This open access book explores the organization and evolution of Finlands Cold War cultural diplomacy (1945-1975) as the basis for a reflection on the countrys foreign relations, the link between culture and politics, small states autonomy during the Cold War, and the porosity of the East-West divide. The book offers a historical survey of the development of Finlands cultural diplomacy as part of the Finnish states foreign activities. In its empirical parts, it focuses on archives drawn from the Finnish Ministry of Foreign Affairs and the Ministry of Education in order to explain Finlands cultural diplomacy as the result of the countrys foreign policy orientations, interactions between domestic and foreign policy, and the expansion of state activities in the artistic, educational, and cultural sectors. Various reflections and reports on foreign cultural relations highlight the role of identity concerns, cultural relations, geopolitics and economic imperatives in the development of a specifically Finnish cultural diplomacy. Furthermore, the book focuses on specific aspects and events, considering for instance the organization and evolutions of Finlands cultural relations with the USSR, the role of cultural treaties, academic exchanges and scientific cooperation, "cultural exports" and the marketization of culture, overlaps between cultural relations and high politics. Louis Clerc is Professor in Contemporary History in the Department of Contemporary History, Philosophy and Political Science at the University of Turku, Finland. His current research projects deal with the history of public and cultural diplomacy and the study of diplomatic relations.

Some fifty thousand Soviets visited the United States under various exchange programs between 1958 and 1988. They came as scholars and students, scientists and engineers, writers and journalists, government and party officials, musicians, dancers, and athletes—and among them were more than a few KGB officers. They came, they saw, they were conquered, and the Soviet Union would never again be the same. Cultural Exchange and the Cold War describes how these exchange programs (which brought an even larger number of Americans to the Soviet Union) raised the Iron Curtain and fostered changes that prepared the way for Gorbachev's glasnost, perestroika, and the end of the Cold War. This study is based upon interviews with Russian and American participants as well as the personal experiences of the author and others who were involved in or administered such exchanges. Cultural Exchange and the Cold War demonstrates that the best policy to pursue with countries we disagree with is not isolation but engagement.

Cold War history has emphasized the division of Europe into two warring camps with separate ideologies and little in common. This volume presents an alternative perspective by suggesting that there were transnational networks bridging the gap and connecting like-minded people on both sides of the divide. Long before the fall of the Berlin Wall, there were institutions, organizations, and individuals who brought people from the East and the West together, joined by shared professions, ideas, and sometimes even through marriage. The volume aims at proving that the post-WWII histories of Western and Eastern Europe were entangled by looking at cases involving France, Denmark, Poland, Romania, Switzerland, and others.

With its unique focus on how culture contributed to the blurring of ideological boundaries between the East and the West, this important volume offers fascinating insights into the tensions, rivalries and occasional cooperation between the two blocs. Encompassing developments in both the arts and sciences, the authors analyze focal points, aesthetic preferences and cultural phenomena through topics as wide-ranging as the East- and West German interior design; the Soviet stance on genetics; US cultural diplomacy during and after the Cold War; and the role of popular music as a universal cultural ambassador. Well positioned at the cutting edge of Cold War studies, this important work illuminates some of the striking paradoxes involved in the production and reception of culture in East and West.

Cold War Modernists documents how the CIA, the State Department, and private cultural diplomats transformed modernist art and literature into pro-Western propaganda during the first decade of the Cold War.

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.

The definitive account of the historic diplomatic agreement that provided a blueprint for ending the Cold War The Helsinki Final Act was a watershed of the Cold War. Signed by thirty-five European and North American leaders at a summit in Finland in the summer of 1975, the document presented a vision for peace based on common principles and cooperation across the Iron Curtain. The Final Act is the first in-depth history of the diplomatic saga that produced this important agreement. This gripping book explains the Final Act's emergence from the parallel crises of the Soviet bloc and the West during the 1960s and the conflicting strategies that animated the negotiations. Drawing on research in eight countries and multiple languages, The Final Act shows how Helsinki provided a blueprint for ending the Cold War and building a new international order.