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Laura L. Adams offers unique insight into nation building in Central Asia during the post-Soviet era through an exploration of Uzbekistan’s production of national culture in the 1990s. As she explains, after independence the Uzbek government maintained a monopoly over ideology, exploiting the remaining Soviet institutional and cultural legacies. The state expressed national identity through tightly controlled mass spectacles, including theatrical and musical performances. Adams focuses on these events, particularly the massive outdoor concerts the government staged on the two biggest national holidays, Navro’z, the spring equinox celebration, and Independence Day. Her analysis of the content, form, and production of these ceremonies shows how Uzbekistan’s cultural and political elites engaged in a highly directed, largely successful program of nation building through culture. Adams draws on her observations and interviews conducted with artists, intellectuals, and bureaucrats involved in the production of Uzbekistan’s national culture. These elites used globalized cultural forms such as Olympics-style spectacle to showcase local, national, and international aspects of official culture. While these state-sponsored extravaganzas were intended to be displays of Uzbekistan’s ethnic and civic national identity, Adams found that cultural renewal in the decade after Uzbekistan’s independence was not so much a rejection of Soviet power as it was a re-appropriation of Soviet methods of control and ideas about culture. The public sphere became more restricted than it had been in Soviet times, even as Soviet-era ideas about ethnic and national identity paved the way for Uzbekistan to join a more open global community.
The author analyzes political institutions and parties in Uzbekistan and explores potential areas of instability, including ethnic and religious tensions, as well as the prolonged conflict in Tajikistan. The second part of the paper discusses Uzbeskistan's principal foreign policy intiatives.
History of Uzbekistan, Primary History. Ethnic Structure, Independence, Economy, Government. Culture, a Travel Guide. The first people known to have occupied Central Asia were Iranian nomads who arrived from the northern grasslands of what is now Uzbekistan sometime in the first millennium. These nomads, who spoke Iranian dialects, settled in Central Asia and began to build an extensive irrigation system along the rivers of the region. At this time, cities such as Bukhoro (Bukhara) and Samarqand (Samarkand) began to appear as centers of government and culture. By the fifth century., the Bactrian, Soghdian, and Tokharian states dominated the region. As China began to develop its silk trade with the West, Iranian cities took advantage of this commerce by becoming centers of trade. Using an extensive network of cities and settlements in the province of Mawarannahr (a name given the region after the Arab conquest) in Uzbekistan and farther east in what is today China's Xinjiang Uygur Auton-omous Region, the Soghdian intermediaries became the wealthiest of these Iranian merchants. Because of this trade on what became known as the Silk Route, Bukhoro and Samarqand eventually became extremely wealthy cities, and at times Mawarannahr was one of the most influential and powerful Persian provinces of antiquity. The wealth of Mawarannahr was a constant magnet for invasions from the northern steppes and from China. Numerous intraregional wars were fought between Soghdian states and the other states in Mawarannahr, and the Persians and the Chinese were in perpetual conflict over the region. Alexander the Great conquered the region in, bringing it briefly under the control of his Macedonian Empire
Anna Brzozowska-Krajka's Ethnoculture in the Diaspora: Between Regionalism and Americanisation is a pioneering monograph in Polish and American cultural studies. It deals with various aspects of the functioning of Polish immigrants' folk culture in the context of American multiculturalism. This monograph is based on its author's many years of research into the culture of Polish immigrants in the United States, mainly in the areas of metropolitan Chicago and on the East Coast. It defines the significance of the local (regional) cultures of the immigrants' country of origin for shaping their cultural identity under the conditions of diaspora. It indicates various degrees of identification with and distance from the source culture (of the country of origin). The monograph presents, interprets, and theorizes various forms of cultural expression of the Tatra highlander ethnic subgroup (Górals) within American Polonia, of the private and public face of its ethnicity. They include musical, song, and dance folklore, folk rituals (of the liturgical year, family rituals), folk art, folk costume, regional architecture, and ethno-marketing. Ethnoculture in the Diaspora is an essential work for the increasingly important field of folkloristic investigations of diasporic cultures that draw on the application of methods from the anthropology of culture and cultural studies. The study also has diagnostic value in the context of the explosion of ethnicity in the U.S. since the 1960s.
Provides a concise explanation of an ethno-symbolic approach to the study of nations and nationalism and simultaneously embodies a general statement of Anthony D Smith’s contribution to this approach and its application to the central issues of nations and nationalism.
This book presents a theory to account for why and when politics revolves around one axis of social cleavage instead of another. It does so by examining the case of Zambia, where people identify themselves either as members of one of the country's seventy-three tribes or as members of one of its four principal language groups. The book accounts for the conditions under which Zambian political competition revolves around tribal differences and under which it revolves around language group differences. Drawing on a simple model of identity choice, it shows that the answer depends on whether the country operates under single-party or multi-party rule. During periods of single-party rule, tribal identities serve as the axis of electoral mobilization and self-identification; during periods of multi-party rule, broader language group identities play this role. The book thus demonstrates how formal institutional rules determine the kinds of social cleavages that matter in politics.
This volume examines theoretical and comparative perspectives on civil society activism under authoritarian constraints to offer a better understanding of its relationship with regime change. Rejecting a normative approach, the authors focus on the whole range of civic activism under authoritarianism.
The Sound State of Uzbekistan: Popular Music and Politics in the Karimov Era is a pioneering study of the intersection between popular music and state politics in Central Asia. Based on 20 months of fieldwork and archival research in Tashkent, this book explores a remarkable era in Uzbekistan’s politics (2001–2016), when the Uzbek government promoted a rather unlikely candidate to the prominent position of state sound: estrada, a genre of popular music and a musical relic of socialism. The political importance it attached to estrada was matched by the establishment of an elaborate bureaucratic apparatus for state oversight. The Sound State of Uzbekistan shows the continuing legacy of Soviet concepts to frame the nexus between music, artists and the state, and explains the extraordinary potency ascribed to estrada. At the same time, it challenges classical readings of transition and also questions common binary models for researching culture in totalitarian or authoritarian states. Proposing to approach lives in music under authoritarianism as a form of normality instead, the author promotes a post-Cold War paradigm in music studies.