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Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.

Amanda Rogers Orcid Logo

Transactions of the Institute of British Geographers, Volume: 48, Issue: 2

Swansea University Author: Amanda Rogers Orcid Logo

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DOI (Published version): 10.1111/tran.12591

Abstract

This paper examines the relationship between performance and diplomacy during the 1990 Cambodian National Dance Company Tour to the UK. The tour stemmed from Oxfam UK’s Kampuchea Campaign which attempted to restore bilateral aid to the State of Cambodia by pushing for international recognition and a...

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Published in: Transactions of the Institute of British Geographers
ISSN: 0020-2754 1475-5661
Published: Wiley 2022
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URI: https://cronfa.swan.ac.uk/Record/cronfa61870
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last_indexed 2024-11-14T12:19:53Z
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spelling 2023-06-12T16:42:18.0391622 v2 61870 2022-11-10 Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K. 5ddde1ecc99923098fd92c797ee0020b 0000-0002-0454-8183 Amanda Rogers Amanda Rogers true false 2022-11-10 BGPS This paper examines the relationship between performance and diplomacy during the 1990 Cambodian National Dance Company Tour to the UK. The tour stemmed from Oxfam UK’s Kampuchea Campaign which attempted to restore bilateral aid to the State of Cambodia by pushing for international recognition and a brokered peace settlement. Contributing to geographical work on diplomacy, the paper examines the different agents involved in the tour and their response to the dancers as diplomatic actors, examining the different types of performance in operation and their relationship to diplomacy. Dance was often oriented towards geopolitical ends, but there were also moments when dancers used their artistic performances to open up new modes of subjectivity and identity. The paper attends to these experiences and to how the dancers’ actions extend existing conceptions of diplomatic subjectivity by considering vulnerability. In examining these dynamics, the paper also contributes to research on art and geopolitics, both through its diplomatic focus and its analysis of how diplomatic and creative practices were intertwined through an aesthetic of quietness. It thus attends to how geopolitical aesthetics matter, and how, in this instance, quiet aesthetics were a mark of international disempowerment. Journal Article Transactions of the Institute of British Geographers 48 2 Wiley 0020-2754 1475-5661 11 11 2022 2022-11-11 10.1111/tran.12591 COLLEGE NANME Biosciences Geography and Physics School COLLEGE CODE BGPS Swansea University British Academy, Leverhulme Trust 2023-06-12T16:42:18.0391622 2022-11-10T09:19:09.5830649 Faculty of Science and Engineering School of Biosciences, Geography and Physics - Geography Amanda Rogers 0000-0002-0454-8183 1 61870__25912__a8d51f2f80874ec29428a87da5df2323.pdf 61870.pdf 2022-11-25T14:22:46.4977939 Output 250755 application/pdf Accepted Manuscript true 2024-11-11T00:00:00.0000000 true eng
title Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
spellingShingle Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
Amanda Rogers
title_short Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
title_full Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
title_fullStr Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
title_full_unstemmed Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
title_sort Dancers as Diplomats? Quiet diplomacy and post‐conflict geopolitics in the 1990 Cambodian National Dance Company Tour to the U.K.
author_id_str_mv 5ddde1ecc99923098fd92c797ee0020b
author_id_fullname_str_mv 5ddde1ecc99923098fd92c797ee0020b_***_Amanda Rogers
author Amanda Rogers
author2 Amanda Rogers
format Journal article
container_title Transactions of the Institute of British Geographers
container_volume 48
container_issue 2
publishDate 2022
institution Swansea University
issn 0020-2754
1475-5661
doi_str_mv 10.1111/tran.12591
publisher Wiley
college_str Faculty of Science and Engineering
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hierarchy_top_id facultyofscienceandengineering
hierarchy_top_title Faculty of Science and Engineering
hierarchy_parent_id facultyofscienceandengineering
hierarchy_parent_title Faculty of Science and Engineering
department_str School of Biosciences, Geography and Physics - Geography{{{_:::_}}}Faculty of Science and Engineering{{{_:::_}}}School of Biosciences, Geography and Physics - Geography
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description This paper examines the relationship between performance and diplomacy during the 1990 Cambodian National Dance Company Tour to the UK. The tour stemmed from Oxfam UK’s Kampuchea Campaign which attempted to restore bilateral aid to the State of Cambodia by pushing for international recognition and a brokered peace settlement. Contributing to geographical work on diplomacy, the paper examines the different agents involved in the tour and their response to the dancers as diplomatic actors, examining the different types of performance in operation and their relationship to diplomacy. Dance was often oriented towards geopolitical ends, but there were also moments when dancers used their artistic performances to open up new modes of subjectivity and identity. The paper attends to these experiences and to how the dancers’ actions extend existing conceptions of diplomatic subjectivity by considering vulnerability. In examining these dynamics, the paper also contributes to research on art and geopolitics, both through its diplomatic focus and its analysis of how diplomatic and creative practices were intertwined through an aesthetic of quietness. It thus attends to how geopolitical aesthetics matter, and how, in this instance, quiet aesthetics were a mark of international disempowerment.
published_date 2022-11-11T20:17:19Z
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score 11.04748

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