• Description

Cultural exchanges between the United States and the People's Republic of China were formalized in the 1970s. With the ever-increasing interest in understanding each other's culture, American and Chinese governments and cultural institutions organized exchange trips in different fields. Music was among the first professions that was used to establish rapport. This essay introduces some of the early efforts to facilitate the musical exchanges, including by the Asian Cultural Program of the JDR 3rd Fund and the Center for United-States Arts Exchange founded by Chou Wen-Chung. It highlights how the American non-profit sector shaped the cultural dialogue through grantmaking from the 1970s­ to the 1990s. Despite the legacy of fostering interests in learning the cultural differences between the two countries, archival materials show a Euro-American-centric sentiment by expecting Chinese visitors to bring American knowledge back to their home, and that Americans have the expertise and knowledge to assist Asians to better understand their own cultural heritage. With mostly white Americans in control of the visitors they could bring in, who tended to be talented performers and artists of ancient or traditional art forms, they avoided more politicized contemporary works and discourses. Chinese immigrants in America were also limited in terms of their ability to participate in these cultural exchanges. Such a narrow approach to cultural exchange also limited Americans' understanding of China (and Asia, at-large) in the contemporary context.