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2 results

  • Chapter 1 - Censorship as Cultural Production

  • from Part I - Gender
  • Edited by David O'Shaughnessy, University of Galway
  • Book:
    The Censorship of Eighteenth-Century Theatre
    Published online:
    03 August 2023
    Print publication:
    17 August 2023, pp 33-51

  • Summary

    Christopher Smart’s drag orations as Mary Midnight were enabled by burgeoning British social policy legislation combined with widespread cultural aspirations for creating an educated British public through public oratory. Ironically, the state censorship enacted in the 1752 Public Entertainments Act, which sought to limit public performances outside the licensed London theatres, created conditions that enabled Smart’s innovative attempts at entertaining—and therefore creating—a public unified across class and gender differences through a mixture of humor, erudition, dance, and music, among other forms of performances (including trained dog and monkey acts). The case of Smart’s Mary Midnight is key to understanding the achievements and limits of a British urban entertainment industry in the mid eighteenth century that was dedicated to creating a civil public sphere, as well as making money.

  • Dance Returns to American Cultural Diplomacy: The U.S. State Department's 2003 Dance Residency Program and Its After Effects

  • Clare Croft
  • Journal:
    Dance Research Journal / Volume 45 / Issue 1 / April 2013
    Published online by Cambridge University Press:
    03 December 2012, pp. 23-39
    Print publication:
    April 2013

  • By focusing on a 2003 dance residency program sponsored by the U.S. State Department, this article locates twenty-first century American cultural diplomacy in a post-9/11 political context. The article focuses specifically on collaboration between San Francisco–based Margaret Jenkins Dance Company and Kolkata, India–based Tansuree Shankar Dance, which grew from the 2003 residency, to consider how artists find ways to facilitate cultural diplomacy that might be a blueprint for future American cultural diplomacy efforts. The article also addresses, however, the limits of that collaboration—limits that highlight the central tension of American cultural diplomacy: a desire to build relationships of so-called “mutual understanding” while also forwarding American national interests.