000			03392cam a2200325 a 4500
001			1670844
003			OSt
005			20220817150645.0
008			980519s1998 ctua b 001 0 eng
010			_a 98026434
020			_a081956365X
020			_a9780819563651
035			_a(OCoLC)48138711
040			_aDLC _beng _cDLC _dDLC
043			_an-us---
050	0	0	_aGV1623 _b.P72 1998
082	0	0	_221 _a792.8097309045 _bPRE
100	1		_aPrevots, Naima _d1935- _eauthor
245	1	0	_aDance for export : _bcultural diplomacy and the Cold War / _cNaima Prevots ; introduction by Eric Foner.
260			_aHanover ; _aLondon : _bWesleyan University Press ; _bPulished by University Press of New England, _c©1998.
300			_axii, 174 p. : _bill.; _c27 cm.
440			_aStudies in dance history
504			_aIncludes bibliographical references (p. 151-159) and index.
505			_tIntroduction / _rby Eric Fowler -- _tPrologue -- _tEisenhower's Fund -- _tStarting Out -- _tANTA, the Dance Panel, and Martha Graham -- _tThe Avant-Garde Conundrum -- _tBallet and Soviet-American Exchange -- _tAfrican-American Artists -- _tHow Broad a Spectrum? -- _tOn the Home Front -- _tNotes -- _tMembers of the ANTA Dance Panel.
520			_a"At the height of the Cold War in 1954, President Dwight D. Eisenhower inaugurated a program of cultural exchange that sent American dancers and other artists to political 'hot spots' overseas. This peacetime gambit by a wartime hero to win the hearts and minds of Cold War enemies was a resounding success. As a journalist in the Far East noted, tours by American artists "dispelled the notion that Americans live in a cultural wasteland peopled only with gadgets and frankfurters and aton bombs." Never before had dance, theater, and music received direct government support, and although earmarked only for tours outside the country, the funding was a godsend to cash-starved American dance companies even as it put them on the international map. Among the artists chosen for international duty were José Limón, who led his company on the first government-sponsored tour of South America; Martha Graham, whose famed ensemble criss-crossed southeast Asia; Alvin Ailey, whose company brought audiences to their feet throughout the South Pacific; and George Balanchine, whose New York City Ballet crowned its triumphant visits to Western Europe and Japan with an epoch-making tour in 1962 of the Soviet Union. The success of Eisenhower's program of cultural export led directly to the creation of the National Endowment for the Arts and Washington's Kennedy Center. As historian Eric Foner points out in his introduction, the book offers a rare, behind-the-scenes glimpse of the politics of the dance world in the 1950s. Although, the blue-ribbon Dance Panel that chose the attractions for export went out of its way to be fair, it could not escape the prejudices of the time. With its fervent belief in high art, the panel disdained popular dance forms such as tap. At the same time, it had little patience with the avant-garde work of Merce Cunningham and Alwin Nikolais that was beginning to transform modern dance." -- Book Jacket
650		0	_aDance _xPolitical aspects _zUnited States _xHistory _y20th century.
650		0	_aCultural diplomacy _zUnited States _xHistory _y20th century.
942			_2ddc _cBK
999			_c5419 _d5419