Popular Music and Public Diplomacy : Transnational and Transdisciplinary Perspectives

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, pop, bluegrass, flamenco, funk, disco, and hip-hop, among others. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries. Table of Contents Acknowledgements Popular Music and Public Diplomacy Part I: Competition and Collaboration Music in Transnational Transfers and International Competitions The Paradoxes of Cultural and Music Diplomacy in a Federal Country Dervish on the Eurovision Stage Part II: Infiltration and Appropriation Between Propaganda and Public Diplomacy “Liberated from Serfdom” A Musical Inquisition? Part III: Education and Promotion Dancing in Chains Becoming a Blue-Collar Musical Diplomat Music Trade in the Slipstream of Cultural Diplomacy National Flamencoism Part IV: Representation and Participation The Ethics and Politics of Empathy in US Hip-Hop Diplomacy Popular Musicking and the Politics of Spectatorship at the United Nations From Sons of Gastarbeita to Songs of Gastarbeiter Public Diplomacy and Decision-Making in the Eurovision Song Contest List of Contributors Index

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, pop, bluegrass, flamenco, funk, disco, and hip-hop, among others.This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the twentieth century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the twentieth and twenty-first centuries. In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, punk, reggae, and hip-hop. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.