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Key to winning the “battle for the hearts and minds” of America’s ideological adversaries in this Cold War affair wasn’t the patriotic narrative of an epic dance spectacle (as in some other pieces by Graham, such as ), but those characteristics of American modern dance that epitomised “freedom”, a quality meant to distinguish American from Soviet culture by emphasising the “individual” and the “real”, reified in bodies expressing emotion in movement.Local critics grappled with words to describe the vehement approval of Graham’s audiences: “calmness to motion, motion to serenity…“Artistes like Miss Graham can very effectively contribute towards international goodwill and therefore they are a potent force for peace”, Burma’s Prime Minister U Nu stated.The likewise commented that “in introducing us to this other face of her great country, Miss Graham is visibly raising Indo-U. relations to a higher level” (Prevots 1998, 50‒51).Obviously, such affects are at odds with the manifest notions of war: conflict, violence, destruction, and death.But there is yet another element to the seeming opposition between the Western art of dance and war, which further problematises their conjunction, making it seem less categorically an oxymoron.Martin, Memes, and Sanaa Lathan: @the Now Repost from @theblaquelioness Sanaa Lathan with her father, Stan Lathan.❤ ➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖ "Stan Lathan has directed many episodes of Sanford & Son, Hill Street Blues, Miami Vice, Cagney & Lacey, Frank’s Place, Roc and others. He partnered with Russell Simmons to produce Def Comedy Jams and the list goes on and on.
praised her dance for its cultural-diplomacy efforts with much enthusiasm.
And, in order to specify the field and motivation of such an enquiry, can we ask: which dance, which war?
In what sense should one consider those terms and how might they reciprocally determine each other?
those two and a half hours gave whole audience deep emotion” in a choreography that “celebrates the beauty and reality of the human body, even as it claws deep into the human heart” (Japanese and Malaysian critics, quoted in Prevots 1998, 48‒49). Not “War-dance” This story about a deployment of American modern dance as an instrument of ideological propaganda, ostensibly for peace-making purposes, but in fact merely as another form of the struggle for hegemony and influence in a world divided by the Cold War, is the starting point of my enquiry.
What terms and relations does the conjunction of dance and war, as it were, throughout the 20 century invoke?