Lauren Erin Brown
Biographic Data
| ID | 6185612 |
|---|---|
| NAME | Lauren Erin Brown |
| GIVEN NAMES | Lauren Erin |
| FAMILY NAME | Brown |
| SIGNATURE | BROWN L E |
| AFFILIATIONS | Marymount Manhattan College |
| ORCID | 0000-0002-6851-2219 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Cold War, Culture Wars, War on Terror: The NEA and the art of public diplomacy
This article reframes the conversation on the National Endowment for the Arts’ loss of funding during the 1990s. It argues morality and fiscal responsibility have been overemphasised and instead suggests one must consider the agency’s relationship to the Cold War and cultural diplomacy. Born of the Cold War, it charts the NEA’s development of international programming, its partnerships with the State Department and United States Information Agenc…
As Long as They Have Talent”: Organizational Barriers to Black Ballet
This article investigates the relative absence of African American ballet dancers and the field’s slow integration. It counters scarcity theories—not enough interest, money, or opportunities—demonstrating a demand for ballet in postwar black communities. Further, it argues that postwar funding, private sources from the Ford Foundation and national programs under the National Endowment for the Arts, unintentionally strengthened boundaries between …
American Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere
American Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere." Russian Journal of Communication, 8(3), pp. 312–313
As Long as They Have Talent”: Organizational Barriers to Black Ballet
This article investigates the relative absence of African American ballet dancers and the field’s slow integration. It counters scarcity theories—not enough interest, money, or opportunities—demonstrating a demand for ballet in postwar black communities. Further, it argues that postwar funding, private sources from the Ford Foundation and national programs under the National Endowment for the Arts, unintentionally strengthened boundaries between …
American Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere
American Soviet Cultural Diplomacy: The Bolshoi Ballet’s American Premiere." Russian Journal of Communication, 8(3), pp. 312–313
As Long as They Have Talent”: Organizational Barriers to Black Ballet
This article investigates the relative absence of African American ballet dancers and the field’s slow integration. It counters scarcity theories—not enough interest, money, or opportunities—demonstrating a demand for ballet in postwar black communities. Further, it argues that postwar funding, private sources from the Ford Foundation and national programs under the National Endowment for the Arts, unintentionally strengthened boundaries between …
Cold War, Culture Wars, War on Terror: The NEA and the art of public diplomacy
This article reframes the conversation on the National Endowment for the Arts’ loss of funding during the 1990s. It argues morality and fiscal responsibility have been overemphasised and instead suggests one must consider the agency’s relationship to the Cold War and cultural diplomacy. Born of the Cold War, it charts the NEA’s development of international programming, its partnerships with the State Department and United States Information Agenc…
Law (3 works) · Political science (3 works) · Art (2 works) · Ballet (2 works) · Dance (2 works) · Diplomacy (2 works) · Diversity and Impact of Dance (2 works) · Endowment (2 works) · Law (2 works) · Sociology (2 works)