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Rosenberg, co-editor of Body and Nation: The Global Realm of U.S. Scholars and general readers alike will appreciate how Victoria Phillips focuses on the era's most innovative dancer to craft her rich history of the Cold War. 'This fascinating study shows how Martha Graham wedded the art of modern dance to America's Cold War 'cultural offensive.' In a highly readable and well researched narrative, it contributes to scholarship on mid-century modernism, gender and race in Cold War politics, and the strategic and personal dilemmas presented by propaganda campaigns based on supposedly apolitical cultural messaging. Belmonte, Dean, College of Liberal Arts and Human Sciences, Virginia Tech 'Meticulously researched and impassioned, Martha Graham's Cold War is essential reading for scholars of cultural diplomacy, the Cold War, and the history of dance.' - Laura A. Grounded in interviews and primary documents, this is practitioner-oriented diplomatic history at its best.' - Institute for Public Diplomacy and Global Communication, George Washington University 'The strength of this superbly researched book lies in the voice it gives to the many diplomats, journalists, and cultural figures with first-hand knowledge of Martha Graham's four decades of cultural diplomacy. With her tours and Cold War modernism, she demonstrated the power of the individual, immigrants, republicanism, and freedom from walls and metaphorical fences through cultural diplomacy with the unfettered language of movement and dance. Phillips lays bare the side-by-side trajectories between the aging of Graham's choreography, her work as an ambassador, and the political dominance of the United States as a global power. In the Cold War, Graham's particular modernism and the woman herself ossified, as did political aims of a cultural diplomacy based on an appeal to foreign elites. She added the trope of the frontier to her repertory. But Graham took the pro-American argument one step further than her artistic compatriots. 'My dances are ages old in meaning,' she declared. When her characters grew mythic on stage, they became the stories of all mankind, as Graham termed it. Centering on powerful yet not demonstrably American female characters, the stories Graham danced seduced and captured the imaginations of elite audiences without seeming to force a determinedly American agenda.

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In her choreography, argues author Victoria Phillips, Graham recast the stories of the Western canon through female protagonists whom she captured as timeless, seemingly beyond current politics, and in so doing implied superior political and cultural values of the Free World. Graham targeted elites and its youth with modern dance to propound the 'universalism' of human rights under the banner of American democracy. Why did the State Department consistently choose Martha Graham? As with other art forms such as jazz or avant-garde paintings, modern dance was seen to demonstrate American values of individualism and freedom the choreographer used the freed body to make a new dance technique that could find the essence of human narratives. Eisenhower through Ronald Reagan, Graham performed politics in the global field for over thirty years. Representing every seated president from Dwight D. Martha Graham's Cold War frames the story of Martha Graham and her particular brand of dance modernism as pro-Western Cold War propaganda used by the United States government to promote American democracy.

Oxford Research Encyclopedias: Global Public Health.

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The European Society of Cardiology Series.

Oxford Commentaries on International Law.