Moroccan Berber Patrimony: An Aptitude for Transnationalism and Universal Coexistence

Moroccan Berbers/Imazighen have undergone centuries of cultural and economic exchange with different foreign powers that crossed to the Maghreb throughout history. Following a significant process of interaction and interchange, the mode of life of the indigenous people has been significantly shaped. This might explain a great deal of present-day socio-cultural diversity enjoyed and exercised in Morocco. The present study aims at investigating aspects of Berber’s interaction with the various populations that landed on North Africa throughout history. The research study builds on the following question: How does the Berber heritage enhance an outlook of transnational exchange and cooperation? The study reaches out the conclusion that Moroccan Imazighen had cohabited and coexisted with different races since immemorial times. Moreover, the study infers that such a longstanding tradition of borderless socio-cultural and economic exchange may serve as a background legacy for present-day Moroccan transnationalism and universal coexistence.

Moroccan Berber Patrimony: An Aptitude for Transnationalism and Universal Coexistence

Moroccan Berbers/Imazighen have undergone centuries of cultural and economic exchange with different foreign powers that crossed to the Maghreb throughout history. Following a significant process of interaction and interchange, the mode of life of the indigenous people has been significantly shaped. This might explain a great deal of present-day socio-cultural diversity enjoyed and exercised in Morocco. The present study aims at investigating aspects of Berber’s interaction with the various populations that landed on North Africa throughout history. The research study builds on the following question: How does the Berber heritage enhance an outlook of transnational exchange and cooperation? The study reaches out the conclusion that Moroccan Imazighen had cohabited and coexisted with different races since immemorial times. Moreover, the study infers that such a longstanding tradition of borderless socio-cultural and economic exchange may serve as a background legacy for present-day Moroccan transnationalism and universal coexistence.

Tall Tales for a Mass Audience

In this article we compare Dutch penny prints with Spanish Aleluyas, focusing on three specific functions of this premodern mass medium: popularising and adapting theatre plays; standardising (folk/fairy) tales; adapting and popularising literary classics. Via these functions we address the discrepancies between the two countries considering the materiality of the penny prints, the growth of the production, but also the transition from a predominantly religious, towards a more profane content. Striking was the lack of educative and edifying initiatives in Spain in contrast to the Dutch ideological strategies. We observed some interesting similarities as well. Although in both countries penny prints often conformed to current ideologies and institutions, there were instances in which penny prints and aleluyas were used as instruments of social satire or resistance. A few similar strange twists in the adaptations of literary classics, seem to suggest some form of transnational exchange or at least imitation.

Theatrical Exchanges across the Baltic Sea in the 1930s

This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.

Theatre Against Stagnation

This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.

The Strategic Revolution: Scottish Ideals and Transnational Exchange in Golf Course Architecture, c. 1860s–1930s

Professional golf architects emerged in the early twentieth century across the English-speaking world. These new professionals coalesced around ideas that promoted a Scottish national conception of proper golf. When golf first migrated from the Scottish coasts inland, south into England, and across the oceans to the United States and the British Dominions in the latter half of the nineteenth century, no standardized form or set of ideals on Golf course architecture existed. Through their collective writings, professional golf architects from Britain, the United States, and Canada codified the values, design principles, and the romance of the ancient Scottish linksland courses as the standard way to design and construct golf courses. We therefore position golf courses as important sites of historical inquiry into the transmission of national styles. These Golden Age (1910–37) golf architects thus encouraged the transnational exchange of sport through the construction of golf courses in a peculiarly Scottish sense.

Swiss Graphic Design: A British Invention?

The role of British graphic designers and authors in spreading Swiss Style, “Swiss graphic design,” or “Swiss typography” internationally is evident, but less is known about the process and effects of transnational exchange in design. This article follows the trajectories of objects and texts, revealing how they have established and disseminated the labels in Britain and abroad, thus contributing to our current understanding of “Swiss graphic design.” It concludes with an example of alternative historiography of modern visual communication as a constant process of exchange that reveals the complex international interaction of design discourses.

Rewriting Postcards: Experiments in Collaborative Transnational Curation

ABSTRACT Since their invention, picture postcards have played a key role in circulating racist and imperial ideologies. In this paper, the researcher explores how experiments in producing and exchanging postcards used in the Global Gender and Cultures of Equality (GlobalGRACE) project attempted to subvert traditional anthropological and colonial perspectives. Drawing on examples created for the exhibition Exchanging Cultures of Equality held in London in 2018, the author discusses how GlobalGRACE researchers in six different countries individually and collectively sought to disrupt and challenge historical imaginaries using postcards. The creative process required them consider how they might differently visualize, articulate, and publicly share ideas about their work and field sites while also asserting the value of transnational exchange. The researcher argues that critical reflection on the tensions and challenges that arose from this transnational collaborative experiment are both productive and necessary in informing further and new decolonising engagements with postcards