This document discusses cultural diplomacy and international exchange through dance. It outlines dance as a human right and form of diplomacy, noting it can occur between states, institutions, and people. Motivations for cultural exchange are discussed, including national interests, artistic interests, and humanitarian goals. The history of US cultural diplomacy is summarized, from the 1930s to today. Fulbright-Hays Act of 1961 provides mandate for cultural exchange programs. Potential for dance diplomacy to promote peace through workshops and performances across communities is highlighted.

1. CULTURAL DIPLOMACY AND INTERNATIONAL
EXCHANGE
SHAWN LENT AND JONATHAN “SUPER INLIGHT” ST. CLAIR
CHICAGO DANCEMAKERS FORUM – CROSSHATCH SYMPOSIUM – NOVEMBER 9, 2019

2. DANCE AS A HUMAN RIGHT
Cultural/Artistic Rights as Human Rights
(UDHR Article 27)
Everyone has the right freely to participate in the
cultural life of the community, to enjoy the arts and to
share in scientific advancement and its benefits.
Everyone has the right to the protection of the moral
and material interests resulting from any scientific,
literary or artistic production of which he is the author.

3. DANCE AS DIPLOMACY
Tracks of Diplomacy
 1: State-to-state (cease-fires and treaties)
 2: Institution-to-institution, Leader-to-leader
(academic, religious, NGOs, and other civil society actors)
 3: People-to-people (community and grassroots)

4. MOTIVATIONS
 NATIONAL INTERESTS: increase peace –> regional stability, open
new markets for U.S. cultural products, inform and influence foreign
publics, strengthen strategic relationships, and more.
 ARTISTIC: find novel sources of inspiration, discover new ways of
working, learn from different cultural traditions, exchange ideas
with people whose worldviews differ, expand audiences/income,
and more.
 HUMANITARIAN/SPIRITUAL: connect with others, engage with
difficult issues, foster trust and mutual understanding, increase
capacity for positive change, etc (without formal political agenda).

5. MOTIVATIONS
Why do you, as an artist, want to work
across cultures and borders?
Any person who interacts with another culture facilitates a form
of cultural exchange, making artists de facto “cultural
representatives.”

6. IN HISTORY

7. U.S. CULTURAL DIPLOMACY HISTORICAL LANDMARKS
 1938 - U.S. State Department
establishes Division of Cultural Relations.
 1947 - post World War II, U.S. funds &
administers cultural exchange programs
to aid in democratizing former
adversaries Germany & Japan.
 1954 - Early Cold War Period - President
Eisenhower convinces U.S. Congress to
pass Special Emergency Fund, cultural
exchanges to battle Soviet ideology;
Limon Company travels to Latin America.
• 1956 - Jazz Diplomacy gains traction;
Dizzy Gillespie one of first musicians
sent abroad, many follow, including
Louie Armstrong and Benny Goodman.
• 1955-1961 – Katherine Dunham and
Pearl Primus considered. Georgie
Tapps selected to Africa trip.
• 1962 - Cuban Missile Crisis - New York
City Ballet tours the Soviet Union.
• 1967 - Alvin Ailey travels to ten
countries in Africa to support U.S. goal
of democratizing newly decolonized
countries.

8. U.S. CULTURAL DIPLOMACY HISTORICAL LANDMARKS
• 1991 - End of Cold War signifies end of
U.S. public & cultural diplomacy
• 2001 - September 11 attacks, military
entry into Iraq & Afghanistan, U.S.
government acknowledges precipitous
drop in favorable views of the U.S.
abroad; cultural and public diplomacy
explored to change perceptions
• 2010 - Inauguration of DanceMotion
USA, shift from one-way transmission of
ideas to promote U.S. to increased focus
on engagement & exchange
• 2015 – Company | E travels to Cuba
• 2016 – “Hardening Soft Power”
• 2018 – DanceMotion USA brings Bebe Miller
Company to Colombia and Peru, Dayton
Contemporary Dance Company to
Kazakhstan and Russia, and Ririe-
Woodbury Dance Company to South
Korea and Mongolia
• 2019 – DanceMotion USA and Next
Level on hiatus

9. MOTIVATIONS?
COLONIALIZATION
COMPETITION
COMMODITIZATION
ENGAGEMENT

10. POLICY
“An important objective for our staff in Washington and
for our colleagues in the 294 U.S. embassies and missions
around the world is to illustrate and explain the culture
and context out of which our policies arise. The official
document that provides us with the mandate, ability and
authority to conduct arts and cultural exchange programs
is the Fulbright-Hays Act of 1961, also referred to as the
Mutual Education and Cultural Exchange Act.”
Jill Staggs, Program Officer, Cultural Programs Division, U.S. Department of State

11. FULBRIGHT-HAYS ACT OF 1961
“…authorizes the Bureau of Educational and Cultural Affairs to provide, by
grant, contract or otherwise, support to the following types of cultural programs:
Visits and tours abroad by creative and performing artists from the United
States; representation by American artists and performers in international artistic
other cultural festivals, as well as participation by groups and individuals from
abroad in similar tours and festivals in the United States.
The Fulbright-Hays Act stipulates that: all programs shall maintain their
nonpolitical character and shall be balanced and representative of the
diversity of American political, social and cultural life. Academic and cultural
programs shall maintain their scholarly integrity and shall meet the highest
standards of academic excellence and artistic achievement.”

12. POTENTIAL
“Dance is especially well positioned (pun intended) for
new diplomacy efforts to lead us towards peace. Dance
workshops and performance programs are effective
diplomacy tools because they can be shaped to meet a
variety of policy objectives, reach a wide range of
audiences and create on-going relationships between
countries. An aspect of new dance diplomacy that I
especially appreciate is the progress that we have made
in reaching audiences and students from diverse
religious, economic, ethnic and disability
communities.”
Jill Staggs, Program Officer, Cultural Programs Division, U.S. Department of State

13. IN PUBLIC DIPLOMACY & PUBLIC AFFAIRS
 Bureau of Educational and Cultural Affairs (ECA)
 Bureau of International Information Programs (IIP)
 Bureau of Public Affairs (PA)
 Global Engagement Center (GEC)
 Office of Policy, Planning and Resources (R/PPR)