study of these tours from the perspective of dance, Dance
for Export: Cultural Diplomacy and the Cold War, Neima Prevots reads
the tours in the context of fear of communist ideological and military
power and ‘its apparent uses in capturing the minds and souls of other
countries’ (Prevots 2001: 7). After a Congress decision in 1954 to allocate
funds to enlist the performing arts in the Cold War, Eisenhower founded
the President’s Emergency Fund for International Affairs, which funded
enterprises sending leading figures in American performing arts abroad.