“表演”万隆:中国与印度、印度尼西亚和缅甸的舞蹈外交(1953-1962)

Performing Bandung: China’s Dance Diplomacy with India,Indonesia,and Burma(1953-1962)

虽然舞蹈是20世纪50年代至60年代初期世界范围内国际外交活动的普遍组成要素,但学者们却直到近期才开始关注这一话题,尤其是当其涉及冷战时期超级大国之外关系的时候。由此,文章通过使用前期未被关注的历史资料,如稀有照片、舞蹈节目单、舞者传记、舞者自传、个人访谈、当代期刊以及尚未公开的院(校)志,不仅阐明了1953年至1962年中国在进行亚洲跨文化交流中,舞蹈是不可或缺的重要角色,还揭示了中国在此阶段形成的独特舞蹈外交方式:通过与印度、印度尼西亚和缅甸的一系列交流,中国的外交部门和舞蹈家逐渐发展并完善了一种以向邻国学习而非推广自身作为主要目的的舞蹈外交方法。这种方法利用了身体审美文化的情感力量,实际上"表演"了万隆的理想,即亚洲国家间的合作与相互尊重以及其反帝国主义的文化立场。进而,通过1962年东方歌舞团的成立,中国将这种舞蹈外交模式制度化并扩展到了整个第三世界。可以说,20世纪50年代至60年代初期万隆时代的舞蹈外交,不仅支持了重要国际联盟的诞生和政治运动的进行,还通过挑战在中国本土舞蹈领域内根深蒂固的欧洲中心主义,肯定了作为东方一部分的中国的自我认同。

While dance was a common element of international diplomacy activities around the world during the 1950 s and early1960 s,scholars have only recently begun to focus attention on this topic,especially as it concerns relationships forged beyond those of the Cold War superpowers. Using previously unexamined historical materials such as rare photographs and performance programs,dancer biographies,autobiographies and personal interviews,unpublished institutional histories,and contemporary periodicals,this article demonstrates not only that dance was an integral part of China’s inter-Asian cultural exchange between 1953 and 1962,but also that the PRC developed a distinct approach to dance diplomacy. Through a series of exchanges with India,Indonesia and Burma,China’s foreign ministers and dancers developed and refined a method of dance diplomacy in which the primary goal was to learn from,rather than export to,these neighboring countries. This approach harnessed the affective power of embodied aesthetic culture to literally"perform"Bandung ideals,namely,cooperation and mutual respect among Asian nations and an anti-imperialist cultural stance.Through the establishment in 1962 of the Oriental Song and Dance Ensemble,the PRC institutionalized this model of dance diplomacy,expanding it to include the entire Third World. Bandung-era dance diplomacy initiatives of the 1950 s and early 1960 s not only supported important new international alliances and political movements,but also asserted China’s self-identity as part of the East in the way that challenged Eurocentric ideals previously entrenched in China’s domestic dance field.