The book series "Ottomania" researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus. The fifth volume of the sub-series Ottoman Empire and European Theatre focuses on The Turkish Subject in Ballet and Dance from the seventeenth century to the time of Christoph W. Gluck (1714-1787). The Turkish theme was a popular topic on European ballet stages throughout the seventeenth and eighteenth centuries, and most influential choreographers had 'Turkish' ballets in their repertoire. Taking as its departure point Ch. W. Gluck and Gasparo Angiolini (1741-1803), succesful composer and choreographer of ballets at the French theatre in Vienna, this publication discusses the topic from a historical perspective, presents new findings, and introduces the latest scholarly achievements of the research field. Contributions by Emre Aracı, Bruce Alan Brown, David Chataignier, Sibylle Dahms, Vera Grund, Bert Gstettner, Bent Holm, Michael Hüttler, Evren Kutlay, Dóra Kiss, Laura Naudeix, Strother Purdy, Katalin Rumpler, Käthe Springer-Dissmann, Dirk Van Waelderen, Hans Ernst Weidinger

Diplomats had multiple tasks: not only negotiating with the representatives of other states, but also mediating culture and knowledge, and not least elaborating reports on their observations of politics, society, and culture. Culture, according to the studies featured in this book, is defined as a complex sphere including aspects like systems of communication, literature, music, arts, education, and the creation of knowledge. This edition containing contributions from six conferences held in Vienna and Istanbul by the Don Juan Archiv Wien focuses on the complex diplomatic and cultural relations between the Ottoman Empire and Europe from the time of the early embassies to Istanbul up to "Tanzimat".

In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.

Even before the collapse of the Ottoman Empire, Turkic communities, living in states newly independent from Ottoman rule, were 'protected' by the Ottomans. With the creation of the new Turkish Republic, the notion of 'Outside Turks' became embedded in a new foreign policy which aimed to unite these communities, with whom Kemalist Turkey claimed to share ethnic origin, to the homeland. After 1980, and particularly during the Justice and Development Party rule, the country's domestic agenda, however, was transformed to imagine Outside Turks along cultural and religious lines, rather than in a purely ethnic sense. Husrev Tabak provides a foreign policy analysis to account for this vital shift, arguing that four post-Kemalist norms are responsible: Ottomania, de-ethnicized nationhood, Turkish Islam and Islamic Internationalism. By focusing on the case of the Kosovar Turks, the book reveals that the post-Kemalist move to re-imagine Outside Turkish communities was largely counterproductive. In losing Turkey as a secure point of reference for their ethnic identity, these communities began to fashion a nationalism which gained a reactionary character.The Kosovar Turks now more vehemently embrace Kemalist attitudes and discourses and their sense of Turkish ethnicity has been sharpened. In tracing the impact of norm changes within Turkey on ethnic Turks beyond Turkey, the book illustrates the way in which domestic norms can be used as a significant foreign policy analysis tool. The Kosovar Turks and Post-Kemalist Turkey will therefore be essential reading for those interested in Turkey's foreign policy and post-Kemalism, as well as those researching the ongoing impact of the Ottoman Empire's multinational, multicultural legacy.

The book series “Ottomania” researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus. In Ottoman Empire and European Theatre, vol. IV: Seraglios in Theatre, Music and Literature, the series continues to explore one of the most popular subjects of eighteenth-century art: the seraglio and its harem. This volume provides a deeper understanding of the seraglio's various manifestations in the artworks, music and theatre of the Austrian/ Habsburg and central European regions, including interconnections with Italy and France, from the sixteenth to the nineteenth centuries. The studies examine descriptions of the seraglio by European diplomats, the seraglio's visual traces in European artworks, and depictions of the seraglio in eighteenth-century Austrian Singspiele. They also consider seraglios from the Ottoman point of view and investigate the music of the seraglio in eighteenth-century opera.

In an increasingly connected world, the engagement of diasporic communities in transnationalism has become a potent force. Instead of pointing to a post-national era of globalised politics, as one might expect, Banu Senay argues that expanding global channels of communication have provided states with more scope to mobilise their nationals across borders. Her case is built around the way in which the long reach of the proactive Turkish state maintains relations with its Australian diaspora to promote the official Kemalist ideology. Activists invest themselves in the state to 'see' both for and like the state, and, as such, Turkish immigrants have been politicised and polarised along lines that reflect internal divisions and developments in Turkish politics. This book explores the way in which the Turkish state injects its presence into everyday life, through the work of its consular institutions, its management of Turkish Islam, and its sponsoring of national celebrations. The result is a state-engineered transnationalism that mobilises Turkish migrants and seeks to tie them to official discourse and policy. Despite this, individual Kemalist activists, dissatisfied with the state's transnational work, have appointed themselves as the true 'cultural attaches' of the Turkish Republic. It is the actions and discourses of these activists that give efficacy to trans-Kemalism, in the unique migratory context of Australian multiculturalism. Vital to this engagement is its Australian backdrop - where ethnic diversity policies facilitate the nationalising initiatives of the Turkish state as well as the bottom-up activism of Ataturkists. On the other hand, it also complicates and challenges trans-Kemalism by giving a platform to groups such as Kurds or Armenians whose identity politics clash with that of Turkish officialdom. An original and insightful contribution on the scope of transnationalism and cross-border mobilisation,this book is a valuable resource for researchers of politics, nationalism and international migration.

The Time of Joseph Haydn: From Sultan Mahmud I to Sultan Mahmud II (r.1730-1839), the second volume of Ottoman Empire and European Theatre, explores the relationship between Western playwrights, composers and visual artists of the eighteenth-century and Turkish-Ottoman culture, as well as the interest of Ottoman artists in European culture. Twenty-seven contributions by renowned experts shed light on the mutual influences that affected society and art for both Europeans and Ottomans. Successor to the first volume of the series, The Age of Mozart and Sultan Selim III (1756-1808), this book examines the compositions of Joseph Haydn (1732-1809) and his contemporaries along with events in the Ottoman political era during the time span from Sultan Mahmud I (b.1696, r.1730-1754) to Sultan Mahmud II (b.1785, r.1808-1839). Taking Haydn's Türkenopern ('Turkish operas') Lo speziale (1768) and L'incontro improvviso (1775) as the departure point, the articles collected in this publication reflect the growth of research in the area of cultural transfers between the Ottoman Empire and non-Ottoman Europe, as expressed in theatre, music and the visual arts. Contributions by: Emre Aracı, Annemarie Bönsch, Reinhard Buchberger, Bertrand Michael Buchmann, Necla Çıkıgil, Caryl Clark, Matthew Head, Caroline Herfert, Bent Holm, Michael Hüttler, Hans-Peter Kellner, Adam Mestyan, Isabelle Moindrot, Walter Puchner, Günsel Renda, Geoffrey Roper, Orlin Sabev, Çetın Sarıkartal, Käthe Springer-Dissmann, Suna Suner, Frances Trollope, Hans Ernst Weidinger, Daniel Winkler, Larry Wolff, Mehmet Alaaddin Yalçınkaya, Netice Yıldız, Clemens Zoidl.