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Taiwanese Eyes on the Modern: Cold W...

Lee, Tsung-Hsin.

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Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950?1980.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950?1980./
Author:	Lee, Tsung-Hsin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	290 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
Contained By:	Dissertations Abstracts International83-04A.
Subject:	Dance. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28730799
ISBN:	9798535576251

Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950?1980.
Lee, Tsung-Hsin.

Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950?1980. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 290 p.

Source: Dissertations Abstracts International, Volume: 83-04, Section: A.

Thesis (Ph.D.)--The Ohio State University, 2020.

This item must not be sold to any third party vendors.

This dissertation "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950-1980" examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, Jose Limon, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. Taiwanese dancers received American modern dance as representations of freedom through the dance tours under the Cold War rhetoric. By practicing modern dance of their own, Taiwanese choreographers and audience members repurposed American freedom rhetoric to resist the censorship of the White Terror in Taiwan. Since then, the idea of the modern, for the Taiwanese, has taken the name of freedom: free to explore, free to express, and free to advocate. These ideas do not only happen verbally, but also within the body. This dissertation in this sense provides a fuller picture of U.S. postwar dance diplomacy from Taiwanese perspectives than American views and also shows Taiwanese choreographers' agencies reacting to American cultural exports and fighting against the Taiwanese government's social control. This dissertation project takes a mixed approach of archival research, oral history, and performance analysis to illustrate this transnational history of American modern dance's footprint and after-life in Taiwan and the circulation of dance between East Asia and the U.S. I analyze archival documents, Taiwanese dance reviews, and news reports, as well as American modern dance pieces that toured to Taiwan, and Chinese American and Taiwanese choreographers' dance works. I situate the Taiwanese reception of American modern dance in the historical context of the Global Cold War and local society, to explore heterogeneous ideas of freedom and dance modernity that Taiwanese audiences perceived. I also display the similarities of choreographic methods and dance aesthetics circulated within these works. In this way, I connect American and Taiwanese dance histories through the global circulation of American and Taiwanese modern dance during the Cold War era.

ISBN: 9798535576251Subjects--Topical Terms:

610547
Dance.
Subjects--Index Terms:

Transnationalism

Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950?1980.
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520 $a This dissertation "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950-1980" examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, Jose Limon, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. Taiwanese dancers received American modern dance as representations of freedom through the dance tours under the Cold War rhetoric. By practicing modern dance of their own, Taiwanese choreographers and audience members repurposed American freedom rhetoric to resist the censorship of the White Terror in Taiwan. Since then, the idea of the modern, for the Taiwanese, has taken the name of freedom: free to explore, free to express, and free to advocate. These ideas do not only happen verbally, but also within the body. This dissertation in this sense provides a fuller picture of U.S. postwar dance diplomacy from Taiwanese perspectives than American views and also shows Taiwanese choreographers' agencies reacting to American cultural exports and fighting against the Taiwanese government's social control. This dissertation project takes a mixed approach of archival research, oral history, and performance analysis to illustrate this transnational history of American modern dance's footprint and after-life in Taiwan and the circulation of dance between East Asia and the U.S. I analyze archival documents, Taiwanese dance reviews, and news reports, as well as American modern dance pieces that toured to Taiwan, and Chinese American and Taiwanese choreographers' dance works. I situate the Taiwanese reception of American modern dance in the historical context of the Global Cold War and local society, to explore heterogeneous ideas of freedom and dance modernity that Taiwanese audiences perceived. I also display the similarities of choreographic methods and dance aesthetics circulated within these works. In this way, I connect American and Taiwanese dance histories through the global circulation of American and Taiwanese modern dance during the Cold War era.
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