Cassandra M Sciortino - UC Berkeley Extension

Cassandra M Sciortino - UC Berkeley Extension
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Cassandra M Sciortino
UC Berkeley Extension
Art
Adjunct
University of California, Berkeley
Art History
Alumna
University of California, Santa Barbara
History of Art and Architecture
Alumna
Diablo Valley College
Humanities and Philosophy
Adjunct
Management Center Innsbruck
International Business
Adjunct
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Cassandra Sciortino is an art historian who earned her B.A. in art history at the University of California, Berkeley and  her M.A. in art history from the University of California, Santa Barbara. She advanced PhD candidacy (University of California, Santa Barbara, Department of the History of Art and Architecture) with a major in  19th century British Art and a minor in 15th Century Italian Art. She wrote her Master's Thesis on the contemporary art of the Central Australian Desert Painting of the Papunya People in Australia.
She has published on the revival of fourteenth & fifteenth century Florentine art & culture in the nineteenth century from a transnational perspective; the revival of Dante in Italy & Europe in the nineteenth-century and its influence on art and conceptions of Florence (architecture, urban space and visual art);  the revival of fifteenth century Florence and French symbolist idealism; reviewed for the Journal of the Society of Architectural Historians, and collaborated and published with the Museum of Fine Arts in San Francisco (Legion of Honor), published on art as cultural diplomacy.  She was a 2 year Kress Research Fellow at the Kunsthistorisches Institut in Florence.
She has taught art history at the University of California, Santa Barbara,  Pratt Art Institute’s summer program in Lucca, Italy. She is currently teaching art history  for UC Berkeley Extension's Art & Design program; she also teaches the following courses in the Humanities Department at Diablo Valley College: The Arts & Culture of Asia; the the Multicultural American experience; The Art & Culture of the Middle Ages & Renaissance; Introduction to the Humanities: Art & Ideas. She has also taught a variety of seminars on European aesthetics, art and devotion at The Berkeley Institute.  She is a regular visiting lecturer  in Innsbruck, Austria at  MCI School of Management where she has taught European art history and art as cultural diplomacy to undergraduate and graduate students.
From 2011 to 2019 panels she created on art as cultural diplomacy were hosted by Euroacademia (Vienna) at the organization’s international conferences in Europe.
For six years she sang soprano with the Chorus Magnificat in Oakland, California and has studied and trained in the Solesmes technique of Gregorian Chant. She is currently the solo cantor at the National Shrine of Saint Francis in San Francisco. She has sung small operatic parts with the Teatro Mistral in San Francisco. She also loves to play the harp and classical flute but not professionally.
Supervisors:
Robert Williams (primary advisor until untimely death)
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Publications by Cassandra M Sciortino
Armand Point’s The Princess and the Unicorn
Paragone: Past and Present
, 2023
This article discusses the literary and visual symbolism in Armand Point’s The Princess and the U...
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This article discusses the literary and visual symbolism in Armand Point’s The Princess and the Unicorn. Point composed several versions of this mysterious legend in pastel, enamel, and bas-relief. Under the artistic influences of the medieval tapestry of the Lady and the Unicorn, the French painter Gustave Moreau, and the Italian Renaissance painter Alessandro Botticelli, Point unveils a spiritual creation that in its form, content, and medium seeks to evoke the ‘soul’ in a work of art.
“The Central Man of All The World: Dante and the Pre-Raphaelites in the Nineteenth Century," in Truth & Beauty: The Pre-Raphaelites and the Old Masters, ed. Melissa Buron (exh. cat. (Legion of Honor, San Francisco 30 June–30 September 2018).
Truth & Beauty: The Pre-Raphaelites and the Old Masters
, 2018
Armand Point’s St.Cecilia & the Painters of the Soul- Bridging Art & Life in Fin de Siècle France, Iconograzia: Rivista scientifica semestrale di scienze sociali e simbolica politica, 2018
Iconograzia: Rivista scientifica semestrale di scienze sociali e simbolica politica
, 2018
June 2015 Cassandra Sciortino review of Diana Esther, Santa Maria Nuova Ospedale dei Fiorentini: Architettura ed assistenza nella Firenze tra Settecento e Novecento, Florence: Polistampa, 2012, in Journal of the Society of Architectural Historians (vol. 74, no. 2)
"Armand Point's Eternal Chimera and Saint Cecilia: A French Quattrocento Symbolist Aesthetic" in Symbolism Its Origins and Its Consequences ed. by Rosina Neginsky (Newcastle upon Tyne: Cambridge Scholars Publishing, 2010)
The Symbolist Movement: Its Origins and Its Consequences, Cambridge Scholars Press
, Oct 1, 2010
Cultural diplomacy and Cultural Imperialism: A framework for the analysis (with C. Sciortino)
by
Dr Martina Topić-Rutherford
and
Cassandra M Sciortino
In - Topić, M.; Rodin, S. (eds.), Cultural diplomacy and Cultural Imperialism: European perspective(s), Frankfurt a. M: Peter Lang
, Sep 23, 2012
Martina Topić and Cassandra Sciortino “Cultural diplomacy and cultural imperialism: a framework for the analysis,” in Cultural diplomacy and cultural imperialism: European perspective(s)
"Book synopsis
This book aims to contribute to the debate on European cultural policy and cultur...
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"Book synopsis
This book aims to contribute to the debate on European cultural policy and cultural diplomacy as well as to fill in the gap that exists in this under-researched field. Europe is still struggling in formulating its common cultural policy that will present Europe as a united and diverse entity to the world while the EU Member States invest efforts in promoting themselves only. This volume examines individual practices in 10 selected cases while the introduction study outlines main features of the EU cultural diplomacy.
Contents
Content: Martina Topic/Cassandra Sciortino: Cultural Diplomacy and Cultural Hegemony. A Framework for the Analysis - Miklós Székely: Rebuilding History. The Political Meaning of the Hungarian Historical Pavilion at the 1900 Paris Universal Exhibition - Margarita Kefalaki: Cultural Imperialism and Cultural Communication. Example of France and Corsica - Atsuko Ichijo: Cultural Diplomacy in the Contemporary United Kingdom. The Case of the British Council - Ayhan Kaya/Ayse Tecmen: The Role of Yunus Emre Cultural Centres in Turkish Cultural Diplomacy - Laurens Runderkamp: Dutch and German International Cultural Policy in Comparison - Ovidiana Bulumac/Gabriel Sapunaru: Loosing Focus. An Outline for Romanian Cultural Diplomacy - Daniela Chàlàniova: Cultural Diplomacy and Stereotypes in Present-Day Czech-Slovak Relations Breaking with the Past? Hetero-Stereotypes of Czechs and Slovaks Twenty Years from the Velvet Divorce - Diego Albano: Italian Cultural Diplomacy. A Playboy's Diplomacy? - Alexandros Sakellariou: Greek Orthodox Church's Public Discourse. Balancing between Cultural Hegemony and Cultural Diplomacy - Martina Topic: Culture and Identity as Tools for Forging Europeanization.
About the author(s)/editor(s)
Martina Topic is a research fellow at the University of Zagreb (Croatia), currently completing a PhD in Sociology of Nationalism. She worked on several research projects including FP7 IME (2009-2012) and UNESCO' Media indicators research (2008-2009).
Sinisa Rodin is a Jean Monnet professor at the Faculty of Law, University of Zagreb. He led several research projects including Jean Monnet European Law and FP7 IME. He holds a PhD in Law and specializes in the field of the EU Law and HE.
Book review here:
Conference Presentations by Cassandra M Sciortino
2025 Charles-Marie Dulac and Maurice Denis: The Catholic Revival, Mysticism, and Monasticism in fin de siècle French Symbolism, Mysterious Symbolism in Art and Literature: the Art of Revelations, 60th International Congress on Medieval Studies Panel, May 10, 2025
2025 International Congress on Medieval Studies Session
, 2025
Medieval Mysticism and Monasticism: Symbolist Sources and Influences in the late 19th Century The...
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Medieval Mysticism and Monasticism: Symbolist Sources and Influences in the late 19th Century The Catholic Revival in nineteenth-century France-and its emphasis on devotional feeling, monastic renewal, miraculous visions, and the validity of mystical experience as a source of knowledge-was a complex source of creative inspiration for Symbolist artists, writers, and musicians. Faith based pieties and accounts of the miraculous were, by their very nature, incompatible with the positivism of the French Third Republic and so resonated with the Symbolists' rejection of it. Tracing the growth of devotional interest in St. Francis of Assisi, Italian mystic, poet and friar and the Dominican friar and mystic painter, Fra Angelico, this paper will consider how the revival of medieval Catholic mysticism and monasticism informed the pictorial work of Charles-Marie Dulac and Maurice Denis. Moved by the example of St Francis of Assisi, Dulac experienced a profound communion with nature which he sought express in a series of nine lithograph landscapes designed as a visual equivalent to Saint Francis of Assisi's Canticle of the Creatures. In 1890, he took the Third Order of St Francis and, eventually, was buried in his monk's habit. Denis' study of Fra Angelico, especially his frescoes in San Marco in Florence, would lead him to pursue lithographic and painted work which sought to evoke the mystic, visionary quality of Fra Angelico's San Marco frescoes. While both Dulac & Denis, were at various times linked to the last manifestation of Symbolism as a movement, the Artists of the Soul, both were devoutly Catholic. An analysis of the Dulac and Denis in relation to sources directly linked to their faith may shed light on a neglected area of inquiry: the cross-fertilization between modern artistic developments and the Catholic Revival in France.
Medieval Limoges enamel & Symbolist Idealism; paper presented at Western Society French History 50th Annual Conference (WSFH 50), November 14-17, San Francisco, CA in late nineteenth-century France
paper presented at Western Society French History 50th Annual Conference (WSFH 50), November 14-17, San Francisco, CA in late nineteenth-century France
, 2024
Western Society French History 50th Annual Conference (WSFH 50), November 14-17, San Francisco, ...
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Western Society French History 50th Annual Conference  (WSFH 50), November 14-17, San Francisco, CA
Cassandra Sciortino
Medieval Limoges enamel & Symbolist Idealism in late nineteenth-century France
This paper examines the sources and influences of medieval Limoges enamel as medium par excellence for French symbolist artist, Armand Point, who was acclaimed  in the last decades of the nineteenth century.  It will demonstrate that it was the establishment of the Musée Cluny and its collection of 13th century Limoges enamels which exerted an important influence on the artist.  Looking closely at several enamel box reliquaries this paper will demonstrate how the Limoges enamels from the French medieval past not only offered a resolution to the symbolist problem of expressing the material in the immaterial, but it also was invested with the power to reinvigorate French decorative art and purify it from English influence.  For example,  Camille Mauclaire reports that while Armand Point’s enamelware was a critical success when exhibited in the late 90s its sales were poor. Mauclaire’s attributes this to the trivial taste of a buying public enamored with the aesthetics of Art Nouveau:
This art [Point’s] from the masterpieces of a Cluny Museum disconcerts the Anglomania of the public conquered by the Liberty style, by the neo-Japanese trinkets of today's craftsmen… Nothing so new has been attempted in decorative art since Carriès and Gallé.
2022 L’Esposizione Beatrice women artists and feminine subjectivity in Fin de siecle Florence, Abstract
Abstracts 2022, College Art Association of America, Inc.
, 2022
In 1890 a major exhibition was held in Florence to celebrate
women’s contribution to art and cult...
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In 1890 a major exhibition was held in Florence to celebrate
women’s contribution to art and culture: L’Esposizione
Beatrice. Dedicated to women and organized on the occasion
of the sixth centenary of the death of Beatrice Portinari,
Dante’s beloved, it was an extremely controversial event and
fueled a debate about women's liberation, applied arts, and
education. The exhibition was conceived by Count Angelo de
Gubernatis, a distinguished philologist and poet, who
supported educational reforms and broadening roles of
women in Italy. The exhibition served as the feminine
counterpart to the Festa di Dante which celebrated the sixth
centenary of Dante’s birth in 1865. At mid-century Dante was
profoundly linked to Italian nationalism. Italian patriots, many
themselves in exile, sought in the long-suffering poet in exile,
a counter to post-Enlightenment gendered stereotypes of Italy
as effeminate and weak. Thirty years later much had changed
in Florence. This paper will explore how feminine subjectivity in the works of contributing artists to L’Esposizione Beatrice
and expatriate female artists working in Florence, generally,
navigate the complex dynamic between emancipation and
inspiration that comes to constellate around the figure of
Beatrice and debates around the so-called “Woman
Question.” More broadly this paper will propose that the
L’Esposizione Beatrice and the 1896 international exhibition,
Festa dei Arte e dei Fiori, suggest a broader pattern of
representing Florence and its art in ways which resonate with
particular feminine aesthetics and values underlying the form
Beatrice takes at the end of the nineteenth century.
2020: Flowers without borders: La Festa dell’arte e dei fiori in fin de siècle Florence 108th CAA Annual Conference Chicago, February 12-15, 2020 Panel: TNature in Art: Horticulture of Beauty, Love, and Poetry; Association for Textual Scholarship in Art History
Flowers without borders: La Festa dell’arte e dei fiori in fin de siècle Florence

In May 1865,...
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Flowers without borders: La Festa dell’arte e dei fiori in fin de siècle Florence
In May 1865, when Florence was crowned capital of the newly unified Kingdom of Italy, a colossal sculpture of Dante was unveiled by Enrico Pazzi in the Piazza Santa Croce. The symbolic return of the brooding, muscular poet from exile aligned to a central theme in the narrative of the Italian nation fighting for independence during the Risorgimento.  Italian patriots, many themselves in exile, called for a masculine response to the post-Enlightenment gendered stereotypes of effeminacy and feminine weakness associated with Italy’s degeneration.  These intellectuals and patriots felt the future Italian nation must be deeply rooted in standards of European nationalism, values clearly embodied in Pazzi’s muscular Dante.  Florence was destined to be capital of Italy for only five years; in September 1870 the capital was moved to Rome. Florence was faced with a traumatic reduction to the periphery in the politics of nationalism, with massive urban projects underway, such as the demolition of the ancient city walls from 1864-69, and an initial decrease in population.
This paper considers how Florence, in the decades following its loss as the new nation’s capital, came to refashion itself as a new, cosmopolitan capital of European culture. One important way the city achieved this was by drawing on the potent image of a garden of flowers which was well established in its cultural patrimony. In 1896, the Società di Belle Arti and the Società Toscana di Orticultura organized a major international exhibition that made the connection between the city’s floral patrimony, particularly as it related to the frenzied revival of Botticelli, and actual flowers:  the Festa dell’arte e dei Fiori.  Held from December 1896 to May 1897, the exhibition’s sheer size and scale in a major area in the city astonished many Florentines.  Attracting more than one hundred-thousand visitors, it stretched from the Via dei Vecchiettia and Teatina to the Piazza of San Gaetano, and a section of the Via del Campidoglio. The exhibition showed the work of 400 artists and 683 works of art.  It featured symbolist-aesthetic painting, including works by Edward Burne-Jones, George F. Watts, and Lawrence Alma-Tadema, along with major Italian symbolist painters such as, Aristide Sartorio and Telemaco Signorini, and dozens of other Florentine and Italian painters.  German symbolist painters, such as Arnold Böcklin, and French, and Belgium artists were also represented.  Attilio Formilli, sculptor,  rendered a polychrome poster of  “Flora” in homage to Botticelli’s Primavera to promote the exhibit. The importance of the exhibition rested in its intention to overcome regional and national boundaries. This paper focuses on how the image of a garden and flowers, as it crossed with art, served to facilitate a transnational cultural agenda and expression of cosmopolitan identity in Florence at the end of the nineteenth-century so contributing to the vitality of internationalism as a motivating force in modernism.
2018, Elisabeth Sonrel and fin-de-siècle feminine subjectivity: between Symbolist Idealism, and Art Nouveau, College Art Association Conference, Los Angeles (Panel: Art Nouveau: Symbolism of Beauty and Novelty ” (Association for Textural Scholarship in Art History)
Like the fate of the Symbolist Idealists in France, Elisabeth Sonrel’s work is neglected today. W...
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Like the fate of the Symbolist Idealists in France, Elisabeth Sonrel’s work is neglected today. When occasionally appearing in artist biographies, she is described as a student of Jules Lefebre under whom she studied at the Ecole des Beaux-Arts. While the technical, academic training would serve her well throughout her long career, she gravitated toward the more evocative explorations of Symbolism, particularly that of the French Symbolist Idealists.
She exhibited at the Salon des Artistes français in Paris from 1893 to 1941, especially large watercolors that drew inspiration the Florentine Quattrocento, particularly Botticelli. She was awarded a commendation in 1883, a third-class medal in 1895, and a bronze medal in 1900 at the Exposition Universelle. She also won the Henri Lehmann Prize, awarded by the Institut de France.  Her painting Le Sommeil de la Vierge (1895) was widely known through reproductions, and appeared in the Expostion Universelle in 1900 and her work was shown in Liverpool. The collections at Musée des Beaux-Arts, Mulhouse and  Musée des Beaux-Arts, Tours include her work.
Sonrel’s paintings of women, evoking a lost harmony of a past golden age, engage the subjectivity dear to her male Symbolist Idealist counterparts -- where atmospheric, dream-like, images of women intensely engage the beholder’s subjectivity by invoking indeterminate associations of beauty that invite a metaphysical encounter with a transcendent ideal. Such an ideal recalls Benjamin’s reading Baudelaire, where symbolic associations or correspondences invoke an ideal that draws modern consciousness traumatized by modern urban life toward a fleeting sense of reintegration and wholeness.
Even though her work engages these Symbolist motives, it bears the hallmarks of a distinct feminine subjectivity. Her ideal images of women do not eroticize or defeminize her figures, unlike her male counterparts. It may be this embodiment that enabled her work to move fluidly between strongly symbolist motives to the more decorative motives of art nouveau. This paper will trace how Sonrel’s pictures express feminine embodiment in late nineteenth century French Symbolism and the more international movement, Art Nouveau.
2014 (Berlin) Humboldt Universität zu Berlin: Interdisciplinary Teaching in Arts and Humanities: Art as Cultural Diplomacy
This talk presented the course I have developed, Art as Cultural Diplomacy from an interdisciplin...
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This talk presented the course I have developed, Art as Cultural Diplomacy from an interdisciplinary perspective. This interdisciplinary course brings together art history, cultural history, and public policy to examine how the arts can function as instruments of cultural diplomacy. The class relates cultural diplomacy to the changing dynamic of geopolitical power (military, economic, coercion) and the growing agency of the arts as tools of intercultural understanding and intervention. It considers how the digital revolution, social media, citizen journalism, and the 24 hour news cycle have destabilized traditional power structures (as the revolutions in the Arab world have shown) and demonstrated the growing importance of cultural diplomacy and soft power in diplomacy and foreign policy. The course looks at the agency of art as an instrument of diplomacy in a postmodern age where geopolitics and power are increasingly mobilized by image based structures of persuasion. How do art exhibitions, (contemporary and art historical) performance, film, and other expressive forms engage international concerns on a global stage and influence policy? The class will consider the issues and practical application of the arts as tools of cultural diplomacy to cultivate mutual dialogue and understanding between the people, societies and politics of countries and regions.
I. Discussion question: How to integrate methodological or theoretical approaches between the humanities, particularly art history and cultural studies and the social and political sciences.
2012 (Los Angeles) "Odilon Redon’s Profiles of Light,"Panel: Classicism, Idealism, and the Symbolist Avant-Garde CAA, Los Angeles
In 1894 Odilon Redon wrote to his friend and critic Andre Mellerio: "The good and the beautiful a...
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In 1894 Odilon Redon wrote to his friend and critic Andre Mellerio: "The good and the beautiful are in heaven. Science is on earth, it crawls." This comment coincides with the artist's move away from the motifs characterizing his charcoal Noirs through the 1880s. In 1894, in the catalog to Redon's first retrospective exhibition, Mellerio writes of Redon's "great work" which "begins with origins and ends with supreme mysticism, from Darwinian epic to Christian Martyrdom." The recent revisionary scholarship of Barbara Larson (The Dark Side of Nature: Science, Society, and the Fantastic in the Work of Odilon Redon, 2005) has complicated this telos driven interpretation and general division between science and spirituality. Her work has been widely recognized for its revisionary achievements, among which is her proposition that spiritual and scientific concepts were often closely linked.
2015 (ACLA: Univ. of Washington) The Artists of the Soul in France: between Charcot’s New Psychiatry and the Aesthetics of Mallarmé
2014 (Berlin): Art as Cultural Diplomacy II: (Re)Constructing Notions of Eastern and Western Europe (organizer & chair of panels)
28 - 29 March 2014, Berlin, Germany

(As part of the Third Euroacademia International Conferen...
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28 - 29 March 2014, Berlin, Germany
(As part of the Third Euroacademia International Conference
'Re-Inventing Eastern Europe'
Panel Chair: Cassandra Sciortino, University of California, Santa Barbara
In Inventing Eastern Europe. The Map of Civilization on the Mind of the Enlightenment, Larry Wolff deftly shows the idea of Eastern Europe to be an invention that emanated initially from the intellectual agendas of the elites of the Enlightenment and later found its peak of imaginary separation during the Cold War.  The EU enlargement was expected to make the East/West division of Europe obsolete and finally prove the non-ontological and historically contingent division of Europe and remind Europeans of the wider size of their continent and the inclusive and empowering nature of their values. Yet still, more than 20 years after the revolutions in the Central and Eastern European countries, Leon Marc (What’s So Eastern about Eastern Europe? Twenty Years After the Fall of The Berlin Wall), while arguing that the category of Eastern Europe is outdated and misleading, is still compelled to ask: ‘will Europe ever give up the need to have an East?’
The panel “Art as cultural diplomacy” seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy in Europe before and after  the Fall of the Berlin Wall.  Papers are welcome which explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide.  The panel seeks to combine a wide range of  interdisciplinary perspectives to explore how art--its various practices, history, and theory--are an important area of inquiry in the expanding field of cultural diplomacy.  Selected papers will be invited for publication in a book.  Some examples of topics include:
-        How can art serve as a neutral platform for exchange to promote dialogue and understanding between foreign states?
-        How can art, including organized festivals (i.e. film, visual art, music.), cultivate transnational identities that undermine dichotomies of East and West, and other narratives of alterity in Europe and beyond it?
-        The implications for art as an instrument of diplomacy in a postmodern age where geopolitics and power are increasingly mobilized by image based structures of persuasion
-        How has/can art facilitate cohesion between European Union member states and candidate states that effectively responds to the EU’s efforts to create “unity in diversity.”
-        The politics of mapping Europe: mental and cartographic
-        Community based art as a social practice to engage issues of European identity
-        The difference between art as cultural diplomacy and propaganda
-        The digital revolution and the emergence of social media as platforms for art to communicate across social, cultural, and national boundaries?
-        Diplomacy in the history of art in Europe and Eastern Europe
-        Artists as diplomats
-        Art history as diplomacy--exhibitions, post-colonial criticism, global art history, and other revisions to the conventional boundaries of Europe and its history of art
-        The international activity of cultural institutes
2012 (Allerton, Illinois) University of Illinois, Dante and Beatrice and the Taste for Florence in 19th Century Britain, The Symbolist Movement: Its Origins and Its Consequences, Univ. of Illinois, Allerton
2011 (New York, NY) "Quattrocento Florence, the Artist’s of the Soul, and Adorno’s Concept of Aura," CAA, New York, NY
“Quattrocento Florence, the Artist’s of the Soul, and Adorno’s Concept of Aura”

In the 1890s...
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“Quattrocento Florence, the Artist’s of the Soul, and Adorno’s Concept of Aura”
In the 1890s in France numerous symbolist painters turned to fifteenth-century Florentine art as a source of inspiration.  This tendency was influenced by the idealism of Joséphin Péladan and G.-Albert Aurier, who conceived of a soul inhabiting early Italian painting which was able to commune with the beholder.  The paper considers this concept in several paintings and drawings by Armand Point, using Theodor Adorno’s concept of auratic receptivity as an interpretative lens.  Auratic receptivity occurs for Adorno when the gaze surrenders to something ‘far away.’  A close consideration of the elements enabling this unique kind of aesthetic experience operates well to show how Point’s aesthetic “surrender” to the past was calculated to undermine materialism and positivism and to reawaken human consciousness toward a transcendent sense of integration and unity in the face of social fragmentation and alienation which were the hallmarks of urban experience in nineteenth-century Paris.
2011 (Istanbul) "Music that moves between worlds...," 2nd International Aksit Göktürk Conference, Istanbul University, Turkey
The last three decades has seen an upsurge in interest in "World Music" in European and North Ame...
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The last three decades has seen an upsurge in interest in "World Music" in European and North American culture. This development has, in many instances, interwoven with the ideology of the New Age movement. The classic definition of New Age thought is belief in the ultimate cultural evolution of human societies through the transformation of individuals. In the synergy between this ideology and a growing revival of traditional, folk, or "early music" of Europe (for example, Medieval chants, Celtic and troubadours) and non-European music(for example, Indian, Middle Eastern or South American folk music), one finds artists turning to various foundational myths to find a common thread uniting them all.
2011 (Berlin) Institute for Cultural Diplomacy: "Bridging the Gap between Art History and Cultural Diplomacy: the History of Art in a Globalized World," Institute for Cultural Diplomacy, Berlin, Germany
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