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The Spectacular State: Culture And National Identity In Uzbekistan (Politics, History, And Culture),New
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Laura L. Adams Offers Unique Insight Into Nation Building In Central Asia During The Postsoviet Era Through An Exploration Of Uzbekistans Production Of National Culture In The 1990S. As She Explains, After Independence The Uzbek Government Maintained A Monopoly Over Ideology, Exploiting The Remaining Soviet Institutional And Cultural Legacies. The State Expressed National Identity Through Tightly Controlled Mass Spectacles, Including Theatrical And Musical Performances. Adams Focuses On These Events, Particularly The Massive Outdoor Concerts The Government Staged On The Two Biggest National Holidays, Navroz, The Spring Equinox Celebration, And Independence Day. Her Analysis Of The Content, Form, And Production Of These Ceremonies Shows How Uzbekistans Cultural And Political Elites Engaged In A Highly Directed, Largely Successful Program Of Nation Building Through Culture.Adams Draws On Her Observations And Interviews Conducted With Artists, Intellectuals, And Bureaucrats Involved In The Production Of Uzbekistans National Culture. These Elites Used Globalized Cultural Forms Such As Olympicsstyle Spectacle To Showcase Local, National, And International Aspects Of Official Culture. While These Statesponsored Extravaganzas Were Intended To Be Displays Of Uzbekistans Ethnic And Civic National Identity, Adams Found That Cultural Renewal In The Decade After Uzbekistans Independence Was Not So Much A Rejection Of Soviet Power As It Was A Reappropriation Of Soviet Methods Of Control And Ideas About Culture. The Public Sphere Became More Restricted Than It Had Been In Soviet Times, Even As Sovietera Ideas About Ethnic And National Identity Paved The Way For Uzbekistan To Join A More Open Global Community.
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