiatives. The paper will
The Saban Center for Middle East Policy at BROOKINGS 9 De f i n i n g t h e Pr o b l e m (s)
ince 9/11, the United States’ relationship with the content covering Muslims is more than forty SMuslim world has rapidly deteriorated. Surveys times more likely to be negative than positive.22 by Gallup, the Pew Research Center on People and Since the fall of the Soviet Union, Muslims—both the Press, and the BBC all report that the image of foreign and American—have replaced Russians the United States has declined steadily over the last as the “bad guy du jour,” resulting in overwhelm- six years and that U.S. citizens are increasingly viewed ingly negative portrayals of Islam and Muslims in in the same negative light as U.S. policies.18 As the American popular culture.23 In addition, because United States has pursued policies that contradict so few cultural products from, or even about, the the values it attempts to spread through public Muslim world achieve distribution in the United diplomacy, respect for the U.S. has been replaced by States, there is little to counter these predomi- cynicism and anger.19 In equal measure, the attitudes nantly negative stereotypes or to inform American of Americans toward Muslims have worsened. audiences about positive aspects of Islam and the Despite the various post-9/11 efforts by NGOs Muslim world. and, particularly, by Muslim American groups to foster dialogue and understanding, the percentage of However tarnished the United States’ image may be Americans polled who claim to know nothing about among Muslims, there are aspects of American soci- Islam has not changed since 2001.20 What is more, ety and life that Muslim populations have admired the number of people in the United States who view consistently over the last eight years. Although Muslims favorably has declined since September many Muslims resent American popular culture 2001. An increasing number of Americans believe for its “sexual and cultural promiscuity” and “ethi- that Islam is more likely to encourage violence among cal and moral corruption,” one Pew survey revealed its followers than are other religions.21 that sizeable numbers in Muslim countries, includ- ing majorities in Indonesia, Malaysia, Kuwait and American misunderstanding of Islam is hardly Lebanon, hold positive views of U.S. movies, televi- surprising in light of data that show that media sion, and music.24
18 Esposito and Mogahed 2007; Pew 2007; BBC World Service Poll, Jan. 23, 2007,
10 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Vi e w s o f Am e r i c a n Ex p o r t s Positive views of... Positive views of... U.S. U.S. Spread U.S. U.S. Spread movies science of U.S. movies science of U.S. music & TV & tech ideas* music & TV & tech ideas* % % % % % % Canada 73 74 22 Kuwait 53 88 10 Argentina 50 51 10 Lebanon 71 74 38 Bolivia 49 71 19 Morocco 42 55 12 Brazil 69 74 23 Palestinian ter. 23 67 3 Chile 58 67 24 Israel 72 73 56 Mexico 53 62 23 Pakistan 4 36 4 Peru 50 78 29 Bangladesh 14 81 25 Venezuela 71 76 37 Indonesia 50 84 11 Britain 63 74 21 Malaysia 54 83 16 France 65 71 18 China 42 80 38 Germany 62 65 17 India 23 64 29 Italy 66 74 25 Japan 70 81 42 Spain 72 61 16 South Korea 49 85 38 Sweden 77 73 28 Ethiopia 58 92 54 Bulgaria 51 67 25 Ghana 54 88 43 Czech Republic 58 56 20 Ivory Coast 86 97 79 Poland 65 71 23 Kenya 51 87 45 Russia 38 32 14 Mali 68 88 45 Slovakia 61 58 23 Nigeria 59 86 51 Ukraine 47 46 20 Senegal 62 88 32 Turkey 22 37 4 South Africa 70 80 41 Egypt 39 69 13 Tanzania 29 63 12 Jordan 50 68 12 Uganda 54 75 45
*”Good that American ideas and customs are spreading here.”
Gallup polls indicate that at least half of moder- More is known about general attitudes of Ameri- ates and politically radicalized publics alike in the cans and Muslims toward one another than about Muslim world associate the West with “producing the impact of arts and culture on those views. What enjoyable films and music.”25 The popularity of ca- is behind the stated resistance to the expansion ble packages that include series such as Friends and of American ideas and customs? Alternatively, are American Idol provide anecdotal evidence to back Muslim audiences conscious of the messages about up the survey findings. American ideals in films and music, but choose to
25 Esposito and Mogahed 2008, p. 88.
The S aban Center for Middle East Policy at B r o o k i n g s 1 1 watch and listen anyway for enjoyment? Does the not been enough data available. More survey data appreciation of Western/American popular media, is required on attitudes toward American popular alongside the distaste for “promiscuity and moral culture in the Arab and Muslim worlds, as well as corruption” simply reflect the diversity of opinion a better understanding of the basis on which local represented in the Muslim world, as in the United values are shared. States? What is the nature of the impact of popu- lar culture on how Muslim audiences understand If, as the Gallup findings suggest, the West’s mis- America? The anecdotal evidence is contradictory. understanding of Islam is at the heart of Muslim antagonism, then framing the U.S. response as a A young Egyptian woman explained her positive “war to win the hearts and minds” of those in the feelings about the United States, despite her abhor- Muslim world is not likely to produce successful rence of its policies, with one word: Friends. She results. Although the relationship with the global explained that because of the TV show, she and Muslim community is often framed as a “war of others felt that they “knew Americans because they ideas,” we need a new approach that moves beyond had lived with them.”26 Does the positive response the old Cold War paradigm.27 Addressing the twin of this young Egyptian outweigh the negative re- problems of the real lack of knowledge about Islam actions to the perceived degradation of women in and Muslims in the United States and the percep- music videos and other films? We know that the tion in the Muslim world that the United States negative stereotypes associated with Muslims and does not respect Islam or Muslims requires a more Islam in Western popular culture also provoke re- subtle and more complex strategy. Arts and culture, sentment, but the potential impact of more posi- with their emotional appeal that is not constrained tive, or at least, neutral images of Muslims in West- by political categories, have the potential to engage ern culture has not been studied. To date, there has positively in such a strategy.
26 Interview with Dalia Mogahed, Senior Analyst and Executive Director, Gallup Center for Muslim Studies, May 2007. 27 Robert Satloff, “How to Win the War of Ideas,” Washington Post, 10 Nov. 2007: A17.
12 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Wh y Ar t s a n d Cu l t u r e ?
“Culture doesn’t stop at times of conflict. Culture pervades in ways that politics do not. Artists have continued to col- laborate. People have continued to read American litera- ture and see movies.”28
n opening exists for arts and culture as a means emy is an amorphous group of extremists scattered Ato foster understanding across cultures, build throughout the globe, the Cold War cultural ini- mutual respect and trust, find common ground tiatives nonetheless offer valuable lessons. Cultural and transcend political differences. For example, diplomacy succeeded during the Cold War in part author Amy Tan learned on a trip to Georgetown because it allowed, and even fostered, dissent. Sec- University’s Doha campus that her novel, The Joy ondly, arts and culture, then as now, offer a window Luck Club, which describes the struggles of a young into the United States, separate from politics, a re- woman growing up between cultures as a Chinese- minder that the American people are not defined American, had helped young women from Qatar by their government. Just as during the Cold War, and Palestine understand and cope with difficult the jazz tours did not aim to convert the Politburo, issues in their own identities.29 It did not matter so today’s cultural initiatives are not likely to dis- that the students had never visited China. The suade extremists. However, they can affect the en- challenge of living between two different cultures vironment that may tolerate or support them, by resonated for the young Muslim women. The Qatari promoting engagement, which has as its aim not a student had wrestled with adjusting to conservative competition for influence but to build understand- traditions when she moved to Doha as a teenager ing across cultures. from London, while the Palestinian student grappled with her affiliation to a homeland she had In a relationship as fraught as the one between the never visited. Tan’s experience demonstrates that if United States and the Muslim world, arts and cul- we can relate to each other on a cultural basis, there ture offer a way to discover people independent is hope of transcending political differences.30 of their governments’ policies and to bring people together in neutral spaces. The creative experience, During the Cold War, the United States adopted whether for audience or actor, will not, however, a strategy of cultural diplomacy that sent jazz mu- compensate for failed or unpopular policies on ei- sicians, abstract expressionist painters, writers and ther side of the divide, but it can reveal other di- actors around the globe to promote the United mensions of a people or a region.31 Ultimately, a States and freedom of expression. Although the deeper understanding of the past and present of an- paradigm of cultural diplomacy from that period other region or country should inspire policies that differs from the challenges of today, when the en- are more enlightened.
28 Mohammed Yousri, Cairo meeting, Oct. 21, 2007. 29 Public Lecture by Amy Tan, sponsored by Georgetown University; Doha, Qatar; Feb. 16, 2006. 30 Advisory Committee on Cultural Diplomacy, “Cultural Diplomacy, Lynchpin of Public Diplomacy,” U.S. Department of State.,
The Saban Center for Middle East Policy at BROOKINGS 13 Th e “Ca n a r i e s in t h e Co a l Mi n e ” o f Fr e e Ex p r e ss i o n
rtists, actors, musicians and writers in any speaking, was a decisive element in loosening up Aculture act as the national conscience, reflecting communist societies and bringing them closer to a on society’s good and bad points and challenging world of freedom.”34 the status quo. They are the “canaries in the coal mine” of free expression. Jazz’s power as a cultural That the United States permitted critical voices as ambassador stemmed from the inherent tension part of government-sponsored performances and created by black musicians traveling the globe emissaries astonished audiences everywhere, par- trumpeting American values during the era of ticularly behind the Iron Curtain. When, during a segregation. The musicians themselves did not visit to the Soviet Union, American author Norman shy away from exposing this hypocrisy.32 When Cousins was asked whether U.S. writers would not summoned to the State Department for a pre-tour be punished for openly criticizing the government, briefing, Dizzy Gillespie declined, noting, “I’ve he surprised his Soviet interlocutor by countering got three hundred years of briefing. I know what that any government official who complained about they’ve done to us and I’m not going to make any their criticism would be more likely to encounter excuses. I liked the idea of representing America, difficulties.35 Another American writer recalled the but I wasn’t going to apologize for the racist policies impact of the exchanges as follows: of America.”33 Musicians such as Louis Armstrong, Dizzy Gillespie and Charlie Parker brought abstract “What I sensed they got out of visiting concepts of liberty to life by democratizing their American writers was, to them, our spectac- concerts and insisting that ordinary people, not just ular freedom to speak our minds. I mean, elites, be allowed to listen. there we were, official representatives of the U.S. —sort of the equivalent of their Writers Later, rock n’ roll became the musical symbol of Union apparatchiks—who had no party line freedom. Andras Simonyi, former Hungarian Am- at all...and who had the writers’ tendency to bassador to the United States and himself a rock speak out on controversial issues… In other musician, commented, “Rock and roll was the in- words, the exchanges enabled Soviet writers, ternet of the ‘60s and early ‘70s. It was the carrier of intellectuals, students et al. to see that the the message of freedom…Rock and roll, culturally ‘free world’ wasn’t just political cant.”36
32 P.M. Von Eschen. “Satchmo Blows Up the World: Jazz, Race, and Empire in the Cold War.” Here, There, and Everywhere: the Foreign Politics of American Popular Culture. Ed. Reinhold Wagnleitner and Elaine Tyler May. Hanover: University Press of New England, 2000: 168. 33 Von Eschen 2000, p.170. 34 Bill Nichols. “How Rock n’Roll Freed the World,” USA Today. Nov. 6, 2003. 35 Schneider, Cynthia P. Schneider, “Culture Communicates: U.S. Diplomacy that Works,” The New Public Diplomacy: Soft Power in International Relations, ed. Jan Melissen. Palgrave, 2005. 152. See also Yale Richmond, Cultural Exchange and the Cold War (University Park, PA: Pennsylvania State University Press, 2003) 158. On Soviet reactions to encounters with American freedoms, see Frederick C. Barghoorn, The Soviet Cultural Offensive: the Role of Cultural Diplomacy in Soviet Foreign Policy (Princeton, NJ: Princeton University Press, 1960). 36 Yale Richmond, Cultural Exchange and the Cold War, (University Park, PA: Pennsylvania State University Press, 2003), p. 154, quoting Ted Solotaroff.
14 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship More recently, the contradictory messages emanat- connections between the United States and the ing from the United States continue to demonstrate Muslim world. Like jazz, hip-hop has resonated the subtleties of freedom of artistic expression and throughout the world, with singers and groups its practice. The Dixie Chicks made international from Amsterdam to Almaty integrating the basic news when their criticism of President Bush in beat of American hip-hop with their own tradi- 2003 earned them boycotts from radio stations and tions and language. A genre conceived as outsid- hate mail from former fans. Their later vindication, ers’ protest against the system, hip-hop resonates in the form of a Grammy award for their defiant with those marginalized from the mainstream. hit song “Not Ready to Make Nice,” did not garner From the suburbs of Paris to Palestine and to Kyr- the same attention. In interviews, we often encoun- gyzstan in central Asia, hip-hop music reflects the tered ignorance of, if not disbelief in, the diversity struggle against authority.37 Hip-hop originated in of American opinion about administration policies African American communities in the inner city; (i.e., that sizeable numbers actually disagreed with some of its early pioneers were American Muslims. the President). Lately, though, the State Depart- They carry on an African American Muslim tra- ment has begun to send to the Muslim world artists dition of protest against authority, most power- who disagree with Bush administration policy, such fully represented by Malcolm X. The role of Islam as the hip-hop group Ozomatli. Perhaps this shift within the African American community, best will begin to communicate the diversity of opinion known through hip-hop artists such as Mos Def, in America to those outside the elite circles of the represents a dimension of American cultural life highly educated and well traveled. that is little known in either the United States or the Muslim world.38 At the very least, the Ozomatli tour acknowledged the tremendous potential of hip-hop for building
37 David Brooks, “Gangsta, in French,” New York Times, Nov. 10, 2005, op-ed. 38 Jennifer Mayortena Taylor (Specific Pictures) is producing a film New Muslim Cool (2008 release) that explores this subject through the life of an African American Muslim hip-hop artist in Pittsburgh.
The Saban Center for Middle East Policy at BROOKINGS 15 Ar t Di s t u r bs Au t h o r i t y
“Staying silent is no longer an option. Art disturbs and art- ists have no choice but to listen to their conscience.”39
issent and criticism of authority in the global languages but it was also the basis for the most popu- DMuslim community also frequently take the lar original Arabic film of 2006 (and the most ex- form of creative expression. In the Muslim world, as pensive ever). In a paradox in which pride in the film in the United States, artists, writers, filmmakers and must have overcome unease about the subject mat- actors exert influence as public figures. But in the words ter, Egypt submitted the filmThe Yacoubian Building of Joe Goode, a theater and dance company director as its official entry in the 2006 Academy Awards. who worked with an Egyptian company in the United States and Egypt over a three year period, “They have an Authoritarian regimes, such as those in Egypt, reg- inherently different approach than in the West, where ularly allow the odd performance, film or book to art is seen as a diversion and artists see themselves as make it into the public domain. The critical tone of renegades.”40 In other words, the Egyptian artists take the Al Ahram Weekly, the English-language version of themselves seriously as political beings; they know that the Egyptian state-owned newspaper, is rarely cen- their art could have a significant impact and that it sored, allowing the State to point to such examples involves some level of personal risk. of “freedom of the press” and “freedom of speech”— what one artist calls “the tree that hides the forest.”42 Creative expression offers an escape valve for dissent and criticism of authoritative regimes intolerant of The very nature of the creative process, perhaps even direct opposition. Bahman Farmanara, legendary more than in the audience’s experience of the creative Iranian filmmaker, and Alaa al Aswany, author of the product, involves critical thinking and questioning. acclaimed novel The Yacoubian Building, both believe The processes of experimentation, exploring alterna- that analogy and metaphor elude government cen- tives, taking risks and critiquing and challenging the sors. After having had ten scripts refused by the cen- status quo—all of which are inherent to creative artis- sors, Farmanara succeeded with Smell of Camphor, tic expression—are the attitudes and approaches to life Scent of Jasmine, a script about a man planning his that foster pluralism and tolerance. As such, the cre- funeral because he does not want to live in a society ative process can be considered a model for promoting which forbids the making of films.41In chronicling democratic practices and attitudes. Where promotions the lives of the residents of the Yacoubian apartment of democracy fail is in focusing on structures and pro- building in Cairo, Alaa al Aswany inserted biting cedures and neglecting the underlying attitudes neces- criticisms of the government, the fundamentalists, sary for these structures to work. Creative expression and the pervasive system of corruption in Egypt. inherently promotes the independence of thought es- Not only has the book been published in multiple sential for democratic systems to function.
39 Salman Ahmad, Open Letter to Bilal Musharraf (son of President Musharraf), November 30, 2007:
16 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Br e a k i n g Do w n St e r e o t y p e s , Hum a n i z i n g t h e Ot h e r
“Nothing is more effective than media in bringing people together because you have a multiplier effect. Not only are the people involved affected, but the impact spreads to millions of viewers.”43
n addition to their capacity to reflect critically on initiatives. Creative expression and its products, Iaspects of politics and society, arts and culture are including these TV programs, have the potential to also valuable for their ability to reveal differences in shape and validate a sense of nationality, of religion, ways that humanize, rather than threaten. Recently, of ethnicity, and of history, with both positive and television programs in the United States and the negative results. Middle East have taken on issues of cultural and ethnic diversity. Programs such as Aliens in America Further, new technologies now make it possible in the United States and Arab Work in Israel break to leverage these and other programs so that mil- new ground by presenting characters and situations lions experience them or get to know someone who that have not previously been seen on TV or film— lives on the other side of the globe. This capacity is an ordinary Muslim teenager trying to adapt to changing the media landscape as public opinion, life as an exchange student in the United States or comprised of millions of individuals having their Arabs living and working in Israel.44 An American say, blurs traditional distinctions between report- NGO, Search for Common Ground, has partnered ers and their audiences and impacts the ideas and with the largest satellite network in Egypt, Cairo opinions of individuals as never before. Hometown Video SAT, to jointly create the reality series The Bagdad, a web-based series produced by Chat the Bridge in which two Egyptians—a camel driver Planet, brought post-war Baghdad home to mil- and a radio talk show host—host two Americans lions of viewers who followed the lives of three Iraq- (an African American businesswoman from Atlanta is and their families through the daily episodes and and a farmer from Alabama) in Egypt and then visit through email correspondence. The program also them in America. It aired on the Hallmark Channel fostered two-way communication; the three Iraqi in the United States reaching a “middle America” subjects were available online to answer questions audience not usually targeted by cross-cultural about the films and their lives.
43 John Marks, President, Search for Common Ground, at a screening of The Bridge, Aspen Institute, Washington D.C., Dec. 17, 2007. 44 “Aliens in America,” The CW Television Network, 2008, CWTV,
The Saban Center for Middle East Policy at BROOKINGS 17 Re sp e c t t h e Pa s t , Ea r n Re sp e c t in t h e Pr e s e n t : Cu l t u r a l Hi s t o r y a n d Id e n t i t y
istory, including its cultural components, has cultural products of this period in an effort not only Hbeen interpreted selectively and sometimes to preserve and disseminate this cultural heritage exploited by political leaders. For a variety of but also to demonstrate that the values of pluralism reasons, traditional arts in some communities and social equality have indigenous roots and are have been passed over in favor of Western media. not only a Western import.46 Some contemporary artists, however, such as Reza Abedini in Iran, are reviving and transforming Demonstrating esteem for the history of a country earlier traditions—in his case, incorporating Persian or a people powerfully communicates respect for calligraphy into contemporary graphic designs.45 the present, but the reverse is also true. In the wake In his workshop in Tehran, students learn cutting of the U.S. invasion, the images of the Baghdad edge techniques alongside the history of Persian art, Museum being looted, juxtaposed against those of something they do not learn elsewhere. “Iranian the tank standing guard outside the Oil Ministry, students know everything about photorealism in conveyed a total disregard for Iraq and its extraor- the West and nothing about Persian calligraphy,” dinary civilization. Secretary Rumsfeld’s quip, in commented Abedini at the Arts and Cultural response to the repeated images of “some person Leaders Workshop of the 2007 U.S.-Islamic World walking out of some building with a vase”—“My Forum. goodness, were there that many vases?”—only add- ed fuel to the fire.47 Artists and NGOs engaged in reviving texts, songs and cultural artifacts from the ancient to the early There is evidence that the United States has learned modern period have the potential to disrupt the a lesson about the importance of Iraq’s historical monolithic or self-interested conceptions of his- sites and artifacts. Decks of cards with images of tory often promoted by authoritarian regimes. For sites and antiquities on one side and instructions on example, in the first part of the twentieth century, how to treat them on the other have been distribut- Egypt experienced a period of cultural flowering, ed to soldiers in the field.48 More seriously, becom- when Copts, Muslims and Jews collaborated in ing a signatory to the Hague Convention would music and in writing. Mohammed Hassan has es- indicate a real commitment by the United States to tablished a new website, Ana l Masry (“I am the protect and preserve cultural heritage. On a smaller Egyptian”), that collects and makes available the scale, the Ambassador’s Fund, a program begun in
45 Reza Abedini. June 10, 2008.
18 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship 2000 and expanded since then, enables American Ambassadors to express their respect for the history and culture of their host countries by distributing grants for local restoration projects. Among the scores of activities in the Muslim world are preser- vation of mosques in West Africa and Bosnia and Herzegovina, preservation of Islamic architecture in southern Thailand and in Cairo, preservation of traditional music in Egypt and digitizing projects involving manuscripts and music from Africa and the Middle East.49
49 Bureau of Educational and Cultural Affairs, “Ambassador’s Fund for Cultural Preservation,” 2008. U.S. Department of State. June 10, 2008,
The Saban Center for Middle East Policy at BROOKINGS 19 Th e Po w e r o f Fe e l i n g a n d Se e i n g : Th e Imp a c t o f t h e Ar t i s t i c Ex p e r i e n c e
“Even if you know the facts, it takes you on an emotional and spiritual journey.”50
ne of the strengths of arts and culture is their His findings have implications for this study. Arts Oability to tap into emotions, communicate and cultural experiences have the capacity to move on more than the rational level, and precipitate audiences to see and understand “the other” in a alternative ways of understanding the world.51 This more positive or empathetic way. Westen’s study occurs, especially powerfully, through narratives showed that emotional arguments succeed where that create an emotional response, such as Heather eloquent presentations of facts fail in changing even Raffo’s one woman show, Nine Parts of Desire, strongly held political views. For this reason—their portraying various Iraqi women affected by war. emotional resonance—artistic experiences can have an impact on mutual perceptions, even across com- Recent neurological findings indicate that emotions munities divided by deep political differences. drive our thought processes to a greater extent than has been previously recognized. Drawing on neu- The implications of Westen’s findings are further re- roscience, psychology, and behavioral science, Dr. inforced by a research project at the Harvard School Drew Westen has argued that associations driven by of Public Health, which is investigating how the emotions play a far more significant role in decision- brain responds to visual images.54 It is well known making, including political decision-making, than that the experience of seeing an image, a theatrical has previously been acknowledged.52 He concludes performance or a film can be both informative and that the dominant model of political decision-mak- moving. The Harvard project, building on earlier re- ing—rationally weighing the evidence—bears no search conducted by Dr. Nicole Argo and Dr. Jay resemblance to how the mind and brain actually Winsten, is investigating this type of “emotional jour- work. Westen’s clinical research provides the scien- ney” to discover exactly how it operates. It builds on tific proof for something we all know: the politician research in cognitive neuroscience that demonstrates who appeals to the emotions trumps the politician the potency of visual images, which initially register who relies on reason and factual arguments.53 in the brain the same way as do actual experiences.55
50 Heather Raffo, interview November 7, 2007. 51 John Lahr, New Yorker, June 10, 2008,
20 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship In other words, in its initial response, the brain does of which have been used equally to bring people not distinguish between something seen and some- together and to divide them. Just as the violent re- thing experienced. This helps to explain how films actions to the cartoons, published months before, can haunt us and can affect our understanding. The spread within days across the globe, so videos urg- implications of this research are far-reaching given ing vengeance and hatred reach thousands through the global penetration of films and television. As the internet within days of their release.57 negative perceptions on all sides contribute to the U.S.-Muslim world divide, slowly, over time, arts Popular culture can perpetuate and deepen negative and cultural experiences have the capacity either to stereotypes as well as debunk them. When Profes- deepen the divide or contribute to mutual under- sor Ellen Seiter sought to “temper the culture clash standing and improve those perceptions. between America and the Arab world” by bringing students from the United States and from the Mus- The emotional potency of creative expression, to- lim world together on the USC campus to view and gether with the critical role of arts and culture with- discuss American and Egyptian films, she was disap- in Arab and Muslim societies, underlines their im- pointed that for some American students, the films portance within the context of relations between the only reconfirmed their negative stereotypes, a fact she United States and the global Muslim community. attributed partially to their lack of knowledge about But creative expression can also be a double-edged the history and culture of the Middle East.58 Nega- sword. Art can be used as much to fuel hatred as to tive stereotypes of Americans in recent films from the increase understanding. The classic example is the Arab and Muslim worlds are less well known but are 2006 Danish cartoon scandal. Five months after a present as well. In 2006, the most popular films in Danish newspaper printed cartoons that portrayed Turkey and Egypt portrayed different responses to Mohammed with a bomb in his turban, riots erupt- the Iraq war. Valley of the Wolves, the most expen- ed in cities from Copenhagen to Calcutta. Build- sive film ever made in Turkey, drew record crowds to ings were burned, Danish products were boycotted watch the “bad guy” Americans abuse and massacre at the cost of billions, and over one hundred people civilians. The wife of the Prime Minister even at- died in the riots. The perceived lack of respect for tended the opening. The film plays out the fictional Islam provided the backdrop for a crisis that gave vindication of Turkey’s wounded pride over the hu- vent to widespread resentment of the West.56 The miliating, true incident of the arrest by the American cartoon crisis offers a reminder of the volatility of military of Turkish Special Forces in northern Iraq.59 images, their susceptibility to misuse, and the vi- The most popular film in Egypt in 2006, The Night ral nature of the negative emotions they can spark. Baghdad Fell, satirizes an imagined U.S. invasion of The same can be said of other forms of creative ex- Cairo, complete with a fantasy sex scene featuring a pression, from film to blogging and rap videos—all Condoleezza Rice look-alike.
56 Esposito and Mogahed 2008, pp. 143-44. 57 Michael Moss and Souad Mekhennet, “An International Jihad Aims at U.S. Viewers,” International Herald Tribune, Oct. 14, 2007. 58 Waleed Nasser, Egyptian facilitator for the Soliya program, which facilitates online conversations and collaborative work between students in the U.S., Europe, and the Middle East
The Saban Center for Middle East Policy at BROOKINGS 21 Cu l t u r a l Co n n e c t i o n s Be t w e e n t h e Un i t e d St a t e s a n d t h e Gl o b a l Mus l i m Co mmu n i t y To d a y : Th e Ch a n g i n g La n d s c a p e f o r Ar t s a n d Cu l t u r e in t h e Mus l i m Wo r l d
“The majority of exposure comes by way of consumerist pop culture. You can’t control what people get exposed to now. The problem is that pop culture doesn’t represent the true diversity and depth of either culture.”60
he environment in which cultural interactions (i.e., nonprofits receiving grants) may not present Tbetween the United States and the Muslim the most effective model—for donor or grantee. world take place today differs dramatically from Whether and how the U.S. government can the traditional Cold War paradigm in which the redeem its standing as a promoter of cross-cultural U.S. government sponsored tours and exchanges of understanding through the arts is a subject for artists. While the old model of not-for-profit arts another study. The answer involves not only levels organizations supported by Western foundations still of engagement and funding but also policy and exists, commercial culture, including the explosion politics, both domestic and international. of satellite TV in the Muslim world and increased access and distribution through the internet, has The new media environment, combined with the transformed the landscape of cultural interactions spread of the internet and with it blogs and You- between the United States and the global Muslim Tube, has vastly increased the “public space” for cre- community. Now, the most dynamic, sustainable ative expression.61 Although suppression of critical initiatives and enterprises on both sides partner voices has continued under authoritarian regimes with the private sector and build audiences. Today, from Morocco to Iran, the viral nature of the inter- the role of the American public and philanthropic net and the popularity of TV shows and films often sectors has diminished, and the lines between the insulate them from the censors.62 The exponential public and private sectors in the Muslim world growth in satellite channels, as well as the prodi- have become blurred. This new environment offers gious black market for DVDs and the facility of rich potential, which a variety of actors from the illegal downloads, means American popular culture United States and the Muslim world, sometimes in can be accessed even in conservative societies. unconventional partnerships, have begun to seize. There are tremendous opportunities for American The unique situation in the United States, where funding and engagement, whether from the public, creative industries and media are privately driven private or nonprofit sector, but “business as usual” and managed, complicates how American popular
60 Waleed Nassar, Egyptian facilitator for the Soliya program (www.soliya.net), interview with Mohammed Yousri, November, 2007. Soliya facilitates online conversations and collaborative work between students in the US, Europe, and the Middle East. 61 Among the many studies of this phenomenon, see Lynch 2006 on the media; Hammond 2007 and Transnational Broadcasting Studies I and II on popular culture. 62 Jackson Diehl, “Egypt’s YouTube Democrats,” Washington Post, December 17, 2007: A21 ; A Moroccan blogger was jailed and beaten for setting up a Facebook profile of a member of the royal family
22 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship culture is perceived in the Muslim and Arab worlds. from their encounter: the Americans learned from In the Muslim world, markets targeted by Ameri- the Egyptians’ questions and observations, while the can popular culture—including “informal” markets Egyptians’ playing style was transformed by experi- reached by bootleg CDs, DVDs and downloads— encing live performances. are often managed by the state. It is, therefore, often counterintuitive for foreign audiences to Many believe jazz is America’s single greatest contri- understand, while watching a rerun of Friends or bution to world culture; the music is transcendent, Baywatch—or, alternatively, a culturally sensitive infectious, and through its unique combination of production of Sesame Street—that the decision to improvisation and harmony, embodies essential broadcast was entirely a private one, with no in- characteristics of the American ethos. Yet, because fluence from the U.S. government. In the Middle of a lack of funding, no American jazz band (as op- East, where governments largely control the media, posed to individuals and small combos) had visited even sophisticated consumers of culture expressed Egypt since the tour of Louis Armstrong in the skepticism that the U.S. government did not in 1950s. One incident illustrated the power of a live some way control cultural exports. Like it or not, performance and of the cross-cultural connections the United States’ largely profit-driven popular cul- that can be made through music. Louis Armstrong’s ture is understood by much of the world, including It’s a Wonderful World quickly became a favorite majority Muslim populations, to “represent” the among the Egyptian audiences. At the final perfor- United States.63 mance, conductor Dave Baker encouraged singer Delores Williams to improvise the line “Egypt is a The widespread distribution of American commer- wonderful world.” The full house rose to a standing cial culture in the Muslim world does not extend to ovation and left talking excitedly about the Ameri- the nonprofit sector, nor is it reciprocated in terms can orchestra that sang about their country. of penetration in the U.S. of cultural groups and products from the Muslim world. Funding for cul- The discussion below will first examine the changing tural programs from both public sources and pri- role of the U.S. government as a sponsor of cultural vate philanthropy has been so severely diminished activities before turning to an analysis of the chang- that nonprofit arts companies’ performers are rarely ing roles of popular culture, government-funded seen in the Muslim world (or anywhere else, for that and private sector cultural initiatives, and the NGO matter). When the Smithsonian Jazz Masterworks sector in the Muslim world. In this context, we will orchestra traveled to Egypt in February 2008, they look at the exciting and challenging new landscape were greeted enthusiastically by a general public for arts and culture in the Muslim world, focusing who had no experience of jazz, as well as by the on activities in the five areas of film, TV, music, vi- jazz band from the Cairo Opera House, who had sual arts and new media and examine both present never heard this music live before. Both the Ameri- and potential roles of private philanthropy in the can and Egyptian musicians gained tremendously Muslim world today.
63 The same applies to private contractors in Iraq such as Blackwater. NPR, Morning Edition, December 17, 2007, “Iraqis see Contractors, U.S. Troops the Same,”
The Saban Center for Middle East Policy at BROOKINGS 23 Mi ss e d Opp o r t u n i t i e s , Mi sp l a c e d Priorities: U.S. Go v e r n m e n t a n d Ar t s a n d Cu l t u r e in t h e Mus l i m Wo r l d
“I don’t know why the American embassy is not as ac- tive as its European counterparts are. This breeds a lack of interest in collaboration. I’ve worked with artists from Switzerland, Italy, and Germany but not the U.S.”
“The Goethe Institute ten years ago was only focusing on film screenings, music concerts and lectures. After the war on Iraq, they wanted to understand more about the region but also deliver messages and ideas about their own culture. This is obviously not just for our sake; it’s a mutually beneficial process. They began to focus more on artistic and cultural exchanges in an attempt to rede- fine themselves and change perceptions of Germany all the over the world.”64
he statements above captures the two principal by the new fortress-like embassies being constructed Tcomments about U.S. government involvement in response to post-9/11 security assessments—a in culture that we heard in our interviews with arts subject that falls outside the scope of this study— and cultural figures from the Arab and Muslim the “human face” of American embassies in the world: 1) “Where are you? Where is the cultural Muslim world, as manifested through arts and presence of the United States?” and 2) “Why is it cultural outreach, has been largely invisible. that in comparison to European funders, the U.S. government tends to adopt a top-down approach, Understanding why the U.S. government, specifi- rather than listening and learning about the local cally the Office of Public Diplomacy in the State context and adapting to it?” The comments reflect Department, failed to seize the opportunity of- the expectation that the United States, as one of fered by the post-9/11 surge of interest in public the most dominant cultural presences in the world, diplomacy requires a brief summary of the demise should be at least as, if not more, visible as other of U.S. cultural diplomacy in the 1990s. Follow- countries. Since the United States has no Ministry ing the fall of the Berlin wall and the breakup of of Culture or analogous body for international the Soviet Union, the United States Information outreach, such as the British Council, La Maison Agency (USIA), founded in 1953 as an instrument Française, or the Goethe Institute, the American of the Cold War, suffered a decline in funding and Embassy then becomes the face of the country reduction in personnel. The USIA fell victim to a abroad. Quite apart from the impression conveyed “perfect storm” of adverse factors: Foreign Relations
64 Mahmud Hamdy, File Club Graphic Studio and Club/I-Catalyst, interview by Mohammed Yousri.
24 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Committee Chair Senator Jesse Helms’ pressure to has taken several forms: 1) establishing new media reduce government spending and the number of outlets in the Middle East (notably Radio Sawa and agencies; his opposition to any government fund- the television station Al Hurra), 2) increasing fund- ing for culture and the arts; and a general sense that ing and activities involving cultural outreach and without an enemy (the Soviet Union), the need to exchanges to the Muslim world, and 3) studying spread American ideas through culture had evapo- the problem. rated. When the USIA was absorbed into the State Department in 1999, the ceremony felt like a fu- Since 9/11, the bulk of public diplomacy fund- neral to career cultural officers. Despite Secretary ing has gone toward worldwide broadcasting, with of State Madeleine Albright’s description of public the $670 million plus budget for the Broadcasting diplomacy as a “national security imperative” at the Board of Governors (BBG) in 2007 dwarfing the ceremony, spending on cultural diplomacy (cultur- $11 million budget for cultural programs and ex- al programming and exchanges, not educational ex- changes. Outreach to the Muslim world dominates changes) had dwindled to less than $2 million per the broadcasting agenda, with the two post-9/11 year by 2001.65 Walter Laqueur’s prescient words in U.S. government media outlets, Radio Sawa and Al 1994, arguing in favor of saving public diplomacy, Hurra, claiming around $100 million per year. To went unheeded. put this into context, the total funding for global cultural programs and exchanges amounts to just “Nor can it seriously be argued—as some have— over one month of Al Hurra’s budget. that these tools of U.S. foreign policy are no longer needed now that the Cold War is over and America Critics both inside and outside the government no longer faces major threats…far from being on have questioned the value of financing Radio Sawa the verge of a new order, the world has entered a pe- and Al Hurra.67 It would appear that Middle East- riod of great disorder. In facing these new dangers, ern audiences do not respond well to broadcast- a re-examination of old priorities is needed. Cul- ing branded by the U.S. government. The failure tural diplomacy, in the widest sense, has increased of Undersecretary for Public Diplomacy Charlotte in importance, whereas traditional diplomacy and Beers’s 2002 television spots extolling life as a Mus- military power…are of limited use in coping with lim American is another case in point. At a cost of most of these dangers.”66 $15 million, or twice the total amount dedicated to cultural programs today, the video spots failed Dismantling the USIA and crippling the funding to gain traction in the Middle East, where they for cultural diplomacy left the United States un- were not picked up by TV stations. By contrast, prepared for the post-9/11 world, in which under- NGO Layalina’s reality show On the Road in Amer- standing different cultures, particularly those of the ica, produced at a cost of less than $1 million per majority Muslim countries, has assumed unprec- year, has aired on the largest network in the Middle edented importance. The response to this tremen- East (MBC1) to audiences totaling over 20 million dous challenge on the part of the U.S. government viewers.68 As was true of the internet in the United
65 Cynthia P. Schneider, “Culture Communicates: Diplomacy that Works,” The New Public Diplomacy: Soft Power in International Relations, ed. Jan Melissen , (Palgrave MacMillan Studies in Diplomacy and International Relations, 2005) 156. 66 Walter Laqueur, “Save Public Diplomacy,” Foreign Affairs 93 (1994): 20. 67 “Boos for Al-Hurrah,” Opinion Journal, May 11, 2007,
The Saban Center for Middle East Policy at BROOKINGS 25 States in the early 1990s (large platform, little con- willing and wanting to give a different image of tent), the true potential of the satellite networks America than America has given over the last five in the Middle East will not be realized until the years,” declared Bella, lead singer of Ozomatli, be- breadth and depth of content matches the platform. fore the group’s concert in Cairo in July of 2007. Another alternative to the billions that have been The global language of hip-hop, which has been spent establishing U.S. radio and television stations adopted throughout the Muslim world, also reso- would have been to commission content for Mid- nates in Iraq. In July 2007, John Ferguson and his dle Eastern stations from filmmakers, journalists NGO, American Voices, brought over three hun- and artists. At this point, the privatization of Radio dred Iraqis from all regions and sects to Irbil, Iraq, Sawa and Al Hurra might improve their credibility for a ten-day dance and music workshop. Children and reach larger audiences.69 and teens exchanged hip-hop moves, while musi- cians of all ages joined together for big band and Although the funding for cultural programs and ex- symphonic concerts.71 changes has increased under the Bush administra- tion—to a total of $11 million in 2007, up from a Both Ozomatli and American Voices adopted a for- nadir of $1.4 million in 2001—the presentation of mula with a history of success: performance plus the rich diversity of American culture, as opposed workshops, and, in the case of American Voices, to pop culture, pales beside what was offered in the a collaborative final production. Noting the value Cold War period and what European countries of- of artistic collaborations and workshops, Nimet fer today. Without significant increases in funding Naguib, cultural attaché for over thirty years at from the government or infusions from the private the American Embassy in Cairo, observed, “Once sector, accompanied by a shift in approach, the there is contact, things change.”72 She considered United States will not be able to play a construc- the joint Egyptian/American production of the tive role in cultural life in the Arab and Muslim play Our Town in 2003 to be “the most success- worlds. ful project” of her career. The ingredients of suc- cess were: collaboration and partnership, appeal to With the increase in spending for cultural program- a local audience (performances were in Arabic), and ming have come shifts in strategy, with generally the absence of a policy connection. positive results. In an effort to reach out to the predominantly youthful populations in Muslim At current funding levels, the United States will countries, the State Department has funded tours only be able to “parachute in” with performances— of hip-hop musical and dance companies. Most no- collaborative or otherwise—and workshops, but tably, the hip-hop fusion band Ozomatli toured to will not be able to build on past successes, such as great acclaim in the summer of 2007.70 Previously, Our Town or the American Voices workshop, with the U.S. government had not tapped the power of a sustained, reliable presence in the cultural life of dissent as a component of public diplomacy, but Muslim majority countries. Nor will it be possible with Ozomatli, they put on tour a band known for to begin to repair the cultural infrastructure that its participation in anti-war concerts. “I’m totally was dismantled in the 1990s, notably the closing
69 Suggested by Hady Amr and Peter Singer 2007, “Engaging the Muslim World: A Communication Strategy to Win the War of Ideas,” 2007,
26 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship down of the “America Houses” and libraries built partment, in partnership with the Kennedy Center, in the decades following World War II. Germany has begun programming in the area of arts manage- and Japan received most, but not all, of these in- ment in the Muslim world.76 A component of the stitutions. The American Center in Hyderabad, fragile fabric of civil society in the Arab and Muslim India, once housed the largest library of American world, arts organizations often suffer for lack of ba- books outside the United States but now has fallen sic management skills, including marketing, fund- into neglect and disrepair. Lamenting the closing of raising, grant writing, and budget management. The U.S. libraries and cultural centers, Samer Shehata, Kennedy Center hosts groups of arts and cultural Georgetown University Assistant Professor and spe- practitioners from the Arab and Muslim worlds and cialist in Arab Studies, recalled that “The American arranges seminars and workshops for them. Build- Cultural Center in Alexandria [Egypt] was where ing on his successful arts management workshops in I learned about Jefferson and Lincoln.”73 Despite Mexico, the indefatigable Michael Kaiser, Director the recommendation of the 9/11 Commission of the Kennedy Center, led a seminar in April 2007 that “The United States should rebuild the schol- at the headquarters of the League of Arab States in arship, exchange, and library programs that reach Cairo that convened over 120 participants from the out to young people and offer them knowledge and Arab world. Even before it started, the seminar was hope,” no libraries or cultural centers have opened a success because it brought so many actors in the in the last seven years.74 Instead, making the best arts together for three days of networking—a rarity of limited funds and heightened security, the State for a variety of reasons, including the difficulty of Department has opened “American Corners” in travel among Arab states. While participants val- local libraries and cultural institutions in many ued the information and the conversations, some countries. Although the “Corners” extend the reach felt that the top-down approach of lectures might of the United State’s official presence beyond the not have made the best of this opportunity. Fur- capitals—an essential component of diplomacy— thermore, arts operators from the Muslim world of- their success has varied, and the comparison with ten have difficulty applying the advice of American actual cultural centers hosted by other countries arts managers because of the dramatically different is not felicitous. The consensus that is developing contexts. Interviewees frequently commented on around the need for America to re-engage on a cul- the need for foreign experts to truly understand the tural level around the world, and particularly in the context in order for their advice to be relevant and Muslim world, does not yet extend to a consensus applicable. for significantly increased funding for the State De- partment. With Defense Secretary Gates’s recent Programs initiated under the Global Cultural Ini- call for a boost to the State Department budget, tiative in film and literature, as well as museum perhaps it may soon.75 management programs (Museum Community Col- laborations Abroad), also have the potential to af- As part of the Global Cultural Initiative launched fect communities in the Muslim world. But they by Laura Bush in September 2006, the State De- are not specifically targeted toward them.
73 Comments at a speech at the conference Communicating with the World: Diplomacy that Works, held at Georgetown University, April 30, 2003. One of the few cultural centers that has remained operational, if on a shoestring budget, the Alexandria Center runs well-attended programs on American literature, using local American Studies faculty. With more funding and a greater infrastructure for cultural diplomacy in Washington, Justin Siberell, cultural attaché in Alexandria, believes he could begin to meet the enormous demand for American culture there. 74 The 9/11 Commission Report: Final Report of the National Commission on Terrorist Acts upon the United States,New York, 2004. 75 Shanker, Thom. “Defense Secretary Urges More Spending for U.S. Diplomacy.” Washington Post. Nov. 27, 2007: A6. 76 “Mrs. Laura Bush Launches ‘Global Culture Initiatives’ to enhance U.S. Cultural Diplomacy,” Sept. 25, 2006, U.S. Department of State, June 10, 2008, < http://www.state.gov/r/pa/prs/ps/2006/73078.htm>.
The Saban Center for Middle East Policy at BROOKINGS 27 In addition to launching media outlets and cultural the Curb Center report discusses arts and culture programming, the U.S. also has devoted untold specifically, theoretically, creative expression would hours and dollars to studying the challenges of pub- have a role in any broad-based outreach strategy lic diplomacy in the post-9/11 world. Forty-odd given the importance of private sector cultural reports have produced the consensus that public products and exports. diplomacy is in a crisis.77 Most focus on improving process and structure at the expense of content and In summary, with the exception of official broadcast tend to neglect the role of arts and culture, with the channels, which have met with mixed reviews, U.S. exception of the commendable, but largely ignored, initiatives in arts and culture in the Muslim world Report of the Advisory Committee on Cultural Diplo- in the last decade have had some success, but those macy and the Cultural Diplomacy and the National successes have yet to be integrated into a reliable and Interest report of the Curb Center for Art, Enter- sustainable presence. The positive response of Mus- prise, and Public Policy at Vanderbilt.78 Another set lim artists and audiences to performances, work- of studies, many from the U.S. GAO (Government shops, and exchanges suggests a strong desire for Accountability Office) all concur that the U.S. gov- contact with counterparts in the United States. But ernment and private sector lack a coherent, inter- this interest is tempered by a wariness of motives agency, cross-sector strategy of communication and a desire to protect the integrity of artistic expres- and public diplomacy.79 The Curb Center report sion. It should be noted that the Iraqi participants in emphasizes the challenges of effectively incorporat- the American Voices Unity Academy voiced no such ing culture into diplomacy without an independent reservations; they were grateful to be “remembered” cultural agency in the government. Although only and to be able to “feel normal again.”80
77 For a summary of the reports and their recommendations, see Susan B. Epstein and Lisa Mages, “Public Diplomacy: a Review of Past Recommendations,” CRS Report for Congress, 2005. Particularly relevant is the Djerijian report, although it also gives scant attention to arts and culture (Changing Minds and Winning Peace, Report of the Advisory Group on Public Diplomacy for the Arab and Muslim World, Edward P. Djerijian, Chairman, Oct.1, 2003). See review by John Brown, “Changing Minds, Winning Peace: Reconsidering the Djerejian Report”, American Diplomacy vol.IX, no.3, 2004. See also articles by Brookings scholars Hady Amr and Peter Singer (Amr and Singer 2004; Singer 2006; Amr and Singer, “Engaging the Muslim World” 2007).; and two recent reports with specific recommendations for the State Department The Embassy of the Future(of which I was a Commissioner) CSIS Commission on Smart Power: A Smarter, More Secure America,
28 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Un i t e d St a t e s No n p r o f i t Fu n d i n g a n d Activities
“Americans need to move beyond simply reacting to 9/11. We need to have serious attempts at intercultural dialogue that is not reactive to 9/11. We need to develop real links. One way is to help artists from the Arab world have resi- dencies in the U.S. (and vice versa).”81
iven the many calls for action to repair the divide East.83 In other words, about $54 million, or 1.9% Gbetween the West and the Muslim world, the of the $2.8 billion dedicated to international giving, miniscule amount of private (non-commercial) and went to projects in the Middle East and North Af- foundation funding dedicated to artistic exchanges, rica. Based on the overall international philanthropy collaborations and partnerships with the United figures, it is safe to assume that less than 5% of the States is disappointing. This is particularly true in $54 million for the Middle East and North Africa light of the hunger expressed for these partnerships was given to the arts, which amounts to less than one from artists and arts organizations in the region, as tenth of one percent of private international philan- reflected in our interviews. thropy for arts and culture in the Middle East and North Africa. According to another estimate, grants In the competition for private philanthropy in the for art exchange programs amounted to less than United States, health, education, the environment, 1% of total foundation spending.84 While founda- and poverty alleviation have tended to take prece- tions and NGOs recognize the challenge of the U.S.- dence over the arts, with only a handful of founda- Muslim world divide, most have tended to focus tions making substantial grants. For international on dialogue and bridge-building programs, without artist programs and exchanges, the number of donors including an artistic or cultural component.85 narrows even further. An overall increase in interna- tional philanthropic dollars since 2002, especially in However, a handful of American foundations are the area of global health (Gates Foundation), has not active in the area of arts and cultural engagement benefited the arts, which received less than 5% of with the global Muslim community. To date, the the $2.8 billion donated to international causes in Doris Duke Foundation for Islamic Art, One Na- 2004.82 Of the total international donations, about tion, Rockefeller Brothers Fund, the Skoll Foun- one third went to regions with majority Muslim pop- dation and the Rockefeller Foundation have sup- ulations, with less than 7% of these funds targeted for ported American institutions working in and with cross-border projects in North Africa and the Middle the Muslim and Arab world. Smaller groups, such
81 Comment from participant at workshop convened by author, October 21, 2007; Cairo, Egypt. 82 Loren Renz and Josie Atienza, International Grantmaking Update, The Foundation Center, Oct. 2006, pp. 2 and 5. http://www.cof.org/files/Documents/< International_Programs/2006%20Publications/IntlUpdateOct06.pdf> (accessed June 12, 2008). 83 Ibid p.4. 84 Andras Szanto, A New Mandate for Philanthropy? U.S. Foundation Support for International Arts Exchanges, Center for Arts and Culture, Cultural Diplomacy Research Series, 2003, pp.1-3,
The Saban Center for Middle East Policy at BROOKINGS 29 as ARTEEAST and Al Aswan, both located in New grantees (Al Mawred and AFAC), to disperse grants York City, present cross-cultural events involving to individuals. artists from the global Muslim community, thereby providing them opportunities to perform in the A question for private philanthropy is whether to U.S. The Sundance Institute, supported by some of focus exclusively on exchanges and partnerships or the above foundations, collaborates with the Royal whether also to support regional arts and culture Jordanian Film Commission in organizing a highly players. The latter would demonstrate respect for the respected screenwriter’s lab once a year in Jordan, integrity of local cultural production as opposed to where new filmmakers are invited to work with categorizing it merely as an instrument of further- more seasoned experts, some of whom, but not all, ing U.S.-Muslim world dialogue. European public are from the U.S. The eight spots for Arab screen- and private donors currently dominate support for writers are highly coveted. The Ford Foundation the creative component of civil society in the Muslim funds regional artists and organizations, including world, along with Al Mawred and AFAC. Still, the two Arab-based arts nonprofit organizations, Al sector is under-funded, and the circles of donors and Mawred Al Thaqafy and the Arab Fund for Culture grantees are not expanding to capitalize upon new and Arts (ACAF), the region’s most ambitious non- possibilities in the arts and media. profit grant-making organization for the arts. The Open Society Foundation moved its focus from Donors and projects focused on the American Mus- Eastern Europe to the Middle East, where it funds a lim community, or involving Americans working to number of arts programs, including most recently, change and improve perceptions and understand- a substantial grant to ACAF. ing of Muslims and Islam, form a new category. The key donors and organizations all have developed in With more than fifty years of experience in capacity the post-9/11 period. To date, the most significant building in the Middle East, and more than thirty contributor to these causes is the One Nation Foun- years in the arts, the Ford Foundation is in a class dation, which supports the production of documen- by itself. The Ford Foundation mission stands alone tary films (e.g.,Prince Among Slaves and Mohammed, among American foundations for its holistic ap- both by United Productions Foundation) and other proach to supporting the arts in the Arab and Mus- initiatives to increase understanding in the United lim worlds. “Without the Ford Foundation, there States of the global Muslim community. One Nation would be no independent art scene in Egypt and also provides a clearinghouse and resource center on Palestine,” commented Tony Sfeir, founder of the all issues pertaining to the American Muslim com- self-sustaining independent music label Incognito, munity and sponsored [winners were announced in reflecting the fundamentally important role played February] a short film contest, “One Nation, Many by the foundation in supporting nonprofit institu- Voices.”86 Funding from One Nation has helped to tions in all fields. Ford has helped to strengthen the support the Hollywood Engagement Project, a col- infrastructure for arts and culture in the region by laborative effort being developed by the Arts and moving from funding individual artists and pro- Culture Initiative at the Saban Center at the Brook- ductions to funding large organizations, such as the ings Institution, One Nation, and United Produc- Young Arab Theater Fund, which provides produc- tions Foundation, with the goal of working with tion funds and travel and touring grants. It concen- leaders in the creative community in film and televi- trates on institution and capacity building, relying sion to encourage more varied and nuanced portray- on the aforementioned Arab cultural foundation als of Muslims and Islam in popular culture.
86 One Nation, June 10, 2008,
30 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship “Am e r i c a n ” a n d “Eu r o p e a n ” Do n o r Mo d e l s
n contrast to the relative absence of U.S. series of six meetings over a period of 18 months Ifoundations in the cultural field in the Muslim to reflect and learn how they can better respond world, European donors—some private sector, to realities on the ground. It is the coordinating, a few government sponsored—are very active. monitoring, desire to understand and learn, and While not all have regional offices, the European commitment to collaboration that distinguishes donors habitually spend considerable time in the much of the work of these institutions and earns region in order to meet the players and expand them credibility in the region. By contrast, most of their knowledge of the context. Some of the the sparse arts programming of the United States, most important European donors include: the both public and private sector, is couched in the European Cultural Foundation (ECF), a private rhetoric of “bridging gaps,” “understanding” and donor committed to working in partnership with showing that “we’re not all that bad.” Mediterranean and Balkan artists to build the field of culture; the Prince Claus Fund for Culture and The UN’s Alliance of Civilizations Media Fund, Development, also a private donor, committed led by Americans Omar Amanat and Suhail Rizvi, to supporting new work in the Middle East and provides a different model. It promises to offer that Africa with grants and annual prizes; Triangle desperately needed commodity—funds for the pro- Trust and the Mondrian Foundation, two private duction of films that contribute to cross-cultural organizations supporting the visual arts through understanding. The Media Fund aims to make fea- exchanges and regional programming; the Roberto ture films that reach broad and diverse audiences. Cimetta Fund, established to facilitate mobility of Backed by research that points to the power of im- artists, not only between the Mediterranean region ages in shaping perceptions, the founders of the and Europe but within the region as well; SIDA UN Alliance of Civilizations Media Fund believe (the Swedish International Development Agency); engaging narratives can subconsciously alter nega- the European Union, through its film programs tive stereotypes and foster more inclusive views of such as the Euromed Audiovisual Program; the other cultures. An unknown is whether the Fund Royal Netherlands Embassy; and the many national will use its resources to support filmmakers from cultural centers, such as the British Council, Pro- the Muslim world and spur the development of Helvetia, the French, Italian and Spanish cultural film industries there, as well as support films made centers and the Goethe Institute. Many of these in the United States. institutions are part of an active network and meet regularly to coordinate (and often collaborate The United States, with its deep experience with on) programming and exchange knowledge and for-profit culture and all it entails—notably market- expertise. Representatives of these organizations ing and audience-building—is well-poised to create also make regular visits to the region. The ECF another, more positive “American donor model” by is particularly conscientious in monitoring the helping the independent arts sector become more changing context as it is affected by wars, migration sustainable. This assistance could take the form of and media issues. Most recently, the ECF held a expertise and mentoring as well as funding. The
The Saban Center for Middle East Policy at BROOKINGS 31 high level of unemployment in the region, particu- tween members of the music, technology, public larly among youth, makes it imperative to incor- policy and intellectual property law communities. porate sustainable money-making opportunities The FMC seeks to educate the media, policymak- and skills into philanthropy so that the arts provide ers and the public about music/technology issues, opportunities for income generation. One of the while also bringing together diverse voices to devise aims of such a model would be to avoid singling creative solutions to some of the challenges in this out the Arab/Muslim as a victim, poor and op- space. The FMC also aims to identify and promote pressed, and to find ways to address his/her needs. innovative business models that will help musicians In the area of poverty alleviation, the United States and citizens benefit from new technologies. An- is well placed to make a difference, yet no one has other organization, Freemuse (www.freemuse.org), developed a model to communicate and share these focuses on music censorship stimulating discussion private sector skills in commercially viable culture on issues of music and Islam, for example, through and entertainment into the context of international interviews with prominent musicians. In a lo- philanthropy. This points to a larger problem: the cal initiative and with European funding, many relative lack of integration of arts and culture into young Egyptian bands were brought together in development strategies and agendas. a workshop hosted by the Alexandria Library in 2006 to learn the basics of music promotion and Projects and organizations that do communi- marketing. Layalina and the public-private coali- cate and share these private sector skills are few tion that produced the TV reality show The Bridge and serendipitous. Among these is the Future of provide models of how training in marketable skills Music Coalition (FMC; www.futureofmusic.org), in film and television can be successfully done, as which bills itself as a nonprofit collaboration be- discussed below.
32 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ne w , International , Mu l t i -Se c t o r Ar t s a n d Cu l t u r a l La n d s c a p e s in t h e Mus l i m Wo r l d
n the Arab and Muslim world today, as in the clips, pop music and films are replacing politics IWest in the past, new patronage systems and and language as a unifying factor in the region. The environments for the production of art have internet—specifically blogging, Facebook (Turkey catalyzed new forms and uses of art. When, in the is the 5th largest Facebook user), and personal and 17th-century Dutch Republic, middle-class citizens organizational websites—has created communi- replaced traditional art patrons—the church and the ties, constituencies and affinity groups of Copts, state—new genres of landscape, still life, and scenes Muslims, intellectuals, artists, religious conserva- of everyday life emerged to meet the demand for tives and extremists. These associations transcend paintings for domestic consumption. Today, in much national borders and national identities, reaching of the Arab and Muslim world—where the lines of out beyond the region to the global community. private and public are not as clearly demarcated as Furthermore, popular culture has succeeded where in the West—new coalitions of donors; unorthodox political institutions, such as the Arab League, have partnerships between public, private and nonprofit failed in creating a sense of an Arab identity.87 “I am organizations; and the advent of new media are an Arab,” (Arabiyyun Ana), sung by an Armenian- redefining arts and culture and their role in society. born Lebanese singer, topped the charts in 2001.88 This new landscape has profound political, social The downside to the unifying power of satellite TV and economic implications. in the Arab world is that, as Hisham Sarabi de- scribes, it has “crystallized hostility to the American To explore this new cultural terrain, we will first presence in Iraq.”89 examine its regional political implications. Then we will look at examples of different regions and coun- At the same time, Arab satellite television distrib- tries where culture has become a national priority utes a steady diet of American popular culture— and that have developed leading models for public, or of Arab knock-offs of American icons, such as private and public-private support of the arts. Fi- Mama, I Want to Be a Millionaire 2004, based on nally, we will delve deeper and look at commercial the American Idol formula. Afghan Idol, another and not-for-profit cultural activities, examining the of the many American Idol take-offs in the Mus- following areas: film and television, international lim world, fostered a sense of national unity as festivals, visual arts, theater and dance, literature, the whole country watched and voted. Gender (a music, and new media. woman reached the final three in Afghan Idol) and ethnic background mattered less than talent did, In the Middle East, popular media production is creating a climate that overcame traditional divi- succeeding where political vision and will have sions of class, gender, and ethnicity.90 The company failed, as satellite channel programming, video with the highest viewer ratings is the London-based
87 Andrew Hammond, Popular Culture in the Arab World, Cairo/New York, 2007, pp.14-15. 88 Ibid, p.15. 89 Hammond, p. 213, quoting Hisham Sarabi. 90 Website:
The S aban Center for Middle East Policy at B r o o k i n g s 3 3 MBC (Middle East Broadcasting), offering a four- to their own purposes. For example, after Pop Idol channel package of 24/7 Hollywood films (MBC2), and Big Brother flopped, the Abu Dhabi Culture American sitcoms, soaps, game shows and contests, and Heritage Authority launched the most suc- such as Friends, Days of Our Lives, Jeopardy, So You cessful TV contest in the Arab world, Poet of the Think You Can Dance (which has a copycat in Tur- Million, in which contestants competed in the field key) and American Idol. of Nabati poetry, the traditional Bedouin style of verse. The television show formed part of a general But the apparent “Americanization” can be decep- revival of Bedouin identity, which has young peo- tive. Local culture and tastes are adapting Ameri- ple in the Gulf wearing long hair and traditional can models, such as Idol contests and reality shows, clothing.
34 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ar t s a n d Cu l t u r e a n d Civil So c i e t y
utside the commercial sector, a plethora of serious impact on the wider community. Fund- Oindependent artists and cultural entities form ing creates competition where there should be part of the fabric of civil society in the Muslim networking; institutional survival tends to prevail world. The development of NGO culture varies over programming vision as a raison d’etre. NGO from country to country. In Tunisia, civil society culture is further hindered by local contexts that activists are restricted to using government channels, discourage cooperation, solidarity, transparency and the number of restrictions is increasing. Once and initiative, but breed suspicion and territorial- the backbone and spearhead of Palestinian society, ism. In these contexts, activism, advocacy and just NGOs are increasingly seen as agents of the West plain networking can be challenging, if not dan- who have aligned themselves in opposition to gerous. Another danger of this funding culture is Islam and Islamic institutions. Egypt and Jordan that the West is perceived primarily as a moneybag have both gone through revisions of the NGO law and NGO culture as a creation of the West. Long- that have resulted in giving the government more term funding directed towards sustainability and control, including the requirement for government infrastructure building, rather than discrete events, permission to accept foreign funds. For this reason, a would help, as would encouraging networking re- number of NGOs have chosen to seek international gionally and internationally. registration. Ironically, government restrictions punish success. If a nonprofit builds an audience to The few examples of self-sustaining nonprofit cul- the point that it attracts foreign funds, the NGO tural organizations merit study so that others may then faces increased requirements for permission apply their “lessons learned” to achieve greater free- from the government to accept the monies. The dom of action. Tony Sfeir’s successful independent relationship of civil society to the public sector music store and label Incognito began with a music is not so much a partnership in which the state shop featuring jazz and classical music in a remote establishes space for non-governmental actors and Lebanese town, where CDs were unknown. After coordinates complementary activities as it is a his clientele grew, Sfeir moved to Beirut, opened a standoff—an uneasy truce in which the government music store and purchased independent music from seeks increasing control. all over the world. Before long, Incognito, the only serious music shop in the Arab world, carried over The relationship with foreign donors is ambivalent. 25,000 titles. Over time, Incognito’s music aficiona- Although most players in the region are open to dos became musicians. Incognito developed a mu- the West and wary of Islamic extremism, they re- sic production capacity, opened a second shop, and main skeptical of the West, its foreign policies and expanded its distribution network. Sfeir declined its fixations on democracy, transparency and ac- a purchase offer from Virgin Records, although he countability. Yet, at the same time, most NGOs in distributes his music through Virgin stores. He has all fields are dependent on European and American expanded further into Jordan, Syria, Egypt, and the funding and, with few exceptions, fail to develop Gulf, with Syria—where he has a separate compa- strategies for sustainability. This dependency has ny called Majal, now his largest market. Sfeir also
The Saban Center for Middle East Policy at BROOKINGS 35 publishes and sells DVDs and books at another branch store, the Cinetheque. To battle piracy, he lowered the price of CDs to just above the street price for bootleg CDs, and then added a demo CD for free. By undercutting pirated CDs in value for money, he defeated the pirates at their own game. What sets Incognito apart from arts and culture groups that rely on outside funding is the atten- tion to developing a constituency and marketing products to it. How to inculcate these skills more broadly in the arts and culture community in the Muslim world, so that more organizations can achieve sustainability and/or profitability, remains a challenge.
36 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ne w Re g i o n a l a n d Na t i o n a l App r o a c h e s t o Supp o r t i n g Ar t s a n d Cu l t u r e
“This is not just about tourism; it also has global cul- tural dimensions. We believe the best vehicle for crossing borders is art. And this region is in need of such artistic initiatives.”91
rom Morocco to the Gulf, leaders in the Arab The Emirates and Qatar are looking beyond today Fworld are turning to the arts and culture for to the time when their oil and gas reserves will no economic development, often through tourism, longer sustain them. Each in its own way is build- and “to put themselves on the map.” ing the foundation for other job and revenue sources, whether through tourism or by attracting Nowhere is there more cultural activity today than in the top minds of the Muslim world. The degree to the Gulf, where the arts are taking on a new meaning which the enormous infusion of capital into the as the oil- and gas-rich capitals of Doha, Dubai, Abu arts will benefit regional artists and the infrastruc- Dhabi, and Sharjah compete to become the cultural ture for culture remains to be seen, but new Gulf- mecca of the region. State-sponsored universities, based foundations with funds for arts and culture museums, exhibitions and film festivals are sprout- offer promise. Chief among these are the Emirates ing up, often following American models. Under Foundation in Abu Dhabi and the Mohammed the patronage of HRH Sheikha Mozah Bint Nasser bin Rashid al Maktoum Foundation in Dubai.93 al-Misned, Education City has been established in There, government leaders see an important role Doha.92 This pioneering experiment in international for arts and culture as a source of societal cohesion education offers American curricula to students from for the diverse nationalities, religion, and ethnic all over the world (primarily, but not exclusively, groups that live and work there. With the $10 bil- Muslims) in fields ranging from agriculture to design lion endowment of the Mohammed Bin Rashid Al- to international affairs. The campuses (Texas A&M, Maktoum Foundation, the leadership of Dubai has Virginia College of Design, Cornell Medical, and signaled its commitment to education, of which Georgetown University) are branches of the Ameri- culture is a part. After twenty years of economic can universities with faculty drawn largely from their boom, attention is turning to fostering a healthy, main campuses in the United States. The schools harmonious society.94 Abu Dhabi aspires to develop offer many of the same classes, adhere to the same cultural institutions to nurture creativity and peace- standards, and have the same admissions standards ful co-existence within its society. The centerpiece as their home universities. of an impressive array of new museums is the pro-
91 Mubarak Muhari, an Abu Dhabi tourism official. 92 Tamar Lewin, “In Oil-Rich Mideast, Shades of the Ivy League”, New York Times, Feb. 11, 2008,
The Saban Center for Middle East Policy at BROOKINGS 37 jected Museum of the March of Man, which will Fès festival, Faouzi Skali, has taken a leading role in emphasize the unity of humanity.95 making Fès a conference and holiday destination of choice, where historic houses and palaces have been The new museums sprouting up attest to a boom transformed into hotels.98 in the visual arts in the Gulf. On Saadiyat Island in Abu Dhabi, celebrity architects Frank Gehry, Turkey has the most highly developed system for Jean Nouvel, and Tadao Ando will erect museums private support for the arts. Both sides of Turkey’s that will include a branch of the Louvre and the cultural identity—a rich cultural heritage and a Guggenheim Museums. Joining the western celeb- thriving modern art scene—are largely supported rity architects is Iraqi-born Zaha Hadid, who will by the private sector, including not-for-profit foun- design the performing arts center. The contempo- dations spun off from private corporations. This rary art scene also is flourishing. Sharjah hosts an represents a shift from the dominant (but limited) international art biennial, curated by Jack Perseki- public-sector funding of the arts, which was the an, which invites artists to create works that make norm until the 1990s.99 The economic boom since use of the local environment and landmarks. With then has ushered in a new class of donors, which a building designed by I.M. Pei, Doha will soon include private families, such as the Eczacibasi (Is- open the only new museum in the Gulf to focus on tanbul Museum of Modern Art) and Sabanci (Sak- Islamic art—a notable development given the rela- ip Sabanci Museum), as well as corporations and tive lack of knowledge in the Arab world of Islamic banks that have opened their own art galleries. In artistic traditions.96 The new museums present op- keeping with the hip contemporary music scene portunities for training in museum practice. Roger in Istanbul, the new arts developments include Mandle, an American museum director with a dis- innovative experiments such as Santral, a multi- tinguished pedigree (RISD, Minneapolis Museum national cultural and educational center housed of Art), explained that he was eager to take his post in the city’s original power station and supported at the new Islamic Museum in Doha because the by an international coalition of foundations and region offered an open field to which he could ap- institutions. As the designated European Cultural ply all the principles of museum practice acquired Capital for 2010, Istanbul will benefit from a €64 during his lifelong career.97 million infusion of funds. The cultural spotlight on Istanbul will force two previously separate enti- Turkey and Morocco present different models for ties to work together: the socially conservative city the support of the arts within society. Both coun- government and the hip, cosmopolitan arts and tries recognize the value of cultural tourism and culture groups. Recognizing the power of culture have developed public-private funding mechanisms to shape and foster understanding of identities, to support cultural attractions. In Morocco, these the head of the 2010 campaign said that it would include festivals of film, music, and theater, most “… help Turkey to indicate the common roots of notably the famous Sacred Music Festival in Fès as culture between Turkey and Europe.”100 well as the Festival of Sufism. The creator of the
95 Conversations with Dr. Sami el-Masri, Director of Strategic Planning Office, Abu Dhabi Culture and Heritage Authority, Feb. 13, 2008. 96 David Nasser Khalili, a private collector of Islamic art, commented on the lack of familiarity with traditions of Islamic art at the 2006 Arts and Cultural Leaders Seminar, U.S.-Islamic World Forum, Doha. 97 Conversation with Bloomberg journalist Lindsay Pollock, April 2, 2008. 98 Fès Festival of World Sacred Music,
38 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Cu r r e n t Tr e n d s in Di f f e r e n t Se c t o r s o f Ar t s a n d Cu l t u r e
Fi l m a n d Te l e v i s i o n volving Arabs traveling to America and Americans visiting the Middle East, as well as an animated “We all have our own countries, but no time travel series for children, Ben and Izzy. The one country has one image. Programs like latter will be produced by Rubicon, a Jordan- [The Bridge] help us to understand the based studio, and distributed through MGM.102 complexity.”101 In addition to content that challenges stereotypes, Layalina provides technology training and capac- The demand for television content, sparked by the ity building by working with filmmakers and ani- plethora of new satellite channels in the Middle mators from the Middle East on the latest tech- East, has led to innovative public-private partner- niques in computer-generated technology. MGM ships that present new models of sustainability and was so impressed by the standards set by the Rubi- that reach new audiences. Search for Common con animation studio in Jordan that it outsourced Ground, an American NGO that pioneered soap work on the Pink Panther cartoon show to Jordan. operas for social change, has partnered with Video Layalina is a nonprofit, but that does not prevent Cairo SAT, one of Egypt’s largest satellite channels, its programs from having commercial success. to produce and distribute The Bridge, a reality show in which Americans and Egyptians trade places and Its productions are funded by a combination of learn through experience about each other’s cul- grants and donations, venture capital and revenue tures. The production was funded by a combina- from air time on MBC. tion of public and private, Egyptian and American funding sources, including the Rockefeller Broth- In the Muslim world, as anywhere else, the fi- ers Fund, the Skoll Foundation, and commercial nances and logistics of filmmaking are daunting, broadcast entities, the Hallmark Channel in the and the opportunities for training do not begin to United States and Video Cairo SAT in Egypt. This keep up with the demand. Annually, the Sundance international, public-private model has two dis- Film Lab brings veteran screenwriters to Jordan to tinct advantages: 1) as a commercial product, it will mentor about eight to ten filmmakers from the reach a broad audience and will not just “preach to Muslim world (or those with stories about the the converted”; 2) as an international commercial Muslim world). Craig Bolotin, a mentor, found production, it offers employment and training for that the work of the regional writers was “…much those involved with the production. more interesting than 90% of what I see in LA.” An underlying premise behind the Lab is that in Layalina, a not-for-profit film and television pro- order to succeed internationally, a film should shed duction company, has created reality shows in- some of its local idioms and adopt international
101 Nabil Fahmy, Egyptian Ambassador to the United States, at the screening of The Bridge, Aspen Institute, Dec. 17, 2007. 102 Ali Jafaar, “Mideast shows cartoon mojo,” Variety, Oct. 25, 2007
The S aban Center for Middle East Policy at B r o o k i n g s 3 9 (not necessarily American) standards of narrative While the goal of producing significant numbers of clarity and sustained character development.103 commercially viable films from the Muslim world Regrettably, the Jordan Lab is not funded beyond may entail a lengthy uphill battle, the interim goal the week of script writing. Even with the perfect of training commercially viable talent is more prac- script, the filmmakers have little chance of their tical and more likely to succeed. Distribution of film ever being produced. The Sundance work- foreign films in the United States presents almost shop in Utah, which has room for only three in- as great a challenge as production. The flooding of ternational filmmakers, achieves an astonishingly the global market with American popular culture high 50% film to production ratio. It is structured has no counterpart from the Muslim world. Films and funded differently than is the Jordan work- or exhibits originating from Arab and Muslim re- shop, with a stipend that enables the filmmaker to gions can occasionally be seen on either coast, but concentrate exclusively on producing the film and the penetration into and around the United States offers continued contact with the workshop men- occurs far less frequently, except on university cam- tors. The Euromed Audiovisual Program’s MFD puses.106 Even within the Muslim world, cultural (Media Films Development) project presents an- products generally tend to travel to Europe (espe- other worthwhile model: writer/producer teams cially from North Africa) and rarely to neighboring meet with mentors for multiple sessions over a countries. This situation highlights two principal period of one year, with continuous email contact problems: 1) filmmakers from the Muslim world in between. Participants learn every aspect of film- lack the funding, experience and expertise to make making, from script writing to budgeting to “the films for the global market, and 2) the United States pitch.”104 remains “…one of the most insular societies—a so- ciety which actually knows very, very little about the The hard reality is that the American film market outer world” without more exposure to the “voices” is tough enough to penetrate for Americans, much of artists and filmmakers from other countries, par- less people from the Muslim world. Sony CEO ticularly those of the Muslim world.107 Michael Lynton’s optimistic picture of a diverse, globalized world stretching from “Bangalore to A pipeline for talented writers and film makers Barcelona” with a “rich and dizzying array of cul- into the foreign film markets, including the U.S., is tures, all of them allowing thousands of movies and lacking. Two promising new ventures might begin television shows to bloom” applies less aptly to the to address this problem. The establishment of a film Middle East than it does to India, the other country school in Jordan—developed in collaboration with with a highly developed commercial filmmaking the USC School for Cinematic Arts and opening industry.105 Only one filmmaker from the Muslim in September 2008—hopefully will help to address world has cracked the Hollywood code: Sundance this problem. Equally important will be the advent graduate Hany Abu Assad, whose 2006 film Para- of new sources of funding, such as the Alliance of dise Now won the Golden Globe Award for Best Civilizations Media Fund.108 But, funding alone Foreign Language Film, has settled in Los Angeles will not suffice. Knowledge-sharing, mentoring and is now making a feature film there. and the cross-fertilization of ideas and experiences
103 Interviews with Craig Bolotin and Alesia Weston, November 2007. 104 Euromed Audiovisual II.
40 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship through exchanges would all help to develop film- makers throughout the U.A.E. and the Middle East making in the Muslim world to a level that matches region.110 Finally, the newest arrival to the Festival the quality of the stories. scene, the Gulf Film Festival, is the first to spotlight films by Gulf nationals.111 In order to help emerg- For now, the Sundance Institute presents a good ing talent “make the leap into feature filmmaking,” model for supporting and nurturing filmmaking in Festival Director Massoud Amralla Al-Ali is includ- the Muslim world, but it is seriously under-funded. ing digital filmmaking in the festival’s offerings. To have an impact, these types of programs would “We want to see these young artists make a film, require not only financial support but also a more and there is no longer any need to wait for a 35 comprehensive, “soup to nuts” approach, with con- mm budget. Digital is the future of independent tinuous mentoring, along the lines of the Sundance film, and the GFF is the future of Khaleeji (Gulf) Film Labs held in Utah. cinema.”112
This challenge could potentially be taken upby Despite all the hurdles to filmmaking in the Middle the film festivals in the region. These range from East, incredible progress has been made in the last long-standing festivals, such as those in Cairo, Bei- few years. Independent feature films have been pro- rut and Tehran, to the more glitzy “newcomers” in duced for the first time from Yemen, Oman, and Dubai and Abu Dhabi (Dubai International Film Bahrain. These new ventures have received varying Festival, DIFF, founded in 2004, and Middle East degrees of government support. The first Yemeni International Film Festival, launched in Abu Dha- film, A New Day in Old Sana’a, written and di- bi in 2007.)109 Although international celebrities rected by Bader Ben Hirsi, was produced in 2005 (mostly American) garner more attention than do against all odds; making the film entailed shipping regional filmmakers at the festivals, there are signs nine tons of equipment from Beirut; finding and that these gatherings are increasingly focused on training Yemeni actors; fending off angry onlook- their role as a springboard and showcase for films ers, a hostile press, and the Ministry of Culture; and from and about the Middle East. Both the Abu a public defense before the Parliament.113 It took Dhabi and Dubai festivals include categories of Khalid al Zadjali, writer, producer and director of short films to encourage and spotlight young film- the first Omani feature film, Al Boum, more than makers. The Dubai festival partnered with UNI- twenty years to complete the project. Even though CEF to sponsor “OneMinutesJr.” video production this story of urbanization confronting rural tra- workshops for youth in Cairo, while the Abu Dhabi ditions was selected for screening at the Arabian Festival includes the Hayah Film Competition for Sights film festival in Washington, D.C., it was dif- movies made under 5 minutes and open to film- ficult to attract audiences in Oman, where there is
109 On the Dubai and Abu Dhabi Film Festivals, and the healthy rivalry between them, see
The Saban Center for Middle East Policy at BROOKINGS 41 no market for local films (only American and Bolly- nity elements. This is the model of the Fès Festival, wood ones).114 Whether these pioneering films will which combines a colloquium on a different theme be “one offs” or will begin a trend remains to be every year with musical performances. This com- seen, but Bader Ben Hirsi, for one, is skeptical of bination of discussion with performance leverages being able to make another film in Yemen, despite the transformative capacity of an artistic experience, his desire to “counter the sensationalist coverage of such as listening to music, and carries it beyond the the Arab world” and to enable viewers to “go be- performance itself. Experiencing a performance can hind the walls and [find] out a bit more about the facilitate discussions on topics that might otherwise women, the men, the culture, customs, and tradi- be difficult to broach. A collaboration between New tions” of Yemen.115 York University’s Center for Dialogues, the Brook- lyn Academy of Music, and the Asia Society, the Il- luminating Islam Festival, scheduled for June 2009, International Fe s t i v a l s aims to educate American audiences about Islamic Festivals offer exceptional opportunities for inter- culture and society and to connect different cultures disciplinary, cross-cultural interactions. The festi- together to discover points of common ground. Il- vals studied for this paper range from the avant- luminating Islam will involve the larger New York garde One Hundred Live: Electronic Music Festival community by inviting leading Muslim Americans (Cairo and Alexandria) to the renowned Fès Festi- as well as experts in various aspects of Islam to lead val of World Sacred Music to forthcoming interdis- discussions. Engaging the diaspora has also been an ciplinary festivals for 2009 at the Kennedy Center important component of previous international fes- and at the Asia Society.116 By their very nature, fes- tivals at the Kennedy Center, which will host Ara- tivals encourage experimentation and cross-cultural besque: Arts of the Arab World from February 23 fertilization of ideas and art forms. They also offer to March 15, 2009. This festival will present both important venues for non-commercial as well as contemporary and historical traditions of Arab cul- commercial artists. ture in the areas of music, dance, theater, as well as film, and the visual and literary arts, and willin- The location of a festival can play a critical role in clude collaborative American-Arab works created for setting the stage for out-of-the-ordinary encounters the Festival. The Kennedy Center Festival organiz- and experiences, as is the case with the Fès Sacred ers are holding discussions with other Washington Music Festival in Morocco, which makes use of the institutions, including Brookings, about planning beauty of medieval Fès, or the Beiteddine Festival symposia and panel discussions in conjunction with in Lebanon, set in a magnificent castle. The poten- the performances on topics such as the role of the tial impact of festivals has not always been realized; arts in various Arab societies. As the nation’s theater, a tremendous amount of work goes into an event the Kennedy Center wields great influence. With that lasts a few days. Now, however, with the tools prior festivals, such as the Chinese or the African of new media, the magic of festivals can be more Festivals, the Kennedy Center, in effect, educated broadly shared through videos and blogs. America about these cultures and peoples. Given the negative stereotypes about Muslims and Islam, Festivals offer the possibility of an integrated plat- the festivals in Washington and New York have the form, involving intellectual, artistic, and commu- potential to answer a serious need for a deeper expo-
114 Conversation with Khalid al Zadjali, Nov. 5, 2007. 115 Bader Ben Hirsi, Arts and Cultural Leaders Seminar, U.S.-Islamic World Forum, Doha, Feb. 19, 2006. 116 See Appendix.
42 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship sure—beyond the daily news—to the multiple di- an unexpected, and possibly mind-changing artistic mensions of Islamic cultures and societies. Because experience.117 At present, there is no mechanism or the “information” will be conveyed through the arts, financial support for such exchanges. it will be widely accessible. Vi su a l Ar t s Festivals hold promise for introducing audiences to Like festivals, art exhibitions can also have a 360 the full texture of “the other” and to alleviate the degree impact. That is to say, viewers can be affected misunderstandings and misconceptions that under- by the interaction with the works of art, and their lie the relationship between the U.S. and the Muslim experience of seeing the art can, in turn, impact world. The Kennedy Center’s experience with the another audience. Simply hosting an exhibition of China Festival demonstrated that these events can art from the Muslim world at a major American have a 360 degree effect. That Festival was widely museum, such as, for example, Without Boundary: covered in the Chinese press, with a press conference Seventeen Ways of Looking, held at the Museum of announcing it and daily stories filed back to China Modern Art in New York in 2006, already sends a describing the performances and the audience reac- message of respect. Curator Feri Daftari noted that tion. Given the fact that the dynamic of what people the exhibition “helped the self-esteem of viewers in the Muslim world think we think of them un- from the Middle East and encouraged many young derlies the divide in the relationship, celebrating the students to pay attention.” Observing that there arts and culture of the Muslim world in two major could be a fine line between spotlighting artists festivals could have a significant positive impact. from the Muslim world and “ghettoizing” them, Dr. Daftari described how she avoided the latter by Festivals also have unrealized potential to “break including a couple of works by American artists, “to out of the box” and move beyond “preaching to point out the reductive nature of a rubric such as the choir.” Over time, festivals create their own au- ‘Islamic art.’” Bill Viola’s video works, influenced as diences. The One Hundred Live: Electronic Mu- they are by Sufi philosophies, fit comfortably into sic Festival grew organically to the point that its the show, even though the majority of artists were founder, Mahmoud Refat, was able to start an in- women from the Muslim world.118 dependent record label for the music from the Fes- tival, which was not available anywhere else. The Contemporary visual artists of international repute, Beiteddine Festival has established such a strong such as Reza Abedini (Iran) and Shahzia Sikander reputation and loyal audience that it is sustainable, (Pakistan), accomplish a dual purpose in broaden- fully supported by private donations and corpo- ing understanding of the Muslim world: in their rate philanthropy. If festivals developed a system of art, they both revive historic visual traditions, of- cross-fertilization, of trading artists, then audiences ten neglected in contemporary Muslim societies (as would be introduced to new, unanticipated forms noted at the 2006 Doha Forum by renowned art of artistic expression. For example, if established collector Nasser D. Khalili) and re-interpret them festivals, such as the JVC Jazz and Folk Festivals, in- with an individualistic modern sensibility. Thus, terspersed artists from the Muslim world into their Shahzia Sikander’s paintings, such as The Illustrated programs and shared their artists with festivals in Page #1 (2005-2006), recall Persian and Indian min- the Muslim world, audiences would be exposed to iatures but is also distinctly modern.119 Reza Abedini
117 “The Festival Network LLC,” Festival Network. 2008, The Festival Network, LLC. June 10, 2008,
The Saban Center for Middle East Policy at BROOKINGS 43 manages a large graphic design workshop in Teh- other their work and exploring possibilities for col- ran, where he first introduces his students to the laborative work, dancer/choreographer Joe Goode rich traditions of Persian art and calligraphy and learned from an Egyptian theater company a re- then helps them transform what they have learned newed respect for every detail of movement. Simul- into modern designs. As with film and literature, a taneously, his more intimate approach, designed challenge is to discover how to leverage the power to break down the barriers with the audience, af- of contemporary art in the U.S. and abroad by fected the delivery of his Egyptian collaborators, Al touring exhibitions beyond the major cities and Warsha Theater. Members of the Egyptian theater also through the internet. troupe became acquainted with a group of Ameri- can artists representing diverse religious and social Simply the existence of a contemporary art scene in backgrounds, including a Laotian immigrant. One the Muslim world shatters stereotypes of this part of the Egyptian stick dancers, introduced to con- of the world as conservative and opposed to mo- temporary dance for the first time, has gone on to dernity. In the Muslim world, as elsewhere, art gal- become a critically acclaimed contemporary dancer leries are gathering places for people involved with and choreographer. As Joe Goode explains, the arts. Clusters of galleries, such as in Courtyard in Dubai, designed by Iranian architect Dariush “It was a very mutual interest in each other’s Zandi, not only provide venues for artists but also work that brought us together, and I don’t points of contact for artists and their patrons, an think for a minute that that has changed, essential component of a healthy art environment. but the circumstances have changed…One In Baghdad, one of, if not the only, cultural locale of the sad outcomes of 9/11 was that it was that has remained open throughout the conflict is harder for organizations like Al Warsha to the Attitudes Society of Arts and Culture. Owner keep close contacts with Western compa- Hassan D. Nassar stays open at all costs, offering a nies. It became difficult for them to be seen hospitable environment for exhibitions, screening, as an organization that has a close associa- readings, and discussions. tion with an American entity.”121
Political and practical circumstances have con- spired to make the type of intensive, long-term Th e a t e r a n d Da n c e collaboration that took place between the Joe “The minute there is contact, there is Goode Company and Hassan Geretly’s Al Warsha change.”120 theater group in Cairo difficult to replicate today. Politically, Muslim and Arab groups may come While film and television can be leveraged through under fire for close associations with American technology to reach the broader public, the power companies. Geretly’s company, which is engaged of theater and dance comes from their direct con- with the politically and culturally sensitive area tact with audiences and the intense experience of of resurrecting ancient texts central to the Arab creating and executing a live performance. Over identity, was criticized as being an instrument of the course of a three-year collaboration in Egypt the West during its collaboration with Joe Goode. and California that included living together in the Since 2001, the two groups have not worked to- same space, cooking for each other, showing each gether, despite their mutually fruitful and produc-
120 Nimet Naguib, former Cultural Affairs Officer, U.S. Embassy in Cairo, at a meeting in Cairo to discuss this paper, Oct. 21, 2007. 121 Joe Goode, artistic director, Joe Goode Performance Group, interview conducted on Nov. 8, 2007.
44 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship tive collaboration. One reason that extends beyond gaging different sectors of the broader Minneapolis/ politics is that Arts International, an organization Minnesota community—including people broadly that funded and facilitated such cultural exchanges, interested in human rights and social justice, as well folded. The vacuum that it left behind has yet to be as Muslim issues—their production company, Pan- filled. While the Ford Foundation also contributed gea has created a following, and they have become financially to the Goode-Geretly collaboration, its new philanthropists for the arts. focus has changed from supporting individuals to institutional initiatives. Furthermore, it has always Pangea represents just one example of the poten- relied on other organizations (primarily the now tial of the arts, specifically the performing arts, to defunct Arts International) to handle the logistics engage audiences in issues as well as in entertain- and administration of exchanges, as do the indi- ment. The lack of funding, both within the United vidual artists. Given the difficulties of procuring States and internationally, to support politically en- visas for visitors from the Arab and Muslim world, gaged theater, not to mention the practical hurdles the administrative burden has become even more involved in exchanges and partnerships, mitigates daunting (see the discussion of this broader issue its potential impact. The funding community writ under “Roadblocks”). Reconstituting Arts Interna- large has yet to understand, as Pangea has, the po- tional, or creating a new organization from scratch, tential of creative expression to engage difficult is- might require a coalition of donors and players. sues and to illuminate similarities and differences But without a sufficiently endowed entity to handle on the path to deeper understanding. administration and logistics, it is difficult to imag- ine how the full potential of exchanges, residencies, Within the policy realm, arts and politics seldom and partnerships can be realized. mix, despite the capacity of creative expression to illuminate the lack of respect and understanding at “When we are talking about the arts, access the heart of the divide between the U.S. and Muslim to politics can be entirely different.”122 world. When the Brookings Institution has invited its traditional audience to cultural events, such as For plays with political content, the intimate rela- film screenings followed by panel discussions, the tionship between performers and audiences in live response has been overwhelmingly positive. Yet, the theater opens the possibility for frank dialogue on number of institutions in the U.S. or in the Mus- difficult subjects with diverse communities. Meena lim world that regularly harness the potential of the Natarajan and her husband Dipankar Mukherjee, arts to shed light on politics and society are few. who left his position at the Guthrie Theater to One exception is the Asia Society, which frequently found a community-based political theater, com- combines culture and politics in its events, perhaps mission and produce plays that deal with issues of reflecting the more seamless integration of the two conflict, often involving the Muslim world. Their in much of Asia. mission extends beyond the performance, to panel discussions afterwards representing a full range of viewpoints. For example, following a production of Li t e r a t u r e Love from Ramallah, they had policemen and im- “…you know the soul of the society, the migration officials as well as academicians lead a soul of the city, the soul of [Afghanistan] is discussion on immigration and assimilation. By en- books. In any country…”123
122 Meena Natarajan, Pangea Theater, Minneapolis, MN, interview conducted Nov. 9, 2007. 123 Afghan bookseller Shah Mohammed Rais, “Morning Edition,” NPR, Nov. 27, 2007
The Saban Center for Middle East Policy at BROOKINGS 45 Until recently, the United States and the Arab Americans of all ages and backgrounds, were pub- world jointly held the dubious distinction of trans- lished in three volumes, on a DVD and website. A lating the fewest books from other languages into variant of this project, which had favorite Arabic English and Arabic, respectively. That will change, poems translated into English and favorite English for the Arab world at least, with the advent of Ka- poems translated into Arabic, might truly bridge lima, an ambitious translation project launched by the two cultures. the Abu Dhabi Culture and Heritage Authority. Kalima promises to translate 100 “classic, contem- Kuwaiti businessman Naif Al-Mutawa of Teshkeel porary, and modern titles from around the world” Media Group has adapted a popular form of chil- into Arabic.124 Without private interventions, such dren’s “literature” to the Muslim world in an ef- as that of Kalima or the substantially less well-fund- fort to imbue in young people around the world ed NGO Words Without Borders, market forces the stories and ideas of Islam. Comic books with dominate in literature—as in the film and music superheroes embodying the 99 qualities of Allah industries—determining which books will be trans- are conveying Islamic values to young people from lated and into which languages. Far fewer books are Berkeley to Bali through its action-packed stories. translated into English than from English every Conservative Muslim Majid Al-Refai, the CEO of year, with negligible numbers translated from the Unicorn Capital, one of the largest and most in- Muslim world.125 NGOs such as Words Without fluential Islamic investment banks in the region, Borders, which published the successful anthology has invested in Teshkeel because he appreciates the Literature from the Axis of Evil, step in to fill the way the comic series communicates core Muslim breach, but still, opportunities are missed. values.
For example, given the phenomenal popularity of poetry in places such as Iran and the Gulf States, Mus i c a poetry translation project would introduce truly “It was a shock for me to be recognized in vital dimensions of the Muslim world—past and a U.S. university campus in San Francisco present—to America. Similarly, translating Ameri- when I had never been there before, or can poetry into Arabic would fill a gap. At a po- when an American youth came to me af- etry reading in Doha in 2007 featuring Robert ter my performance in New York and sang Pinsky and four Qatari poets, the Qataris were one of the song lines to me in Farsi! He asked about their favorite English language poet. had listened to my music many times and Not a single name was mentioned. Why? Because memorized a couple of lines. I really saw few poems are translated from English to Arabic. that the language barrier was gone and I Robert Pinsky’s Favorite Poem Project provides a was face to face with a normal American model that could be adapted to the Arab world friend my age.”127 or Iran.126 Pinsky asked Americans to send him their favorite poem with an explanation of why There is an explosion of new music in the Mus- they chose that poem. The poems, submitted by lim world, ranging from hip-hop to contemporary
124 “Abu Dhabi Culture and Heritage: Kalima,” Abu Dhabi Culture and Heritage, June 12, 2008.
46 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship versions of more traditional music (Marcel Khalife) exposure for musicians and audiences on both sides to a thriving independent music scene that pres- and could lead to collaborations. ents new artists through independent labels (In- cognito) and festivals (Fès Festival of Sufism, 100 Hip-hop, a global musical language, can be found Copies). With new technologies, artists can record everywhere from the cover article in Foreign Policy online and no longer need a record label contract. (November/December 2007); to the Sundance Film This opens up new possibilities for collaboration, Festival, where Sling Shot Hip-Hop, a film about including across geographical borders. Magnatune Palestinian hip-hop, will premiere; to Kenya, where (an independent record label that licenses music a former child soldier from Sudan, Emmanuel Jal, online, www.magnatune.com) hosted an online raps his story; to Sudanese refugee camps in Cairo, remix contest featuring Pakistani rock musician where hip-hop offers both a refuge from violence Salman Ahmad that not only introduced Ahmad’s and a chance for dialogue; to Iran, where the hot- music to people all over the world but also offered test star, YAS, raps about social issues. Giving voice musicians the chance to jam “with” him. Ahmad to alienated youth in the Muslim world presents a posted a clip of his music on the Magnatune web- tremendous challenge. Groups such as the Palestin- site; anyone could download it and then record his ian groups Dam or G-Town the Palestinian Hip- or her own remix. In Palestine, online collaboration Hop Makers express their frustration but also their is a matter of survival. When roadblocks prevent ideals for a better future through hip-hop, which is members of hip-hop groups, such as Ramallah Un- really just poetry—a time honored art in the Mus- derground and Dam, from reaching the recording lim world—put to a beat. Whether they sing in studio, they record at home and send the clip via Arabic, Turkish, French or English, today’s hip-hop Skype to the studio, where the others cut the final musicians speak a common language. recording “with” them. Russell Simmons’s Hip-Hop Summit Action Net- The potential for new types of cross-cultural musical work has shown that hip-hop can be used to engage collaborations—recordings, concerts, and videos— youth in discussions of serious issues, such as civic is huge, and, at present, unrealized. As with film, and financial responsibility.128 The Hip-Hop Sum- there is a significant role for for-profit expertise: mit formula of a summit featuring hip-hop stars How can online recording be leveraged to generate as speakers could be adapted to dialogues involv- revenue for artists in the Muslim world? Thousands ing the Muslim world. The breadth and depth of download Iranian rapper YAS’s music, but because hip-hop in the Muslim world is little known in the he lives in Iran, there is no mechanism for him to United States; similarly, the importance of Islam to receive revenues from these downloads. This chal- the roots of hip-hop in America is an undiscovered lenge extends beyond the realm of arts and culture, aspect of American cultural history.129 but with the United States’ knowledge and exper- tise in technology, intellectual property, and mu- Although in the U.S. hip-hop can be associated with sic, it should be possible to tackle these problems. extreme wealth, misogyny, and violence, these nega- Finding ways to generate revenue from cultural tive aspects have not been translated to the Muslim products would make an important contribution world, where instead, the tradition of hip-hop as to the youth unemployment problems afflicting the the language of the outsider or the disenfranchised region. Crossover concerts could help to generate prevails. Muslim American music star Ali Shaheed
128 Hip-Hop Summit Action Network, June 12, 2008,
The Saban Center for Middle East Policy at BROOKINGS 47 Mohammed of the group A Tribe Called Quest put vative ways to take advantage of this new platform. it best: “People identify with the struggle. It doesn’t Egyptian theater artist Tarek Said’s successful cell really matter where you come from; we all have the phone drama, produced for the media company same story.” Inspired by early rappers, such as Tribe Techno Wireless, sold particularly well in Saudi and Tupac Shakur, as well as the underground stars Arabia, where cell phones are becoming the most of today, such as Talib Kweli, artists throughout the important means of entertainment as well as com- world have adapted hip-hop to their own language munication. I-catalyst, an online international de- and situation. The Ozomatli tour and the hip-hop sign association with 1,200 members, emerged from dance sessions led by Havi Koro, as well as the hip- the felicitous combination of a group of graphic hop dance concert created at the American Voices designers without time to meet in person and a “Unity Academy” workshop in Iraq, have been presence on Facebook. I-catalyst’s activities run the among the most successful programs funded by the gamut from commercial design to an online con- State Department. The discovery of a “common test to recreate the Egyptian flag to the introduc- language” in hip-hop naturally creates a feeling of tion of graphic graffiti—personal statements and affinity, but, equally important is the sharing and designs—in Cairo. Taking advantage of online mu- discovery of new variations of the common lan- sic production and distribution, independent mu- guage that each artist or dancer or region brings. It sic labels such as 100 Copies make a wide range of may be that the negative images of commercial hip- music available, enabling musicians to reach out to hop in the United States have discouraged greater the public outside conventional commercial means. exploitation of this natural connector to the Mus- Our interviews indicate that these online ventures lim world, but the tremendously positive response in creative fields in the Muslim world were taking to the modest ventures by the State Department place without collaboration or assistance from the suggests that more could be done. United States.
Dialogue projects, such as Soliya or Chat the Planet Ne w Me d i a (producers of Hometown Baghdad), have developed Internet and cell phone technologies now facilitate excellent models for using technology to bring the production and distribution of music, film, vi- people together across geographic boundaries. Vir- sual arts and design in the Muslim world where, tual worlds, such as Second Life, also have poten- previously, limited access to the commercial sector tial in this respect, although participation from the or censorship prevented artists from reaching the Muslim world is still relatively low (about 1% of public. In the Muslim world, cell phone technol- Second Life’s membership). The field is open for ogy is often more advanced than it is in the United cross-cultural projects involving the Muslim world States, and artists and musicians are finding inno- in creative expression using web technology.130
130 See appendix.
48 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Ro a d b l o c k s t o Cu l t u r a l In t e r a c t i o n s w i t h t h e Mus l i m Wo r l d
“In the name of security, multi-cultural artistic expression is being stifled.”131
he roadblocks to realizing the potential of from greater cooperation and information sharing. Tcultural interactions with the Muslim world The new public-private partnerships in television fall into several categories: 1) language, 2) lack of content provide models from which each side stands funding, 3) organizational and structural challenges, to gain. Most significantly, arts and culture would and 4) visas. The real language barriers, operating have greater potential to impact positively U.S. in both directions, make it difficult to understand relations with the Muslims if there were greater the contemporary art scene in parts of the Muslim coordination and cooperation between the U.S. world and to be in contact with artists. Similarly, for private commercial sector, the private philanthropic artists in the Muslim world who don’t know English, sector and government. exchanges or interactions with the American art scene are difficult (although not impossible). In addition to the lack of funding and coordination Establishing meaningful long-term relationships between sectors, further hurdles facing those work- between artists from the U.S. and Muslim world or, ing on arts and culture involving the Muslim world from the perspective of funders, with artists in the include the aforementioned problems with visas and Muslim world, is greatly complicated by language the lack of an administrative infrastructure to handle barriers. The second two items are interrelated. Arts the travel, logistics, and visa requirements of artis- and culture, as organized by both the public and tic exchanges. Following the demise of Arts Interna- private sectors, affect the U.S. relationship with tional, the Kennedy Center—in collaboration with the Muslim world, but currently there is neither Africa Exchange and 651 Arts—stepped into the an overall strategy involving both sectors nor even breach with the publication in 2001 of a handbook a mechanism to develop one. This reflects the core for arts administrators who want to bring artists problem of the relative absence of arts and culture from Africa to the United States. The information is from policy and development agendas and strategies. comprehensive, informing potential presenters of the With the current low levels of funding from the public sensitivities African artists can face when they travel sector and private philanthropy, it will be difficult to and return to their home countries, covering techni- capitalize upon the opportunities afforded by new cal information on contracts, visas and travel, as well developments in arts and culture in the Muslim as providing tips for the kind of promotion that best world or to address the pressing needs. There are help audiences to contextualize what they see and fundamental differences in the nature and goals of hear. Even so, neither foundations nor arts organiza- commercial culture, government-funded cultural tions on either side have the capacity to undertake diplomacy and private philanthropy for international the bureaucratic work required for an artistic ex- programs involving culture. Although the three change of any size. The idiosyncrasies of the visa pro- entities tend to operate separately, each would benefit cess also sabotage festivals and exhibitions.
131 Interview with Dore Stein, The Tangents Turkey Music Tour,Dec. 3, 2007.
The S aban Center for Middle East Policy at B r o o k i n g s 4 9 Co n c l us i o n a n d Fi r s t St e ps
ur research, interviews, and meetings with Islamic World Forum would remain the “beating Oarts and policy leaders over the last year have heart” of the initiative, with new members and led to several conclusions about best practices in arts alumni mixing every year. In addition, the Initiative and culture interactions between the United States also would host regional meetings, along the lines and the Muslim world and about interdisciplinary of those held last June in Los Angeles, sometimes initiatives involving arts and cultural figures and on particular topics. Future meetings might also in- policy makers. First, the Brookings Institution’s clude a convening of Asian arts and cultural leaders experiment in engaging the arts in bridging the divide at the Kuala Lumpur Forum. between the United States and the Muslim world has demonstrated the value of bringing different The Initiative will serve as a convener and a catalyst, perspectives to bear on a common problem. The spinning out projects rather than managing them. meetings of the Arts and Cultural Leaders Seminar It will shape the expanding network of bilateral at the U.S.–Islamic World Forum in Doha in 2006, partners, established through prior meetings, into 2007, and 2008 and regional meetings of arts and a multilateral coalition of partners working toward cultural leaders in Cairo, New York, and Los Angeles the shared, broad goal of maximizing the poten- have energized policy makers and artists alike, have tial of arts and culture to increase understanding led to the development of project proposals and between the United States and the global Muslim have fostered collaborations and innovative uses of community.132 A Board of Advisors, made up of new platforms and technologies. U.S. and Muslim world leaders in arts and culture will be formed to oversee the Initiative. It will be In order to realize the potential of this informal net- drawn primarily from among past participants in work of arts and cultural figures and policy makers, the Doha Arts and Culture Initiative Workshop or the Brookings Institution intends to seek funding in other meetings, as well as partners of projects to establish the Arts and Culture Dialogue Initia- that evolve from the Initiative. tive, in partnership with Georgetown University, and operational in Washington, D.C. and Doha, Building on the success of the L.A. event in 2007, Qatar, where both Georgetown and Brookings have the program will launch a Hollywood Engagement branches. The primary activities of the Initiative Project, which has been developed in partnership will include conducting research, convening meet- with Unity Productions Foundation, and with the ings, hosting events, and, through these gatherings, support of One Nation for All Foundation.The sparking the development of projects. The Arts and Project will establish an Information Resource Cen- Culture Initiative Workshop at the annual U.S.- ter, with an online presence backed by administrative
132 Organizations that have expressed interest in supporting the work of the Initiative (or who already support it) include the following: the Doris Duke Charitable Foundation; One Nation for All Foundation; the Qatar Foundation; The Creative Artists Agency Foundation; the Writers Guild of America; the Paley Center for Media; the Kennedy Center; the Asia Society; the Festival Network; Abu Dhabi Culture and Heritage; The Executive Office, Dubai; and Home Box Office.
50 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship staff and live experts to advise Hollywood producers, • Virtual Worlds: Although participation in writers, agents, and show runners on all things re- virtual worlds is minimal at present in the garding Islam and Muslim. To be housed at the Pa- Muslim world, the technology offers the pos- ley Center for Media (the former Museum of Radio sibility over the long term of lectures, dia- and TV), the Hollywood Engagement Project also logues, discussions, concerts, screenings and will convene meetings and host speakers on a bi- other performances that could break down monthly basis for the Los Angeles creative commu- barriers of geography and incorporate “au- nity on topics related to the Muslim world. diences” from different parts of the world. Contests, such as the remix contest with Sal- Our research and the meetings organized by the man Ahmed’s music, increase distribution Brookings Institution have identified the following and engagement with diverse types of mu- areas and ideas as promising next steps for arts and sic. At the 2008 U.S.-Islamic World Forum, culture activities related to America’s relationship the Brookings Institution, in collaboration with the global Muslim community: with Dancing Ink Productions, held a vir- tual world panel discussion featuring How- • Hip-hop: Hip-hop holds great promise for ard Gordon (executive producer of 24) and engaging youth in the United States and the Nashwa al Ruwaini (CEO, Pyramedia) and Muslim world. One next step would be an attended by people (via their avatars) from intercultural jam session with artists from the the U.S., South America, Europe, Asia, and United States and the Muslim world. An- Africa. The session concluded with a freestyle other would be a hip-hop summit, modeled hip-hop concert featuring top Iranian rapper on Russell Simmons and Ben Chavis’s Hip- YAS in Farsi and, in Arabic, Palestinian Mu- Hop Action Summit. Both would offer op- hammed Mughrabi, the leader and co-found- portunities to investigate ways to apply a new er of the G-Town the Palestinian Hip-Hop model of American philanthropy, one that Makers group in Jerusalem that had all the 133 would share knowledge and expertise in mu- participants’ avatars dancing. sic recording and production, with the aim of helping artists in the Muslim world to gain These ideas represent targets of opportunity we greater distribution and earn revenues. have discovered in our research. They are presented as examples but are not meant to be definitive. • Poetry: Robert Pinksy’s Favorite Poem Proj- ect provides an excellent model for beginning e y i n d i n g s to build intercultural connections through an K F : art form that is beloved in much of the Mus- In addition, our research has suggested the follow- lim world. Arabic and Persian-speaking pub- ing general recommendations to policy makers, lics would be asked to submit their favorite funders, and arts and culture leaders: poems. The translated versions (English into Arabic and Persian; Arabic and Persian into • Recognize that the lack of support for artis- English) would introduce the poetry and the tic and cultural interactions with the Muslim people of the different regions to each other. world represents a lost opportunity. At the core
133 “Dancing Ink TB Hip-Hop for a New Global Culture,” Youtube, Feb. 19, 2008, Youtube, June 12, 2008.
The Saban Center for Middle East Policy at BROOKINGS 51 of the U.S.-Muslim world divide is a lack of that combine training in various aspects of understanding and respect. The arts have the media with cross-cultural productions, such potential to persuade and alter stereotypes as the collaboration behind the animated through their emotional impact. Both histori- series Ben and Izzy (Layalina Productions, cally and today, arts and culture have played a a U.S. nonprofit media company; Fat Rock critical role in shaping identity in the Muslim Entertainment, a U.S. distribution company; world and in providing an outlet for freedom Rubicon, a Jordanian animation company) of expression, especially dissent and criticism should be leveraged and replicated. Engage of authority. the private sector. One of America’s strengths is its expertise in commercial artistic and cul- • Value art for art’s sake, as well as a “post-9/11” tural production. Through mentoring and bridge builder. Activities that build partner- exchanges of knowledge and personnel, the ships and strengthen arts and cultural institu- U.S. private sector can help build the ca- tions within civil society will ultimately take pacity within the Muslim world to produce us further than words or “dialogue.” commercially viable music, literature, theater and film. Equally important, the U.S. private • Support artists and cultural figures in the Mus- sector can support the development of com- lim world. U.S. public and private institutions mercially viable talent, in the broadest sense, can assist by translating, exhibiting, and dis- within the Muslim world. International film tributing these artists’ work, as well as inviting makers seek out not only new voices and sto- them to speak and work in the United States. ries, but also new sources of less expensive digital production. New technologies are • Support local filmmakers. As Palestinian film- unhampered by geography and can “work” maker Hany Abu Assad has demonstrated anywhere. with his award-winning Paradise Now, there are many talented young filmmakers in the Our research and interviews indicate a hunger for region with good stories to tell—the Ameri- cultural connections with American artists and cul- can film industry should help these filmmak- tural leaders among their counterparts in the Mus- ers bring their stories to the world. As a first lim world. In turn, meetings with the creative com- step, successful mentoring models such as the munity in the United States have revealed a keen Sundance Middle East Screenwriters Lab (of awareness of the critical role arts and culture plays which Assad is a graduate) should be replicat- in perpetuating or reversing negative stereotypes ed and expanded to include more participants (such as those associated with Arabs and Islam in and to cover the full range of film produc- American popular culture) and a desire to contrib- tion. In addition, local film communities who ute positively to increasing understanding across could work on foreign films in production in cultures. Finally, the burgeoning cultural sector in the Muslim world should be encouraged and the Muslim world—including ambitious initiatives nurtured. The first film school in the region, in the Gulf and the growth of new networks and the Red Sea Institute for Cinematic Arts, will media throughout the Middle East—offers new begin to supply a talent pool for this purpose. possibilities for non-traditional, public-private, cross-cultural partnerships, as well as new models • Combine cultural outreach with capacity of sustainability for nonprofit arts and media or- building. Successful models of partnerships ganizations. Muslim artists and entrepreneurs face
52 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship the same challenges as their American counterparts: how to harness and monetize the internet, cell phone-based entertainment, and other alternative formats. The huge hurdles (monetary and political) hampering production of conventional media such as films and TV programs, have led to extraordi- nary creativity in the Muslim world in exploiting the potential of new media.
The Saban Center for Middle East Policy at BROOKINGS 53 App e n d i x
NAME INTERVIEWEE/INSTITUTION FIELD COUNTRY WEBSITE International Visitor State Department Cultural Exchange USA http://exchanges.state.gov/education/ivp/overview.htm Kennedy Center Arab Dance/Theater/Film/ http://www.washingtonpost.com/wp-dyn/content/ Alicia Adams USA (D.C.) Arts Festival Music/ Multimedia article/2006/04/27/AR2006042702369.html Projecting Culture School of Cinematic Arts, USC, Ellen Seiter Film USA (Los Angeles) http://www.specificpictures.com http://profile.myspace.com/index.cfm?fuseaction=user. “Nobody’s Enemy” Film USA (New York) Neda Sarmast viewprofile&friendID=121457463 Specific Pictures “New Muslim Cool” Jennifer Taylor Film USA (San Francisco) http://www.specificpictures.com Alliance of Civilization Mahnaz Anwar Fancy, Omar Amanat, Film USA (New York) http://www.aocmediafund.org/ Media Fund Suhail Rizvi Layalina Productions Leon Shahabian, Amb. Marc Ginsberg Film USA (D.C.) http://www.layalina.tv/ Search for Common Leena El-Ali, Susan Koscis, John and Film USA (D.C.) http://www.sfcg.org/ Ground Susan Marks Sundance Writers’ Lab, http://www.sundance.org/festival/insider/2008-01-21-FOF- Alesia Weston and Craig Bolotin Film/Screenwriting USA and Jordan Sundance Institute middle-east.asp Literature Reaserach Words without Borders Alane Salierno Mason USA http://www.wordswithoutborders.org and Translation American Voices John Ferguson Music/Dance USA (Based in Thailand) www.americanvoices.org Chat the Planet Laurie Meadoff New Media USA (New York City) http://www.chattheplanet.com/ Soliya Liza Chambers New Media/Internet USA http://www.soliya.net/ Nine Parts of Desire Heather Raffo Theater USA (New York) http://www.heatherraffo.com/9parts.html Pangea Theater Meera Natarajan, Depak Mulcargi Theater USA (Minnesota) http://www.pangeaworldtheater.org Joe Goode Performance Joe Goode Theatre/Dance USA (California) http://www.joegoode.org Group Arts of the Islamic World Mahnaz Anwar Fancy Visual Arts USA (New York) http://www.artsoftheislamicworld.org/aiw.html Without Boundary: Seventeen Ways of Feri Daftari Visual Arts USA (New York http://www.moma.org/exhibitions/2006/15_ways.html Looking Asia Society/BAM Visual Arts/ “Illuminating Islam” Karen Hopkins Festival Music USA (New York) http://www.asiasociety.org/; http://www.bam.org/ http://www.fileclub.org/index.html; http://www.facebook.com/ File Club Mahmud Handy New Media /Design Egypt group/php?gid=2239707003 100 Copies Mahmoud Refat Music/Festivals Egypt http://www.100copies.com Mohammed Hassan Independent Film Maker Film Egypt Theater/Cell Phone Tarek Said Independent Producer Production Egypt Music/Cultural Ana Al Masry Mohamed Ashour Preservation Egypt http://www.analmasry.com/ Our Town Collaborative Nimet Naguib (U.S. Embassy, Cairo)/Seth http://www.clevelandtheater.com/our_town_in_cairo_april_21. Production Gordon (Cleveland Theatre Collective) Theater Egypt asp.
Adham Hafez/ World Concert Global Brain Adham Hafez Sounds Music/New Media Egypt http://www.openstudiocairo.com/hafez Open Studios 2006 Town-House Gallery Visual Arts Egypt http://www.thetownhousegallery.com/ Fathy Salmy Fathy Salmy Music Egypt Student Action for Music/Hip-Hop for Refugees Nida Ghouse violence prevention Egypt http://www.artfacts.net/index.php/pageType/instInfo/inst/3840 New Media/Open Open Craft Karim Rateb Source IT Egypt http://www.open-craft.com Visual Arts/New Media/ Bibliotheca Alexandria Ismael Serageldin Literature/Cultural Egypt http://www.bibalex.org Preservation YAS YAS Music/Hip-Hop Iran http://www.myspace.com/yaspersian2 Reza Abedini Reza Abedini Visual Arts Iran http://www.rezaabedini.com/ Visual Arts/Cultural Partow Hooshmandrad Partow Hooshmandrad Preservation Iran Attitudes Society of Arts and Culture Hassan D. Nassar Visual Arts Iraq http://www.artiniraq.org/ Red Sea Institute of Cinematic Arts Elizabeth Daley Film Jordan/USA http://www.rsica.com/ Teshkeel Media “The 99” Naif Al Mutawa Comics (Literature) Kuwait http://www.the99.org Betaddin Festival Betaddin Festival Wafa Saab Music/ Festival Lebanon http://www.beittedine.org
Incognito Tony Sfeir Music Distributor Lebanon/Syria http://www.incognito.com.lb/ MFD Euromed Audiovisual Program Film Making Workshop Morocco http://www.delwbg.ec.europa.eu/en/whatsnew/lanch.htm Fès Festival (Festival de Fès des Musiques Faouzi Skali Music Festival Morocco http://www.fesfestival.com/2008/index.php Sacrées du Monde)
Ministry of Culture Khaled Al Zadjali Film Oman http://www.filmfestdc.org/arabiansights/filmView.cfm?passID=1 Junoon Salman Ahmad Music Pakistan http://www.junoon.com/home2.htm
Sabreen Said Murad Music Palestine http://www.sabreen.org/ IF Istanbul AFM International Independent Film Pelin Turgot Film Festival Turkey http://2008.ifistanbul.com/en/ Festival Light Illumination/ http://santralistanbul-lie.blogspot.com/ Electricity Santroni Istanbul Music/New Media Turkey Tangents Dore Stein Music/Travel Turkey http://www.tangents.com/ Literature, Research and Kalima Karim Nagy Translation UAE http://www.kalima.ae/eng.php http://www.imdb.com/title/tt0478213/; http://www.variety.com/ Bader Ben Hirsi Bader Ben Hirsi Film Yemen review/VE1117929170.html?categoryid=31&cs=1&p=0 NAME INTERVIEWEE/INSTITUTION FIELD COUNTRY WEBSITE International Visitor State Department Cultural Exchange USA http://exchanges.state.gov/education/ivp/overview.htm Kennedy Center Arab Dance/Theater/Film/ http://www.washingtonpost.com/wp-dyn/content/ Alicia Adams USA (D.C.) Arts Festival Music/ Multimedia article/2006/04/27/AR2006042702369.html Projecting Culture School of Cinematic Arts, USC, Ellen Seiter Film USA (Los Angeles) http://www.specificpictures.com http://profile.myspace.com/index.cfm?fuseaction=user. “Nobody’s Enemy” Film USA (New York) Neda Sarmast viewprofile&friendID=121457463 Specific Pictures “New Muslim Cool” Jennifer Taylor Film USA (San Francisco) http://www.specificpictures.com Alliance of Civilization Mahnaz Anwar Fancy, Omar Amanat, Film USA (New York) http://www.aocmediafund.org/ Media Fund Suhail Rizvi Layalina Productions Leon Shahabian, Amb. Marc Ginsberg Film USA (D.C.) http://www.layalina.tv/ Search for Common Leena El-Ali, Susan Koscis, John and Film USA (D.C.) http://www.sfcg.org/ Ground Susan Marks Sundance Writers’ Lab, http://www.sundance.org/festival/insider/2008-01-21-FOF- Alesia Weston and Craig Bolotin Film/Screenwriting USA and Jordan Sundance Institute middle-east.asp Literature Reaserach Words without Borders Alane Salierno Mason USA http://www.wordswithoutborders.org and Translation American Voices John Ferguson Music/Dance USA (Based in Thailand) www.americanvoices.org Chat the Planet Laurie Meadoff New Media USA (New York City) http://www.chattheplanet.com/ Soliya Liza Chambers New Media/Internet USA http://www.soliya.net/ Nine Parts of Desire Heather Raffo Theater USA (New York) http://www.heatherraffo.com/9parts.html Pangea Theater Meera Natarajan, Depak Mulcargi Theater USA (Minnesota) http://www.pangeaworldtheater.org Joe Goode Performance Joe Goode Theatre/Dance USA (California) http://www.joegoode.org Group Arts of the Islamic World Mahnaz Anwar Fancy Visual Arts USA (New York) http://www.artsoftheislamicworld.org/aiw.html Without Boundary: Seventeen Ways of Feri Daftari Visual Arts USA (New York http://www.moma.org/exhibitions/2006/15_ways.html Looking Asia Society/BAM Visual Arts/ “Illuminating Islam” Karen Hopkins Festival Music USA (New York) http://www.asiasociety.org/; http://www.bam.org/ http://www.fileclub.org/index.html; http://www.facebook.com/ File Club Mahmud Handy New Media /Design Egypt group/php?gid=2239707003 100 Copies Mahmoud Refat Music/Festivals Egypt http://www.100copies.com Mohammed Hassan Independent Film Maker Film Egypt Theater/Cell Phone Tarek Said Independent Producer Production Egypt Music/Cultural Ana Al Masry Mohamed Ashour Preservation Egypt http://www.analmasry.com/ Our Town Collaborative Nimet Naguib (U.S. Embassy, Cairo)/Seth http://www.clevelandtheater.com/our_town_in_cairo_april_21. Production Gordon (Cleveland Theatre Collective) Theater Egypt asp.
Adham Hafez/ World Concert Global Brain Adham Hafez Sounds Music/New Media Egypt http://www.openstudiocairo.com/hafez Open Studios 2006 Town-House Gallery Visual Arts Egypt http://www.thetownhousegallery.com/ Fathy Salmy Fathy Salmy Music Egypt Student Action for Music/Hip-Hop for Refugees Nida Ghouse violence prevention Egypt http://www.artfacts.net/index.php/pageType/instInfo/inst/3840 New Media/Open Open Craft Karim Rateb Source IT Egypt http://www.open-craft.com Visual Arts/New Media/ Bibliotheca Alexandria Ismael Serageldin Literature/Cultural Egypt http://www.bibalex.org Preservation YAS YAS Music/Hip-Hop Iran http://www.myspace.com/yaspersian2 Reza Abedini Reza Abedini Visual Arts Iran http://www.rezaabedini.com/ Visual Arts/Cultural Partow Hooshmandrad Partow Hooshmandrad Preservation Iran Attitudes Society of Arts and Culture Hassan D. Nassar Visual Arts Iraq http://www.artiniraq.org/ Red Sea Institute of Cinematic Arts Elizabeth Daley Film Jordan/USA http://www.rsica.com/ Teshkeel Media “The 99” Naif Al Mutawa Comics (Literature) Kuwait http://www.the99.org Betaddin Festival Betaddin Festival Wafa Saab Music/ Festival Lebanon http://www.beittedine.org
Incognito Tony Sfeir Music Distributor Lebanon/Syria http://www.incognito.com.lb/ MFD Euromed Audiovisual Program Film Making Workshop Morocco http://www.delwbg.ec.europa.eu/en/whatsnew/lanch.htm Fès Festival (Festival de Fès des Musiques Faouzi Skali Music Festival Morocco http://www.fesfestival.com/2008/index.php Sacrées du Monde)
Ministry of Culture Khaled Al Zadjali Film Oman http://www.filmfestdc.org/arabiansights/filmView.cfm?passID=1 Junoon Salman Ahmad Music Pakistan http://www.junoon.com/home2.htm
Sabreen Said Murad Music Palestine http://www.sabreen.org/ IF Istanbul AFM International Independent Film Pelin Turgot Film Festival Turkey http://2008.ifistanbul.com/en/ Festival Light Illumination/ http://santralistanbul-lie.blogspot.com/ Electricity Santroni Istanbul Music/New Media Turkey Tangents Dore Stein Music/Travel Turkey http://www.tangents.com/ Literature, Research and Kalima Karim Nagy Translation UAE http://www.kalima.ae/eng.php http://www.imdb.com/title/tt0478213/; http://www.variety.com/ Bader Ben Hirsi Bader Ben Hirsi Film Yemen review/VE1117929170.html?categoryid=31&cs=1&p=0 Pr o j e c t o n U.S. Re l a t i o n s w i t h t h e Is l a m i c Wo r l d
Th e P r o j e c t o n U.S. Re l a t i o n s w i t h t h e I s l a m i c ■ An Arts and Culture Initiative, which seeks to Wo r l d is a major research program housed within develop a better understanding of how arts and the Saban Center for Middle East Policy at the cultural leaders and organizations can increase Brookings Institution. The project conducts high- understanding between the United States and quality public policy research, and convenes policy the global Muslim community; makers and opinion leaders on the major issues surrounding the relationship between the United ■ A Science and Technology Initiative, which ex- States and the Muslim world. The Project seeks amines the role cooperative science and technol- to engage and inform policymakers, practitioners, ogy programs involving the United States and and the broader public on developments in Muslim the Muslim world can play in responding to countries and communities, and the nature of their regional development and education needs, as relationship with the United States. Together with well as fostering positive relations; the affiliated Brookings Doha Center in Qatar, it sponsors a range of events, initiatives, research ■ A “Bridging the Divide” Initiative which ex- projects, and publications designed to educate, plores the role of Muslim communities in the encourage frank dialogue, and build positive West; partnerships between the United States and the Muslim world. The Project has several interlocking ■ A Brookings Institution Press Book Series, components: which aims to synthesize the project’s findings for public dissemination. ■ The U.S.-Islamic World Forum, which brings together key leaders in the fields of politics, busi- The underlying goal of the Project is to continue the ness, media, academia, and civil society from Brookings Institution’s original mandate to serve as across the Muslim world and the United States, a bridge between scholarship and public policy. It for much needed discussion and dialogue; seeks to bring new knowledge to the attention of de- cision-makers and opinion-leaders, as well as afford ■ A Visiting Fellows program, for scholars and scholars, analysts, and the public a better insight journalists from the Muslim world to spend into policy issues. The Project is supported through time researching and writing at Brookings in or- the generosity of a range of sponsors including the der to inform U.S. policy makers on key issues Government of the State of Qatar, The Ford Foun- facing Muslim states and communities; dation, The Doris Duke Charitable Foundation, Lawrence Livermore National Laboratories, and ■ A series of Brookings Analysis Papers and the Institute for Social Policy Understanding. Part- Monographs that provide needed analysis of the ners include American University, the USC Center vital issues of joint concern between the United for Public Diplomacy, Unity Productions Founda- States and the Muslim world; tion, Americans for Informed Democracy, America Abroad Media, and The Gallup Organization.
56 Mightier than the Sword: Arts and Culture in the U.S.-Islamic World Relationship Th e Sa b a n Ce n t e r f o r Mi d d l e Ea s t Po l i c y
Th e Sa b a n Ce n t e r f o r Mi d d l e Ea s t Po l i c y cialist on political reform in the Arab world who was established on May 13, 2002 with an inaugural directs the Project on Middle East Democracy and address by His Majesty King Abdullah II of Jor- Development; Bruce Riedel, who served as a senior dan. The creation of the Saban Center reflects the advisor to three Presidents on the Middle East and Brookings Institution’s commitment to expand dra- South Asia at the National Security Council during matically its research and analysis of Middle East a twenty-nine year career in the CIA, a specialist on policy issues at a time when the region has come to counterterrorism; Suzanne Maloney, a former se- dominate the U.S. foreign policy agenda. nior State Department official who focuses on Iran and economic development; Stephen R. Grand, The Saban Center provides Washington policymak- Fellow and Director of the Project on U.S. Rela- ers with balanced, objective, in-depth and timely tions with the Islamic World; Hady Amr, Fellow research and policy analysis from experienced and and Director of the Brookings Doha Center; Shib- knowledgeable scholars who can bring fresh per- ley Telhami, who holds the Sadat Chair at the Uni- spectives to bear on the critical problems of the versity of Maryland; and Daniel Byman, a Middle Middle East. The center upholds the Brookings East terrorism expert from Georgetown University. tradition of being open to a broad range of views. The center is located in the Foreign Policy Studies The Saban Center’s central objective is to advance Program at Brookings, led by Brookings Vice Presi- understanding of developments in the Middle East dent Carlos Pascual. through policy-relevant scholarship and debate. The Saban Center is undertaking path breaking The center’s foundation was made possible bya research in five areas: the implications of regime generous grant from Haim and Cheryl Saban of change in Iraq, including post-war nation-building Los Angeles. Ambassador Martin S. Indyk, Senior and Persian Gulf security; the dynamics of Iranian Fellow in Foreign Policy Studies, is the Director of domestic politics and the threat of nuclear prolif- the Saban Center. Kenneth M. Pollack is the cen- eration; mechanisms and requirements for a two- ter’s Director of Research. Joining them is a core state solution to the Israeli-Palestinian conflict; group of Middle East experts who conduct original policy for the war against terrorism, including the research and develop innovative programs to pro- continuing challenge of state-sponsorship of ter- mote a better understanding of the policy choices rorism; and political and economic change in the facing American decision makers in the Middle Arab world, and the methods required to promote East. They include Tamara Cofman Wittes, a spe- democratization.
The Saban Center for Middle East Policy at BROOKINGS 57