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Dance for Export: Cultural Diplomacy and the Cold War (Studies in Dance History), by Naima Prevots
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The story of the partnership of the performing arts and foreign policy.
- Sales Rank: #4730286 in Books
- Brand: Brand: Wesleyan
- Published on: 1999-04-16
- Original language: English
- Number of items: 1
- Dimensions: .85" h x 7.23" w x 10.33" l,
- Binding: Hardcover
- 188 pages
- Used Book in Good Condition
From Library Journal
Prevots (dance, American Univ.) has mined many previously unexamined resources in her study of the relationship between government and the arts during the 1950s. In order to strengthen strained relations with Cold War enemies, President Eisenhower initiated a program of cultural exchange. Prevots emphasizes the dance programs that were exported and reconstructs a history that takes the reader behind the scenes to congressional hearings and Dance Panel committee meetings. Her study reveals the selection and funding processes in this country and the reception and difficulties facing by touring companies like Martha Graham and the New York City Ballet when abroad. Since the success of Eisenhower's program eventually led to the creation of the National Endowment for the Arts, this volume is interesting reading in this time of severe cutbacks. The subject and academic tone, however, insure that the largest audience will be found among dance scholars and historians.AJoan Stahl, National Museum of American Art, Washington, DC
Copyright 1999 Reed Business Information, Inc.
Review
"Prevots mines the wealth of primary source documents available, from accounts of Congressional hearings and foreign service dispatches to Boston Symphony archives, to unearth a wealth of information on the creation of American cultural diplomacy through dance. Her clear, concise, and accessible book integrates appropriate historical material relating to the artists and key players which gives the text a deep contextual richness." -- Shelley C. Berg, Southern Methodist University
Review
"Prevots mines the wealth of primary source documents available, from accounts of Congressional hearings and foreign service dispatches to Boston Symphony archives, to unearth a wealth of information on the creation of American cultural diplomacy through dance. Her clear, concise, and accessible book integrates appropriate historical material relating to the artists and key players which gives the text a deep contextual richness." (Shelley C. Berg, Southern Methodist University )
Most helpful customer reviews
3 of 3 people found the following review helpful.
High Hopes
By Kevin Killian
I had high hopes for this book that it did not fulfill fully. I wrote about it briefly over at HTML Giant but I find myself returning to it and wondering what ultimately left me unsatisfied. For those of you who don't know anything about the book, Dr Naima Prevots studied the transcriptions of the Dance Panel of the President's Emergency Fund for International Affairs, an initiative of Dwight Eisenhower to use the arts as a weapon in the Cold war of the 1950s. These records had been only hastily used before if at all by previous Cold War scholars and a full length analysis of what happened should be able to tell us a lot.
Basically dance experts got together and decided which dancers and choreographers would receive money to finance foreign tours and performances. Other divisions of the Fund voted on writers, visual artists, theater companies and so on, but the Dance Panel was seen almost as the apex to the effort to depoliticize the arts in an effort to make America palatable and admirable to skeptical nations in Europe, Asia, South America and Africa.
Martha Graham got a lot of funding, even though she had been a leftist, exactly the same sort of creature that the House Un-American Affairs Committee was coming down so hard on at pretty much the same time. Prevots is most successful when she can make plain this sort of cultural schizophrenia and can link it to something within dance itself that allows for this free play of image--possibly the turn from language that dance embodies? Thus dance can be understood by non-English speakers and must have seemed especially attractive to the funders. There was also a racial element to their calculations, for America was being vilified by communist critics for its racism and lynching and resistance to social justice, so the Dance Panel could send out partially integrated dance companies, and even all black companies like Alvin Ailey's, to make the silent argument that, look, here in the USA we treat our black citizens with pride and shower them with bouquets.
Te book also shows us which dancers did not meet with the approval of the panel. In some cases, avant-garde experimentalism was downgraded because, after all, we wanted to send human beings as our ambassadors, not weird Paul Taylor dancers with movements like Lincoln Logs scattered by a child's unruly hand. And some dancers and choreographers were quietly labelled mentally or emotionally unfit to travel, while "Graham's message was universal and reached across many barriers," the author says. Where the book falls down is in the author's thorough endorsement of every one of the Panel's decisions. One chapter concludes with this sentence: "The Dance Panel was right to reject the Ballet Russe be Monte Carlo: it chose, instead, to give the world a vision of ballet that was contemporary, exciting, and made in the U.S.A."
In other words, anything that helped the US during the Cold war seems perfectly fine with Prevots, which is a shame, since we have the right to expect a little more independent analysis from such a fine researcher.
3 of 3 people found the following review helpful.
Fascinating look at dance cultural politics in the 50s and 60s
By Kailua Gypsy
This book gives an in-depth analysis of the decision-makers who played a most important role in the development of the cultural politics of dance from the 1950s into the 60s. Which companies and solo dancers/choreographers were selected for "export" and which were not set some of the standards for subsidizing for years to come. The book concentrates primarily on officially sanctioned and endorsed groups and individuals, although there were certainly many others who went abroad independently and made significant inroads into the world of international dance.
0 of 0 people found the following review helpful.
Dance as an instrument of foreign policy
By Claude Prevots
Long a champion of fine arts, Professor Naima Prevots has achieved a tour de force with this book: Dance for Export; Cultural Diplomacy and the Cold War. Here a serious scholar will find stunning reportage on many aspects of dance as a form of performing art. For this present review we can focus advantageously on three aspects: diplomacy, history, aesthetics.
In her "Prologue," Dr. Prevots sets the scene for diplomacy found in international politics during the decade shortly after the end of World War II. The Eisenhower presidency was a period early in the tension between major world powers of that era. Ideology was a matter of central concern for protagonists, the United States and the Union of Soviet Socialist Republics. An impasse of policy was seen in threat analysis focused on mutual assured destruction in nuclear warfare to temper any projection of power. We see an emergence of dance as an instrument of foreign policy for the U.S.
Excellence in writing history is measured in attention to detail as one element and here we see our author's forceful scholarship in action. Important persons in government and art are identified. Events and decisions are identified thoroughly so that we have a source book in politics and management as well as in the structure and content of dance in that era of the Cold War. We have the facts presented in a vivid and flowing style that holds a reader's attention. In this vivid integration of relevant details we have a view with results of probing analysis made coherent from disparate, less known archives.
Dr. Prevots adds to her larger achievement some aesthetic observations to give insight into dance as a form of fine art. She says of Martha Graham's Appalachian Spring: "The work was about love's joys and fears, and about the emotional confrontation between new frontiers and established boundaries." We see here a lead into thematic apperception of this art work. Later our author aptly cites a poem of Walt Whitman to take a theme of "athletic democracy" into a discussion of exporting dance from Native Americans. Dance for Export includes a splendid collection of photographs to heighten the impact of our author's panoramic perspective.
Scholars in many disciplines can learn from this distinctive work. Insights for ethics, politics, management, dance and human nature are produced in abundance. Connoisseurs of foreign policy and dance alike will find much of perennial interest in this work.
Claude Prevots
An eclectic eye
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