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AIA, Vol. 2, No. 2, Spring/Summer 2017

Arts and Intnl Affairs logo

Table of Contents
Exploring Cultural Interests and Values
J.P. Singh
doi: 10.18278/aia.2.2.1 
Cultural Interactions atthe Edinburgh Festivals, c1947-1971
Angela Bartie
doi: 10.18278/aia.2.2.2 
Insiders and Outsiders at Festivals 
Hannah McGill
doi: 10.18278/aia.2.2.3 
The Case for High Art 
Zach Marschall
doi: 10.18278/aia.2.2.4 
Art is Universal - Society is Local 
Chankethya Chey
doi: 10.18278/aia.2.2.5 
Lessons from Lowbrow Art 
Velani Dibble
doi: 10.18278/aia.2.2.6 
New Territories for Literature in Contemporary Brazil 
Ellen Heyward
doi: 10.18278/aia.2.2.8 
Highs and Lows in Tajikistan 
Lolisanam Ulugova 
doi: 10.18278/aia.2.2.9 
Performing Empathy: Lessons from the Stage for Policymakers 
Cynthia P. Schneider
doi: 10.18278/aia.2.2.10 
Empathy: The Power of Healing Within Us 
Michael Anyanwu 
doi: 10.18278/aia.2.2.11
Empathy in an Orphanage in Afghanistan
Mahtab Farid
doi: 10.18278/aia.2.2.12 
Art, Labour, and Empathy 
Ann Henderson
doi: 10.18278/aia.2.2.13 
Do You Hear What I Hear? Empathizing With Many Voices in Cultural Production 
Douglas Lonie
doi: 10.18278/aia.2.2.14 
Imagine All the People 
Roy Choudhury Shubham 
doi: 10.18278/aia.2.2.15 
Voice, Art, and Collaboration 
Dorothy Miell and J.P. Singh
doi: 10.18278/aia.2.2.16 
Participatory Practices 
Jenna Ashton
doi: 10.18278/aia.2.2.17 
Echoes of Silence
Eona Craig
doi: 10.18278/aia.2.2.18 
Silence, Voice, and the Dialogic Scream
Xenia Hanusiak
doi: 10.18278/aia.2.2.19 
Does Western Performance Give Voice? 
Asif Majid
doi: 10.18278/aia.2.2.20 
Let’s Dance 
Jane Saren 
doi: 10.18278/aia.2.2.21 
From Spectating to Witnessing: Performane in the Here and Now 
Derek Goldman
doi: 10.18278/aia.2.2.22 
You Have Seen Nothing In Syria  
Jumana Al-Yasiri
doi: 10.18278/aia.2.2.23 
A Place of Seeing 
Caitlin Nasema Cassidy
doi: 10.18278/aia.2.2.24 
Today’s Trial is Tomorrow’s Testimony 
Marika Constantino
doi: 10.18278/aia.2.2.25 
What Will Be Edinburgh’s Testimony? 
Chris Creegan
doi: 10.18278/aia.2.2.26 
Theatre of Witness and Resistance 
Devika Ranjan 
doi: 10.18278/aia.2.2.27
Speaking to Their Time: Reflections on Anger and Anxiety in 2017 
Faith Liddell
doi: 10.18278/aia.2.2.28 
Why me? 
Faisal Abu Alhayjaa
doi: 10.18278/aia.2.2.29 
The Tender Power of Anger 
Reem Alsayyah
doi: 10.18278/aia.2.2.30 
The Art of Resilience 
Consuelo Hidalgo 
doi: 10.18278/aia.2.2.31 
Can cultural production make people less angry at each other? 
Arno Vinkovic 
doi: 10.18278/aia.2.2.32 
Cultural Wars Clashes of Identity 
Corina Lacatus
doi: 10.18278/aia.2.2.33 
Culture Wars: Syria 
Abdulkarim Ekzayez
doi: 10.18278/aia.2.2.34 
Caricature or pornograpy of violence?
 Mikael Löfgren
doi: 10.18278/aia.2.2.35 
De-communization in Ukraine 
Solomiya Shpak
doi: 10.18278/aia.2.2.36 
Free Admissions Helps Arts Organizations Build New Audiences. Not Really. 
Ariel Stolier
doi: 10.18278/aia.2.2.37 
Reflections on Guerilla Art 
Manuel Francisco Viveros 
doi: 10.18278/aia.2.2.38 
Art and the Global
J.P. Singh
doi: 10.18278/aia.2.2.39 
How to live Together? Or- Why do we go to festivals 
Natalia Mallo
doi: 10.18278/aia.2.2.40
When Words Don’t Matter
Puneeta Roy
doi: 10.18278/aia.2.2.41 
Is cooking neutral?
Nik Shahrifulnizam Bin Che Rahim
doi: 10.18278/aia.2.2.42 
The reality of fear
Gideon J. Wabvuta 
doi: 10.18278/aia.2.2.43
Highs and Lows: the Jazz Perspective
Luis Felipe Ferra 
doi: 10.18278/aia.2.2.44