Washington/18.05.17/Turan: Frustrated Democracy in Post-Soviet Azerbaijan - the name of a new book presented today in USA.
Author , Audrey L. Altstadt follows a newly independent oil-rich former Soviet republic as it adopts a Western model of democratic government and then turns toward corrupt authoritarianism.
She begins with the Nagorno-Karabagh War (1988-1994) which triggered Azerbaijani nationalism and set the stage for the development of a democratic movement. Initially successful, this government soon succumbed to a coup. Western oil companies arrived and money flowed in-a quantity Altstadt calls "almost unimaginable"-causing the regime to resort to repression to maintain its power. Despite Azerbaijan's long tradition of secularism, political Islam emerged as an attractive alternative for those frustrated with the stifled democratic opposition and the lack of critique of the West's continued political interference.
Altstadt's work draws on instances of censorship in the Azerbaijani press, research by embedded experts and nongovernmental and international organizations, and interviews with diplomats and businesspeople. The book is an essential companion to her earlier works, The Azerbaijani Turks: Power and Identity Under Russian Rule and The Politics of Culture in Soviet Azerbaijan, 1920-1940.
*Audrey L. Altstadt is a professor of history at the University of Massachusetts, Amherst. She was a fellow at the Wilson Center in 2014-15. -0-
Culture
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In a long-awaited moment for Azerbaijani cinema, local directors unveiled their latest works, bringing a mix of animation, drama, and childhood reveries to the silver screen. The films, Erkən Hisslər by Nurlan Həsənli, Tərsinə Kölgələr by Hacı Səfərov, and Nərqız, an animated feature by Məsud Pənahi, were met with both enthusiasm and critique as they debuted to eager audiences.
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Events in history are not merely dates or fragments of historical memory; they leave deep marks on cultural memory as well. Artists, in particular, transfer these events into their works, shaped by their personal perceptions and interpretations. January 20 is one such event that has found its place in cultural memory. Although this topic is relatively less explored in contemporary art, it has never lost its relevance. How should this historical memory be represented? How does it manifest in art?
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Each year, on January 13, Lithuania commemorates the Day of Freedom Defenders, honoring the heroes who sacrificed their lives for the country’s independence in 1991. This pivotal moment in Lithuanian history marked the triumph of an unyielding will for freedom over Soviet oppression. Fourteen lives were lost, hundreds were injured, but the desire for liberty remained unshaken. The Day of Freedom Defenders is a solemn occasion for Lithuanians to reflect on their past and the true cost of freedom.
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