In the 1940s and 1950s, Soviet musicians and ensembles were acclaimed across the globe. They toured the world, wowing critics and audiences, projecting an image of the USSR as a sophisticated promoter of cultural and artistic excellence. In Virtuosi Abroad, Kiril Tomoff focuses on music and the Soviet Union's star musicians to explore the dynamics of the cultural Cold War. He views the competition in the cultural sphere as part of the ongoing U.S. and Soviet efforts to integrate the rest of the world into their respective imperial projects. Tomoff argues that the spectacular Soviet successes in the system of international music competitions, taken together with the rapturous receptions accorded touring musicians, helped to persuade the Soviet leadership of the superiority of their system. This, combined with the historical triumphalism central to the Marxist-Leninist worldview, led to confidence that the USSR would be the inevitable winner in the global competition with the United States. Successes masked the fact that the very conditions that made them possible depended on a quiet process by which the USSR began to participate in an international legal and economic system dominated by the United States. Once the Soviet leadership transposed its talk of system superiority to the economic sphere, focusing in particular on consumer goods and popular culture, it had entered a competition that it could not win.

Using previously inaccessible archival documents, this study provides a longitudinal investigation of the middle levels of Soviet bureaucracy responsible for overseeing Olympic Sport during the Cold War. Spanning the period from the USSR’s Olympic debut in 1952 through the 1980 Games held in Moscow, this book argues that behind the high-profile performances of Soviet elite athletes, a legion of sports administrators worked within international sports organizations and the Soviet party-state to increase Soviet chances of success and make Soviet representatives a respected voice in international sports. Soviet officials helped expand the Olympic movement, increasing the participation of women, developing nations, and socialist bloc countries, while achieving Soviet political and diplomatic aims. Soviet representatives, over the course of only a few decades, became a dominant and respected voice within international sports circles, actively promoting Olympic ideals abroad even as they transformed those ideals to better align with Soviet goals. In the process, Soviet sports contributed to the evolution of Olympic sport, integrating the Soviet Union into an emerging global culture, and contributing to transformations within the Soviet Union. Back home in the USSR, the Sports Committee's leading personalities represented a new kind of Soviet bureaucrat, who emerged in the late years of Stalinism and contributed to the professionalization of party-state apparatus. Standing at the intersection between state and society, between Soviet political goals and their execution, and between Olympic sport and Communist ideology, mid-level Soviet sports administrators demonstrated ideological drive, political savvy, and professional pragmatism, providing the impetus, expertise, and experience to transform broad ideological constructs into specific policies and procedures in the Soviet Union and realize Soviet propaganda and foreign policy goals in international and Olympic sports.

The Iron Curtain was not an impenetrable divide, and contacts between East and West took place regularly and on various levels throughout the Cold War. This book explores how the European tourist industry transcended the ideological fault lines and the communist states attracted an ever-increasing number of Western tourists. Based on extensive original research, it examines the ramifications of tourism, from sun-and-sea package tours to human rights travels, in key Eastern European locations including East Berlin, the Soviet Union, Yugoslavia, and Albania. The book’s analysis of the politics, culture, and history of tourism to the East offers important new perspectives on European tourism in the twentieth century. The Introduction of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Performing Peace and Friendship tells the story of how the Soviet Union succeeded in utilizing the World Festival of Youth and Students in its cultural diplomacy from late Stalinism through the early Khrushchev period. Pia Koivunen discusses the evolution of the youth gathering into a Soviet cultural product starting from the first festival held in Prague in 1947 and ending with the Moscow 1957 gathering, the latter becoming one of the most frequently referred moments of Khrushchev’s Thaw. By combining both institutional and grass-roots’ perspectives, the book widens our understanding of what Soviet cultural diplomacy was in practice, re-evaluates the agency of young people and provides new insights into the Soviet role in the cultural Cold War. Koivunen argues that rather than simply being orchestrated rallies by the Kremlin bureaucrats, the World Youth Festivals also became significant spaces of transnational encounters for young people, who found ways to employ the event for overcoming the various restrictions and boundaries of the Cold War world.

Despite increasing scholarship on the cultural Cold War, focus has been persistently been fixed on superpowers and their actions, missing the important role played by individuals and organizations all over Europe during the Cold War years. This volume focuses on cultural diplomacy and artistic interaction between Eastern and Western Europe after 1945. It aims at providing an essentially European point of view on the cultural Cold War, providing fresh insight into little known connections and cooperation in different artistic fields. Chapters of the volume address photography and architecture, popular as well as classical music, theatre and film, and fine arts. By examining different actors ranging from individuals to organizations such as universities, the volume brings new perspective on the mechanisms and workings of the cultural Cold War. Finally, the volume estimates the pertinence of the Cold War and its influence in post-1991 world. The volume offers an overview on the role culture played in international politics, as well as its role in the Cold War more generally, through interesting examples and case studies.

The Americanist community played a vital role in the Cold War, as well as in large part directing the cultural consumption of Soviet society and shaping perceptions of the US. To shed light onto this important, yet under-studied, academic community, Sergei Zhuk here explores the personal histories of prominent Soviet Americanists, considering the myriad cultural influences - from John Wayne's bravado in the film Stagecoach to Miles Davis - that shaped their identities, careers and academic interests. Zhuk's compelling account draws on a wide range of understudied archival documents, periodicals, letters and diaries as well as more than 100 exclusive interviews with prominent Americanists to take the reader from the post-war origins of American studies, via the extremes of the Cold War, thaw and perestroika, to Putin's Russia. Soviet Americana is a comprehensive insight into shifting attitudes towards the US throughout the twentieth century and an essential resource for all Soviet and Cold War historians.

What's valuable? Market competition provides one kind of answer. Competitions offer another. On one side, competition is an ongoing and seemingly endless process of pricings; on the other, competitions are discrete and bounded in time and location, with entry rules, judges, scores, and prizes. This book examines what happens when ever more activities in domains of everyday life are evaluated and experienced in terms of performance metrics. Unlike organized competitions, such systems are ceaseless and without formal entry. Instead of producing resolutions, their scorings create addictions. To understand these developments, this book explores discrete contests (architectural competitions, international music competitions, and world press photo competitions); shows how the continuous updating of rankings is both a device for navigating the social world and an engine of anxiety; and examines the production of such anxiety in settings ranging from the pedagogy of performance in business schools to struggling musicians coping with new performance metrics in online platforms. In the performance society, networks of observation - in which all are performing and keeping score - are entangled with a system of emotionally charged preoccupations with one's positioning within the rankings. From the bedroom to the boardroom, pharmaceutical companies and management consultants promise enhanced performance. This assemblage of metrics, networks, and their attendant emotional pathologies is herein regarded as the performance complex.