THE INVISIBLE HAND: UNRAVELING GLOBAL INFLUENCE, SECRET NETWORKS, AND CULTURAL POWER PLAYS. PART-2(BHARAT)

Introduction

Following World War II, the Central Intelligence Agency (CIA) was established with a clear mandate—to counter Communist influence both within the United States and globally. One of the most significant, yet covert, methods employed was the establishment of the Congress for Cultural Freedom (CCF), an initiative aimed at countering Soviet ideology through the promotion of Western art and literature. While the CIA never officially acknowledged its role in funding the CCF, media investigations later revealed that the organization was a direct product of American intelligence efforts.

The Genesis of a Cultural Counteroffensive

A key figure in this strategy was Melvin Lasky, a former U.S. Army combat historian and paratrooper. Lasky sent two critical memos, now known as the "Melvin Lasky Proposal," to the U.S. State Department, advocating for the establishment of a non-Communist leftist organization to counter Soviet influence. The first publication of this initiative, Der Monat, was launched in Germany as a propaganda tool against the Soviets. This effort was aimed at shifting the global cultural epicenter from Paris to New York.

However, the CIA’s greatest concern was India, which had gained independence in 1947. The agency believed China had already fallen to Communism, and it sought to prevent India from following suit. Thus began a decades-long campaign of espionage, cultural infiltration, and strategic funding.

The Congress for Cultural Freedom’s Global Reach

The CCF established offices in 35 countries, disseminating pro-Western ideologies through magazines and newspapers. In India, it launched two major publications:

1. Freedom First – Published by PEN India

2. Quest – Published by the Indian Committee for Cultural Freedom

Through these platforms, the CIA, in collaboration with the Ford Foundation and the Museum of Modern Art (MOMA), significantly influenced India’s political, economic, cultural, and literary landscape. This effort was part of a broader campaign to promote what was termed the "Non-Communist Left" ideology under the guise of democratic socialism.

The Role of the Museum of Modern Art (MOMA)

When Abby Aldrich Rockefeller founded MOMA, it was initially perceived as a cultural institution. However, it quickly became a critical component of the CIA’s cultural warfare. Several key figures in MOMA’s leadership had deep ties to intelligence and policy-making circles:

• Thomas Braden – Executive Secretary of MOMA; later headed the CIA’s International Organizations Division, which managed the CCF.

• William Paley – Co-founder of the CIA.

• John Hay Whitney – Served as MOMA chairman; his "Whitney Trust" was a CIA funding front.

• Paul Hoffman – MOMA board member; first president of the Ford Foundation.

• Julius Fleischmann – Funded CCF exhibitions at Tate London.

• Nelson Rockefeller – Abby Rockefeller’s eldest son, a key player in American foreign policy.

Notably, Robert Soros, the eldest son of George Soros, is currently the chair of MOMA PS1, a subsidiary of MOMA, and serves on MOMA’s board, continuing the legacy of CIA-backed cultural influence.

MOMA’s Expansion into India.

In India, the Rockefeller Foundation identified and supported the Bombay Progressive Artists’ Group, which aligned with CIA-promoted abstract and modern art. The group’s founders included:

• Maqbul Fida Hussain

• K.H. Ara

• F.N. Souza

• S.K. Bakre

• S.H. Raza

• H.A. Gade

Facing public backlash for their controversial, often nudist, paintings, these artists received funding and residency programs through MOMA, enabling them to move abroad. Meanwhile, John D. Rockefeller III established the JDR3 Fund, which created the Asian Cultural Council and the Rockefeller Artists of India program.

The CIA’s Official Admission and Fallout.

In 1966-67, Ramparts Magazine published a bombshell report exposing various foundations that acted as CIA fronts for funding cultural operations. This revelation forced the CIA to withdraw its direct financial backing from the CCF. The organization was subsequently renamed the International Congress for Cultural Freedom (ICCF), with funding taken over by the Ford Foundation until 1979.

The Indian Committee for Cultural Freedom (ICCF)

Recognizing India’s strategic importance, the CIA established the ICCF, led by liberal socialist Minoo Masani. Other notable members included:

• B.R. Ambedkar – Architect of India’s Constitution

• Ashok Mehta – Founder of Hind Mazdoor Sabha

• Rajni Kothari – Founder of the People's Union for Civil Liberties (PUCL)

• Jaiprakash Narain – Founder of PUCL

• Sophia Wadia – Founder of PEN India

• Buddhadeva Bose – Bengali writer

• S.C. Dube – Sociologist

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Masani’s magazine, Freedom First, and Ezekiel’s Quest promoted ICCF’s liberal viewpoints. The CIA also integrated Masani into its international executive committee, while Jaiprakash Narayan joined the prestigious list of Présidents d’honneur of the Congress, alongside intellectuals like John Dewey, Benedetto Croce, and Karl Jaspers.

The Financial Ties and Political Intrigue

In 1951, an incident involving the disappearance of $1,000, suspected to have been diverted by Satyanand Heeranand Vatsyayan for personal use, exposed direct CIA funding for the ICCF. This financial scandal solidified suspicions about the covert influence of American intelligence in Indian political and cultural spheres.

Masani also worked as Director of Industrial and Public Relations for Tata Industries while serving in Parliament. Additionally, he founded the Democratic Research Service (DRS), an explicitly anti-communist organization that conducted activities that the U.S. Information Service (USIS) could not legally operate within India.

The Literary Connection: PEN International

The CIA extended its influence into the literary world through PEN International. In the 1960s, David Carver, president of PEN, sought an American figurehead. Arthur Miller was chosen, with financial backing from the Ford Foundation—a known CIA front. Keith Botsford, a former U.S. military intelligence officer, facilitated the arrangement, further cementing the connection between American intelligence and global literary organizations.

Conclusion

The CIA’s involvement in the cultural and intellectual landscape of the post-war world was vast and deeply entrenched. Through institutions like MOMA, the Ford Foundation, and various literary platforms, American intelligence actively shaped artistic and ideological narratives worldwide.

In India, the agency’s efforts were particularly pronounced, with strategic funding funneled through the Rockefeller and Ford Foundations to control cultural and political discourse. The Indian Committee for Cultural Freedom and its affiliated magazines played a crucial role in promoting an ideology that aligned with U.S. foreign policy interests.

The exposure of these covert operations in the 1960s and 1970s sent shockwaves through the global establishment, revealing the extent to which intelligence agencies could manipulate art, literature, and cultural institutions. However, the legacy of these interventions persists, as the institutions and ideologies shaped during this era continue to influence contemporary artistic and political narratives.

Understanding these historical dynamics is crucial in discerning the ongoing intersections of intelligence, culture, and geopolitics, as new forms of soft power emerge in the digital age.