Abbas Naaseri / Nationality is undoubtedly one of the most significant personal attributes that define an individual. So much so that, for example, athletes with dual citizenship must choose “only” one country to represent in national teams.
In the world of cartoons, I always think of Oleg Gutsol as an example. He always signs his name and writes “Ukraine” underneath it. Once, I asked him why he does this, and he replied that he does not want to be know as a Belarusian.
Dual nationality and the back-and-forth between countries often stem from migration. However, migration itself is a complex phenomenon—an event that happens voluntarily for some and involuntarily for others, both of which can lead to either a bitter or sweet outcome.
Migration has occurred among various groups of people, for reasons ranging from education, work, and the pursuit of diversity to political asylum. One thing that is harder for me to comprehend, though, is the dual nationality of some officials, as if even they are dissatisfied with the system they have created and prefer to turn to what they consider a “better” country. Among them, there are also officials who are forced into exile.
But today’s discussion is about the migration of artists.
Migration has long been common among artists, with many leaving their homeland in search of better opportunities to achieve their artistic ambitions—ambitions they knew they could not fulfill in their home country.
Migration has long been common among artists, with many leaving their homeland in search of better opportunities to achieve their artistic ideas—ideas they knew they could not fulfill in their home country.
Now, the crucial question in my discussion today is about the participation of these artists in festivals. Is an artist who has migrated from Country A to Country B still considered a citizen of Country A?
If so, they should continue to participate in international festivals under the flag of their original country. Naturally, they should take pride in their nationality and heritage and should also participate in domestic festivals in their homeland.
However, this contradiction is difficult to accept—when an artist changes nationality and competes under the flag of their adopted country in international festivals to gain more attention and benefits, yet for domestic festivals, they revert to their original nationality to participate in events meant for residents.
Perhaps no specific law has been established on this matter yet, but as Tolstoy said, “Morality is above the law.”
Dual-nationality cartoonists use their citizenship as an advantage, switching identities based on the festival’s requirements. Whether this is right or wrong, ethical or legal, remains a paradox—and wherever a paradox exists, it signifies a dualistic approach.
Artists who once complained about the disparity in recognition between Olympic medalists and artistic achievers and considered this discrimination unethical, now, in migration, act unethically themselves. The dignity of an artist demands that they first and foremost adhere to ethical principles.
Ultimately, festival organizers should uphold this moral principle and refuse to accept that an individual can carry two flags and conveniently switch between them based on personal benefits.
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