Understanding the impact of the

Fulbright experience on the life, work

and network of artists

Rohini Dandavate
i
UNDERSTANDING THE IMPACT OF THE FULBRIGHT EXPERIENCE ON THE
LIFE, WORK AND NETWORK OF ARTISTS

A Thesis

Presented in Partial Fulfillment of the Requirements for

The Degree Master of Arts in the

Graduate School of The Ohio State University

By

Rohini Dandavate, B.A.

The Ohio State University

2000

Master's Examination Committee

Approved by
Dr. Margaret Wyszomirski, Advisor

Dr. Wayne Lawson Adviser

Graduate Program in Arts Policy and
Dr. Georgianna Short Administration

ii
 ABSTRACT

This thesis focuses on understanding the impact of the Fulbright experience on

artists. This study analyzes the changes that occur in the attitude of artists, in their work

and in their network of friends and colleagues.

. The Fulbright Exchange Program was established in 1946 under legislation

introduced by the late Senator J William Fulbright. The objective of Act is to enable the

government of the United States to increase mutual understanding between the people of

United States and people of other countries through educational and cultural exchange.

The United States Information Agency (USIA) is the principal administrator of the

Fulbright Program. The Fulbright Program is funded primarily by Congressional annual

appropriation.

This thesis reviews the importance of cultural diplomacy in building international

relations and discusses the purposes of conducting cultural diplomacy. After comparing

the evolution of cultural diplomacy in Europe and in the U.S, this study discusses various

tools for conducting cultural diplomacy. It reviews the history, implementation and

objectives of the Fulbright Program and the Strategic Plan of USIA. The Plan outlines the

types of data and information that are being collected on an ongoing basis to study

whether the programs are achieving USIA's performance objectives.

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 The measures of impact of this research study were drawn from three types of

data sources described in the Strategic Plan of USIA. They are:

• Number, duration quality and value of personal and instituional linkages

(government, business, academic) created or enhanced as a result of international

exchange and training activities.

• Quality and quantity of subsequent activities and achievements of USIA program

participants and their audiences in applying knowledge and perspectives gained

during program.

• Degree of change in the knowledge, opinions and attitudes of USIA program

The study of creative minds by Howard Gardner (1993) also influenced design of

the framework for understanding the impact of the Fulbright experience. Gardner’s(1993)

framework consists of three core elements : a) a creating human being, b) an object or

project on which that individual is working, and c) the other individuals who inhabit the

world of the creative individual (Gardner 1993). According to Gardner (1993), the

superstructure needed to account for creative activity is based on these three core

elements and on the relationships among them. Therefore this research seeks to

understand the changes that occur a) in an artist's life, b) changes in work and c) changes

in network as a result of his/her participation in the Fulbright Exchange Program.

Data was collected using a research tool-kit. It consisted of a scrapbook designed

to document their memories of the Fulbright experience, a collage exercise developed to

iv
understand the emotional changes that they experienced and a request for photo-essay

that allowed them to pictorially narrate the changes in their life, work and network.

Research findings suggest Fulbright participants' perspective of life and the world

changed more than his/her work. Apparently the Fulbright experience transformed

participants into empathizers of other cultures rather than influencing their own work or

promoting U.S. culture abroad.

v
 Dedicated to
my brother Dipak

vi
 ACKNOWLEDGEMENTS

I received immense encouragement and support from my faculty, friends and my

family. I would like to thank my adviser, Dr. Wyszomirski for her guidance and advice.

She taught me to be alert and make the best of every opportunity that came my way to

learn more about international exchange. Working with her was never a dull moment. Dr.

Lawson's work in the field of international exchange at the Ohio Arts Council was always

an inspiration for me. I thank Dr. Short and Dr. Anand Desai for their patience and time. I

am very grateful to Dr. Don Krug and the Department of Art Education at OSU for

providing funding to me for the three years of my Masters education, which enabled me

to do this work. I have benefited greatly from all my faculty members in the department

of Art Education and in the School of Public Policy and Management. I feel privileged to

have had this opportunity to work and learn from them. .

My friends, the team at Sonic Rim, never hesitated to burn the midnight oil and

create the research tool kit and the graphical presentation of the research data. The input

from the Sonic Rim team and the availability of their technological infrastructure helped

relieve stress.

I am forever grateful to my family. My sincere thanks to my husband, Uday and

my daughter Isha. Their continuous support, patience, and encouragement was always

there for me throughout my education at the Ohio State University.

vii
 VITA.

June 26, 1958 Cuttack, India.

1979 B.A. English Literature, Utkal University.
1979 Diploma in Tourism and Travel Management,
Rajendra Prasad Insititute of Communication and
Manangement

1980 Internship.
Trade Wings, Mumbai

1981-82 Officer Trainee,

The Employers Federation of India

1982-85 Executive Assistant,

Association of Indian Engineering Industy

1987-89 Program Officer, Dance

Sangeet Natak Akademi, New Delhi

1973-present Odissi dance performer

1994- present Artist in Residence, Arts in Education Program,

Ohio Arts Council.

1998-present Graduate Teaching Associate, The Ohio State

University

PUBLICATIONS

Articles

1. Dandavate, Rohini; "Dance Education in India the Guru Shishya

Parampara." Ohio Dance Newsletter, Fall 1996,Volume 20 Issue1.

viii
2. Dandavate, Rohini; "Mudras: The Language of Hand Gestures."
Ohio Dance Newsletter, Spring 1996,Volume 19.Issue 3.

3. Dandavate, Rohini; "Odissi: Temple Dance of India."

Ohio Dance Newsletter, Winter 1996,Volume 19,Issue 2.

FIELDS OF STUDY

Major Field: Arts Policy and Administration

Other Fields: Public Policy and Management
Cultural Diplomacy

ix
 TABLE OF CONTENTS

Page

Abstract ii

Dedication v

Acknowledgments vi

Vita vii

List of Tables xi

List of Figures xii

Chapters:.

1 Introduction 01

1.1 Personal Motivation 01

1.2 Why The Fulbright Program 03

2. Statement of the Problem 05

2.1 Context of the Problem 05

2.2 The Problem 07
2.3 Research Question 08

3 Literature Review 09

3.1 Understanding Cultural Diplomacy 09

3.2 Building International Relations through Cultural Diplomacy 11
3.3 Purpose of Cultural Diplomacy 13
3.4 Evolution of Cultural Diplomacy in Europe 13
3.5 Cultural Diplomacy in the U.S. 16
3.6 Inception of the Fulbright program 21
3.7 Present Perspective 23

x
4. Methodology 27

4.1 Design of the Study 27

4.2 Participants/Location of Research 29
4.3 Methods of Data Collection 30
4.4 Methods of Data Analysis 31

5 What did we find? 32

5.1 From the Rating scales 32

5.2 From the Collage 33
5.3 From the Scrapbook 34
5.4 How did they change 36
5.5 How did their work change 37
5.6 How has their world changed? 37
5.7 Implications 38
5.8 Limitations of this Research 38
5.9 Reflections 39
5.10 Conclusion 40

References 41

Appendices

Appendix A: Invitation to Fulbright Scholars 44

Appendix B: Letter Accompanying the Research Kit 46
Appendix C: Collage Images and Words 47
Appendix D: Implementation Scenario of the Fulbright Program 53
Appendix E: The Scrapbook 54

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 LIST OF TABLES

Table Page

1 Fulbright Awards Distribution 07

2 Organizational History of the State Department Bureau of Educational

and Cultural Affairs 19

xii
 LIST OF FIGURES

Figure Page

1 Graph –How did things change as a result of my Fulbright Experience 32

2 Collage of How things changed as a result of my Fulbright Experience 33

3 The Scrapbook 34

4 Changes in Me 36

5 Changes in my Work 37

6 Changes in my World 37

7 Collage Image Set #1 47

8 Collage Image Set #2 48

9 Collage Image Set #3 49

10 Collage Image Set #4 50

11 Collage word Set #1 51

12 Collage word Set #2 52

xiii
14
 CHAPTER 1

INTRODUCTION

1.1 Personal Motivation

My motivation for this thesis evolved from my experience as an international

student and a visiting artist in schools in the U.S. As a graduate student in the Ohio State

University I lived in the international students’ family housing. In daily interactions with

people from diverse cultures, I experienced a sequence of phases: a) initial culture shock,

b) need for adjustment to an unfamiliar culture, and c) absorption of intercultural

experiences. This process helped me discover a new comfort level in this community of

diverse nationalities.

Outside of campus, I am an artist in residence in the Arts in Education Program of

the Ohio Arts Council. I get opportunities to visit educational institutions and present

Odissi dance, one of the Indian classical dance styles, to students. After my first few

lecture demonstrations/workshops, I recognized the need to develop new methods of

presentation to make it enjoyable and meaningful to the new audience. The dance always

evoked curiosity in my audience. They had many questions about the dance form,

especially the symbolism of physical form and the meaning of the ritual. My response to

their curiosity helped them to think and talk about the cultural context of the dance form.

In an effort to continue to keep the interest of my audience I had to develop new

ways of presenting my dance. I had to first understand the cultural practices and

expressions of the people in America. Then I had to think deeper about my own culture

and its influence on my art. This process of understanding and learning about both

American and my own cultural practices helped me draw parallels from both cultures.

1
For example, while the devotional sentiment of my presentation was derived from the

rituals in the temples of Orissa, I wanted my audience to derive their emotional

framework from their personal experience of devotion from everyday experience to

appreciate the ritual of Odissi dance. My narration was intended to help them make

connections between the expression in my art and the source of their own emotions. This

process of drawing comparisons and contrasts made my presentations more meaningful.

I was able to reflect over these experiences even more when I started teaching a

course, Ethnic Arts - A Means to Intercultural Communication, at the Ohio State

University. This course is designed to help students understand the cultural diversity of

North America through the study of art, artists and their artwork.

All these experiences led me to think about the changes that occurred in me, in

my work and in my network of friends and colleagues. I realized that the change was

more painful when I viewed the unfamiliar experience with my original perspective and

expected others to adapt to my views. The change became easier and more enjoyable

when I focused on the needs of my audience from diverse cultures and allowed the

content and presentation of my art to evolve. In effect, sharing of my art helped me to

easily adapt to changes occurring within me. My personal experiences in and around the

Buckeye Village (international student housing) made me think about the fast expanding

Global Village. I recognized how the act of sharing art with people from a different

country can help build international understanding. This awareness led me to read

literature about international exchange of artists.

2
1.2 Why The Fulbright Program?

In reading relevant literature I was inspired by Senator William Fulbright's

prophetic vision of cultural diplomacy in the emerging multi-polar world. He

conceptualized his vision at a time when diplomacy was conducted in a bi-polar political

environment. Randall Bennett Woods,(1995) in his book Fulbright: A Biography wrote:

….at the core of his ideal, America was a meritocracy based on

education and equality of opportunity. True to his emotional and
intellectual roots, he created an academic exchange program intended to
break down the barrier of ignorance, nationalism and xenophobia. Out of
this experience he was convinced, would come educators and political
figures determined to forge a world in which individuals, corporations
and nations could live out lives of enlightened self interest.

Senator William J Fulbright's goal in introducing the Fulbright Program was to build long

term international relations with other countries using the exchange program as a tool.

The Fulbright Program is a global enterprise with many different components,

each with its own focus. The United States Information Agency (USIA) is the principal

administrator of the program worldwide. The Institute of International Education assists

the USIA in conducting the program at both predoctoral and postdoctoral levels and in

giving grants to citizens of participating countries primarily for: university teaching,

advanced research, graduate study, and teaching in elementary and secondary schools.

3
 Comparing the Fulbright Program with other programs that support international

exchange of artists, it became clear to me that the Fulbright program is the most

expansive international exchange program. It's objectives, implementation and impact

have been widely discussed, researched, analyzed and documented. My personal

experiences in the U.S. as an artist and as an international student prompted me to

examine how the participation and exchange of artists contributes to the objectives of the

Fulbright Program.

4
 CHAPTER 2

STATEMENT OF THE PROBLEM

2.1 Context of the Problem

On reviewing literature on cultural diplomacy and international relations in the

U.S. I feel that the Fulbright Exchange Program is one of the most effective tools of

cultural diplomacy. In the words of the Executive Director of the Fulbright Commission

in Colombia, “ It is a pleasant and useful two- way route to understanding another

culture." It facilitates the creation of a new and enlightening prism to view the world.

(Fulbright Voices)

Gunnar Adler-Karlsson,(1993) one Fulbright exchange scholar, expresses his

'Fulbright Kick' in the following words:

What culture can do seems more stochastic, influential but in a random

way. During a long train ride, for example, one may chance to meet an
interesting person so stimulating that it changes one's behavior in a lasting
manner, provoking us to exert innate abilities more than before, perhaps
even giving a new direction to one's life and work. In the strongest case, it
can be something like a religious conversion. What culture can do, at it's
best, is give us a kick. I see the Fullbright Program as a systematic attempt
to provide such kicks, perhaps in both senses of the word.

Another Fullbright scholar, Dr Tavares da Silva, one of Portugal's leading

fighter's for women's rights said that during her stay at a small U.S. college studying

American Literature in the early sixties, she encountered two unexpected forces which

left a mark on her: a) the New Frontier and b) the beginnings of the American feminist

movement. After the seed was planted, she never remained the same. Upon the death of

the Salazar when liberalization began, she was ready to step into a major role, the first in

5
Portugal, as a leading player in the politics of equality for women. In the words of

Professor Tiziano Bonazzi,(1993) an Italian historian:

…the Fulbright Program, as a tool of cultural diplomacy,

put Italian grantees directly in touch with American society and
provided access to its deeper levels of meaning. It gave them the
possibility of reacting freely, negatively if necessary, to their
perceptions of a diverse and complex society. The program has
helped create the possibility for the American past to become
relevant to the self -analysis of another culture.

Much like my own experiences in assimilating the cultural experiences in

America, I feel that the Fulbright Program is a great opportunity to understand and

explore an unfamiliar culture and to expand one's boundaries in every facet of life. I also

believe that the Fulbright Program is an effective tool for building international relations.

The Program brings together communities of people who practice and share similar

professions, aspirations and passions from different parts of the world. New associations

and different cultural experiences help them to build bridges of understanding across

cultures. In the process of adapting to a different culture, Fulbright scholars learn more

about another culture as well as their own traditions and their beliefs. In the long run,

these communities of Fulbright scholars and many others who expose themselves to

similar diverse experiences contribute in facilitating better international relations.

Jennifer Williams (1996) in her book Across the Street Around the World: A

Handbook for Cultural Exchange very appropriately states: "Cultural exchange is about

communication and mutual enrichment through new perspectives and new ideas and can

help sustain a living discussion about diversity" (p. 9).

6
2.2 The Problem

The Review of the 1997-98-99 Fulbright Awards distribution, published by the

Council for International Exchange of Scholars, indicates that the number of artists

exchanged under the Fulbright exchange program are fewer than those from other

disciplines.

The Table 1 shows the number of scholars exchanged in the field of arts and a few
other disciplines.

Discipline 1997-98 1998-99

Music 07 15
Theater/Dance 12 07
Art 11 14
Art history 07 09
Engineering 37 18
Economics 34 30
Education 46 29
Business Administration 44 29
American literature 64 50
Communication
and Journalism 49 29

Table 1. U.S. Scholars visiting other countries

By studying the impact of the Fulbright experience on artists I have tried to focus
on how the participation of artists can contribute to the objective of building cultural
relations between nations. Through this research I would also like to address the problem
of under-representation of artists in the Fulbright program.

7
2.3 Research Question
My research is focussed on the following question: What is the impact of the
Fulbright experience on participating artists? Specifically, I analyzed the impact of the
Fulbright exchange experience on artists from the U.S. who visited another country as
measured by:
1. changes in their attitudes
2. changes in their work
3. changes in their involvement with other people(e.g. professional colleagues) and
organizations (e.g. professional, academic or philanthropic institutions) from the
visiting country and in the U.S..

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 CHAPTER 3:

LITERATURE REVIEW

3.1 Understanding Cultural Diplomacy

In the context of emerging climate of global interdependence, interactions

between nations have acquired new meaning. More and more people are pursuing global

aspirations by setting up homes beyond their own national boundaries, giving rise to

multi-cultural and multi-national communities. Simultaneously, more and more countries

are recognizing the need to depend on other countries for sharing of resources (e.g.

financial, technological, human, and informational) and expertise to support their own

progress.

There are two types of communities in the emerging scenario, one set of

communities continue to follow the traditional path of building an independent sovereign

nation and building its own power base in global competition. The other type is driven by

the aspirations to find their niche in the wider global community. A major difference

between the two is that the traditional model has brought about competition, strife,

mistrust, wars and espionage, while the emerging global communities recognize the

needfor cooperation and peaceful coexistence for economic development and prosperity.

In the words of Thomas Friedman:

If the defining perspective of the Cold War world was “division,” the
defining perspective of globalization is “integration.” The symbol of the
Cold war system was a wall, which divided everyone. The symbol of the
globalization system is the World Wide Web, which unites everyone. The
defining document of the Cold War system was “the treaty.” The defining
document of the globalization system is “The deal.” (Friedman,1999 p.8 ).

9
 As participants in the new system of globalization, it is becoming necessary for

people and nations to observe, understand, and connect with each other’s culture.

Federico Mayor, Director General of UNESCO, at the launching of the World Decade for

Cultural Development, said:

The experience of the last two decades has shown that culture cannot be
dissociated from development in any society, what ever its level of
economic growth, or its political and economic orientation. Wherever a
country has set itself the target of economic growth without reference to
its cultural environment, grave economic and cultural imbalances have
resulted and its creative potential has been seriously weakened. Genuine
development must be based on the best possible use of the human
resources and material wealth of a community. Thus in the final analysis
the priorities, motivations, and objectives of development must be found
in culture.

Mayor's perspective gives rise to the need for introducing and expanding policies and

programs that provide opportunities for people to experience, explore and harness global

cultures.

The importance of cultural sensitivity in public administration is well illustrated

in the statecraft practiced by Emperor Akbar in ancient India. He was the third generation

Mughal emperor of India (1556-1605). His grandfather invaded India and secured the

position of Emperor by force. Akbar was a Muslim. He was aware that for him to be

successful as a ruler of India, it was not enough to strengthen his power through military

might and political maneuvers. He would have to gain confidence of theHindu

population. He could rule the Hindu majority only through acceptance and cooperation.

He won the allegiance of the Rajputs, the most belligerent Hindus, by a shrewd blend of

tolerance, generosity, and force. He himself married two Rajput princesses. In addition,

Akbar, although illiterate sought advice and knowledge from 'nine jewels' he appointed in

his court. The nine jewels were learned men of diverse faiths and disciplines. He made

10
his court a center of arts and letters. The learned men advised him on various issues in the

establishment of an efficient administrative system that not only held the empire together

but also stimulated trade and economic development. Akbar's primary objective in

appointing these scholars was to develop an administration which was sensitive and

responsive to the cultural difference between the rulers and the citizens.

Recognizing the importance of cultural understanding in inter-cultural and

international relations, many countries have established cultural divisions in their

embassies. Jennifer Williams (1996) summarizes the value of cultural understanding:

Inadequate knowledge of a culture can lead to misunderstanding,

mistrust and even fear. International exchange can play an
important role in the active development of tolerance and
flexibility. It can help people to examine their own identity more
closely and at the same time help to gain insight into other people's
lives. (Williams,p.9)

Cultural exchanges, one of the important tools of cultural diplomacy, provides the setting

for sharing and understanding the meaning of life and the value of differences between

people and cultures.

3.2 Building International Relations through Cultural Diplomacy

In reviewing literature on international relations I observed that cultural

diplomacy provides a special dimension to the process of governing and maintaining

relations between nations. Even when nations negotiate economic, political and trade-

related issues they pay attention to the cultural background of the negotiators.

From reading history one finds that wherever civilization exists, cultural

diplomacy exists. Sometimes cultural diplomacy was practiced by giving gifts,

sometimes through marriages between the kings and princesses from different empires,

and in a more recent history through establishing educational institutions like the Alliance

11
Francais, the Gothe Institute, and informational institutions like the United States

Information Services.

The American Political Dictionary (5th Ed) defines diplomacy as" the total process

by which states carry on political relations with each other". Diplomacy contributes to an

orderly system of international relations and is the key technique used in the peaceful

settlement of international disputes.

Culture can be defined as the totality of socially transmitted behavior patterns,

arts, beliefs, institutions, and all other products of human work and thought. These

patterns, traits, and products are considered the expression of a particular period, class,

community or population.

The World Decade for Cultural Development launched by UNESCO on January

21, 1988, defines culture as "to cultivate":

It is something elaborated by humankind: expression of our creativity,

including our language, architecture, literature, music and art. Past this it
is also the way we live, we think, the way we see our world: our beliefs,
attitudes, customs, and social relations. Culture transmits to us its own
intrinsic understanding of the way the world works, as well as to lead us
to see what is important within the world - in a word, our values.

Often "cultural diplomacy" is misunderstood as instrument of "propaganda”.

Kevin Mulcahy(1982) in his essay " Cultural Diplomacy: Foreign Policy and the

Exchange Programs", has cautioned against pursuing narrow political objectives through

cultural diplomacy:

What the exchange programs seek to facilitate is a better understanding

of American society by exposing other nationals to the diversity of
cultural activities found here. In this sense, cultural programs (faculty
and student exchanges, performing arts productions, museum shows,
book exhibits, lectures) should be distinguished from those activities
designed to explain and defend American political objectives abroad or

12
 to counteract communist propaganda. The exchange programs represent
"Cultural diplomacy" while the later activities are a part of
"Informational diplomacy" (Mulcahy,1982, P.269)

3.3 Purpose of Cultural Diplomacy

A brief review of cultural diplomacy in Europe indicates that the overall process

of conducting cultural diplomacy in earlier times was guided by

• a need to create a culturally conducive environment for their own people

engaged in trade/academic/political activities in another country or

• to cultivate and spread their own cultural influence in the host country

In both situations the motivations for cultural diplomacy were self-serving rather than

aimed at creating common cultural grounds for bilateral or multi-lateral co-operation.

3.4 Evolution of Cultural Diplomacy in Europe

France and Germany established Alliance Francais and the Goethe Institute

respectively for language education. These institutions also provided information about

their country to people in the host country. Besides establishing language institutions,

France and Germany also provided aid to people in developing countries through

churches. By giving financial aid they were trying to build a self-image and earn

goodwill. According to McMurrey and Lee(1947):

France first among modern nations recognized the advantages of a

large-scale program of cultural relations with other countries. During
the latter half of the nineteenth century the French Government,
through the French Catholic teaching missionaries, carried on
extensive religious, educational and philanthropic works in the Near
and in the Far East. Schools hospitals, orphanages, dispensaries, and
agricultural institutions were established in the eastern countries
especially in the Mediterranean Basin (McMurrey and Lee,p.30)

To propagate the French language in the colonies and in the other foreign lands,

the Frenchmen in 1883 founded the "Alliance Francaise." Although the original function

13
of French schools was to provide education to French children living in foreign lands,

soon more and more children in countries of lower educational level were attracted to

study in French schools.

The first exchange initiative was taken by France through an Agreement signed

between the Ministries of France and England for the exchange of assistants. These

assistants taught their own language and something about their country in the school to

which they were sent, and in turn, they studied the language of the host country which

they were supposed to teach on return to their country. Similar agreements followed in

1906 with Scotland, in 1907 with Saxony and Austria, in 1912 with Bavaria and Hessen.

France became a republic much before Germany and Italy and the structure of

their policies and programs were established soon enough. The political situation in

Europe just before the World War 1 clearly dictated the need for creating a self-image in

the different parts of the world. The French identified different ways of forming

relationships and earning goodwill,( e.g. with powerful colonies like Great Britain they

signed agreements for cultural exchanges, whereas with smaller and less developed

countries they provided aid and in turn gained their support). The Alliance Francais, for

example in the process of providing language education, was also spreading cultural

information.

Learning from the French example, Germany began intensifying efforts. to keep

alive a sense of Germanism among Germans living in foreign countries. As early as 1829,

a German archaeological institute was founded in Rome by private initiative and soon

gained the patronage of the future King William IV of Prussia. Between 1830 and 1870

about 38 German schools were established in foreign countries. In 1870 the

14
archaeological Institute in Rome was adopted by the government, which also began to

subsidize schools and churches abroad. A Section for Art and Science was established in

the Ministry of Foreign Affairs in 1896, and a schools section followed in 1906. An

exchange of university professors between Germany and the United States was initiated

in 1905. After the Treaty of Versailles, the number of Germans living in other countries

increased and so in October, 1919, Dr Bauer, the German Chancellor, said:

In all areas of culture, in the realm of science, in the social realm, in so

far as personal relations and social intercourse are concerned, we will
give practical proof of our community of interest and foster the feeling
of unity. This is the task of the German Reich. ( Quoted by McMurrey
and Lee,1947,p.32 )

This statement assumes more significance when considered within the context of

Germany's defeat in World War I when it became necessary to erase the old impressions

of Germany in people's minds and promote a better image of the country.

Italian schools were established in foreign countries in 1880. In 1889 a number of

prominent Italians drew up a manifesto for active propagation of Italian culture in other

countries. From this was born the Dante Alighieri Society. The Society succeeded in

maintaining large-scale operations without a government subsidy until 1960, when it

obtained financial support from the government.

The French, the Germans, the Italians and the British all built schools in countries

where they had expatriate communities. They also sent missionaries to developing

countries. In addition, France and Germany initiated another step in cultural diplomacy

when they made institutional and budgetary provisions within their Ministry of Foreign

Affairs to further encourage cultural activities in foreign countries. It can be said that

these countries made initial strides to build cultural relations by first establishing

15
institutions of language education and through missionaries to the churches. Soon these

private institutions became centers of information and cultural exchange. Later still these

centers received regular governmental allocations to strengthen long-term cultural

relations.

At one level the educational institutions focused on providing education to their

own people but on a different level these institutions also fostered relationships and

information exchange among the local population. This kind of information exchange

created opportunities for interaction and discussion for trade, travel and immigration as

well as opened new windows for building relations and exploring opportunities for

cooperation.

3.5 Cultural Diplomacy in the US

The U.S. cultural diplomacy efforts from the beginning followed a "start and stop

approach" (Sablosky 1999). In the article" Reinvention, Reorganization, Retreat:

American Cultural Diplomacy at Century's End1978-1998", Sablosky states that

" American cultural diplomacy has been marked by a degree of policy incoherence,

organizational instability, popular indifference and political vulnerability unusual even in

the turbulent generally sphere of foreign affairs" (1999,p.31). From the very beginning

building cultural relations was not a priority for the US. Cultural relations were always

subordinated to whatever foreign policy operation was important at that point in time.

Cultural exchange as a vehicle for mutual understanding were rarely judged to be useful.

The cultural programs focused on short term foreign policy goals while failing to deal

with the long-term objectives of foreign policy. Constant change in the organizational

structure also contributed to the intermittent approach in cultural diplomacy.

16
 Richard Arndt, a diplomat and an author of innumerable books on this subject, in

his paper "Cultural Diplomacy - A Functional Theory " states that American policy is not

made "it gets made" by the powerful pressures of the private sector. And therefore the

way diplomacy happens depends on foreign policy and the situational policies."

In the words of Sir William Hayter a British diplomat (1960), " the factors

lowering the ratio of American diplomatic successes to failures were historical,

constitutional and psychological".

George Washington's(1732-1799) desire to keep America disentangled from

Europe and his views on anti colonialism became a part of the early American's makeup.

This attitude inhibited the freeplay of U.S. diplomacy. Constitutionally, the doctrine of

the separation of powers in foreign affairs limited the executive control in making

appropriate decisions (e.g. of appointing officials abroad). The necessity of Senate

confirmation many times became an obstacle because some senators were not fully aware

of the need or the situation and their biased opinions led to non approval and non

confirmation. Finally a psychological impediment was the disdain and distrust Americans

had for foreigners. According to Hayter:

The disdain in the American mind arose from the feeling that the
foreigners represented that part of the world which they repudiated and
their distrust came from the suspicion that the foreigners were after their
dollars and that they may be smart enough to get them (Hayter,1960).

Comparing the activities of cultural diplomacy of the U.S. to European countries,

it becomes obvious that international cultural relations and cultural diplomacy in the U.S.

evolved as a reaction to political events rather than developing as a socio-political

behavior rooted in the cultural history of the civilization. Cultural exchange was solely

17
prompted by the needs of the times keeping in view the political forces and the trade

opportunities.

The first step taken by America towards building international cultural relations

was a Convention for the promotion of Inter-American Cultural Relations at the Pan

American Conference for the Maintenance of Peace in Buenos Aires, 1938. In response

to Nazi Germany's "cultural offensive" in Latin America during the 1930's, the American

government’s objective was to counter Germany's propaganda activities. The convention

provided for the exchange of university professors, graduate students, and teachers under

joint governmental sponsorship. It was assumed that the exchange would build cultural

relations and intellectual cooperation between the United States and other countries as

well as improve the American image abroad and consolidate the country's international

political objectives. The cultural exchange program had decided political overtones.

From 1938 - 1978, the administrative section of the State department went

through a lot of reorganization.

18
 The following table summarizes the organizational history of the State

Department Bureau of Educational and Cultural Affairs.

Year Event
1938-44 Division of Cultural Relations
1944-46 Division of Cultural Cooperation
1946-47 Office of International Information and Cultural Affairs
1947-48 Office of International Information and Educational
Exchange Passage of Smith-Mundt Act
1948- Office of Educational Exchange
1952-53 International Information Administration
1953 Creation of United States Information Agency
1953-58 International Educational Exchange Service
1958-61 Bureau of International Cultural Relations
1961 Passage of Fulbright-Hays Act
1961 Appointment of Assistant Secretary for Educational
Cultural Affairs
1961-78- Bureau of Educational and Cultural Affairs
1978 Creation of the United States International
Communication Agency
1982 Reestablishment of USIA.
1999 USIA is merged into the Department of State

Table 2: Organizational History of the State Department Bureau of Educational and

Cultural Affairs.
Source: Adapted from J. Manuel Espinosa, Landmark Events in the History of CU
(Washington, D.C. Department of State, Bureau of Educational and Cultural
Affairs,1973),pp.15-18.

The landmark in strengthening the exchange program was the passing of the

Mutual Educational and Cultural Exchange Act, called the Fulbright-Hays Act in 1961.

The purpose of this Act was to enable the Government of the United States:

1. To increase mutual understanding between...countries by means of

educational and cultural exchange;

19
 2. To strengthen the ties which unite with other nations by demonstrating the

educational and cultural interests, developments and achievements of the people of the

United States and nations .

3. To promote cultural advancement; and thus to assist in the development of

friendly, sympathetic, and peaceful relations between the United States and the countries

of the world.

The Act consolidated various U.S. International educational and cultural

exchange activities but did not lay down administrative and policy directions. It expanded

other cultural and athletic exchanges, translation of books and periodicals, as well as U.S.

representation in international fairs and expositions. The Office of the International Arts

Affairs encouraged museum exchanges and assisted performing arts groups in touring

abroad. The Act also established government operation of cultural and educational

centers abroad.

The United States Information Agency (USIA) was designed to propagate U.S.

foreign policy and to explain life in the U.S. to people in other countries. In other words

USIA was meant to be a public relations agency.

Finally on April 1, 1978, the functions of two organizations, the Bureau of

Educational and Cultural Affairs and the USIA were consolidated into The International

Communications Agency (USICA). Educational and cultural exchanges were organized

under the following program areas: Academic, Foreign Leaders, American Specialists,

Performing Arts, Grants-in-aid, and East-West Center.

In August 1982 USICA's name was again changed to USIA when President

Reagan signed the Public law 97-241, the Agency's annual authorization bill for FY

20
1982-83. In October, 1998 President Clinton signed the Foreign Affairs Reform and

Restructuring that abolishing the USIA effective October 1, 1999. The agency's elements

were merged into the Department of State except the International Broadcasting Bureau.

3.6 Inception of the Fulbright program

The Fulbright exchange program, was an outcome of William J Fulbright's

experience as a scholar abroad, a chance conversation, and a little known incident of

history. After the Second World War, much U. S. war equipment - tractors, trucks,

monkey wrenches, telephones hospitals, boats, railroad lines, and wire were left overseas.

In the course of conversation with Senator Fulbright, a U.S. senator mentioned the

dilemma of surplus American war equipment overseas. It seemed the US had no intention

of bringing the equipment back to the post war economy but was not ready to leave it

behind. In the wake of this situation Senator Fulbright felt that arguments with other

countries over the equipment would create another rift, and so with the guidance of

Herbert Hoover he proposed a plan to convert the surplus war property abroad into a

student exchange program.

The plan was that the equipment would be sold to X country, which would pay in

its own currency. The funds would remain in X, and be used to pay for the tuition, books,

and living expenses of American students (chiefly GI's) who would wish to study there.

This method was viewed not only as an easy solution for surplus war equipment, but was

also conceived with the motive of making friends abroad using the exchange programs as

the tool.

The bill was introduced by Senator Fulbright and was referred to a subcommittee

on surplus property of the Military Affairs Committee. Though he presented the issue as

21
a formula to solve the dilemma of surplus war equipment, Senator Fulbright also

expressed optimistically:

My belief in the program is based on the assumption that when foreigners

come to our shores what they will see will be good. In spite of our
occasional aberrations, I believe that America is a great country, that its
virtues outweigh its faults. If people of the world can understand us, they
will throw in their lot with us. (Fulbright quoted by Woods,1995)

The State Department approved the bill. Although the Pentagon wanted to

consider return of the equipment, Senator Fulbright negotiated his way out and the bill

was passed by the Senate without dissent and breezed through the House.

According to Lowi's classification of distributive policies, the introduction of the

Fulbright Program, as a policy for conducting educational and cultural exchanges was

also "an highly individualized decision", and "conferred direct benefits upon one or more

groups". In the words of Lasswell and Kaplan the Fulbright Program was " a program of

goal values and practices". With his experience and skill Senator Fulbright gained the

strong support of his colleague, Herbert Hoover, (who had earlier experimented with a

similar exchange with Burma and was keen on enlarging this concept). With ease and

less conflict Senator Fulbright presented the agenda for consideration. His well worded

and apt presentation to the committee gave a feeling that it was a solution to an issue

which, if not settled, would result in loss of money and goodwill. Introducing the

Fulbright Exchange Program did not bring in much opposition and controversy because it

was perceived as a solution which could help avoid a national loss and would also in the

long run create an opportunity to make friends in other countries.

The process of agenda setting for the consideration of introducing the Fulbright

Exchange Program was similar to that of John Kingdon's garbage can model. Problems,

22
politics, participants and choice opportunities were all dumped together. The problem,

war equipment lying in other countries, either needed to be brought back or left there.

Senator Fulbright, a very able statesman, as the policy entrepreneur chose the opportunity

and provided the solution to the problem for the decision-makers and this opened a policy

window giving the solution a structure for implementation.

As John Kingdon states, in the garbage can model of agenda setting, when a

policy window opens due an event, there are policy entrepreneurs who in the pursuit of

their goals "couple solutions to problems, problems to political forces, and political

forces to proposals". Senator Fulbright coupled this solution to his long term goal of

introducing the exchange programs using his influence and political power. This

legislation made the exchange programs a recognized tool in the official foreign relations.

3.7 Present Perspective

During the post Cold War period, the Fulbright exchange program served as a

solution to a policy issue. However in the present information age, it has become a

necessary tool for building mutual understanding and international relations between the

U.S. and other countries. Samuel P Huntington (1997) in his book The Clash of

Civilizations and the Remaking of the World Order states:

Global politics in the post Cold War world has become multipolar
and multicivilizational. Cultural commonalities and differences shape
the interests, antagonisms, and associations of states. Culture and
cultural identities, which at the broad level are civilization identities,
are shaping the patterns of cohesion, disintegration, and conflict. So
avoidance of a global war of civilizations depends on world leaders
accepting and cooperating to maintain the multi-civilizational
character of global politics. (p. 21)
Huntington(1997) also reiterates how, in the 1950's, Lester Pearson warned that

humans would move into “an age when different civilizations will have to learn to live

23
side by side in peaceful interchange, learning from each other, studying each other's

history and ideals and art and culture, mutually enriching each others' lives."(Pearson

cited by Huntington, 1997, p.321)

According to Vaclav Havel (cited by Huntington,1997) "Cultural conflicts are

increasing and are more dangerous today than anytime in history"(p.28) Jacques Delors

(Delors cited by Huntington,1997) agrees that " future conflicts will be sparked by

cultural factors rather than economics or ideology," (p.28) The war in Bosnia, ethnic

strife in Indonesia, revolt by Tamils in Jafna, Sri Lanka and Hindu-Muslim conflicts in

India are all examples of cultural conflicts causing grave social and economic crisis in

national economies.

Here I would like to emphasize that artists can be effective ambassadors of their

culture and they, through their artworks, can contribute to containing strife and to

fostering cultural understanding. Samuel Huntington (1997) states that:

With diminishing role of ideology as a driving force in global politics,

American policy makers have the opportunity to harness the awesome
powers of imagination and apply the quintessential qualities of the
artists- creativity and innovation- to the practice of their craft.

During its 51 years, the Fulbright Program has exchanged a quarter of a million

people. More than 70,000 Americans have studied or done research in other countries and

more than 130,000 people from other countries have engaged in similar activities in the

United States. Thousands of school teachers from around the U.S. have been exchanged

with teachers in foreign countries through the Fulbright Program. However there is a low

representation of artists compared to other categories. Professionals and academicians

24
who have expertise in economic, political and military processes have received higher

representation than artists.

The following incidents illustrate how the arts can help facilitate inter-cultural

understanding in ways other disciplines cannot. For example:

A group of Zivli dancers from Columbus, Ohio visited Serbia to perform for

people in the refugee camps in Bosnia. On arrival at the camp, they were told by one of

the inhabitants of the camp that the refugees were angry with Americans visiting them.

After watching the group perform, the same woman who had expressed displeasure,

walked to the performers and said " Tell your government what happened to us today is

better for us than bread. You have given us one happy day. You have fed our souls in a

way that bread does not."

In another incident,

Artist Lily Yeh, a Chinese-American, moved into a tough North

Philadelphia neighborhood in the mid 1980s.In a vacant lot near her
studio, she began to build a sculpture garden. Eventually children and
local people of all ages started to join her, resulting in not only a beautiful
collaborative art work but also a center of focus and pride for the
neighborhood(Williams,1996).

These incidents illustrate how artists and their art can help people overcome bias

and differences and come together as a community. In the words of John Wilton

"perceptions of individuals are at the root of their biases. We can not fight perceptions.

They can be changed through slow and organized cultivation of minds".

The Fulbright Program provides the opportunity and setting for helping the artist

and the audience explore, experience, understand and widen their view of the world. One

25
of the artists in my research sample group described her Fulbright experience in the

following words:

The Fulbright experience was like a mirror that helped me reflect over my
own life, culture and country. It was like shining a strong light on yourself,
your teaching, your own artistry and your own culture - you got to see that
which had been obscured - it makes you grow in every way.(Jeannie
Woods, 1999)

We no longer need to use culture as a solution to political problems. Instead it can be

used as a tool for international understanding. The facilitators of this process are the

artists.

This research examined the impact of the Fulbright experience on artists by

analyzing the change in the artist's attitude, work and their world of friends and

colleagues. The assumption was that when individuals who have influence over larger

population change, their experience permeates to a wider population, thereby creating a

more positive psychological environment for inter-cultural relations.

26
 CHAPTER 4

METHODOLOGY

4.1 Design of the Study

The model of the Objectives-Oriented Evaluation techniques (Tyler,1942,

1950).was used in this study. James H. McMillan and Sally Schumacher in their book

Research in Education quoted Tyler's definition of this methodology in the following

words: "Objectives - Oriented Evaluation determines the degree to which the objectives

of a practice are attained by the target group. In other words, the evaluation measures the

outcomes of the practice" (p.548).

McMillan and Schumacher (1997) explain that the discrepancy between the stated

objectives of a practice and its outcomes may be used to measure programmatic success.

The practice may be a curriculum, in-service teacher training, in-school suspension

program, parent education or the like. The target group whose behavior is expected to

change, may be students, parents, teachers, or others. According to McMillan and

Schumacher(1997) an Objectives-Oriented Evaluation study measures concrete

objectives not abstract goals. The objectives are specific statements that are attainable

through experiencing the intervention.

This model was appropriate to my research because I studied the impact of a

Fulbright experience on artists participating in the Fulbright Exchange program.

Outcomes of the exchange experience, measured were:

• how the artist changed his/her attitude towards understanding the other culture,

27
• how this experience influenced his/her work and

• how his/her involvement with people and cultural organizations in the visited country

changed subsequent to the Fulbright experience.

The measures of impact were drawn from the discussion of similar studies

conducted by the USIA. The strategic plan of USIA outlines the types of data and

information that are being collected on an ongoing basis in the field posts as well as in

the Bureaus to determine whether progress is being made in achieving USIA's

performance objectives: Three types of data sources described in the strategic plan inspire

the design of this study:

• Number, duration quality and value of personal and instituional linkages (e.g.

government, business, academic) created or enhanced as a result of international

exchange and training activities.

• Quality and quantity of subsequent activities and achievements of USIA program

participants and their audiences in applying knowledge and perspectives gained

during program.

• Degree of change in the knowledge, opinions and attitudes of USIA program

participants and their audiences following their participation in an exchange or

training program determined through post debriefings and participant surveys.

The study of creative minds by Howard Gardner(1993) also influenced design of

the framework for understanding the impact of the Fulbright experience. Gardner's work

on Multiple Intelligence is acclaimed as a breakthrough in understanding of human

psychology, In his recent book, Creating Minds (1993), Gardner studied the anatomy of

creativity seen through the lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Martha

28
Graham and Mahatma Gandhi. He suggested three core elements underpin creativity: a) a

creating human being, b) an object or project on which that individual is working, and c)

the other individuals who inhabit the world of the creative individual (Gardner, 1993,p.8).

According to Gardner(1993), the superstructure needed to account for creative activity is

based on these three core elements and on the relationships among them. I find a distinct

parallel between the data sources defined in the USIA strategic plan and the elements of

framework suggested by Howard Gardner. If the Fulbright program is about bringing

individuals with potential for influencing the global experience, then the model of study

suggested by Howard Gardner seems very relevant to this study.

Therefore it was decided to conduct research to understand the changes that occur

in an artist's life, work and network as a result of his/her participation in the Fulbright

Exchange Program. It was assumed that by developing understanding of the impact of the

Fulbright experience on the individual participant, we would be able to infer the influence

of that individual on the domain, community or the nation to which he/she belongs.

A research tool-kit consisting of a scrapbook was designed to document

participants' memories of the Fulbright experience. A collage exercise was developed to

understand the emotional changes that participants experienced, and a request for photo-

essay was included which allowed participants to pictorially narrate the changes in their

life, work and network.

4.2 Participants/Location of Research

The research study was conducted in the U.S. Fulbright artists were from U.S. and

were visiting another country. Forty Fulbright scholars were sent letters with a request to

29
participate. Ten confirmed participation. Finally I received only six complete sets and one

incomplete set.

In the group of seven artists who participated in this research, two participants

from the disciplines of dance and theatre, and three from music. The host countries were

Finland, Ghana, Germany, Lithuania, Hong Kong, and Taiwan. With the exception of one

artist who received her Fulbright scholarship in the year 1994, the other six artists

received their Fulbright scholarship during the years 1998-99.

4.3 Methods of Data Collection

The instruments of data collection utilized were:

A Scrapbook:. A survey was conducted in the form of a scrapbook, which had

questions focusing on understanding how the Fulbright experience influenced the

participants' themselves, their work and their world. The participants were asked to

supply photographs to support their answers.

Numerical Scale: A rating scale was used to provide quantitative measure of the

changes that occurred in them as a result of the Fulbright experience.

Collage: The collage making kit included a list of 116 pre-selected words and 60

pre-selected images on self-adhesive stickers. The kit included a 11x17 size paper on

which participants were asked to create a collage using the images and words to depict

their Fulbright experience. Participants were asked to depict how they felt about their

country, themselves and the host country before and after the Fulbright experience. The

area on the collage sheet was clearly demarcated in six zones, to enable them to represent

different categories described above.

30
4.4 Methods of Data Analysis
The changes that happened in their experience, as described in the workbook,
were entered in a multi-relational database (4th dimension software). Comparing
participants' response to open ended questions in each experience category (their life,
their work and their network) revealed many insights.
The selections of pre-selected image and word stimuli for the collage set were
entered in an Excel spreadsheet in six categories:
2. Me Before the Fulbright experience
3. The host country before the Fulbright experience
4. My country before the Fulbright experience
5. Me after the Fulbright experience
6. The host country after the Fulbright experience
7. My country after the Fulbright experience.
If over 25% of the participants used a particular image or word it was included in
the representative collage of the Fulbright experience.
The rating scales from the workbook were entered in Excel spreadsheets. Mean
ratings or the rated representation of the changes that occurred in their life, work and
network were plotted on a bar chart to visually depict the relative importance of the self
reported changes in their experience.

31
 CHAPTER 5

WHAT DID WE FIND?

5.1 From the Rating Scales

It is observed from the results in the graph that the fulbright experience led the

participants to appreciate their own country more and they got an opportunity to look into

themselves and know more about their hidden skills and capabilities. While living in the

host country they were also able to experience, understand and learn more about the host

I visit host county to teach

Things that inspire my work have changed

I visit host county to collaborate

I have developed a new audience for my art

I have changed my presentation techniques

I have added new themes to my work

I continue to keep in contact with organizations in the host country

I continue to keep in contact with individuals in the host country

I have changed my atitude regarding the host country

I have learned new things about myself

I have learned new things about my own country

Not true at all Very true

country. This led them to change their attitude towards the host country.

Figure 1: How did things change as a result of my Fulbright Experience?

32
5.2 From the Collage:

The summary collage depicts how participants felt about their own country, the

host country and themselves before and after the Fulbright experience.

My Fulbright Experience

Figure 2: Collage of How things changed as a result of the Fulbright experience

33
5.3 From the scrapbook

Figure 3: The scrapbook

• they were motivated to apply for the Fulbright scholarship with a desire to explore

new opportunities, seek new inspirations and challenges and to get away from the

feeling of "burnout".

• Before their participation in the program they perceived the people of the host

countries as conservative, rigid, and formal. After the experience they discovered that

the people were in fact very warm, gracious, hardworking, and had the ability to rise

above the limitations of their environment and traditions.

• The life experiences that excited them prior to the Fulbright experience were their

family, their work, their career, travel and money. After the experience they began to

enjoy the company of other people, their rituals, traditions, other art forms, and travel.

• They were initially concerned about their health, hygiene and comfort and were also

concerned about leaving their families behind. After the Fulbright experience they

developed a greater awareness of their own survival skills and their ability to create

34
 cooperative environments in an unfamiliar culture, and learned to worry less about

the family back home.

• Upon returning, their personal network of friends extended to people with origins in

the host country.

• Their interest and participation in cross-cultural activities increased after their

returning to the U.S.

• They were seeking connections with new art forms and with different people besides

their old network of family and friends.

• They felt they should have had this experience when they were younger

• The Fulbright experience was like a mirror that helped them reflect over their own

life, culture and country.

35
Overall the changes articulated by the participants were:

5.4 How did they change?

Figure 4: Changes in Me

• Developed more appreciation of their own family

• Experienced increase in physical and emotional endurance

• Developed greater tolerance for cultural differences

• Increased awarenessn sensitivity and responsibility toward the vulnerability of the

planet especially on environmental issues.

• Had a sense of accomplishment.

• Gained greater appreciation for the political and social life in the U.S.

• Developed greater appreciation for democracy.

36
5.5 How did their work change?

Figure 5: Changes in My Work

• Gained appreciation of an aesthetic different from their own

• Inspiration for their work now includes their experiences in the host country.

• Gained insights about universally meaningful themes.

5.6 How has their world changed?

Figure 6: Changes in My World

• Developed feeling of connection to a wider world

• Enhanced comfort with a culturally diverse network of people.

37
• A sense of responsibility for encouraging friends and students to undergo similar

experiences.

5.7 Implications:

• After having gone through the Fulbright experience the participants'

perspective/experience of life and the world changed more than his/her work.

• The experience transformed the participants into empathizers of other cultures rather

than promoters of their own.

• Use of visual tools and scrapbook technique helped people to reflect over their

Fulbright experience in new ways.

• There is an opportunity to integrate use of new tools with the traditional methods of

measuring the impact of the Fulbright program.

5.8 Limitations of this research:

• This is a small sample group. (Forty Fulbright scholars were sent letters with a

request to participate. Ten confirmed participation. Finally I received only six

complete sets and one incomplete set).

• The sample group comprised of American scholars visiting a host country. The

experience of visiting scholars is not documented.

• Most scholars did not have adequate photo documentation of their Fulbright

experience.

• The participants were not available for personal interviews. People from the host

country were not participants in this research.

38
5.9 Reflections:

Understanding a nation's culture was long regarded by policy makers as

something of an ornament or even a luxury. It was associated with the more important

issues of trade and politics. However in our global village, learning to appreciate

differences through expression and experience of culture has become necessary for

peaceful coexistence. In establishing international relationships, it is important to be

sensitive to the intellectual, religious, artistic and other non-political issues. International

cooperation that aims at development must have consideration to the cultural context in

which the development will be achieved.

This research was conducted to understand how the community of artists can

contribute in building bridges of understanding with people from another culture. Jennifer

Williams’ (1996) remarks summarize the value of artists’ participation in a cultural

exchange program.

There is something magical and vital about the existence of arts

and artists. The arts provide us with profound and lasting
reflections on the human condition. Artists illuminate our history
and shape our visions of the future. Art is not just about aeshetics.
It influences and is influenced by every aspect of life. As such
there is great potential for partnerships between the arts and other
sectors of society: educational, social, economic and political. Yet
the nature and scope for such partnerships is not always fully
appreciated and developed. The arts are inseparable from the
broader cultures and environments that spawn them. When the arts
are created in one culture and presented in another, what occurs is
a ‘cultural’ and not simply an ‘ artistic’ exchange.(p.8)

The contribution of artists in building international relationships is not something

that can be measured in a short time. The results are not quantifiable however the effect

of their work can be observed or felt only over time.

39
5.10 Conclusion

Many research studies are conducted as part of USIA's regular evaluation

processes there are to understand whether the goals and objectives of the Fulbright

Program are being achieved. While many research studies have been conducted to study

the changes in students/ teachers after going through the Fulbright experience, none

specifically addressed the impact of artists participating in the exchange program.

Considering that the number of artists exchanged under the Fulbright Program are fewer

in comparison to scholars from other dsiciplines, this study will hopefully promote

research into the experiences and impact of artists exchanged in the Fulbright Program.

It is neither scholarly discourse nor artistic expression that is responsible for the

building of the understanding. Engagement in activities that generate interactivity.

between the Fulbright scholar and the people from the host country facilitate mutual

understanding. I suggest that the medium of art has great potential to create such

interactivity. Therefore there is a need for greater participation of artists in Fulbright

exchange programs.

Photographic story telling, collage and scrapbook are unique tools used in this

research. These tools allow researchers to access deep emotional experiences of people

which are not easily articulated in traditional survey methods. Any research that is

focused on people’s experience can benefit from such tools and methodologies.

40
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Wristen, Henry, M. (1956) Diplomacy in a Democracy. New York: Harper

& Brothers

Woods, R. B, (1995). Fulbright-A Biography. Cambridge: Cambridge

University Press .

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 APPENDIX A
INVITATION TO FULBRIGHT SCHOLARS

November 15, 1999

Dear

I am a graduate student in the Arts Policy and Administration program at The

Ohio State University. My graduate research is focussed on understanding the
changes that happen in the life experiences and work of artists after undergoing
the Fulbright experience. I am writing to request your participation in my
research.

As a part of my research I will send you a small journal. This journal contains a
number of interesting exercises. Besides answering a few simple questions, the
journal will include an exercise which will involve reviewing your personal
photo album from your Fulbright experience and sharing some of your
memories with me. I am also going to send you a set of images and words from
which you will create a collage.

In reviewing the Fulbright exchange program for scholars I find that there is a
need to define the importance of including more artists in the international
exchange program. Your participation in this study is very important from this
perspective.

As a student I can not afford to compensate you for your participation in this
study. However I would be glad to send you the postage stamps and the
envelope for returning the material. I would also be glad to return your journal

44
to you once I have had the opportunity to document the contents for my
research. At the end of this research you will have created a fine documentation
of memoirs of your Fulbright experience in this journal. You can use the journal
to share your Fulbright experience with your friends and family

I am a classical dancer from India and have been in the US since 1993. I
continue to share my art form with multicultural communities in the US. I have
observed that my art has evolved as a result of my interactions with artists and
with exposure to many other art forms that were unfamiliar to me. My stay in
the US for my graduate study, besides contributing to my academic
achievements, has enriched my knowledge of people around the world and their
art forms. My research focus is an extension of this learning.

Please indicate in the slip given below whether you would be willing to
participate in my research and return the slip in the self addressed envelope by
November 30, 1999.

Thanking you,

Sincerely

Rohini Dandavate

PLEASE TEAR HERE

………………………………………………………………………………………………
Your Name:

Email address

Telephone No.(optional)

I would like to participate in your research. _________________

I would not like to participate in your research. _______________

45
 APPENDIX B
LETTER ACCOMPANYING THE RESEARCH KIT

Janurary 23, 2000

Dear Catlin,

Thanks for agreeing to participate in my research. I sincerely appreciate your gesture.

I have included a scrabook in this packet. I hope you will enjoy writing in it. This book
was created to help you document your excitement and memories of the Fulbright
experience. Separately I have also included a collage kit. The collage kit includes pictures
and words printed on sticker sheets. Please refer to the workbook for instructions for the
collage. In case you need more information, please feel free to either email me at
dandavate.2@osu.edu or call me at (614) 688 0095.

Enclosed is also a stamped self-addressed envelope for you to return the materials. I
would request you to send me the packet by February 20, 2000.

Sincerely

Rohini Dandavate

-----------------------------------------------------------------------------------------------------------
-
Please mark an appropriate box and return the slip below with your packet.

Please return my photographs

Please return my workbook
You can keep the workbook and the photographs

Your Name------------------------------------------------------ Date ----------------------------------

46
 APPENDIX C

COLLAGE IMAGES AND WORDS

Figure 7: Collage Image set #1

47
Figure 8: Collage Image set # 2

48
Figure 9: Collage Image set # 3

49
Figure 10: Collage Image set # 4

50
Figure 11: Collage word set #1

51
Figure 12: Collage word set #2

52
 APPENDIX D
IMPLEMENTATION SCENARIO OF FULBRIGHT PROGRAM:

53
 APPENDIX E

THE SCRAP BOOK

The following pages have been reproduced from the scrapbook sent to the

participating Fulbright scohalrs. The original scrapbook had printing on both the

sides of the paper. In this appendix the sheets are printed only on one side of the

page due to the formatting rules of the graduate school.

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55