Collaboration Beyond the Chief of Mission

A mission’s work depends on more people than the official who heads it. Joint envoys and secretaries can supply language skills and political knowledge; educators and family members can build relationships beyond formal negotiations. Their authority differs, however. The Qing mission’s plenipotentiaries could sign a treaty, while Mary Mann’s correspondence with Domingo Faustino Sarmiento and the Ertegün brothers’ concerts advanced educational and cultural exchanges through personal collaboration. [1] [3] [4] [7]

Sharing Authority and Knowledge

In 1868, Prince Gong instructed foreign governments to negotiate with Anson Burlingame, accompanied by Zhi Gang and Sun Jiagu. The Chinese envoys would assist, consult on dispatches to Beijing, and gain experience in diplomatic duties. Gong described their knowledge of Chinese affairs and Burlingame’s familiarity with foreign practices as complementary. [1]

Burlingame, previously the American minister in China, brought J. McLeavy Brown from the British legation into the Qing mission as first secretary and employed Deschamps as second secretary. The treaty signed in Washington in July 1868 named Burlingame, Zhi Gang, and Sun Jiagu as Qing plenipotentiaries. Sun also kept a personal account of the journey. [2] [3] [9]

Educational Networks Across Borders

Mary Mann’s collaboration with Domingo Faustino Sarmiento rested on correspondence and shared educational interests. While Sarmiento served as Argentina’s minister in the United States, Mann discussed his journal, connected him with acquaintances, and urged him to consider what educated women could accomplish. She translated Facundo and contributed a biographical account for its 1868 American edition. [4] [6] [5]

Mann’s role in selecting American teachers continued after Sarmiento became president. Mary Elizabeth Gorman reached Buenos Aires in 1869 on Mann’s recommendation but declined to go onward to San Juan, later seeking help from Juana Manso. [5]

Family Connections and Cultural Access

Beginning around 1940, Ahmet and Nesuhi Ertegün, the Turkish ambassador’s sons, invited Black musicians and integrated audiences to performances at their family’s diplomatic residence in a segregated Washington. They later promoted concerts at other venues, including the Jewish Community Center and the National Press Club. [7] [8]

At the Howard Theatre restoration groundbreaking in 2010, Ambassador Namık Tan recalled the brothers’ gatherings, pledged Turkish support, and announced plans for another jazz series at the residence. [8]