ARTS & INTERNATIONAL AFFAIRS
about positive developments , allowing art to take new forms or reach new heights . Other times , power and hierarchy result in art for societal change and empower individuals to action . Regardless , these hierarchies and the power within them can also be limiting , impacting artists ’ abilities to carry out their visions or silencing certain artistic voices that do not fit specific artistic trends or norms . Taking a closer look at the way in which power and hierarchies interact with art and artistic communities can bring about a stronger understanding not only of the progression of art and culture , but also the way in which art and culture impact aspects of society and human life that often seem removed from creative endeavors .
There are two overlapping thematics in this issue that we would like to highlight . These are the global influence on the local , and how hierarchies impact art and artist . Global influence on local societies , arts , and politics have been studied extensively . Existing perspectives often speak of global dominations which diminish local voices . Nili Belkind shows how global influence may not constrain local movements for decolonization in Palestine , while Meike Lettau brings to fore some of the work from Goethe Inistitute with democratization in Tunisia . In both cases , global linkages strengthen rather than dimnish local arts , arts movements , and their connections to civil society . Melissa Nisbett ’ s piece provides a contrast with an analysis of the lack of civil society activism in Dubai , and the somewhat manufactured “ soft power ” that Dubai projects through its museums and cultural artefacts . Singh ’ s essay on four global Indians also emphasizes the conversation of artistic creativity in global spaces , even if these spaces remain Eurocentric . Zach Marschall ’ s piece notes the double-bind that museums face from declining cultural heritage visitors and the lockdown from the COVID pandemic . Digital technologies can provide innovative forms of engagement , but Marchall remains sceptic that they have altered the visitor experience .
Art is social and therefore impacted by regulatory and economic hierarchies . These hierarchies constrain and assign rankings to artists which thus impacts the artist ’ s ability to create . Anthony Hudson ’ s monologue narrarates the difficulties that artists face navigating these regulatory environments and hierarchies . Zachary Marschall highlights the impact of these structures on the international museum ’ s struggle for relevance in the digital age , with specific attention to the impact of the COVID-19 pandemic . Meanwhile , JP Singh ’ s multimodal article showcases artists and practitioners as their labor and creativity works itself through the institutional hierarchies of art .
Hierarchies and power hold significant influence over artists , the artistic process , and the societies that consume art . We hope that through this issue of Arts and International Affairs , the conversation around the hierarchies and power within the arts can be illuminated for continued exploration . The themes we have outlined here will persist , global influences will always have tension with local cultures and practices , and hierarchies in art will choose those who win and lose . Even so , art will continue to be an expression of emotion and liberty , even if it is shaped by forces the seem at odds with its very essence .
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