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Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Popular Music Mario Dunkel, Sina A. Nitzsche (eds.) Popular Music and Public Diplomacy Transnational and Transdisciplinary Perspectives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-4358-3. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. © 2018 transcript Verlag, Bielefeld Cover layout: Maria Arndt, Bielefeld Cover illustration: designritter / photocase.de Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-4358-9 PDF-ISBN 978-3-8394-4358-3 https://doi.org/10.14361/9783839443583 Table of Contents Acknowledgements | 7 Popular Music and Public Diplomacy An Introduction Mario Dunkel and Sina A. Nitzsche | 9 PART I: COMPETITION AND COLLABORATION Music in Transnational Transfers and International Competitions Germany, Britain, and the US in the Nineteenth and Twentieth Centuries Klaus Nathaus | 29 The Paradoxes of Cultural and Music Diplomacy in a Federal Country A Case Study from Flanders, Belgium Alessandro Mazzola | 49 Dervish on the Eurovision Stage Popular Music and the Heterogeneity of Power Interests in Contemporary Turkey Nevin Şahin | 69 PART II: INFILTRATION AND APPROPRIATION Between Propaganda and Public Diplomacy Jazz in the Cold War Rüdiger Ritter | 95 “Liberated from Serfdom” Willis Conover and the Tallinn Jazz Festival of 1967 Maristella Feustle | 117 A Musical Inquisition? Soviet ‘Deputies’ of Musical Entertainment in Hungary during the Early 1950s Ádám Ignácz | 133 PART III: EDUCATION AND PROMOTION Dancing in Chains Why Music Can’t Keep the World Free Martha Bayles | 155 Becoming a Blue-Collar Musical Diplomat Billy Joel and Bridging the US-Soviet Divide in 1987 Nicholas Alexander Brown | 175 Music Trade in the Slipstream of Cultural Diplomacy Western Rock and Pop in a Fenced-In Record Market Sven Kube | 197 National Flamencoism Flamenco as an Instrument of Spanish Public Diplomacy in Franco’s Regime (1939-1975) Carlos Sanz Díaz and José Manuel Morales Tamaral | 209 PART IV: REPRESENTATION AND PARTICIPATION The Ethics and Politics of Empathy in US Hip-Hop Diplomacy The Case of the Next Level Program Kendra Salois | 233 Popular Musicking and the Politics of Spectatorship at the United Nations James R. Ball III | 255 From Sons of Gastarbeita to Songs of Gastarbeiter Migrant and Post-Migrant Integration through Music and German Musical Diplomacy from the 1990s to the Present Gesa zur Nieden | 277 Public Diplomacy and Decision-Making in the Eurovision Song Contest Dean Vuletic | 301 List of Contributors | 315 Index | 321 Acknowledgements This book results from a larger research project between TU Dortmund Uni- versity and the Carl von Ossietzky University Oldenburg which started with an international conference on “Popular Music and Public Diplomacy” in 2015. We would like to thank institutions and people who made this project possi- ble. The Deutsche Forschungsgemeinschaft (DFG), the US Consulate in Düssel- dorf, the TU Dortmund Society of Friends, and Oxford Music & Letters provided grants that enabled us to finance the initial conference. We would also like to express our gratitude to our colleagues at the English and music departments of TU Dortmund University and the music department of the University of Olden- burg. Walter Grünzweig and Holger Noltze supported the initial conference. Our Conference Advisory Board, consisting of Rebekah Ahrendt, Mark Ferraguto, Damien Mahiet, and Daniel Stein, helped us to plan the conference program. Our panel moderators Eric C. Erbacher, Elena Furlanetto, Randi Gunzenhäuser, Sibylle Klemm, Peter Klose, Iris-Aya Laemmerhirt, Cyprian Piskurek, and Gerold Sedlmayr created an inspiring and productive conference atmosphere. Bileam Kümper managed the technology equanimoulsy while Steven Wulf provided an innovative conference design. Matt Lockaby helped us to refine the book proposal. Terence Kumpf proofread the book manuscript and commented on individual chapters. Finally, we would like to express our gratitude to our students who not only assisted us in organizing the project, but also provided valuable perspectives on the topic. Our assistants Kassandra Beckmann, Tanja Ferreira, Thuy-Vy Nguyen, and Hanna Rodewald supported us tirelessly during the conference. Björn Jeddeloh and Léon Raschen helped us in the final stages of the editing process. Our students’ enthusiasm, reliability, and commitment were fundamental to the success of this project. Mario Dunkel and Sina A. Nitzsche Oldenburg and Dortmund, October 2018 Popular Music and Public Diplomacy An Introduction Mario Dunkel and Sina A. Nitzsche Every year since 30 April 2013, the official date of UNESCO’s International Jazz Day, the event’s so-called global concert has ended with a jam. After about two hours of live performances by individual artists, all of the musicians in- volved in the event share the stage for a ritualistic, final performance of John Lennon’s “Imagine.” The global concert’s version of this song builds on Herbie Hancock’s 2010 adaptation on his record The Imagine Project. While some musicians keep playing throughout the performance of “Imagine,” others sing individual fragments of the piece. Some instrumentalists are assigned short sections for solos, while others provide backings toward the end of the perfor- mance. “Imagine” ends on a scat riff, which is again based on Hancock’s earlier version. Sung by several musicians on the syllables “ba” and “dap,” the final unisono motif draws on the shared practice of imitating musical instruments, reaffirming the event’s central rhetoric that frames jazz as a “universal lan- guage.” Launched in 2011, Jazz Day officially celebrates the “diplomatic role” of jazz in uniting people around the world (“About”). It has been hosted by the US (2012 and 2016), Turkey (2013), Japan (2014), France (2015), Cuba (2017), and Russia (2018). The 2019 event will take place in Australia. Barack Obama hosted Jazz Day at the White House in 2016 while the Russian Ministry of Culture supported the global concert in 2018 when it took place at the Mariinsky Theater in St. Petersburg, Vladimir Putin’s home town. In addition to this involvement of several national governments, International Jazz Day has been funded by large corporations such as United Airlines and Toyota. That an event such as Jazz Day has become significant for some of the best- known jazz musicians as well as for state leaders, large corporations, and audi- ences testifies to the significance of this volume on the interaction between popular music and public diplomacy. Undoubtedly, jazz and its mediations hold 10 | Mario Dunkel and Sina A. Nitzsche significant cultural capital both for governments and corporations. Over the last two decades, questions concerning this political significance of music in interna- tional relations have been raised in different disciplines. Political scientists and historians, such as Andrew F. Cooper, Lisa Davenport, Penny von Eschen, Jessica Gienow-Hecht, Simo Mikkonen, Frédéric Ramèl, among others, have tended to emphasize the significance of different types of cultural practices, including music, in international relations by looking at the manifold ways in which these practices and their mediations contribute to public diplomacy and become politically effective (Eschen; Gienow-Hecht, Sound Diplomacy; Daven- port; Cooper; Ramel and Prévost-Thomas; Mikkonen and Suutari). At the same time, musicologists, literary scholars, art historians, and other academics interested in the study of cultures have begun to inquire about the ways in which the diplomatic politicization of music and musicians reverberates in the cultural sphere (see Fosler-Lussier, Music; Ahrendt, Ferraguto, and Mahiet; Bauer; Street; Kemper et al.). The politicization of music can have a great array of resonances and repercussions, ranging from the marketing of musicians to the branding of genres and the transformation of musical practices and aesthetics. Integrating perspectives from history, political science, but also musicology and popular music studies, the present volume therefore understands the relationship between popular music and diplomacy as multidirectional rather than unidirectional or reciprocal,
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