understanding the impact of the fulbright experience on the life, work and network of artists

8/6/2019 UNDERSTANDING THE IMPACT OF THE FULBRIGHT EXPERIENCE ON THE LIFE, WORK AND NETWORK OF ARTISTS

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Understanding the impact of the

Fulbright experience on the life, work

and network of artists

Rohini Dandavate


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UNDERSTANDING THE IMPACT OF THE FULBRIGHT EXPERIENCE ON THELIFE, 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 University2000

Master's Examination Committee

Dr. Margaret Wyszomirski, Advisor

Dr. Wayne Lawson

Dr. Georgianna Short

Approved by

Adviser

Graduate Program in Arts Policy and

Administration


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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 programparticipants and their audiences in applying knowledge and perspectives gained

during program.

Degree of change in the knowledge, opinions and attitudes of USIA programThe study of creative minds by Howard Gardner (1993) also influenced design of

the framework for understanding the impact of the Fulbright experience. Gardners(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


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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.


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Dedicated to

my brother Dipak


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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.


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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 andManangement

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, DanceSangeet 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.


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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 ManagementCultural Diplomacy


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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 113.3 Purpose of Cultural Diplomacy 13

3.4 Evolution of Cultural Diplomacy in Europe 13

3.5 Cultural Diplomacy in the U.S. 163.6 Inception of the Fulbright program 21

3.7 Present Perspective 23


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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 325.2 From the Collage 33

5.3 From the Scrapbook 345.4 How did they change 36

5.5 How did their work change 375.6 How has their world changed? 37

5.7 Implications 38

5.8 Limitations of this Research 38

5.9 Reflections 395.10 Conclusion 40

References 41

Appendices

Appendix A: Invitation to Fulbright Scholars 44Appendix 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


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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




11 Collage word Set #1 51

12 Collage word Set #2 52


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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 Istarted 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.


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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 ofthis 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.


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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.


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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 aninteresting person so stimulating that it changes one's behavior in a lasting

manner, provoking us to exert innate abilities more than before, perhapseven 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'sbest, 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


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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 andprovided 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 becomerelevant 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).


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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 1998-99Music 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.


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

people and nations to observe, understand, and connect with each others 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 bedissociated from development in any society, what ever its level of

economic growth, or its political and economic orientation. Wherever acountry has set itself the target of economic growth without reference to

its cultural environment, grave economic and cultural imbalances haveresulted and its creative potential has been seriously weakened. Genuine

development must be based on the best possible use of the humanresources and material wealth of a community. Thus in the final analysis

the priorities, motivations, and objectives of development must be foundin 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


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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 ownintrinsic understanding of the way the world works, as well as to lead usto 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 understandingof 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 activitiesdesigned to explain and defend American political objectives abroad or


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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 Nearand in the Far East. Schools hospitals, orphanages, dispensaries, and

agricultural institutions were established in the eastern countriesespecially 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


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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


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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.


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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 theforeigners 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


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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

governments 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.


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2. To strengthen the ties which unite with other nations by demonstrating theeducational 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 offriendly, 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


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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 awesomepowers of imagination and apply the quintessential qualities of theartists- 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


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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,


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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 programparticipants and their audiences in applying knowledge and perspectives gained

during program.

Degree of change in the knowledge, opinions and attitudes of USIA programparticipants 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


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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


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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 experience3. The host country before the Fulbright experience4. My country before the Fulbright experience5. Me after the Fulbright experience6. The host country after the Fulbright experience7. 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.


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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

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?

I visit host county to teach

Things that inspire my work have changed

I have changed my presentation techniques

I visit host county to collaborate

I have developed a new audience for my art

I have added new themes to my work

I have learned new things about myself

I have learned new things about my own country

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

Not true at all Very true


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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.

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

My Fulbright Experience


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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.


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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 lastingreflections on the human condition. Artists illuminate our historyand 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. Yetthe 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 isa 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.


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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 peoples experience can benefit from such tools and methodologies.


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Gannon, Martin J. (1994). Understanding Global Cultures: MetaphoricalJourneys through Seventeen Countries. Thousand Oaks:Sage Publications .

Gardner, Howard. (1993) Creating Minds: An Anatomy of Creativity Seen

Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham and

Gandhi. New York:Basic Books: a division of Harper Collins Publishers.

Gardner, R. N. (1983). Selling America in the marketplace of ideas. The

New York Times, vol. p44.

Haigh A. (1974). Cultural Diplomacy in Europe. Strasbourg: Council of

Europe

Hayter, Sir William. (1959) The Diplomacy of the Great Powers.London:Hamish Hamilton.

Huntington, Samuel, P. (1996). The Clash of Civilizations and the

Remaking of World Order. New York. A touchstone book. Simon & Schuster.

Katz, Stanley. (1985) History, Cultural Policy and International Exchange

in the Peforming Arts. Performing Arts Journal. Volume IX/ Numbers 2&3. New

York. pp.-76-88.

Kertesz, Stephen, D. ((1959). Diplomacy in a Changing World, Notre

Dame, Indiana: University of Notre Dame Press.

Manuel Espinosa, (1976).Inter-American Beginnings of U.S. Cultural

Diplomacy. Washington DC: Department of State Publication 8854,pp. 96-97

Mulcahy, Kevin V., and Wyszomirski, Margaret Jane. (1995) America'sCommitment to Culture. Boulder: Westview Press.

Mulcahy, K. V., & Swaim C. R . (1982). Public Policy and the Arts.

Boulder: Westview Press .

Nagel, Stuart S., Dunn, William, N. (Eds.) Policy Theory and Policy

Evaluation. Evaluation & Program Planning v.13 n3 p275-329.

Ninkovich, Frank, A. (1981) The Diplomacy of Ideas: US Foreign Policy

and Cultural Relations, 1938-1950. London: Cambridge University Press.


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APPENDIX AINVITATION TO FULBRIGHT SCHOLARS

November 15, 1999

DearI 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 undergoingthe 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


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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 byNovember 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. _______________


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APPENDIX BLETTER 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 Fulbrightexperience. 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 thecollage. In case you need more information, please feel free to either email me at

[email protected] or call me at (614) 688 0095.

Enclosed is also a stamped self-addressed envelope for you to return the materials. Iwould 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 ----------------------------------


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APPENDIX C

COLLAGE IMAGES AND WORDS

Figure 7: Collage Image set #1


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Figure 8: Collage Image set # 2


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Figure 11: Collage word set #1


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Figure 12: Collage word set #2


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APPENDIX DIMPLEMENTATION SCENARIO OF FULBRIGHT PROGRAM:


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understanding the impact of the fulbright experience on the life, work and network of artists

Documents