The mention of music’s role in international relations is still unconventional, simply because arts and politics do not sound like they resonate (Ramel & Prévost-Thomas, 2018). Through the reminiscence of the historical event, like what Angélique Ionatos acclaimed, “It’s impossible for me to think of art as simply entertainment; it bears witness to our times” (The Guardian, 2015). Van Cliburn was one of the remarkable cultural crack pioneers in the Cold War when he unintentionally immersed himself in a contribution to the peace resolution. He reminds us that culture can play a crucial role in embracing the world—that it can serve as a political gesture, and that music is a universal language.
After World War II, a geopolitical tension between the United States and the Soviet Union existed due to their differences in ideologies and ambitions. It was characterized by indirect conflict, espionage, economic and political competition, and proxy wars—avoiding direct military confrontation (Stone, 2010). It significantly influenced global affairs for nearly five decades, impacting international relations, economics, technology, military strategy, etc. History started writing itself in 1947 and had never seen the light until April 1958, when Harvey Van Cliburn participated in the first International Tchaikovsky Competition, not realizing the intensity of the conflict (Baglione, 2017). Astonishingly, he became a symbol of achievement to America and an adored icon to the Soviets. Most importantly, in all his innocence, he was a cultural diplomat (Baglione, 2017).
Who is Harvey Van Cliburn?
Harvey Lavan “Van” Cliburn Jr. was born in 1934 and grew up in Texas. His pianist mother was the one who introduced him to the instrument, leading him to pursue studies at the prestigious Juilliard School under the famous pianist Rosina Lhévinne. Under her influence, Cliburn refined his technique, becoming known for his expressive, powerful performances of Romantic composers (Schmidt, 2016).
In 1958, the 23-year-old Cliburn participated in the groundbreaking International Tchaikovsky Competition in Moscow, a prestigious event originally held to showcase the Soviet Union’s artistic and cultural dominance during the Cold War, in which he brilliantly performed his interpretation of the two prominent Russian composers works: Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’s Piano Concerto No. 3. Despite the geopolitical tension, the Soviet judges sought approval from Premier Nikita Khrushchev to award the top prize to the American pianist, quoting, “Is he the best? Then give him the prize” (Predota, 2022).
Cliburn as an International Sensation
Following his success, Cliburn became a global superstar. His recording of Tchaikovsky’s Piano Concerto No. 1 became the first classical album to sell over a million copies, going platinum (Schmidt, 2013), and his concerts were highly anticipated events worldwide. In 1962, the Van Cliburn International Piano Competition was established in Texas to honor him. It instantly developed as one of the most prestigious piano competitions in the world, attracting the world’s best young pianists and offering them a platform to launch their careers, likewise how Cliburn’s career had been launched by his victory in Moscow. However, Cliburn’s legacy extended far beyond his musical contributions—his success symbolized the possibility of cultural diplomacy amidst the Cold War. Not only did he return as a hero in the United States as he became the only classical musician to be honored with a ticker-tape parade in New York City (Strong & Scarpelli, 2017), but his diplomatic presence made him a beloved figure for the Russians and beyond. Cliburn befriended numerous Soviet musicians and leaders, including Khrushchev. This impression led him to be awarded the Presidential Medal of Freedom in 2003 and the Russian Order of Friendship in 2004. Cliburn’s music transcended political boundaries and symbolized the power of art to unite through cultural diplomacy.
Cultural Diplomacy through the Constructivism Framework
The main purpose of diplomacy is to ensure peaceful relations between countries through negotiations, dispute tackling, policy implementations, etc. In general, there are three types of diplomacy effective today, which include public diplomacy, economic diplomacy, and Cliburn’s agenda—cultural diplomacy (FutureLearn, 2021), a form of soft power in which a country attempts to use its cultural resources and appeal rather than military or economic coercion to achieve foreign policy goals (Clarke, 2020; Nye, 2017). It entails the government intervening in the arts, sciences, and other forms of cultural expression to shape national identities (Zamorano, 2016). Cultural diplomacy builds cross-cultural understanding, bridges political divides, fosters mutual respect, and enhances diplomatic relations.
Alexander Wendt highlighted through his article written in 1922, Anarchy is What States Make of It: The Social Construction of Power Politics, about a constructivist approach in international relations on how the system is highly amenable. “Anarchy is what states make of it,” emphasizes how state interests, identities, and behaviors are not a given. Instead, they are socially constructed and will always develop and evolve. Constructivism also acknowledges the contribution of a diverse group of individuals, ideologies, and transnational actors in shaping identities.
Cultural diplomacy fits well within the constructivist framework. While cultural diplomacy is defined as the exchange of ideas, values, traditions, and other aspects of culture or identity with other countries to strengthen socio-cultural relations and cooperation (Cull, 2008), it reflects the constructivism theory, which emphasizes the role of ideas, values, and identities in shaping international relations. With constructivism as its theoretical foundation, cultural diplomacy is a tool that helps construct national identities and build relationships, influencing global perceptions and international norms through soft power in international relations.
Harvey Van Cliburn as a Diplomat
Harvey Van Cliburn was a solid symbol of cultural diplomacy who transcended political boundaries by detaching the cold tension between the United States and the Soviet Union through his win at the International Tchaikovsky Competition. Cliburn established evidence on the constructivist idea of how a state’s national interest could be driven by a non-state actor who happened only to be a talented young scholar. The Soviets being impressed by his performance and acknowledging the American’s achievement illustrated that the international system is not everlasting and will remain progressive.
In 1958, Cliburn was featured on the cover of the May 19 issue of Time magazine as “The Texan Who Conquered Russia.” However, Cliburn could not view himself the same way the public did. “There are no political barriers to music. The same blood running through Americans also runs through the Soviet people and compels us to create and enjoy the same art” (Schmidt, 2016). His impact on the classical music world and his role in easing Cold War tensions through cultural diplomacy remain remarkable. Cliburn’s victory was neither a personal nor artistic achievement, but a political one, through the impact of his music on history.
Reflecting Henry W. Longfellow’s statement in 1835, “Music is the universal language of mankind.” Music’s ability to transcend language, cultural, and political barriers has earned this designation—that music speaks to people in ways words cannot, making it a powerful non-state in diplomacy.
