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The Moise A. Khayrallah Center for Lebanese Diaspora Studies has put together âTurath,â a digital exhibition to understand and celebrate the history of Arab American contributions to art, literature and press. The exhibit is the culmination of a year of attempts at understanding the historical impact of race in America as well as a divisive conversation about immigration for at least the past three presidencies. Headed up and curated by Akram Khater, the director of the Khayrallah Center and a history professor; Marjorie Stevens, senior researcher; Mandy Paige-Lovingood, an NC State public history Ph.D. candidate; and Samantha Aamot, an NC State public history M.A. candidate, the exhibition marks the centennial celebration of the re-establishment of al-Rabitah al-Qalamiyya, an early Arab American literary society, in 1920. According to Stevens, the exhibition focuses on Arab Americans between 1880 and 1940. ....
The Offending Classic Photo: Nikolai Aistov as the Rajah, Julia Sedova as Gamzatti and Pavel Gerdt as Solor (ca. 1902). Courtesy of the Marius Petipa Society. We have recently seen a conflict over a Depression-era mural on the wall of a public school in San Francisco. It came under attack by the student body for its offensive content to minorities, even though the 1930s mural in question was by Russian leftist émigré artist Victor Arnautoff (hardly a household name) and was created as a protest against the injustice propagated by the United States of America against minorities.[1] A dead Native American at the feet of the first President of the United States is the offending element within this image. The irony in this image, which contests our country’s great democratic myth, is apparently no longer legible as such to the very interpretive community the artist might well have wished to address today. The dead Native American is now taken literally, and the representat ....