A PLACE FOR DANCE IN NEW DIPLOMACY AND PEACEJUNIOUS BRICKHOUSE, SHAWN LENT, JILL STAGGS, STACIE WILLIAMSNATIONAL DANCE EDUCATION ORGANIZATION CONFERENCE – OCTOBER 9, 2016

IN PRACTICE

IN THEORY Dance Intervention relative to needs/assets of a certain time, place,

population Philosopher Richard Shusterman coined the term “somaesthetics” which

provides the beginning of a new matrix for a positive body consciousness and “essential element in the philosophy of nonviolence and the quest for less violence against bodies” (Fitz-Gibbon, 2012).

Phenomenologist Maurice Merleau-Ponty adds a theoretical perspective, “The body is not only the crucial source of all perception and action but also the core of our expressive capability and thus the ground of all language and meaning” (Merleau-Ponty, 1962).

IN PRACTICE

IN THEORY Being at war. Children know war (Hakvoort, 1996) (McLernon & Cairns, 2001). What is peace? How is it made? somatic awareness, social identity salience,

spontaneity, physical expression, positive mood/less anxiety, sense of security/less threat, release of inhibitions, reduction of defensiveness and prejudice, and physical trust and interaction (direct participants and extended community, incl. virtual).

Intergroup contact is thought to decrease prejudice through several psychological mechanisms including increased empathy toward outgroup members, decreased intergroup anxiety, and enhanced knowledge of the out-group (Pettigrew & Tropp, 2006).

Inclusion strategies for religiously conservative dancers (upcoming JODE).

IN PRACTICE

IN PRACTICE

IN PRACTICE

IN THEORYPartner not Expert – collaborate in change for a healthier ecosystemShort-term has much value when it is designed for long-term goals.Social Practice Artist/Activist/Catalyst not Community-BasedTrack 3 diplomacy is defined as, “people-to-people diplomacy

undertaken by individuals and private groups to encourage interaction and understanding between hostile communities and involving awareness raising and empowerment within these communities” (Snodderly, 2011).

IN HISTORY

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

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; Revelations performed  

• 1991 - End of Cold War signifies end of U.S. public & cultural diplomacy

• 2001 - September 11 attacks, 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 Dance Diplomacy

• 2015 – Company E travels to Cuba

IN PRACTICE

IN REFLECTION"In 2013 I was a member of DanceMotion USA’s cultural exchange to South Asia. I’d toured extensively before, but my experience with DMUSA provided a platform for authentic and moving interactions which deeply impacted my work as an artist and importantly, as an engaged citizen. The focus on dance education and two-way exchange was key – not simply presenting our work and assuming it spoke for itself, but utilizing our time to work with and learn from one another. I saw first-hand the power of engagement through dance and began to understand the great responsibility which we as artists and representatives of the United States must carry. Just as one plans a class and rehearses for a performance, taking the time to begin to understand this new environment – the culture, the politics – made for an enriched experience and paved the way for an honest exchange of ideas." - Stacie Williams

IN PRACTICE

IN PRACTICE

IN PUBLIC DIPLOMACY & PUBLIC AFFAIRSBureau 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)

IN PRACTICE

IN PRACTICE

IN PRACTICE

IN MOVEMENT

IN DISCUSSIONWhat could be the role of dance educators in

diplomatic and peace initiatives 2017-2027? How does their work compliment (or contrast) with

that of touring dance companies, dance therapists, movement analysts, scholars/archaeologists, etc?

What competencies, values and awareness do American dance educators need to do this work effectively?

IN CONCLUSION

IN TOUCHShawn Lent (Chicago): createquity.com, shawnlent.com

Junious “House” Brickhouse (DC): urbanartistry.com

US Department of State: Exchanges.state.govEducationUSA.state.govDanceMotionUSA.orgPartners/Programs through Fulbright, IIE, USAID,

and more.