Matter of Skirball Cultural Center

Cite as 25 I&N Dec. 799 (AAO 2012) Interim Decision #3752

引用为 25 I&N Dec. 799 (AAO 2012) 临时决定 #3752

Decided May 15, 2012 1

2012年5月15日决定 1

U.S. Department of Homeland Security U.S. Citizenship and Immigration Services

美国国土安全部 美国公民及移民服务局

Administrative Appeals Office

行政上诉办公室

(1) Congress did not define the term “culturally unique,” as used in section 101(a)(15)(P)(iii)oftheImmigrationandNationalityAct,8U.S.C.§1101(a)(15)(P)(iii) (2006), leaving reasonable construction of that term to the expertise of the agency charged with adjudicating P-3 nonimmigrant visa petitions.

(1) 国会未定义《移民与国籍法》第101(a)(15)(P)(iii)条、8 U.S.C.§1101(a)(15)(P)(iii)（2006年）中使用的“文化独特”一词，将该词的合理解释留给负责裁决P-3非移民签证申请的机构的专业判断。

(2) The term “culturally unique,” as defined at 8 C.F.R. § 214.2(p)(3) (2012), is not limited to traditional art forms, but may include artistic expression that is deemed to be a hybrid or fusion of more than one culture or region.

(2) 8 C.F.R. § 214.2(p)(3)（2012年）所定义的“文化独特”一词不限于传统艺术形式，可以包括被视为一种以上文化或地区混合或融合的艺术表达。

(3) As the regulatory definition provides for the cultural expression of a particular “group of persons,” the definition may apply to beneficiaries whose unique artistic expression crosses regional, ethnic, or other boundaries.

(3) 由于法规定义规定了特定“人群”的文化表达，该定义可以适用于其独特艺术表达跨越地区、族裔或其他边界的受益人。

(4) The regulatory definition of “culturally unique” calls for a case-by-case factual determination.

(4) “文化独特”的法规定义要求根据具体案件事实进行认定。

(5) The petitioner bears the burden of establishing by a preponderance of the evidence that the beneficiaries’ artistic expression, while drawing from diverse influences, is unique to an identifiable group of persons with a distinct culture; it is the weight and quality of evidence that establishes whether or not the artistic expression is “culturally unique.”

(5) 申请人负有举证责任，须以优势证据证明受益人的艺术表达虽汲取多元影响，但对具有独特文化的可识别群体而言是独特的；确立艺术表达是否“文化独特”的是证据的权重和质量。

FOR PETITIONER: Pro se

申请人：自行代理

BEFORE: Perry Rhew, Chief, Administrative Appeals Office

审理者：Perry Rhew，行政上诉办公室主任

The Director, California Service Center, recommended that the nonimmigrant visa petition be denied and certified her decision to the

加利福尼亚服务中心主任建议拒绝该非移民签证申请，并将其决定认证提交至

1 This decision was originally entered on December 19, 2009. The matter has been reopened on U.S. Citizenship andImmigrationServices’ownmotionfor the limited purpose of making editorial revisions consistent with the designation of this decision as precedent.

1 本决定最初于2009年12月19日作出。美国公民及移民服务局自行动议重新审理本事项，仅限于进行与将本决定指定为先例相一致的编辑修订。

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Cite as 25 I&N Dec. 799 (AAO 2012) Interim Decision #3752

引用为 25 I&N Dec. 799 (AAO 2012) 临时决定 #3752

Administrative Appeals Office (“AAO”) for review. The AAO will withdraw the director’s decision and approve the petition.

行政上诉办公室（“AAO”）复审。AAO将撤回主任的决定并批准该申请。

The petitioner, a museum and cultural center, filed the nonimmigrant petition seeking classification of the beneficiaries under section 101(a)(15)(P)(iii) of the Immigration and Nationality Act, 8 U.S.C. § 1101(a)(15)(P)(iii) (2006), as entertainers in a culturally unique program. The beneficiaries are musicians comprising the group known as Orquesta Kef. The petitioner seeks classification of the beneficiaries as P-3 entertainers for a period of approximately 6 weeks.

申请人是一家博物馆和文化中心，提交该非移民申请，寻求根据《移民与国籍法》第101(a)(15)(P)(iii)条、8 U.S.C.§1101(a)(15)(P)(iii)（2006年），将受益人归类为参与文化独特节目的演艺人员。受益人是组成Orquesta Kef乐队的音乐家。申请人寻求将受益人归类为P-3演艺人员，期限约为6周。

On November 10, 2009, the director recommended denial of the petition, concluding that the petitioner failed to establish that the performance of the beneficiaries is culturally unique. Specifically, the director found that the petitioner failed to meet the evidentiary requirements set forth in the regulations.

2009年11月10日，主任建议拒绝该申请，认定申请人未能证明受益人的表演具有文化独特性。具体而言，主任认定申请人未能满足法规规定的证据要求。

Because the petition involves an unusually complex or novel issue, the director certified her decision to the AAO and advised the petitioner that it had 30 days in which to submit a brief or other written statement to the AAO. See 8 C.F.R. § 103.4(a) (2012). The petitioner did not submit a brief and the record is considered complete.

由于该申请涉及异常复杂或新颖的问题，主任将其决定认证提交至AAO，并告知申请人有30天时间向AAO提交简报或其他书面陈述。参见8 C.F.R. § 103.4(a)（2012年）。申请人未提交简报，记录被视为完整。

I. THE LAW

I. 法律

Section 101(a)(15)(P)(iii) of the Act provides for classification of an alien having a foreign residence that the alien has no intention of abandoning who:

《移民与国籍法》第101(a)(15)(P)(iii)条规定，对具有外国居所且无意放弃该居所的外国人进行分类，该外国人：

(I) performs as an artist or entertainer, individually or as part of a group, or is an integral part of the performance of such a group, and

(I) 作为艺术家或演艺人员个人或作为团体的一部分进行表演，或是该团体表演不可或缺的一部分，且

(II) seeks to enter the United States temporarily and solely to perform, teach or coach as such an artist or entertainer or with such a group under a commercial or noncommercial program that is culturally unique . . . .

(II) 寻求临时进入美国，仅作为此类艺术家或演艺人员或随此类团体在具有文化独特性的商业或非商业节目下进行表演、教学或指导……

Congress did not define the term “culturally unique,” leaving construction of that term to the expertise of the agency charged with adjudicating P-3 nonimmigrant visa petitions. By regulation, the Immigration and Naturalization Service (now U.S. Citizenship and Immigration Services (“USCIS”)), defined the term at 8 C.F.R. § 214.2(p)(3) (2012): “Culturally unique means a style of artistic expression, methodology, or medium which is uniquetoaparticularcountry,nation,society,class, ethnicity, religion, tribe, or other group of persons.”

国会未定义“文化独特”一词，将该词的解释留给负责裁决P-3非移民签证申请的机构的专业判断。移民与归化局（现美国公民及移民服务局（“USCIS”））通过法规在8 C.F.R. § 214.2(p)(3)（2012年）中定义了该词：“文化独特是指对特定国家、民族、社会、阶层、族裔、宗教、部落或其他人群而言独特的艺术表达、方法或媒介风格。”

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引用为 25 I&N Dec. 799 (AAO 2012) 临时决定 #3752

The regulation at 8 C.F.R. § 214.2(p)(6)(i) further provides:

8 C.F.R. § 214.2(p)(6)(i)的法规进一步规定：

(A) A P-3 classification may be accorded to artists or entertainers, individually or as a group, coming to the United States for the purpose of developing, interpreting, representing, coaching, or teaching a unique or traditional ethnic, folk, cultural, musical, theatrical, or artistic performance or presentation.

(A) P-3分类可以授予个人或团体艺术家或演艺人员，其来美国是为了发展、诠释、代表、指导或教授独特的或传统的族裔、民间、文化、音乐、戏剧或艺术表演或展示。

(B) The artist or entertainer must be coming to the United States to participate in a cultural event or events which will further the understanding or development of his or her art form. The program may be of a commercial or noncommercial nature.

(B) 艺术家或演艺人员必须来美国参加文化事件，该事件将促进对其艺术形式的理解或发展。节目可以是商业性或非商业性的。

Finally, the regulation at 8 C.F.R. § 214.2(p)(6)(ii) states that a petition for P-3 classification shall be accompanied by:

最后，8 C.F.R. § 214.2(p)(6)(ii)的法规规定，P-3分类申请应附有：

(A) Affidavits, testimonials, or letters from recognized experts attesting to the authenticity of the alien’s or group’s skills in performing, presenting, coaching, or teaching the unique or traditional art form and giving the credentials of the expert, including the basis of his or her knowledge of the alien’s or group’s skill, or

(A) 公认专家的宣誓书、推荐书或信函，证明该外国人或团体在表演、展示、指导或教授独特或传统艺术形式方面的技能的真实性，并提供专家的资历，包括其对该外国人或团体技能了解的依据，或

(B) Documentation that the performance of the alien or group is culturally unique, as evidenced by reviews in newspapers, journals, or other published materials; and

(B) 证明该外国人或团体的表演具有文化独特性的文件，如报纸、期刊或其他出版材料中的评论；以及

(C) Evidence that all of the performances or presentations will be culturally unique events.

(C) 证明所有表演或展示都将是文化独特事件的证据。

The recordof proceeding includes the Petition for a Nonimmigrant Worker (Form I-129) and supporting documentation, a request for additional evidence (“RFE”) dated October 19, 2009, the petitioner’s response to the RFE, and the director’s certified decision dated November 10, 2009. The petitioner’s initial evidence included a written consultation from a labor organization, a written contract between the petitioner and beneficiary group, and an itinerary, as required by 8 C.F.R. § 214.2(p)(2)(ii). The director did not request additional evidence with respect to these evidentiary requirements.

审理记录包括非移民工人申请表（I-129表）及支持文件、2009年10月19日的补充证据请求（“RFE”）、申请人对RFE的回应，以及主任2009年11月10日的认证决定。申请人的初始证据包括劳工组织的书面咨询意见、申请人与受益人团体之间的书面合同，以及8 C.F.R. § 214.2(p)(2)(ii)要求的行程安排。主任未就这些证据要求请求补充证据。

II. CULTURALLY UNIQUE

II. 文化独特

The sole issue certified for review is whether the beneficiary group’s performance is culturally unique. The director acknowledged that the petitioner submitted evidence required by 8 C.F.R. § 214.2(p)(6)(ii) but found theevidenceunpersuasiveinestablishingthatthebeneficiarygroup’s“hybrid” musical style can be considered culturallyunique. Upon review, the petitioner hassubmittedsufficientevidencetoestablishthattheperformanceofOrquesta Kef is culturally unique.

认证复审的唯一问题是受益人团体的表演是否具有文化独特性。主任承认申请人提交了8 C.F.R. § 214.2(p)(6)(ii)要求的证据，但认定该证据不足以证明受益人团体的“混合”音乐风格可被视为文化独特。经复审，申请人已提交充分证据证明Orquesta Kef的表演具有文化独特性。

In a letter dated September 26, 2009, the petitioner described the beneficiarygroupanditsmusicalstyleasfollows:“Thisensembleiscomposed

在2009年9月26日的信函中，申请人描述受益人团体及其音乐风格如下：“该乐团由

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of seven musicians from Argentina, who have been performing together between 4 to 8 years and whose music blends klezmer (Jewish music of Eastern Europe) with [L]atin and South American influences.”

七名来自阿根廷的音乐家组成，他们已共同演出4至8年，其音乐融合了克莱兹默（东欧犹太音乐）与拉丁和南美的影响。”

Thepetitioneralsoincludedashortbiographyof thegroup,whichindicates that theensembleplays“traditional,classical and contemporaryJewish songs” and “brings together the emotion, passion and spirit of Jewish music.” The biography indicates that the band developed “its own and unique musical style” that is “based on the millenary force of tradition and the powerful emotion of the Jewish culture, mixed in with Latin American sounds.”

申请人还提供了该团体的简短传记，其中表明该乐团演奏“传统、古典和当代犹太歌曲”，并“汇聚了犹太音乐的情感、激情和精神”。传记表明，乐队发展了“自己独特的音乐风格”，该风格“基于传统的千年力量和犹太文化的强大情感，并混合了拉丁美洲的声音”。

The regulation at 8 C.F.R. § 214.2(p)(6)(ii) requires that the petitioner establish that the beneficiaries’ performance is culturally unique through submission of affidavits, testimonials, or letters, or through published reviews of the beneficiaries’ work. Thepetitionerhassubmittedbothtypesof evidence in support of the petition.

8 C.F.R. § 214.2(p)(6)(ii)的法规要求申请人通过提交宣誓书、推荐书或信函，或通过受益人作品的已发表评论，证明受益人的表演具有文化独特性。申请人已提交两类证据支持该申请。

A. Affidavits, Testimonials, or Letters from Recognized Experts

A. 公认专家的宣誓书、推荐书或信函

The regulation at 8 C.F.R. § 214.2(p)(6)(ii)(A) requires the petitioner to submit affidavits, testimonials, or letters from recognized experts attesting to the authenticity of the alien’s or group’s skills in performing, presenting, coaching, or teaching the unique or traditional art form and giving the credentials of the expert, including the basis of his or her knowledge of the alien’s or group’s skill.

8 C.F.R. § 214.2(p)(6)(ii)(A)的法规要求申请人提交公认专家的宣誓书、推荐书或信函，证明该外国人或团体在表演、展示、指导或教授独特或传统艺术形式方面的技能的真实性，并提供专家的资历，包括其对该外国人或团体技能了解的依据。

The petitioner provided a letter from Josh Kun, Associate Professor at the University of Southern California’s Annenberg School for Communication, who indicates that he is a scholar who teaches, researches, and publishes on both Jewish music and the music of Latin America. Professor Kun establishes that he is familiar with the beneficiary group’s body of work and states:

申请人提供了南加州大学安纳伯格传播学院副教授Josh Kun的信函，其中表明他是一位教授、研究和出版犹太音乐及拉丁美洲音乐的学者。Kun教授证明他熟悉受益人团体的作品，并表示：

This band’s uniqueness lies in their ability to fuse cultures, to use music to meld diverse elements from their native Argentine culture with the multiple musical traditions of Eastern Europe.

该乐队的独特性在于他们融合文化的能力，用音乐将他们本土阿根廷文化的多元元素与东欧的多种音乐传统融为一体。

As South Americans born to immigrant Eastern European parents, they use their music to explore their mixed identities and re-visit the musical traditions and heritages of their parents[’] families. As Argentineans, they also draw on many influences of the folkloric music of their own country which they then incorporate into a variety of klezmer forms. . . .

作为东欧移民父母所生的南美人，他们用音乐探索自己的混合身份，并重新审视父母家庭的音乐传统和遗产。作为阿根廷人，他们还汲取自己国家民间音乐的许多影响，然后将其融入各种克莱兹默形式中。……

Klezmer music is often seen as the music of a specific ethnic group of people. Yet while it originates in Eastern Europe, it is a music [of] change and transformation and has migrated to different parts of the world through the Jewish Diaspora. By mixing with the cultures and influences of the hosting countries where it lands, the music is continually re-imagined in new forms. The Argentine Jewish music

克莱兹默音乐通常被视为特定族裔群体的音乐。然而，尽管它起源于东欧，它是一种变化和转型的音乐，并通过犹太侨民迁移到世界各地。通过与所到之处的东道国文化和影响混合，这种音乐不断以新形式被重新想象。阿根廷犹太音乐

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of [the beneficiaries] is a great example of these travels and combinations. As leading exponents and innovators of South American klezmer, [the beneficiary group] is has [sic] rightfully been acclaimed as one of the world’s most interesting and important ensembles working within the new styles of klezmer music.

[受益人]的音乐是这些旅行和结合的绝佳例证。作为南美克莱兹默的主要代表和创新者，[受益人团体]理所当然地被赞誉为世界上在新风格克莱兹默音乐中最有趣和最重要的乐团之一。

The petitioner also provided a letter from Leigh Ann Hahn, Director of Programming and Associate Director of Grand Performances, in Los Angeles, California, who writes:

申请人还提供了加利福尼亚州洛杉矶Grand Performances节目总监兼副总监Leigh Ann Hahn的信函，她写道：

I have seen [the beneficiary group] perform numerous times in Buenos Aires. In addition to [the beneficiary group] being fine musicians, they embody the spirit of Jewish Argentina. I have followed their career for at least five years, and am continuously captivated by their unique sound and ability to seamlessly fuse cultural influences. Based on my considerable experience, there are no other musical groups in the world who blend klezmer with tango and Argentine folk styles, making them a singular expression of Buenos Aires’ Jewish immigrant community.

我曾在布宜诺斯艾利斯多次观看[受益人团体]的演出。 除了[受益人团体]是优秀的音乐家之外，他们还体现了阿根廷犹太人的精神。我关注他们的职业生涯至少五年了，并且不断被他们独特的声音和无缝融合文化影响的能力所吸引。根据我丰富的经验，世界上没有其他音乐团体将克莱兹梅尔与探戈和阿根廷民间风格融合在一起，使他们成为布宜诺斯艾利斯犹太移民社区的独特表达。

Finally, the petitioner submitted a letter from Dr. F. John Herbert, Executive Director of Legion Arts, who states that the beneficiary group is “internationally recognized for blending klezmer and tango with Argentine folk styles, creating a singular expression of Buenos Aires Jewish immigrant identity.” He describes the group as “outstanding representatives of the cultural traditions of Jewish Argentina, possessing a sound that’s absolutely distinctive, accompanied by a recognized ability to fuse diverse social and artistic influences.”

最后，申请人提交了Legion Arts执行主任F. John Herbert博士的一封信，他在信中表示，受益人团体“因将克莱兹梅尔和探戈与阿根廷民间风格融合而获得国际认可，创造了布宜诺斯艾利斯犹太移民身份的独特表达。” 他将该团体描述为“阿根廷犹太文化传统的杰出代表，拥有绝对独特的声音，并伴随着公认的融合不同社会和艺术影响的能力。”

B. Documentation That the Performance Is Culturally Unique

B. 证明表演具有文化独特性的文件

The regulation at 8 C.F.R. § 214.2(p)(6)(ii)(B) requires the petitioner to submit documentation that the performance of the alien or group is culturally unique, as evidenced by reviews in newspapers, journals, or other published materials.

8 C.F.R. § 214.2(p)(6)(ii)(B)的规定要求申请人提交文件，证明外国人或者团体的表演具有文化独特性，如报纸、期刊或其他出版材料中的评论所证明。

The petitioner submitted an article by Gabriel Plaza, published in the November 17, 2005, issue of La Nacion, which indicates that the beneficiary group is becoming established as “the indispensable attraction in Jewish community festivals,” and “has its own unique style with new arrangements, based on the traditional Jewish repertoire,” but “influenced by other sounds.” The article includes quotes from one of the beneficiaries, who states that the band was formed “to revive the festive spirit within the Jewish community in Argentina.” The author writes that the group “blends the vivacious festiveness of Argentine Jewish music with other rhythms that come from across Eastern Europe.” The article also discusses generally a “Balkan music phenomenon” growing in Argentina from local roots.

申请人提交了Gabriel Plaza的一篇文章，发表在2005年11月17日的《La Nacion》上，该文章表明受益人团体正逐渐成为“犹太社区节日中不可或缺的吸引力”，并且“以其独特的风格和新的编排，基于传统的犹太曲目”，但“受到其他声音的影响”。文章引用了其中一位受益人的话，他表示乐队成立是为了“复兴阿根廷犹太社区的节日精神”。作者写道，该团体“将阿根廷犹太音乐的活泼喜庆与来自东欧的其他节奏融合在一起”。文章还大致讨论了从当地根源在阿根廷发展起来的“巴尔干音乐现象”。

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The petitioner also submitted an article by Nicolas Artusi for the largest print and internet newspaper in Argentina, which features the beneficiary group among three bands that create music in Argentine Hebrew and refers to the group as the “Yiddish mom” of Argentine Jewish music. The article also speaks of an “Urban Passover” occurring on the streets of Argentina “where the religious celebration is brought to the city’s main square.”

申请人还提交了Nicolas Artusi为阿根廷最大的印刷和网络报纸撰写的一篇文章，该文章将受益人团体列为用阿根廷希伯来语创作音乐的三支乐队之一，并将该团体称为阿根廷犹太音乐的“意第绪妈妈”。文章还谈到在阿根廷街头发生的“城市逾越节”，“宗教庆祝活动被带到城市的主要广场”。

Finally, the petitioner submitted a review of the beneficiaries’ 2004 album, “Música Judía” by Ari Davidow, for a specialized website that follows klezmer music. Mr. Davidow describes the group’s music as “modern Yeshivish” with “the simplicity and excitement of rock and roll.” He distinguishes the music from “American post-revival klezmer” and notes that it includes older Israeli dance songs and music from modern Orthodox artists.

最后，申请人提交了Ari Davidow对受益人2004年专辑“Música Judía”的评论，该评论发布在一个关注克莱兹梅尔音乐的专门网站上。Davidow先生将乐队的音乐描述为“现代Yeshivish”，具有“摇滚乐的简单性和兴奋感”。他将这种音乐与“美国复兴后的克莱兹梅尔”区分开来，并指出它包括古老的以色列舞蹈歌曲和现代正统艺术家的音乐。

In her decision, the director acknowledged and included quotations from all of the submitted expert opinion letters and published materials, and reached the following conclusion:

在她的决定中，主任承认并引用了所有提交的专家意见信和出版材料，并得出以下结论：

The evidence repeatedly suggests that the group performs a hybrid or fusion style of music, incorporating musical styles from other cultures and regions. A hybrid or fusion style of music cannot be considered culturally unique to one particular country, nation, society, class, ethnicity, religion, tribe, or other group of persons. The beneficiaries’ performance does not evince a style of artistic expression, methodology, or medium which is considered unique to a particular country, nation, society, class, ethnicity, tribe or other group of persons. The performances must be demonstrated to be socially or regionally different or distinct and the evidence of record does not support that.

证据反复表明，该团体表演的是一种混合或融合风格的音乐，融合了来自其他文化和地区的音乐风格。混合或融合风格的音乐不能被视为对某一特定国家、民族、社会、阶级、种族、宗教、部落或其他人群具有文化独特性。受益人的表演并未表现出一种被认为对特定国家、民族、社会、阶级、种族、部落或其他人群独特的艺术表达、方法或媒介风格。必须证明表演在社会或区域上不同或独特，而记录中的证据并不支持这一点。

Although the director selected quotations from all of the above-referenced evidence, she declined to comment specifically on any one piece of evidence, other than noting that Mr. Davidow’s review of the beneficiary group’s album “fails to even mention that the group’s music is considered culturally unique to the Jewish Argentine community.”

尽管主任从上述所有证据中选取了引文，但她拒绝具体评论任何一项证据，只是指出Davidow先生对受益人团体专辑的评论“甚至没有提到该团体的音乐被认为对犹太阿根廷社区具有文化独特性”。

For these reasons, the director recommended denial of the petition.

基于这些原因，主任建议拒绝申请。

III. ANALYSIS

III. 分析

Upon review, the director’s reasoning is not supported by the record. The regulations define “culturally unique” as a style of artistic expression, methodology, or medium which is unique to a particular country, nation, society, class, ethnicity, religion, tribe or other group of persons. 8 C.F.R. § 214.2(p)(3). The AAO can find no justification for the director’s

经审查，主任的推理没有记录支持。法规将“文化独特性”定义为对特定国家、民族、社会、阶级、种族、宗教、部落或其他人群独特的艺术表达、方法或媒介风格。8 C.F.R. § 214.2(p)(3)。AAO找不到主任将源自一种以上文化或地区的艺术风格或传统的混合或融合的独特艺术表达排除在这一定义之外的正当理由。

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exclusion from this definition of a distinct artistic expression that is derived from a hybrid or fusion of artistic styles or traditions from more than one culture or region.

相反，法规定义允许其适用于未指定的“人群”，这为独特艺术表达跨越区域、种族或其他边界的受益人提供了空间。虽然艺术表达风格必须专属于可识别的人群或领土才能符合法规，但“文化”的概念不是静态的，必须允许随时间推移和跨越地理边界进行适应或转变。“人群”一词赋予法规定义很大的灵活性，并允许独特亚文化的出现。此外，“文化独特性”法规定义的性质要求USCIS根据机构的专业知识和自由裁量权进行逐案事实认定。当然，申请人承担举证责任，以优势证据证明受益人的艺术表达，尽管汲取了多种影响，但对具有独特文化的可识别人群是独特的。为了确定受益人的艺术表达是否独特，主任必须审查每一项证据的相关性、证明价值和可信度，无论是单独审查还是在整个记录的背景下审查。Matter of Chawathe, 25 I&N Dec. 369, 376 (AAO 2010)。

Rather, the fact that the regulatory definition allows its application to an unspecified “group of persons” makes allowances for beneficiaries whose unique artistic expression crosses regional, ethnic, or other boundaries. While a style of artistic expression must be exclusive to an identifiable people or territory to qualify under the regulations, the idea of “culture” is not static and must allow for adaptation or transformation over time and across geographic boundaries. The term “group of persons” gives the regulatory definition a great deal of flexibility and allows for the emergence of distinct subcultures. Furthermore, the nature of the regulatorydefinition of “culturally unique” requires USCIS to make a case-by-case factual determination based on the agency’s expertise and discretion. Of course, the petitioner bears the burden of establishing by a preponderance of the evidence that the beneficiaries’ artistic expression, while drawing from diverse influences, is unique to an identifiable group of persons with a distinct culture. To determine whether the beneficiaries’ artistic expression is unique, the director must examine each piece of evidence for relevance, probative value, and credibility, both individually and within the context of the entire record. Matter of Chawathe, 25 I&N Dec. 369, 376 (AAO 2010).

相反，监管定义允许将其适用于未指明的“一群人”，这为那些独特艺术表达跨越地域、族裔或其他边界的受益人提供了空间。虽然一种艺术表达风格必须专属于可识别的民族或领土，才能符合该规定，但“文化”的概念并非静止不变，必须允许随时间推移和跨越地理边界而发生适应或转变。“一群人”一词赋予监管定义极大的灵活性，并允许独特亚文化的出现。此外，“文化独特”这一监管定义的性质要求USCIS根据该机构的专业知识和自由裁量权，逐案作出事实认定。当然，申请人负有以优势证据证明受益人艺术表达虽汲取多元影响，但专属于具有独特文化的可识别群体的责任。 为判定受益人的艺术表达是否独特，主任必须审查每一项证据的相关性、证明价值和可信度，既单独审查，也在整个记录背景下审查。Matter of Chawathe, 25 I&N Dec. 369, 376 (AAO 2010)。

The director’s decision failed to note that the beneficiary group is a klezmer band and seemed to struggle to identify the nature of the group’s musical performance, focusing instead on the group’s musical influences. Here, the evidence establishes that the beneficiaries’ music is, first and foremost, Jewish klezmer music that has been uniquely fused with traditional Argentine musical styles.

AAO认为Kun教授的专家意见特别有说服力，因为他解释说，克莱兹梅尔音乐虽然通常与犹太民族相关，但是一种已经迁移并不断与其他文化混合和受其影响的艺术形式。他还解释了受益人作为东欧移民的南美出生者，如何受到两种文化的影响，创造出新的和独特的体验。所有三封意见信都承认存在一种独特的犹太阿根廷文化和身份，这在受益人团体的音乐中表达出来，并认为受益人团体是“南美克莱兹梅尔的领先代表和创新者”。

The AAO finds the expert opinion of Professor Kun particularly persuasive, because he explains that klezmer music, while often associated with ethnically Jewish people, is an artistic form that has migrated and is continually mixed with and influenced by other cultures. He also explains how the beneficiaries, as South Americans born to Eastern European immigrants, came to be influenced by both cultures to create something new and unique to their experience. All three opinion letters recognize the existence of a distinct Jewish Argentine culture and identity that is expressed in the beneficiary group’s music and opine that the beneficiary group is a “leading exponent and innovator of South American klezmer.”

8 C.F.R. § 214.2(p)(6)(ii)(A)的规定特别允许申请人提交公认专家的宣誓书、推荐信或信件，证明团体表演了文化独特的艺术形式。如果专家意见信与记录中的其他信息不一致或在任何方面有问题，USCIS可以拒绝该信或给予较少的权重。Matter of Caron Int’l, Inc., 19 I&N Dec. 791, 795 (Comm’r 1988)。在本案中，主任没有质疑专家的资格，没有对他们的团体音乐技能知识提出异议，也没有找到怀疑其证词真实性的理由。AAO认为无争议的证词对争议的具体事实是可靠、相关和有证明力的。因此，专家证词满足8 C.F.R. § 214.2(p)(6)(ii)(A)的证据要求。

The regulation at 8 C.F.R. § 214.2(p)(6)(ii)(A) specifically permits the petitioner to submit affidavits, testimonials, or letters from recognized experts attesting to the group’s performance of a culturally unique art form. USCIS may reject an expert opinion letter, or give it less weight, if it is not in accord

8 C.F.R. § 214.2(p)(6)(ii)(A) 的法规特别允许申请人提交由公认专家出具的宣誓书、推荐信或信函，证明该团体表演了一种文化上独特的艺术形式。如果专家意见函不符合规定，USCIS可以拒绝该函，或给予其较低的权重。

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with other information in the record or if it is in any way questionable. Matter of Caron Int’l, Inc., 19 I&N Dec. 791, 795 (Comm’r 1988). In the present matter, the director did not question the credentials of the experts, take issue with their knowledge of the group’s musical skills, or otherwise find reason to doubt the veracity of their testimony. The AAO finds the uncontroverted testimonyto be reliable, relevant, and probative as to the specific facts in issue. Accordingly, the expert testimony satisfies the evidentiary requirement at 8 C.F.R. § 214.2(p)(6)(ii)(A).

与记录中的其他信息不一致或在任何方面有问题。Matter of Caron Int’l, Inc., 19 I&N Dec. 791, 795 (Comm’r 1988)。在本案中，主任没有质疑专家的资格，没有对他们的团体音乐技能知识提出异议，也没有找到怀疑其证词真实性的理由。AAO认为无争议的证词对争议的具体事实是可靠、相关和有证明力的。因此，专家证词满足8 C.F.R. § 214.2(p)(6)(ii)(A)的证据要求。

Furthermore, the published articles submitted recognize a musical movement in Argentina that fuses Argentine styles with influences from Jewish music and other Eastern European styles. The articles and opinion letters place the beneficiary group directly at the forefront of this trend. Although the director highlighted references to “rock and roll” and other external influences on the beneficiaries’ music, the evidence as a whole establishes that the beneficiaries’ audience is a Jewish audience. There is nothing in the record to suggest that the beneficiary group is recognized in any circle as a mainstream rock band.

此外，提交的已发表文章承认阿根廷存在一种音乐运动，将阿根廷风格与犹太音乐和其他东欧风格的影响融合在一起。文章和意见信将受益人团体直接置于这一趋势的最前沿。尽管主任强调了受益人音乐中“摇滚乐”和其他外部影响的提及，但整体证据表明受益人的观众是犹太观众。记录中没有任何内容表明受益人团体在任何圈子中被认为是主流摇滚乐队。

IV. CONCLUSION

IV. 结论

The regulations do not require that an art form be “traditional” in order to qualify as culturally unique. Here, the AAO finds the expert testimony and the corroborating evidence to be relevant, probative, and credible. The petitioner has established by a preponderance of the evidence that the modern South American klezmer music performed by the beneficiary group is representative of the Jewish culture of the beneficiaries’ home country of Argentina. Accordingly, the group’s musical performance falls within the regulatory definition of culturally unique.

法规不要求艺术形式是“传统的”才能符合文化独特性。在这里，AAO认为专家证词和佐证证据是相关、有证明力和可信的。申请人以优势证据证明受益人团体表演的现代南美克莱兹梅尔音乐代表了受益人祖国阿根廷的犹太文化。因此，该团体的音乐表演属于文化独特性的法规定义。

Finally, the petitioner has submitted an itinerary indicating that the beneficiary group will be performing its culturally unique music at Jewish cultural centers and temples during its short United States tour. The AAO is satisfied that the group’s performances will be culturally unique events, as required by 8 C.F.R. § 214.2(p)(6)(ii)(C).

最后，申请人提交了一份行程表，表明受益人团体将在其短暂的美国巡演期间在犹太文化中心和寺庙表演其文化独特的音乐。AAO确信该团体的表演将是文化独特的活动，符合8 C.F.R. § 214.2(p)(6)(ii)(C)的要求。

Invisapetitionproceedings,theburden of provingeligibilityforthebenefit sought remains entirely with the petitioner. Section 291 of the Act, 8 U.S.C. § 1362 (2006). Here, that burden has been met.

在签证申请程序中，证明寻求福利资格的责任完全由申请人承担。法案第291条，8 U.S.C. § 1362 (2006)。在这里，该责任已经履行。

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