Jazz in US Public Diplomacy towards the USSR (1962-1971): Is Music an Effective Tool of Strategic Communications?

在20世纪50年代，爵士乐成为美国文化外交努力的主要力量。它巩固了自己作为美国民主核心原则的非比喻代表，因为两者在结构和代理、僵化的规则和附带条件之间有着内在的张力。这一简单但有力的比喻促使艾森豪威尔政府建立了文化呈现计划，该计划通过宣传美国文化和政治价值的吸引力，聘请所谓的爵士乐大使在世界各地演出。该博士从战略传播的角度探索由美国赞助的爵士乐之旅--1962年由本尼·古德曼的大乐队赞助，1971年由艾灵顿公爵的乐队赞助。它将这些旅行置于更广泛的公共外交框架内，这是在超级大国之间紧张局势加剧的背景下进行的，并围绕暴力威胁和相互确保的破坏进行了讨论。通过研究爵士乐巡回演出在超级大国文化关系中的作用，本研究将阐明他们与冷战时期地缘政治和军事背景的关系。最终，这个博士的目标是提供一个关于音乐文化外交的新的概念性理解。它认为，爵士乐巡回演出(I)以基于价值观的话语支撑了美国的外交政策；(Ii)开辟了一条通往“可说服”的苏联公民网络的直接途径；(Iii)充当了应对美苏地缘政治中动态威胁的安全阀。

In the 1950s jazz became the primary force in Americancultural diplomatic efforts. It consolidated itself as ametaphorical representation of the core principles ofAmerican democracy, as the two shared an inherenttension between structure and agency, rigid rules andimprovisation. This simple but powerful metaphorprompted the Eisenhower administration to establish theCultural Presentations Programme, which paid so-called'jazz ambassadors' to perform all over the world, therebyadvertising the appeal of American cultural and politicalvalues.This PhD explores US-sponsored jazz tours to the USSR-byBenny Goodman's big band in 1962 and Duke Ellington'sband in 1971-from a Strategic Communicationsperspective. It locates these tours within a broaderframework of Public Diplomacy, which ran against thebackdrop of heightened tensions between the superpowersand was woven into discourses around threats of violenceand mutually assured destruction. By investigating the roleof the jazz tours in superpower cultural relations, this studywill illuminate their relationships with geopolitical andmilitary contexts of the Cold War. Ultimately, this PhD aimsto offer a fresh conceptual understanding around musicculturaldiplomacy. It argues that the jazz tours (i)underpinned US foreign policy with a values-baseddiscourse; (ii) opened a direct route to networks of'persuadable' soviet citizens; (iii) acted as a safety-valve tokinetic threats in geopolitics of the US-USSR.