Intercultural Dialogue as a Tool for Maintaining Sustainable Partnerships in Tourism

International partnerships have a reinforcing effect and lasting benefits for modern economy and social life. The principles of intercultural partnerships in tourism can be compared to other principles of sustainable development. This chapter recognises the ultimate role of sustainable development in the sphere of tourism, while applying the theory of intercultural dialogue as an approach to the SDG 17 and tracing back partnerships to the bridge where different cultures meet. Such meetings very often need a bridge to cross over cultural gaps. In view of the proposed research, one such bridge is presented by the International Tourism Fair Holiday and SPA EXPO 2020, and it is against the background of this event that the established partnerships mediated by intercultural dialogue are classified.

Resonance. (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration

This artistic doctoral research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility, and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period that I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project.As a double bass player, multi-instrumentalist, and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers, and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Mexico, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo, and ensemble settings act as case studies to examine how this process takes place, the new knowledge gained from the collaborations and their resulting artistic outcomes, and the effects of intercultural dialogue, collaboration, and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation, photography and film.The key concepts that I investigate in this research are: artistic identity, global citizenship, hybridity, interculturalism, intercultural humility, liminality, third space theory, and resonance, the latter being viewed both as a physical phenomenon and as an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in the areas of artistic identity formation, intercultural collaboration and interculturalism in music education through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text.Findings emerge in terms of new musical discoveries that surface from the dynamic third space created through transcultural collaboration; the expanding and deepening of musicianship through intercultural dialogue and collaboration; the interconnected nature of interculturalism in music and its reliance on openness, empathy, dialogue and constantnegotiation with sonic material, people and place; and the crucial role of fluidity and resonance in forming a personal artistic identity.Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components (three concerts and a recording), a documentary film and an artistic doctoral thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration.

Directing models of author cinema in the context of intercultural dialogue. Part 1. Co-production as a way to implement the producing and directing models

The purpose of the article is to identify problems of intercultural cooperation in the production and distribution of films directed by auteur cinema and to identify scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of Ukrainian auteur cinema in the intercultural space. Methodology. An analytical method was used to study the topic, which is necessary to study the art history and cultural aspects of the problem. In addition, the researcher used methods of systematization and generalization, which were useful to argue the identity of the phenomenon of directing auteur cinema, its place in modern cultural processes, as well as to determine the objective patterns that characterize auteur cinematographic practices in modern intercultural space. A cross-cultural method was also used, which helped to identify the peculiarities of production and distribution of films directed by auteur films in the system of international cooperation. In turn, the culturological approach led to a generalized socio-cultural orientation of the study of the author's cinema of postmodern and postmodern culture. The scientific novelty of the study is that the problem of intercultural cooperation in the production and distribution of auteur cinema in Ukraine and abroad in the context of the functioning of international support programs has first become the subject of a special study; the content of the concepts "intercultural dialogue", "co-production" as certain specific integrity and unity of interconnected elements are argued; the works of Ukrainian film directors-authors, whose films were created as international projects, are singled out and characterized; the expediency of using the system method in studying the peculiarities of the international filmmaking process is proved; a comprehensive analysis and features of production and distribution of films by directors-authors in co-production projects in Ukraine and abroad. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge on the specifics of production and distribution of films of directorial models of auteur cinema within intercultural projects and allows their use in training courses on the theory and history of cinema and directing. Key words: intercultural dialogue, director-author, producer, Ukrainian author's cinema, co-production, director's model of authorship.

Preventing Marginalization and Radicalization through Theatre and the Expressive Arts: Empowering Intercultural Dialogue

Marginalization, radicalization, and encountering the Other are undoubtedly some of the topics on top of the agenda for social growth in our society. The roles that women, in general, and mothers, in particular, can play in prevention and inclusion strategies are certainly of great importance for an approach that goes beyond a simple intervention on effects, working on causes and facilitating intercultural dialogue. theatre and art have always been used as forms of storytelling, to generate emotions and make the audience identify with the stories they hear or watch. For this reason, in the field of methodologies and tools for the inclusion of people and the prevention of marginalization, over time excellent examples of the application of artistic approaches to facilitate the processes of growth and empowerment have emerged. Theatre and story-telling workshops, especially those for migrant women, represent good cases of facilitating the process of discovering and defining one’s own identity in a healthy way. This represents the basis for a path of integration through art,giving awareness and inclusion to participants and at the same time making them “ambassadors” of the intercultural dialogue.

Starting From and Beyond Matteo Ricci

Between 1500 and 1600, the Jesuit Ricci carried out a real process of inculturation of Christianity in China. Subsequently, he operated according to acculturation: a form of colonialism. This process consisted also in the construction of churches, which were built in the neo-Gothic style. In 1926 dom Gresnigt was sent to China with the aim of creating a new Sino-Christian style, supported by Bishop Costantini and the new missionary policy. These attempts at architectural inculturation, however, focused on stylistic issues. We must act according to an intercultural dialogue. Starting from a textual translation of the liturgical books and the ritual action, this dialogue can provide the architect with images of experience that can be implemented as places and movements within the horizon of the sacred. Metaphors must be found, and even better affordances must be constructed to increase the effectiveness of ritual actions, making even those that can only be imagined emotionally perceptible.

Intercultural Dialogue in the Middle Ages: A Christian Cemetery in Pagan Vilnius

In Medieval Europe, Lithuania remained a pagan state the longest, officially accepting Catholic baptism only in 1387. But the country had already been influenced by Christian culture, Orthodox from the East and Catholic from the West, since the 11th century. It should be noted that this influence was not the same: Catholicism was mostly brought ‘by fire and sword’ in the role of the Teutonic Order while the spread of Orthodox Christianity could be more peaceful. It is frequently stressed that the Ruthenian Orthodox Christians were close neighbours of the pagan Lithuanians, settling in Lithuania as subjects of the grand dukes. While the Catholics needed to be invited, the Orthodox Christians from the Ruthenian lands were already subjects of the grand dukes. Thus, communities of both branches of Christianity: Eastern Orthodox and Western Catholic, had settled here and were interacting in a still pagan environment in pagan cities ruled by pagan dukes. This article, in seeking to present the circumstances of the settlement of one of the early Christian communities in Vilnius, the Orthodox one, and its development, examines this community through data from the burial site it left and the interpretation of those data.

Rethinking the Dialogue of Cultures in the Conditions of Global Communication and Information Revolution

The purpose of the research is to identify the features of intercultural dialogue in the context of global communication and information revolution, to reveal changes in the principle of intercultural dialogue in the new environment and to show the impact of culture on modern international relations. Research methodology. Analytical research methods based on methods of analysis and synthesis were used by the authors to reveal the essence of dialogue and its disclosure as a universal method of research not only personality but also culture when the cultural basis turns dialogue into the need of everyday life. Scientific novelty. Peculiarities of dialogue as a basis of intercultural interaction in modern conditions are revealed. The concepts of dialogue and discussion, as well as intrapersonal dialogue within each social subject, in the consciousness of each person, where there are two different positions of consciousness, are revealed and analyzed. Conclusions. The study analyzes new approaches to the principle of intercultural dialogue for intercultural interaction. It is shown that modern culture enters into dialogue only as a whole, characterized by the unity of meanings, their perfection and certainty. The circumstances under which culture in times of crisis seeks its paradigm in a new way are analyzed. It is emphasized that each culture enters into a dialogue in its own unique manner. It is proved that culture cannot exist without the eternal search for the Other, comparison and collation with it. The need for intercultural communication for the effective development of modern international relations based on mutual respect and tolerance is studied.

Антиколыбельная песня Егора Буджалова в аспекте пародии Морхаджи Нармаева: «Ɵдгǝ цага саатулин дун» — «Буджала Егор залуд»

Introduction. So far, the genres of lullaby and poetic parody in the Kalmyk poetry of the twentieth century have not attracted much attention. Born in the late 1920s — early 1930s, the tradition was short-lived. While their genres were explicitly or implicitly marked, the works of Kalmyk poets in question were primarily oriented towards the Russian literary tradition. However, they expanded the genre paradigm of Kalmyk poetry in the intercultural dialogue. The relevance and novelty of the article is apparent, granted its focus on the two innovative works by Egor Budzhalov and Morkhadzhi Narmaev; these are single works that belong to the genres of anti-lullaby and satirical parody as part of the 1990s literary polemics of the contemporaries. This article aims to introduce these little-known poems of the two poets as representative of their contributions to the genres. Materials and methods. The sources for the study, Budzhalov’s “Ɵdgǝ tsaga saatulin dun” (“Modern Lullaby Song”, 1991) and Narmaev’s “Budzhala Egor zalud” (“To the man Egor Budzhalov”, 1991), were published in the local newspaper “Halmg unn”. The study of historical-literary milieu and realia, comparative-contrastive and hermeneutic approaches were employed to examine the poetic pieces in the context of literary, socio-political, ideological, and social processes on the eve of the country’s collapse; also, the biographical data of the poets that belong to different generations was helpful in the analysis of their ideological positions, as well as the authorial voices in the texts under study. Results. The study shows the innovative character of the poets’ efforts at creating a lullaby for adults, or an anti-lullaby song, and a satirical parody; these were to remain single samples, granted that the Kalmyk lullabies are mainly addressed to infants, and parodies are of a friendly character. Their works reflect the authors’ polar views on the realities in the 1980s and 1990s: criticism, on the one hand, and the defense of socialism, communist ideas, on the other hand. Conclusions. Budzhalov’s poem may look like a lullaby for children at first sight while, in fact, it is a lullaby for adults or rather an anti-lullaby, with the formulaic chorus baiu bai, a marker of the genre, acquiring in his piece the opposite message: wake up, do not sleep, act. Narmaev enters the dialogue with his younger contemporary, his poem also representing a synthesis of genres: a message, an open letter in verse, and a satirical parody. However, his parody is also transformed when the author parodies not so much his fellow poet’s style but the authorial implications concerning the Soviet reality. The tradition of literary polemics was not continued in Kalmyk poetry.