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Jazz and “Cultural Containment” Jazz and “Cultural Containment”
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Jazz in the Cold War Jazz in the Cold War
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Notes Notes
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7 The Paradox of Jazz Diplomacy: Race and Culture in the Cold War
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Published:January 2015
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Abstract
This chapter focuses on the jazz tours that began in July 1954, which were sponsored by the State Department's Bureau of Educational and Cultural Affairs. The jazz tours created a paradox in U.S. Cold War strategy. The cultural expression of one of the nation's most oppressed minorities came to symbolize the cultural superiority of American democracy. Policy makers considered jazz, the “authentic expression of American life,” to be an apt instrument in U.S. efforts to contain criticism about America's cultural and racial identity. The tours were suspended in the early 1960s when volatile racial conflicts in urban America and the Vietnam War no longer made them viable. These were reinstated in the late 1960s, but with more conservative jazz musicians. The chapter also examines the “moral tension” experienced by jazz performers over whether to “affirm their heritage by struggling against racial oppression or seek acceptance into white society.”
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