Freedom of choice or force of circumstance? : Eastern European sex-workers in the Republic of Cyprus ; paper for the conference 'Alltag der Globalisierung. Perspektiven einer transnationalen Anthropologie', January 16-18, 2003, Institute of Cultural Anthropology and European Ethnology, Johann Wolfgang Goethe University, Frankfurt am Main

This paper focuses on Eastern European migrants who, since the beginning of the 1990s, are entering the Republic Cyprus as “artistes”. This is a visa permit status as well as an euphemism for short-term work permits in the local sex industry. In addition to exploring the migrational experiences of these women and their living and working conditions in the Republic of Cyprus, the paper reconstructs, empirically and analyt ically, the connection between immigration and the local sex industry. Here, several categories of social actors and institutions in Cyprus are actively involved. The rhetoric of government representatives, entrepreneurs and clients in the sex business on the one hand is contrasted with the discourse of local NGO representatives concerned with immigrants’ rights on the other hand. The paper comes to the conclusion that all of these discursive positions ultimately do not do justice to the complex process of decisionmaking that women undergo who migrate into the sex industry. Either, freedom of choice is emphasized – such as by entrepreneurs and the government – or the domination of women – as in the public statements of the NGO. In order to analyze the ambivalent tension between freedom of choice and submission to force by which the women’s decision is characterized, the author employs Michel Foucault’s concept of governmentality, which describes forms of political regulation that use the individual’s freedom of action as an instrument to exercise power

Chapter 15 - Professional and Entertainment Groups, pp. 347-359

The Catherwood Library and ILR School at Cornell are pleased to again make available an extremely important index of major labor union publications, long out of print. It is Lloyd G. Reynolds and Charles C. Killingsworth\u27s Trade Union Publications: The Official Journals, Convention Proceedings and Constitutions of International Unions and Federations, 1850-1941. Baltimore, The John Hopkins Press, 1944

Quality Issues and the Ban on Selected Musical Video Broadcasting in Nigeria: A Defence for National Broadcasting Commission

This paper investigates the recurrent music ban on musical video broadcasting and the issues of quality of musical contents that have warranted such a phenomenon by the National Broadcasting Commission in Nigeria. The major contention was the justification or otherwise of the ban. The paper employed observational and analytical methodologies to examine the causes of the bans on musical videos in Nigeria by NBC, the reactions of the affected artistes and their fans and the negative effects of erotic lyrics, nudity and suggestive dance steps by minors, ladydancers and the musicians on the youths and other categories of musical video audiences. The paper submits that the NBC’s gestures are commendable and should be sustained while quality assurance efforts should be intensified through promotion of quality musical videos produced more for the purpose of entertainment than education or information. The paper also calls for collaborative efforts among all stakeholders in the music industry to achieve quality in the musical videos produced for general public consumption. This paper encourages musicians to invite creativity into the musical industry in Nigeria by coming out with songs and performances that reflect the cultural values of the country rather than mere entertainment songs and acts that have a greater tendency to corrupt younger mind

Exhibiting Berthe Morisot after the Advent of Feminist Art History

Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles

Nigerian Film Industry in the Mirror of African Movie Academy Awards (AMAA)

Worried by the drastic decline in the quality of content of Nigerian movies as evaluated by critics, this paper analyzes the evaluation of Nigerian movies by the African Movie Academy Awards (AMAA) between 2006 and 2016. The objective is to review the decisions of the AMAA jury and to present the academy’s position on the prospects and deficiencies of the Nigerian Movie industry. The paper employs analytical research approach using both primary and secondary sources to explore assessed contents of the Nollywood movies and how far the industry has fared in the mirror of a renowned African movie assessor like AMAA. This paper assembles data of the awards of AMAA since inception and graphically presents the data. Findings reveal a sharp drop in quality of content of Nigerian movies over the years with a hope of an upsurge as adjudged by AMAA since 2006. The study recommends the private sector’s all round support to Nollywood and the federal government’s training or retraining of filmmakers as well as sustained funding for the steady development of the Nigerian movie industr

JAMAICA: A Famous, Strong but Damaged Brand

Image, brand and reputation are the new capital for nations in the twenty-first century. In this era of the global marketplace, nations, regions and cities are forced to compete with each other for tourists, investment, aid, students, for buyers of their products and services, and for talent. Scholars now agree that nations themselves have become brands, and are now obliged to manage their images in order to influence people’s decision in terms of purchasing, investing and traveling. Nations with unknown or poor reputations, including those enduring prolonged crises are thus likely to suffer marginalization and will not easily witness economic success (Viosca et al; Avraham and Ketter). In this article, I aim to explore the challenges confronting Brand Jamaica. I argue that positive global coverage of Jamaica’s outstanding brand achievements in sports, music and as a premier tourism destination, is being negated by its rival brands – economic instability (debt, poverty unemployment), crime, corruption and perceptions of declining human rights. The consequence is a contradictory, perplexing and problematic public image of Jamaica, with severe consequences for investment, tourism promotion as well as economic and social progress. The article points at the imperative for Jamaican authorities to evaluate the nation’s public image, manage the impact of prolonged crises on its brand and attempt to re-imagine Jamaica, in light of changing fortunes

‘You don’t need influence … all you need is your first opportunity!’: The Early Broadcast Talent Show and the BBC

Popular histories of the reality talent show often position programmes like Opportunity Knocks as key generic precursors to the popular formats of today. But the visibility of such shows in such popular histories - and in popular memory - disguises the fact that the genre has been almost totally neglected in both television historiography and celebrity studies. In drawing upon archival documentation, this article looks at early examples of the broadcast talent show in Britain, with a particular focus on radio’s Opportunity Knocks, and examines the institutional and cultural discourses which surrounded them

Full of noises: when “World Shakespeare” met the “Arab Spring”

In summer 2012, to coincide with the Olympic Games, the United Kingdom celebrated a summer of Shakespeare. Troupes from around the world were invited to produce their own versions of plays from the playwright's corpus. 2012 was also a very eventful year, politically, in the Arab world, as people reacted to what had been dubbed the “Arab Spring”. This article looks at three plays produced by Arabic companies for the World Shakespeare Festival: the Palestinian Ashtar Theatre's Richard II, the Iraqi Theatre Company's Romeo and Juliet in Baghdad, and the Tunisian Artistes Producteurs Associés’ Macbeth: Leila and Ben – A Bloody History. Using these performances, this article examines how different Arabic theatre troupes negotiate expectations of different audiences as well as their own artistic aims using the “playable surface” of Shakespeare's plays.Accepted manuscrip