themselves’ (Zolov, 2004:169). The awarding of the 1968 Games to Mexico City was not an uncontroversial decision. Domestically questions were raised about the appropriateness of spending significant sums of money on staging the Olympics in a country with ‘pressing rural and urban development needs’ (Zolov, 2004:168). While the Games were impacted by ongoing political and social unrest, the authorities nevertheless succeeded in leveraging the event as a cultural showcase for a ‘new’ Mexico and, in so doing, shifting the international narrative surrounding the country away from the ‘mañana’ discourse and towards one of ‘a fundamental confidence in the nation’s material accomplishments and sense of cosmopolitan belonging’ (Zolov, 2004:2). The Cultural Olympiad helped to achieve this, utilising ‘bright, psychedelic colours [to] recast perceptions of the Olympic organisation in a more forgiving light’ (Zolov, 2004:181). The Op Art inspired Olympic logo symbolised this intent, ‘invok[ing] the nations indigenous cultural heritage while epitomising Mexico’s cosmopolitan aspirations’ (Zolov, 2004:172). Further, a number of elements considered as important for the success of the Cultural Olympiad are identified:
The iconic use of the peace dove and other references to Mexico’s self-described role as a ‘peace maker in international affairs’
Elaboration and dissemination of an official logo that conveyed a cosmopolitan ‘forwardlooking’ sensibility via an op art aesthetic
Highlighted presence of women in central aspects of Olympic promotion
Elaborate staging of folkloric performances […] highlighting Mexico’s cultural ‘authenticity’ while underscoring […] unique commitment to racial and ethnic harmony
Liberal use of bright colours in general, thus reinforcing a popular association with Mexico as a ‘festive and exotic’ land (Zolov, 2004:169-70)
These foci demonstrate a context specific – and ultimately very effective – amalgamation of national interest with the platform and presentational opportunity provided by the occasion on the Olympic Games. Thus, while many more recent Cultural Olympiads have struggled to strike a balance between these interests, the Mexican case offers an example of the successful negotiation of this conundrum, with the result that the global perception of the country as significantly recast.
4.0 International Festivals and Capital (s) of Culture
Another sphere of activity that can be included within the domain of showcasing is the European (and now UK) Capital of Culture initiative. Begun in 1985, this competition was introduced to highlight the richness and diversity of culture in Europe; celebrate the cultural features that
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