351. Dancing in the Battle for the Mantle of the Politically “Modern”: An Interview with Victoria Philips
- Author:
- Victoria Philips and Daniel R. Quiroga-Villamarín
- Publication Date:
- 11-2022
- Content Type:
- Commentary and Analysis
- Institution:
- The Toynbee Prize Foundation
- Abstract:
- “It is that we continue to live as if this were the 20th century, even though we have formally moved to the 21st century,” lamented the former Bolshoi prima Ballerina Olga Smirnova as she announced her decision to defect to the Netherlands. I had just finished reading Victoria Philips’s monograph Martha Graham’s Cold War: The Dance of American Diplomacy (Oxford University Press, 2020) when I read Smirnova’s statement. In her innovative monograph, Philips places Smirnova’s decision in a longer history of moments where “[c]ulture met political aims, as private met public needs, and apolitical ideology served politics” (p. 2). Smirnova’s statement rests on the fact that her cri de paix situates itself above the political quagmire, in the higher realm of the arts—for the artist, as Philips notes, derives “deep political import” from her “claim to be apolitical” (p. 223). Philips provides us in this recent book with an innovative and relevant example of this “politics of antipolitics”: the life and works of Martha Graham. Through a carefully knitted narrative that spans decades of touring, Philips provides us with a detailed account of the role that the “Highest Priestess of Modern Dance in America” played during the Cold War. Drawing from archival sources all around the world, Philips captures the paradoxes, tensions, and contradictions that surrounded Graham’s involvement in a series of dance tours around the world in which she served as an emissary of Unitedstatesean soft power, in the midst of a international struggle for the mantle of political modernity. Indeed, just like Smirnova, Graham’s project was deeply anchored in a modernist understanding of time. But as Philips shows, the promise of modernity was full of ambiguities and ambivalence. Graham’s modernist dance was, at the same time, sacral and secular. It embraced womanhood but shunned organized female emancipation, or feminism. More dramatically, it elevated individualism but depended on the support of the state. Aesthetically, it claimed to represent abstract universal experiences but also purported to capture the particularity of Unitedstatesean (and even non-Western) cultural forms. As we saw above, it was politically antipolitical—and the list goes on. In our days, as Smirnova reminds us, the battle over the plural meanings of the “modern” is far from over. Perhaps, in that sense, we are all still living as if this were the 20th century. In our conversation, we explore what Professor Phillip’s book reveals about the ghosts of the Cold War and their claims to modernity that still haunt our political and aesthetical imaginaries.
- Topic:
- Cold War, Politics, History, Culture, Interview, and Dance
- Political Geography:
- North America and United States of America