Cold War “Cultural Safaris”: Canadian Art, Cultural Diplomacy, and the Asian Commonwealth Tour

Abstract

In 1955, the National Gallery of Canada circulated an exhibition of Canadian art to the “Asian commonwealth”—Pakistan, India, and Ceylon (now Sri Lanka). Developed in tandem with Canada’s involvement in the Colombo Plan for Co-operative Economic Development in South and Southeast Asia, the tour was part of a wide-angled strategy of cultural engagement that, despite its humanitarian trappings, was grounded in Cold War politics. Featuring a small display of relatively unimportant works in venues of limited interest to the National Gallery, the tour nonetheless marks a significant juncture in the development of the Canadian cultural state—a turning point in the relationship between the gallery and Canada’s Department of External Affairs, which in the immediate postwar decades sought to coordinate with the National Gallery in pursuit of an active role in the information brokering and cultural work it identified in the gallery’s promotion of Canadian art abroad. In this article, we position the Asian commonwealth tour as a case study that reveals the inherent tension in the relationship between the cultural and policy spheres of the state that informed Cold War mobilization of the liberal values art was thought to express.