The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, the author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard and Konstantin Simonov, whose inflammatory play, The Russian Question, occupies a chapter of its own based on original archival research. Leading film directors involved included Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky and Wajda. In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics; Stravinsky, Schoenberg, Hindemith among them. Despite constant attempts at repression, the Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians. Visits to the West by the Bolshoi and Kirov ballet companines, the pride of the USSR, were fraught with threats of cancellation and the danger of defection. Considering the case of Rudolf Nureyev, Caute pours cold water on overheated speculations about KGB plots to injure him and other defecting dancers. Turning to painting, where socialist realism prevailed in Russia, and the impressionist heritage was condemned, Caute explores the paradox of Picasso's membership of the French Communist Party. Re-assessing the extent of covert CIA patronage of abstract expressionism (Pollock, De Kooning), Caute finds that the CIA's role has been much exaggerated, likewise the dominance of the New York School. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union.

Rancorous and highly public disagreements between Isaiah Berlin and Isaac Deutscher escalated to the point of cruel betrayal in the mid-1960s, yet surprisingly the details of the episode have escaped historians’ scrutiny. In this gripping account of the ideological clash between two of the most influential scholars of Cold War politics, David Caute uncovers a hidden story of passionate beliefs, unresolved antagonism, and the high cost of reprisal to both victim and perpetrator. Though Deutscher (1907–1967) and Berlin (1909–1997) had much in common—each arrived in England in flight from totalitarian violence, quickly mastered English, and found entry into the Anglo-American intellectual world of the 1950s—Berlin became one of the presiding voices of Anglo-American liberalism, while Deutscher remained faithful to his Leninist heritage, resolutely defending Soviet conduct despite his rejection of Stalin’s tyranny. Caute combines vivid biographical detail with an acute analysis of the issues that divided these two icons of Cold War politics, and brings to light for the first time the full severity of Berlin’s action against Deutscher.

The story of a boy who listens to his heart. By following his dreams, he inspires others to do the same. --p. [4] of cover.

"I have been a professional Middle Eastern dancer, or as it is called in the West, belly dancer, for ten years. I photographed this collection of images during a period of three years, in which I performed mostly around New York City's five boroughs, their vicinity and parts of New Jersey. I traveled to shows with a married couple, Israelis like myself, who were my agents. He was the drummer, she did the jewelry, so we were a small, tightly knit creative team, spending many hours together on the road. We sometimes did as many as six or seven shows an evening, each in a different location and for a different kind of audience. I danced for Americans, Greeks, Indians, Bukharans, Punjabis, Turkish, Chinese and Gypsy communities. I danced in fancy restaurants for celebrities, in middle-class family events, in sleazy bars, or for men gathered in poor-house basements. There is a tension between the dance's beauty, grace and technical sophistication, and the fact that it thrives on its off-stage settings. It is not just choreographically complicated, it is also direct, sexual, warm, alive. More than that, it is, in its own way, truly intimate. It could not be all that if it wasn't performed in ordinary settings, among, rather than in front of, audiences. This is, in fact, what I personally like so much about it. The mixing with the people, dancing in living rooms, being surrounded by families, grandparents and children at once, the smell of the food and the messiness of real life..." --Elinor Carucci

On May 4, 1968, Dancer's Image crossed the finish line at Churchill Downs to win the 94th Kentucky Derby. Yet the jubilation ended three days later for the owner, the jockey and the trainers who propelled the celebrated thoroughbred to victory. Amid a firestorm of controversy, Dancer's Image was disqualified after blood tests revealed the presence of a widely used anti-inflammatory drug with a dubious legal status. Over forty years later, questions still linger over the origins of the substance and the turmoil it created. Veteran turfwriter and noted equine law expert Milt Toby gives the first in-depth look at the only disqualification in Derby history and how the Run for the Roses was changed forever.

This Japanese literature collection contains four translated stories from two of Japan's most beloved and acclaimed fiction writers. The Izu Dancer, Yasunari Kawabata's first work to bring him recognition as a writer, is a novella about six Izu Peninsula travelers. As the six travelers journey together, intimacy develops and friendship overcomes class differences. Capturing the shy eroticism of adolescence, The Izu Dancer is a charming picture of the times. Yasushi Inoue's The Counterfeiter, although set in modern times, poses universal questions that transcend culture an era. Abasute and The Full Moon both explore themes of separation, loneliness, and isolation. Through the gloomy tales, Inoue's compassion shines, revealing yet another aspect of an author known for his vivid precision and economy of words. Inoue's stories are at least partially autobiographical, and Inoue's attitudes toward human destiny and fatalism are strongly influenced by his separation from his parents at an early age—yet all of his stories reveal his great compassion for his fellow human being.

Make the transition from simple body movements to kinetic works of art. Dance Mind & Body features 128 exploration exercises designed to help you improve your focus, observe and explore movement systematically, and refine your techniques to create better dances. Packed with illustrations, improvisation challenges, examples, and reference material, Dance Mind & Body explores the fine line separating movement and dance. You will achieve better posture, a greater sense of movement, and heightened artistic expression. From the basics of breathing to the complexities of modern choreography and form, this definitive guide is an indispensable resource for any aspiring performer.