[
    {
        "id": 212533,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 87,
        "title": "RAS-1991",
        "content_text": "67\n\non a year by year basis, with events mainly related to performing arts and art exhibitions. In 1980, five performing arts groups visited the United States and two art exhibitions were launched. After a slight decline in activity in 1981, the number rose to eight events in both 1982 and 1983, taking performing arts and art exhibitions together. In the following two years, the numbers of Chinese cultural events continued to rise, though not drastically.\n\nLooking at these statistics, though not complete it is easy to see that there have been up and downs in the 15 years of Sino-American arts exchanges between 1972 and 1986, reflecting domestic political developments in both countries. In China, the years 1972-1978 were politically uncertain. The death of Zhou Enlai and Mao Zedong in 1976 and the dismissal of Deng Xiaoping led to new political disorder. After the fall of the Gang of Four in 1976, the country began to concentrate on modernization. Eventually this programme led to a loosening of the controls of Chinese political life.\n\nThe relaxation of political control started in late 1978, which was regarded both by the leadership and by a national consensus as a prerequisite to modernization, was followed by the appearance of many posters, unauthorized journals, mimeographed sheets and demonstrations, some of which expressed demands for radical changes and some of which even questioned the authority of the party leadership. This soon caused a political reassessment. Between 1978 and 1988 there were three swings from loosening political control back to more restricted policies, which were marked by reassessments beginning respectively in 1981, 1983 and 1986. Though these reassessments were politically oriented, some of them did centre on cultural issues and all of them affected China's cultural life.\n\nMeanwhile, the Sino-American intimacy of 1979 was cooled by Ronald Reagan's campaign promises to re-establish diplomatic relations with Taiwan. A strong anti-Communist, Reagan introduced into his foreign policy deep ideological prejudices in his initial years in office.\n\nBy the second half of 1983, the atmosphere of Sino-American relations began to improve, leading to Premier Zhao Ziyang's visit to the United States in January and President Reagan's tour to China in April of 1984. However, the affinity that existed around 1979 was not regained.\n\nIn this paper, I shall try to establish a framework of analysis which",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 212548,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 102,
        "title": "RAS-1991",
        "content_text": "82\n\ninternational considerations once again dominated Sino-American relations, but cultural relations this time occupied an important position. The administration saw clearly that cultural exchanges were a means towards a closer relationship. In the period 1979-1981, bilateral arts exchanges were numerous, showing the strong support of the administration for such projects. Carter personally, like Nixon, granted interviews with visiting Chinese artists and to China-bound American artists.\n\nThe framework of arts exchanges established by the Carter Administration had a far-reaching impact on the coming years. The impact was so strong that a substantial number of exchanges were still carried out when Sino-American relations were at a low ebb in the initial years of the Reagan Administration.\n\nIn the Reagan Administration, cultural relations with China were handled at a lower level of management, as compared with the Carter Administration. Furthermore, the \"spirit of U.S. generosity, high expectations, and mutual understanding\" that had informed relations during the Carter administration had yielded to narrow calculations of interest, revived ideological enmity, and mutual suspicion. Nevertheless, the function of cultural exchanges as a foreign policy instrument was essentially the same - supporting general policy objectives. As the anti-Soviet strategic theme in Sino-American relations became less urgent, the United States began to pursue long-term American interests more vigorously and arts exchanges with China became even more politicized than in the previous three administrations.\n\nIn the Reagan Administration, arts exchanges were made a channel to export to China American ideology and to consciously create a cultural imagery in China. To examine the nature of arts exchanges with China in the Reagan Administration, a good example might be an incident involving a show of modern American paintings from the Boston Museum of Fine Arts.\n\nThe art exhibition from the Boston Museum was an official exchange programme initiated to implement the accord reached in Beijing in 1979. Before the opening of the show, Chinese officials requested that 13 abstract paintings be deleted from the exhibition. The American side, headed by Charles Wick, Director of the USIA (then called the United States International Communication Agency (USICA)), responded",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 212549,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 103,
        "title": "RAS-1991",
        "content_text": "83\n\nfuriously, threatening to cancel the exhibition if the 13 paintings were banned. The opening ceremony was postponed one hour to wait for a settlement which finally came with concessions from the Chinese officials. In their speeches at the ceremony, the Americans repeatedly referred to the \"American\" principle of free artistic expression, and Huang Zhen, Commissioner for External Cultural Relation and Wick's Chinese counterpart, expressed strong reservations about the paintings.\n\nTo Wick, the exhibition was a showcase to the Chinese that in the United States, free artistic expression was a universally accepted value and artists in the United States enjoyed greater artistic freedom than in China, whose cultural policy, as it refused to accept abstractionism presented by those 13 paintings, was \"totalitarian\". Wick's hard line on this issue also implied that the United States supported those unorthodox Chinese artists and writers who were being criticized in the campaign against \"bourgeois liberalization\".\n\nWick's management of the abstract painting incident indicated that the United States government would sacrifice good relations with China to the goal of presenting American cultural imagery to the Chinese people. Arts exchanges with China were no longer an instrument to create a warm atmosphere, under which circumstance both parties would co-operate nicely when differences occurred. Putting this position in the anti-Communist background of the Reagan Administration, a theme of explicit cultural warfare seems to have raised its head.\n\nCompared with the American Government, the private sector's support for arts exchanges with China was stimulated by fewer political considerations. Private interests provided support for such projects in various forms, including the funding of organizations specializing in U.S.-China arts exchanges, such as the Center for United States-China Arts Exchange, and the funding of specific exchange projects. In the realm of U.S.-China arts exchanges, financial support is a very important factor. The exchange programmes could not be realized without such support, but such programmes normally cannot show a profit. To discuss the numerous organizations and private exchanges involved is impossible. What can be done in this paper with regard to the private sector's support of cultural exchanges is to examine closely the Center for U.S.-China Arts Exchange and to derive some conclusions from the Center's activities.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    }
]