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While the artistic level of the performances was important, balance between countries and art forms were secondary considerations. There was no "quota" of any kind.10
Active, too, in hosting American performing artists in this period was the Central Philharmonic Society of China (CPSC). From 1979 to 1981, the CPSC invited 22 American musicians to China on 11 occasions, and co-performed with them.11 Like the CPAA, CPSC's invitations were merely based on the merit of the musicians who were willing to come. The policies of the CPAA and the CPSC demonstrated China's urgent need for quality cultural performances which could help China raise her artistic level, either for prestige or for fulfilling the demand of the society for a better cultural life, at very marginal expense. Equally important, these programmes of exchanges provide an illustration of the position of international arts exchanges under the open-door policy.
This cultural opening-up was also stimulated by the establishment of closer ties with other countries to improve general relations and win better international economic co-operation. This dynamic came from the Chinese leadership, within which it was widely accepted that economic co-operation from Western countries for China's modernization programme could not be gained without solid Chinese commitments in the international community. Cultural exchanges can be taken as expressions of such commitments.
China's international cultural exchanges were conducted on the basis of bilateral ties rather than as a function of a general policy in favour of a large-scale influx of foreign culture. Throughout the years between 1972 and 1986, there was no major speech, public announcement or publicized decision in favor of any foreign cultural presence in China comparable with those regarding foreign economic relations. On the other hand, China signed 63 cultural agreements with foreign governments between 1978 and 1986. It also renegotiated more than a dozen cultural agreements in this same period, making those old agreements compatible with China's new objectives in the new era.12 More significantly, bilateral cultural exchanges were reinforced through frequent signings of implementing accords under the agreements to consolidate cultural relations.
To foster official relations through arts exchanges, two state agencies, the CPAA and the China Exhibition Agency (CEA), were established
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While the artistic level of the performances was important, balance between countries and art forms were secondary considerations. There was no "quota" of any kind.10
Active, too, in hosting American performing artists in this period was the Central Philharmonic Society of China (CPSC). From 1979 to 1981, the CPSC invited 22 American musicians to China on 11 occasions, and co-performed with them." Like the CPAA, CPSC's invitations were merely based on the merit of the musicians who were willing to come. The policies of the CPAA and the CPSC demonstrated China's urgent need for quality cultural performances which could help China raise her artistic level, either for prestige or for fulfilling the demand of the society for a better cultural life, at very marginal expense. Equally important, these programmes of exchanges provide an illustration of the position of international arts exchanges under the open-door policy.
This cultural opening-up was also stimulated by the establishment of closer ties with other countries to improve general relations and win better international economic co-operation. This dynamic came from the Chinese leadership, within which it was widely accepted that economic co-operation from Western countries for China's modernization programme could not be gained without solid Chinese commitments in the international community. Cultural exchanges can be taken as expressions of such commitments.
China's international cultural exchanges were conducted on the basis of bilateral ties rather than as a function of a general policy in favour of a large-scale influx of foreign culture. Throughout the years between 1972 and 1986, there was no major speech, public announcement or publicized decision in favor of any foreign cultural presence in China comparable with those regarding foreign economic relations. On the other hand, China signed 63 cultural agreements with foreign governments between 1978 and 1986. It also renegotiated more than a dozen cultural agreements in this same period, making those old agreements compatible with China's new objectives in the new era." More significantly, bilateral cultural exchanges were reinforced through frequent signings of implementing accords under the agreements to consolidate cultural relations.
To foster official relations through arts exchanges, two state agencies, the CPAA and the China Exhibition Agency (CEA), were established
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