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Christopher K. Colley and Sumit Gunguly

-Pacific and the Indian Ocean Region’ (25 January 2015), , accessed 9 March 2019. 25 Burns, ‘Passage to India’, p. 126. 26 S. Ganguly and W. Thompson , Ascending India and its State Capacity ( New Haven : Yale University Press , 2017 ), p. 248 and p. 260 . 27 A. Vasudeva , ‘ US-India Defense Ties: A Delicate Dance ’, Foreign Policy (8 October 2015 ),

in The United States in the Indo-Pacific
The Marshall Plan films about Greece
Katerina Loukopoulou

concludes with visual rhymes: a montage of shots of the famous wall paintings of the Minoan women dancers of Knossos Palace intercut with shots of modern Greek teenage girls dancing along a traditional folk song (see figure 2.2 ). A sense of empowerment is conveyed as the modern young Greek women are compared with the ones of the Minoan society, where women occupied privileged, visible positions

in Global humanitarianism and media culture
Offline and online games, branding and humanitarianism at the Roskilde Festival
Lene Bull Christiansen and Mette Fog Olwig

asylum centres and the difficult daily life of living with illness. In the festive videos, we see the celebrities and spectators of the basketball match, the imaginative and colourful costumes of the different football teams as well as bodies dancing, drinking, playing, falling, colliding with each other, and embracing after a win. 44 Read together, the videos about the beneficiaries and the videos celebrating the community

in Global humanitarianism and media culture
The United States Peace Corps in the early 1960s
Agnieszka Sobocinska

with masks and shields, learns to drum the message ‘take me to your leader’ and practices a ‘tribal’ dance by throwing a spear at a dartboard. Patty also attempts to prepare ‘native’ foods, as ‘we have to live like the natives … share the same kind of living accommodation, eat the native food’. As Patty explains, ‘in certain parts of Africa grasshoppers are a rare delicacy’, and so she set out to

in Global humanitarianism and media culture
Marta Iñiguez de Heredia

are not necessarily found overtly but, rather, as a hidden transcript. Or, as Gilroy puts it, by ‘opaque means’: Created under the nose of the overseer, the utopian desires which fuel the politics of transfiguration must be invoked by other deliberately opaque means. This politics exists on a lower frequency where it is played, danced and acted, as well as sung about. (1993: 134) The inversion of peacebuilding’s vocabulary, as discussed above, illustrates ways in which it is de-legitimised, critiqued, held to account and counterreacted with the articulation of how

in Everyday resistance, peacebuilding and state-making
Juvenile actors and humanitarian sentiment in the 1940s
Michael Lawrence

like rehearsed recitations, and when the Russian boy performs a Cossack dance, it is the young performer’s accomplishments (more so than his character’s predicament) the film exploits for sentimental effect. The director’s initial screenplay specifies one of the orphans as ‘[the] cutest youngster, perhaps a Czechoslovakian, an alert, curious boy about five or six’. 64 In other words, the ‘United Nations children’ were from the

in Global humanitarianism and media culture