Chapter 3

Cultural Diplomacy Individual Country

Focus

Country Profiles - China

Table of Contents 1. Introduction 2. Theoretical Background 2.1 Soft Power 2.2 Public Diplomacy 3. Historical Overview 4. The Dragon’s Embrace, China’s Soft Power 5. Case Studies

2.1 Introduction 2.2 The Kansas City Chinese New Year Celebrations 2.3 The Hanban: NOCFL 2.4 Confucius Institutes 2.5 The Chinese Government’s Scholarship Programs 2.6 Beijing International Book Fair 2.7 Chinese Orchestral Exchange 2.8 Cultural Exchange Between China and Taiwan

2.9 ‘Die Kunst Der Auflärung’Exhibition in Beijing

2.10 The Case of Ai Weiwei 2.11 World ExpoShanghai 2010 2.12 Beijing Olympic Games 2008

3. Analysis and Conclusions 4. Bibliography 5. Acknowledgements

1. Introduction

Though the term ‚soft power‛ was first coined by Joseph Nye in his 1990 book Bound to

Lead: The Changing Nature of American Power, and defined later in 2004, the idea of

attraction and imaginary vulnerability as a form of power dates back to ancient Chinese

philosophers such as Laozi in the 7th century BC1:

"Water is fluid, soft, and yielding. But water will wear away rock, which is rigid and cannot

yield. As a rule, whatever is fluid, soft, and yielding will overcome whatever is rigid and hard.

This is another paradox: what is soft is strong." (Laozi)

Alongside the great inventions of ancient China (papermaking, compass, gunpowder and

book-printing), soft power as a recent concept in international affairs is also deeply rooted in

Chinese culture. In China, however, the term soft power - as defined by ancient Chinese

philosophy - took some time to gain traction in contemporary Chinese politics. Since emerging

in official party newspapers in 2001, the idea and the project of soft power has become

something of an obsession. The first use of ‚soft power‛ in Chinaʼs official party media

came on 15 November 2001, in Guangming Daily, a newspaper published by the Central

Propaganda Department. The article in question celebrated Chinaʼs successful bid to host

the 2008 Olympic Games, and concluded2:

‚In sum, the true nature of the ‘humanistic Olympics’ [a term China used during its bid] is,

while emphasizing the ‘hard power’ of our country, to place a stronger emphasis on

improving and raising our nation’s ‘soft power’ . . .‛

Since that use of the term, soft power has gained a prominent place in Chinese media

coverage. Nowadays, the international arena recognizes that China is no longer purely an

economic power but that it aspires to become a cultural giant as well.

In our research paper, we want to capture contemporary Chinese cultural diplomacy in its

entirety, and thus provide theoreticians as well as practitioners with a thorough picture of

‚soft China‛ on the world stage. We present a theoretical introduction to the topic, we

elaborate on the definition of soft power, public and cultural diplomacy, and thereafter shed a

light on the historical evolvement of Chinese cultural diplomacy since Laozi. We aim to

elucidate the particularities of Chinese cultural agenda and present them with real-life

examples. We have chosen the eleven most influential projects and events that have shaped

the character and scope of Chinese cultural diplomacy. Our focus lies on local events by

Chinese communities worldwide, cultural events of the Chinese government, state-sponsored

educational projects and exchanges, along with sports and arts exhibitions.

We hope that this paper will contribute to the emerging body of literature on Chinese

cultural diplomacy and that it will provide scholars, theoreticians, practitioners and policy-

makers with valuable insights on how China is about to shift from an economic giant to a

cultural superpower.

2. Theoretical Background

2.1 Soft Power According to Joseph Nye, the concept of soft power is ‚the attractiveness of a country’s

culture, political ideas and policies. When our policies are seen as legitimate in the eyes of

others, our soft power is enhanced.‛3 Nye adds that soft power ‚[aims at] getting others to

want the outcomes that you want [and] co-opts people rather than coerces them.‛ In his

opinion the ability to pursue soft power politics requires ‚intangible assets‛ like ‚attractive

personality culture, political values and institutions, and politics that we see as legitimate or

having moral authority‛.

Power can be divided into two categories: hard power which is defined as military and

economic forces and soft power, which is the ability to get what is desired through various

incentives. Hard power and soft power are surprisingly closely related to each other in many

cases. Therefore, in some situations it can be very difficult to differentiate between the two in

the actual process of exercising power.

According to Morgenthau ʻhard powerʼ is the ʻability to coerceʼ, and ʻsoft powerʼ is ʻthe means

to attract and persuadeʼ. In addition, he said that cultural exchange gives us the chance to

appreciate points of commonality and, where there are differences, to understand the

motivations and humanity that underlie them.4

Soft power can also be described as ‚the power of a nation, [which] depends not only upon

the skill of its diplomacy and the strength of its armed forces, but also upon the

attractiveness for other nations of its political philosophy, political institutions, and political

policies.‛5 This is one of the reasons why China as a global power prefers to present itself as

stable, reliable and a responsible partner. And in the case of China in particular, it is necessary

to recognize that ‚soft power can be used for good and for ill.‛ Nonetheless, to understand

China’s rise from regional power to global actor it is necessary to carefully examine its soft

power and how it is implemented. Thus, it has to be studied in three main areas: culture,

political values and ideas, and foreign policies.

2.2 Cultural Diplomacy

Cultural diplomacy was first used in the West in the 1960s, when it was associated with the

role of the US Information Agency in countering Soviet propaganda. Cultural diplomacy can

be defined as ‚the exchange of ideas, information, values, systems, traditions, beliefs, and

other aspects of culture, with the intention of fostering mutual understanding.‛6 What is

more, cultural diplomacy is a domain of diplomacy concerned with establishing, developing

and sustaining relations with foreign states by way of culture, art and education.

Cultural diplomacy can also be defined as a tool which is used to achieve greater soft power

and it is a proactive process of external projection in which a nation’s institutions, value

systems and unique cultural personality are promoted at a bilateral and multilateral level.

Nonetheless, cultural diplomacy is ‚trying to nurture a favourable perception of the

country’s national ideas and policies with foreign audiences; we should never fail to

recognize the cultural identity of the target nation. This includes psychology, mentality, way of

life, customs, traditions and history. The success of cultural diplomacy is dependent on

intercultural dialogue and mutual respect.‛7 A. Heigh feels that the trust in the notion of

cultural diplomacy has its roots in cultural relations, and thus defines it as ‚undertakings taken

by states in a sphere of international cultural relation.‛8

One of the questions that scientists ask is how successful cultural diplomacy can be measured?

How one can define what factors a successful cultural diplomacy programme consists of? The

most reasonable way of measuring cultural diplomacy is studying the perception of the

country’s image abroad and what public criticism it faces. Undoubtedly, it is a very difficult and

complex task which requires a lot of effort and time. Culture is one of the ways through which

globalized diplomacy can be spread. An example of this focus on culture can be seen in the

work of UNESCO, one of the first institutions to promote cultural diplomacy, established in

1945. Their main goal is to maintain international peace and security. Over the years, few

different institutions and organizations which are promoting and enforcing cultural diplomacy

have appeared such as the Institute of Cultural Diplomacy. The Institute for Cultural Diplomacy

is an international, not-for-profit, non-governmental organization with headquarters in

Berlin, Germany. ‚The goal of the ICD is to promote global peace and stability by

strengthening and supporting intercultural relations at all levels. Over the past decade the ICD

has grown to become one of Europe’s largest independent cultural exchange organizations,

hosting programs that facilitate interaction among individuals of all cultural, academic and

professional backgrounds, from across the world.‛9

The role of cultural diplomacy in the world is increasing. However, one has to bear in mind that

cultural diplomacy is not a promotion of its own culture but rather of understanding and

reconciling, as well as learning from each other. For the past 15 years a higher interest in

cultural diplomacy issues in Europe has been observed; according to Demos: ‚cultural

exchange gives us the chance to appreciate points of commonality and, where there are

differences, to understand the motivations and humanity that underlie them.‛10

This can be seen particularly in situations where Cultural diplomacy has been a peace keeping

force. The potential for cultural diplomacy to improve mutual understanding and cooperation

on each level is a highly valuable asset.

2.3 Public Diplomacy

Public diplomacy is connected with all aspects that fall outside of traditional diplomacy.

Traditional diplomacy focuses on "government-to-government diplomacy", which is mainly an

attempt by politicians of one country to persuade politicians of another country to take action.

On the contrary, public diplomacy focuses not only on sending messages to the public

and influencing public opinion abroad, but also reporting on events abroad and their

impact on politics and creating and maintaining communication between diplomats and

citizens.

The term, public diplomacy appeared for the first time in 1965 and was used by E. Guillon.

He suggested that the aim of public diplomacy is to influence citizens of other countries to

achieve a positive attitude to a particular country. What is more, ‚public diplomacy deals

with the influence of public attitude on the formation and execution of foreign policies. It

encompasses dimensions of international relations that are beyond traditional diplomacy, such

as the governmental cultivation of public opinion in other countries, the interaction of private

groups and interests in one country with those of another, the reporting of foreign affairs

and its impact on policy, communication between those whose is communication, as between

diplomats and foreign correspondents and the process of inter-cultural communications.‛

Public diplomacy is not propaganda nor public relations but a unique form of diplomacy.

Another definition describes ‚public diplomacy as the active, planned use of cultural,

educational and informational programming to create a desired result that is directly related to

a government’s foreign policy objectives.‛11 The main aim of public diplomacy is to create a

positive image of the country within the target country and familiarize them with the given

country and its citizens.

To conclude, public diplomacy is there to shape opinion abroad in a favourable way to the

policy of the government of the day. There are three dimensions of public diplomacy which are

worth mentioning: short- term, long-term and lasting relationships. All three are crucial and

require different relative proportions of direct government information and long-term cultural

relationships.

According to M.D. Berger, whereas public diplomacy is one-dimensional and puts emphasis on

policy, cultural diplomacy is a multidimensional approach, which focuses on mutual

understanding. Therefore it can be viewed as the promotion of the culture of a given country

as it focuses on mutual interest, which is the pre-requisite for effective action. The concepts of

public and cultural diplomacy are also connected with the concept of branding, or in simple

terms, brand management. It may be assumed that the principles of building the brand of a

country are the same as in the commercial sphere of identity building. The goal of public

diplomacy is to reach the largest possible audience by whatever means. It can be any activity

that demonstrates interest of a government in the target country. M. McClellan, a counsellor of

public diplomacy, has created a pyramid which tries to explain the concept of public diplomacy.

At the top of the pyramid there are actions and activities of international organizations,

then a level down, engagement of people to promote a picture of a country to others is

needed. The next level is connected with a knowledge projected by a country such as cultural

exchanges. Then there is a curiosity which can be described as a search for the country. At the

bottom McClellan has put the consciousness about the given country.

In 1972 in Beijing on the Great Wall Richard Nixon said the remarkable words:

‚What is most important is that we have an open world. As we look at this Wall, we do not

want walls of any kind between people. I think one of the results of our trip, we hope, may be

that the walls that are erected, whether they are physical walls like this or whether they are

other walls, ideology or philosophy, will not divide peoples in the world; that peoples,

regardless of their differences and backgrounds and their philosophies, will have an

opportunity to communicate with each other; to know each other, and to share with each

other those particular endeavours that will mean peaceful progress in the years ahead.‛

2. Historical Overview

Almost all the Chinese government or ruling class have been and continue to be proud of

China’s long and unique history of tradition, culture and heritage. As early as the second

century BC the Chinese government in the Han Dynasty started sending ambassadors or

officials to countries in Western and Central Asia, both to establish the relationship between

the countries and exchanging cultures. For example during China’s Imperial past Chinese

cultural envoys went to neighbouring countries to learn their cultures and disseminate Chinese

culture, especially in Buddhist exchanges, such as Xuan Zangʼs visit to India and Jian Zhenʼs

voyage to Japan.

During the fading feudalist society and semi-colonial time in China, the cultural exchanges

were passive and few. After the establishment of the new Communist party, the government

tried many diplomatic methods to initiate its position on the World Stage. This included

cultural exchanges on the one hand between other communist countries, and new created

nations in Asia and Africa. Whilst on cultural exchanges between France and China, Japan

and China contributed a lot in bilateral diplomatic relations. However this cultural exchange

declined dramatically during first half of the ‚Cultural Revolution‛ unrest that lasted from

1966 to 1976. Then in 1971, when the People’s Republic of China replaced Chiang Kai-Shekʼs

government of the Republic of China as permanent member state of UN Security Council,

different cultural exchanges and visiting groups started again to rise. As statistics show,

from 1971 to 1976 there were about 30 art troupes that visited China and 40 Chinese art

and performance troupes involving around 3000 people that visited more than 50 countries.12

The Ping-Pong diplomacy between China and United States in 1972 is one of the most

successful and important cases of Chinese cultural diplomacy.

In 1978, the Chinese government carried out an open-up policy, that principled ‚China

will establish and develop normal national, diplomatic and economic relations with all

countries, based on the Five Principles of Peaceful Co-existence.‛13 Today Chinese government

leaders hope to get better recognition from the world stage; making best use of its unique

cultural heritage gradually becomes one of its main strategies. Yet most of the cultural

exchanges and cultural diplomacy are with developing countries. For example, from 1980 to

1990, among the 79 cultural cooperation agreements, 71 of them are with developing

countries. 159 of the 220 executive plans for cultural exchange are with developing countries

also.14 The then leader Deng Xiaoping reiterated that China has to learn advanced science and

technology, management method, as well as all other helpful knowledge and culture from

developed capitalist countries. In 1979, he signed the cultural exchange implementation plan

of 1980 and 1981 with the then Vice President of the United States, Walter F. Mondale.

After the Tiananmen Square Protest of 1989, the communist Chinese government was isolated

from the world. To counter the China threat argument, the Chinese government has tried to

project a positive international image, believing its culture is a non-menacing platform to

showcase its peaceful rise.15 Next to politics and economics, culture has increasingly

becomethe third pillar in China’s diplomacy. The Chinese Communist Party’s Eleventh Five-year

Plan has called for a larger presence of China in the international cultural market.16 Today

China undertakes 1360 cultural exchanges a year, a five-fold increase compared to a decade

ago. Specifically, China has signed agreements on cultural cooperation, and 752 executive

plans for cultural exchange with 145 countries. It also has cultural exchange with 1000

international cultural organizations. China’s 80 embassies overseas have 95 cultural sections. In

addition, China has set up Chinese cultural centres in France, South Korea, and Egypt.17 It also

promotes exports of its elite culture, especially movies, arts, music, and sports, targeting its

immediate neighbours, European countries and the U.S., as well as Third World nations.18

Through bilateral exchanges, China is also promoting its successful model of state-led

development based on incremental economic reform. China rejects the Western model (or

the Washington consensus) that emphasizes all-out marketisation and extensive privatisation,

as well as democracy and public participation. China is also hosting visits for elite members

from Vietnam, Myanmar, North Korea, Zimbabwe, Venezuela, and even India to study the

Chinese model.19

One of China’s biggest and most-watched efforts in building its cultural soft power is the

Confucius Institute, which is equivalent to the British Council, the Goethe Institute and

Instituto Cervantes. They aim to promote the learning of the Chinese language and culture to

the world.

The ‚Year of Chinese Culture‛ in France and ‚Chinese Cultural Festival‛ in the U.S. also

attracted public attention. China has also sponsored Chinese New Year celebrations in New

York, Paris, London, Sydney and Bangkok. It also organizes arts exhibits, arts performance,

speeches by celebrities, exhibits on social customs, and movie weeks overseas to showcase the

uniqueness of Chinese culture.20 Famed actresses, actors, pianists, and ballerinas act as

‚cultural envoys‛ for China while accomplished and well-mannered Chinese athletes serve as

sports ambassadors. There are other cultural events such as ‚Chinese Bridge‛, the

International Buddhist Forum in China etc. This has contributed to the soaring numbers of

non-Chinese visitors to China.

Ultimately the rise in China’s soft power is also hindered by its domestic political system and

values as well as moral vacuum. Specifically, China’s authoritarian political regime and political

culture have been heavily criticized abroad for suppressing Chinese human rights and for

causing social injustice. Moreover, Chinese morals have been eroded by excessive materialism

and limited religious influence.21

3. The Dragon’s Embrace; China’s Soft Power

Chinese policymakers have started to use soft power since opening up to the West in the mid-

70s. This model appears to be the perfect way to describe China’s policy and political action.

Nye refers to soft power as ‚a dynamic created by a nation whereby other nations seek to

imitate that nation, become closer to that nation, and align its interests accordingly,‛22 which

when looking at China seems to make complete sense in the context of its historical

development and current policy aims. China is currently the second leading economy in the

world and is still on the rise, whilst the United States has just had to declare bankruptcy.

However, overtaking the USA should not be recognised as China’s ultimate goal. Beijing prefers

to opt for its own way forward, as can be seen in China’s approach to issues to do with the

economy. From 1978 to 2010 the economy increased 9.5% a year due to Chinese economic

reform. Political analysts expected the opening of the market to the Western World to slowly

turn the Communist regime into a socialist democracy, but this still does not appear to have

happened. It did not even occur in the economic sector - indeed China was ranked 135th

out of 179 countries in the Index of Economic Freedom created by the Wall Street Journal

and the Heritage Foundation - although revealing an increase by 5 places from last year23,

indicating a slight improvement.

The influence of the government is certainly not on the decline: China’s triumph on the world

market has even led to praise and imitation by similar governmental systems, especially in

South America. ‚Beijing’s ability to present an alternative political and economic model is said

to be a telling indicator of a growing Chinese ideological influence that is countering Western

perspectives that insist democratic principles are a requisite for economic prosperity,‛24 Sutter

and Huang sum up. The attractiveness of a country’s policies and structures tend to rise with

the economic success a country has, which creates an opportune breeding ground for soft

power incentives. By making other countries believe in China’s institutions through the sharing

of culture and ideas, China is clearly on the way to be regarded as a legitimate super power,

even though it’s political system favours human rights breaches and lacks any democratic

principles. This can be put in a nutshell with the statement ‚you can modernise and not

westernise at the same time‚ by a Chinese official in the BBC broadcast ʻChina’s soft powerʼ.

The affinity for Chinese Culture has also helped through China’s active promotion of Chinese

culture and language throughout the world including the Olympic Games in Beijing in 2008,

the Shanghai Expo in 2010 and the more than 282 Confucius Institutes all over the world. This

is absolutely consistent with the "non-threatening" character that Beijing wishes to put

forward and emphasize in its interactions.25

So what are the aims of China’s pursuit of soft power? So far we can recognise four uses: the

diplomatic recognition of Taiwan; access to foreign markets, especially on resource-rich

continents such as Africa and Latin America; the protection of Chinese investments as well as

Chinese nationals abroad and finally; expanding on their position as an alternative to the USA

without putting any cooperation at risk. China’s engagement in developing countries, for

example, takes the approach of giving aid almost unconditionally rather than expecting good

governance as demanded by France, Germany and Great Britain. The only two conditions that

China demands are relatively trouble-free for the receiving countries: deny any diplomatic

relations with Taiwan and support China in its ambitions to become a part of intergovernmental

organisations such as the World Trade Organisation and the United Nations. These diplomatic

strategies are proving to be successful ” the pro-Chinese voting bloc in the WTO includes many

of the least developed countries in Africa, which has already troubled the normally smooth

progress of the organisation. Additionally, in the United Nations, support for Chinese positions

on human rights issues has risen from 50 percent to well over 70 percent26 within one decade.

5. Case Studies

5.1 Introduction In this section of the research paper, we would like to elaborate on a number of practical

examples of how China is using cultural diplomacy to enhance its soft power on the global

stage. We focus on eleven major Chinese projects in the field of arts, music, sports, education,

public policy, trade and economics. Some of them operate locally, some have a global impact,

but all of them have contributed significantly to the increase of awareness of Chinese culture

and language.

The Chinese New Year is perhaps the most widely known event of Chinese culture. Although

general knowledge about this event among non-Chinese might be low, most of us surely

know some of the animal signs of the Chinese zodiac. The American city of Kansas regularly

takes the opportunity of the New Year’s celebrations in order to promote Chinese culture

among Americans. The British equivalent of the event is called the ‚Liverpool Chinatown

Chinese New Year‛, whose purpose is, among others, to strengthen the ties to China among

the citizens of one of the oldest Chinese communities in Europe.

The ‚Hanban‛ ” the Chinese government’s proxy for cultural diplomacy in the world, often

supports some of these events, as mentioned above, financially. Its major project is the

Confucius Institute, the equivalent of European countriesʼ institutes (e.g. Goethe Institut, British

Council, Institutio Cervantes etc.). The very aim of the Confucius Institutes around the world is

to facilitate Chinese learning and cultural exchange. Cultural exchange as such is often

administered by governmental agencies other than the Hanban. Much of Sino-World mobility is

covered by the Great Wall Fellowship Scheme, Chinese Government Scholarship Program for

EU, and Study in Asia Scholarship Scheme.

Another formation-related project is the Beijing International Book Fair, whose objective is to

present officially licensed Chinese literature to the world. It is a meeting spot of international

and Chinese publishers, which immensely contributed to the East-West books transaction.

Apart from educational projects, the Chinese cultural diplomacy agenda has underlined the

importance of arts and sports as well. The art equivalent to the student mobility is the

Orchestral Exchange supporting mobility between Chinese and Western orchestra houses.

Surprisingly, Taiwan and China cultivate a certain level of cultural diplomacy as well. Their

common project is an analogy to the Orchestral Exchange and we have called it the Museum

Exchange.

Arts are represented by the project ” ‚Die Kunst der Aufklärung‛ ” an amazing idea of three

German museums to exhibit pieces of art promoting the European Enlightenment. The

exhibition took place in the National Museum of China in Beijing. A connection of arts, trade

and sustainable development could have been seen at the internationally renowned World

Expo in Shanghai. This visionary event not only drafted a plan for future urban planning, but

also exposed China to roughly 80 million visitors. The Beijing Olympic Games of 2008 was an

event of similar scope. Watched by millions of people worldwide, Chinese culture and virtues

could not have been promoted in a better way.

5.2 The Kansas City Chinese New Year Celebration

- Country: USA - Website: www.kcca-ks.org/wordpress/?s=new+year - Sponsors: Among others, the Ministry of Education for the People’s Republic of China

SPONSOR DESCRIPTION The Confucius Institute of the University of Kansas (CIKU) is a cooperative project of the

University of Kansas, the Office of Chinese Language Council International, and Huazhong

Normal University. The Confucius Institute is an educational organization to promote Chinese

language and culture, support local Chinese teaching internationally, as well as facilitating

cultural exchanges. It was founded in 2004 and its headquarters are located in Beijing. The

Confucius Institute is sponsored by ‚the Office of Chinese Language Council International,‚ a

non-profit organization associated with the Ministry of Education of the People's Republic of

China. The institutes operate in co-operation with local colleges and universities around

the world. The Confucius Institute mission has made the Chinese language and culture

resources and services available to the world.

PROJECT DESCRIPTION The Kansas City Chinese New Year Celebration is organized by the Kansas City Chinese

American Association, the KU Confucius Institute and the Edgar Snow Memorial Fund. The

Kansas City Chinese American Association promotes the festival with the slogan "Connect

Local Communities & Celebrate Chinese Heritage." It is crucial to them to promote Chinese

culture not only among local Chinese people but also among Native Americans. To make it

possible the Kansas City Chinese New Year Celebration is preparing each year various activities

to promote the culture such as performances of Chinese music groups.

The Kansas City Chinese American Association (KCCAA) in cooperation with the Confucius

Institute has organized the Chinese New Year’s Celebration at Yardley Hall located on the

campus of Johnson County Community College in Kansas, USA. KCCAA President CJ Wei

and KU Confucius Institute Executive Director Sheree Willis try to introduce to Kansas City

citizens a diverse set of Chinese acts that encompass everything from famous martial arts and

lion dances to Chinese drum rollers. American students from the Confucius Institute of the

University of Kansas also present their engagement in getting involved each year in the festival.

AIMS OF THE PROJECT - To promote Chinese culture internationally - To create strong a bond between Chinese people living in the USA and the Americas. - To highlight unique aspects of Chinese culture. - To create a sense of belonging of Chinese people to the local community. - To transfer knowledge of Chinese culture to next generation.

WHO PARTICIPATES? More than 1300 people from all over the world take part each year in the Chinese celebrations

in Kansas City. It is assumed that 300 people watch ‚KC Chinese Dance Competition &

performances,‛ 200 performers are on stage each year at Yardley Hall for evening gala and 100

volunteers support the festival.

RELEVANCE AS CULTURAL DIPLOMACY The Chinese New Year, also called the Chinese Lunar New Year, is one of the most important

traditional Chinese holidays. It is widely celebrated in East and South-East-Asia. The dates of

this festival depend on a combination of lunar and solar movements. Most of the time, it

usually occurs in January or February.

The Chinese New Year celebration in Kansas City is a symbol of the enthusiasm and excitement

presented by new and old residents of the town. During this day Chinese and other ethnic

groups are joined and ready to welcome the New Year together. Undoubtedly, Chinese

Americans and other residents with Chinese ancestors have made tremendous contributions

to the success of Kansas City. Mayor Funkhouser commented that ‚we know from the wisdom

of generations, that all the flowers of all of the tomorrows are in the seeds of today. May we all

become successful gardeners this year.‛27

The Chinese New Year festivals are organized to send messages to ethnic Chinese in various

countries, and more non-Chinese to join the celebrations together to get a closer look at

Chinese culture. For many years ‚people to people diplomacy‛ interactions between societies

of various countries were neglected by Chinese government. Therefore Chinese New Year

festivals are there to create a positive image of Chinese culture abroad. According to J. Nye,

public diplomacy is the possibility of communicating through culture values and ideas. What is

more, it is there to reach the largest possible audience by whatever means such as informing

local audiences of any activity. Furthermore J. Nye claims that public diplomacy is the ability to

achieve what is desired by attractiveness rather than money. Achievement of this is usually

determined by the attractiveness of a given culture, its political ideals and the substance of

the country’s policy.

Educational and cultural exchanges are a sign of China’s change in attitude towards their

image abroad and its promotion. For instance, China has become an eager organizer of big

events such as the Olympic Games. Undoubtedly, worldwide interest in Chinese culture has

increased; Chinese cultural events draw the attention of many people. This can be observed

in the number of Chinese events organized outside the country, for example the Chinese

Culture Weeks in Berlin (2011), St Petersburg (August 2003), Festival of China in Washington

DC (2005) and China Year in Russia (2007). China has become a more open society that wants

to promote their vibrant culture to almost the entire world. Thus, cultural events that the

Chinese are organizing are having a growing impact on changing Chinaʼs image in the world.

The Confucius Institutes outside China are one of the institutes that are there to collaborate

with foreign educational institutes to promote Chinese culture.

5.3 Liverpool China Town New Year Celebrations

- Country: UK - Website: http://www.lcba.net/ - Contact: Telephone +44 (0) 7916 414 759, email info@lcba.net - Sponsors: Among others, Bank of China

SPONSOR DESCRIPTION Bank of China was formally established in February 1912 by the Government of the Republic of

China. It is the oldest bank in China, which is one of the big four state-owned commercial

banks of the People's Republic of China. From its establishment until 1942, it issued

banknotes on behalf of the Government of the Republic of China. The Bank of China was

the countryʼs central bank until 1928 and then it was replaced by the Central Bank of

China. Subsequently, it has become a purely commercial bank. However, as the most

international and diversified bank in China, Bank of China provides a diverse range of financial

services to customers across China and 29 overseas countries.

PROJECT DESCRIPTION Liverpool Chinatown Chinese New Year is organized by the Liverpool Chinatown Chinese New Year Coordinating Committee with the city council and the Bank of China. This festival takes place only for one day. Undoubtedly, Liverpool is a home to one of the oldest Chinese communities in Europe, and this is why this particular festival is so important to local society. Chinese New Year is celebrated in the streets around the Chinese Arch on Nelson Street. Here various activities are organized for the festival, such as the march of a 70ft dragon through Chinatown. What is more, the Liverpool Hung Gar Kung Fu School provides the lions, unicorns and dragons to play for children. Visitors to Chinese New Year in Liverpool should be prepared to be entertained by dancing dragons, unicorns and lions, special firecracker performances and Tai Chi demonstrations. The event is also a great opportunity to enjoy a variety of Chinese food and traditional New Year delicacies.

AIMS OF THE PROJECT - To promote Chinese culture internationally - To create a strong bond between Chinese people living in the UK and English people. - To point out the unique aspects of Chinese culture. - To create a sense of belonging of Chinese people to the local community. - To transfer knowledge of Chinese culture to next generation.

WHO PARTICIPATES? More than 20,000 people from all over the world are taking part each year in the Chinese

celebrations.

RELEVANCE AS CULTURAL DIPLOMACY The Chinese New Year, also called the Chinese Lunar New Year, is one of the most important traditional Chinese holidays. It is widely celebrated in East and South-East-Asia. The dates of this festival depend on a combination of lunar and solar movements. Most of the time, it occurs in January or February. According to tradition, Chinese New Year symbolizes new beginnings. Chinese proverb states that all creations are reborn on New Year’s Day. Within China, regional customs and traditions concerning the celebration of Chinese New Year vary widely. People will spend all of their money to buy decorations, presents, food, and clothing. In Far East Asia, the New Year is also the end of winter and the beginning of spring. Farmers take this opportunity to welcome spring as they plant for the new harvest. Therefore, the Lunar New Year is also called the Spring Festival.

Chinese New Year is regarded as a public holiday in each part of the world where a big

number of Chinese live. It is celebrated annually in many western cities which have significant Chinese populations. Chinese New Year is celebrated in San Francisco, Los Angeles, New York City, London, Sydney or Toronto. Both

London and San Francisco claim to host the largest New Year celebration

outside of Asia.

Liverpool Chinatown Chinese New Year plays an important part for local traditions and customs in Liverpool. It emphasises the role of Chinese people in the city. In addition, it also enables them to become a part of local history and get more involved in local issues. This is also a chance for Chinese people in Liverpool to better to a new environment. What is more, it is a way for Chinese people to express their core values and traditions. Liverpool Chinese New

Year has certainly provided opportunities for people all over the world to learn about Chinese culture and it is a platform for Sino-world cultural exchange. Chinese New Year in Liverpool is celebrated with great enthusiasm, not providing any chance for the Chinese to miss their native country.

The Chinese New Year festivals are organized to send messages to ethnic Chinese in various countries, and more non-Chinese to join the celebrations and to get a closer look at Chinese culture. For many years ‚people to people diplomacy,‛ interactions between societies of various countries were neglected by the Chinese government. Chinese New Year festivals are there to create a positive image of China. Undoubtedly, Chinese public diplomacy has significantly changed, and from now on they want to be seen as a country that can be a responsible member of the international political community, willing to contribute to peace in the world. However, Chinese culture still wants to be seen as a vibrant culture, therefore Chinese government is now developing various initiatives to spread Chinese language and culture.

5.4 The Hanban: National Office for Teaching Chinese as a Foreign Language

(NOCFL)

- Country: China - Website: http://english.hanban.org - Contact: Telephone +86 (0) 105 859 5859, email zonghe@hanban.org - Sponsors: Ministry of Education of the People’s Republic of China

ORGANISATION DESCRIPTION Hanban is the colloquial abbreviation for the Chinese National Office for Teaching Chinese as a

Foreign Language (NOCFL). NOCFL is administered by the Office of Chinese Language Council

International, a non-government and non-profit organization affiliated with the Ministry of

Education of the People’s Republic of China. Hanban sponsors a variety of programs related to

Chinese language and culture, including the worldwide Confucius Institute and the Chinese

Bridge, a competition in Chinese proficiency for non-native speakers. The current President of

the Council is State Councillor Chen Zhili, and there are twelve state ministries and

commissions represented in the NOCFL.28

AIMS OF THE ORGANISATION

- To promote Chinese culture and language. - To cultivate knowledge and interest in the Chinese language and culture in nations

around the world that are not native speakers of Chinese.

- To contribute to the development of multiculturalism, and the building of a harmonious world.

- To draft international Chinese teaching standards, develop and promote Chinese language teaching materials and provide its services worldwide.

- To support Chinese language programs at educational institutions of various types and levels in other countries

- To train Chinese language instructors and provide them with teaching resources. - To meet the demands of overseas Chinese learners to the utmost degree.

WHO PARTICIPATES? The Hanban, a state-run organization, has a wide network of contacts in all strata of public

administration. Not only is the Hanban collaborating with foreign Ministries of Education and

its cultural diplomacy institutes (Goethe Institute, French Institute, Cervantes Institute etc.), but

it also runs myriad educational programs at universities worldwide. Thus, the NOCFL reaches

disparate participants and partners from all around the globe.

RELEVANCE AS CULTURAL DIPLOMACY China National Office for Teaching Chinese as a Foreign Language has proven to be an

unequivocal struggle of China to catch up with other countries in the field of cultural

diplomacy. Benefiting from the experience of the United Kingdom, Germany, Spain and France,

China began its own promotion of Chinese language and culture through establishing the

Hanban. Like the organizations of the above-mentioned European counterparts, the Hanban

is state-run, which implies a certain level of bias.

On the one hand, the Hanban certainly provides opportunities for people all over the world to

learn and engage in Chinese culture and language. Without the Hanban-sponsored programs,

it could be onerous for Chinese learners and lecturers to find proper learning materials. The

Hanban provides formal training of teachers of Chinese as a foreign language, thus meeting

the demand for the increasing interest in Chinese language learning in neighbouring countries

and in the United States. Furthermore, the NOCFL serves as a platform for Sino-world cultural

exchange, ensuring financing and organizational framework for cultural exchanges, seminars,

or conferences. In addition the cooperation with universities and other educational facilities is

not negligible either.

However, the Hanban is administered by the state. Hence, the agenda and program focus is

strongly influenced by internal ideology and political mainstream. Hanban's aim, although

concealed, is to spread Chinese language and culture throughout the world, so that Chinese

economic power goes hand in hand with a rising cultural dominance. Unfortunately, some of

the Hanban-financed projects have been facing a number of accusations recently. For instance,

the Confucius Institute has been censured for espionage, and surveillance of Chinese abroad

along with actions designed to undermine Taiwanʼs international reputation. Additionally,

many professors have expressed concern that the Hanban's educational programs may

interfere with academic freedom, although there is little sound evidence that has been

presented of this interference.

Ultimately the Hanban is an organization that is seemingly alike to a number of other national

culture- promoting agencies. It can be distinguished through a strong cultural focus, making

Chinese language and culture familiar to the world audience. Yet the participants of the

Hanban-financed cultural and educational programs should be aware of the bias risk generated

by the NOCFL government-set agenda.

5.5 Confucius Institutes

- Country: Worldwide - Website: http://english.hanban.org/node_7716.htm - Contact: Telephone +86 (0) 105 859 5859, email zonghe@hanban.org - Sponsors: Funded by the Chinese Government

ORGANISATION DESCRIPTION The Confucius Institute is an organization that is funded by the Chinese government. It

promotes cooperation between Chinese universities and foreign schools. Unlike its

counterparts such as British Council, Franceʼs Alliance Française and the Goethe Institut,

the Confucius Institute focuses on cooperation with foreign education institutions, mainly

Universities and public schools.

Having seen the UK, France, Germany and Spain's experience in promoting their national

languages, China began its own exploration through establishing non-profit public institutions

in 2004, with the aim of promoting Chinese language and culture in foreign countries. These

were given the name ‚the Confucius Institute.‛ The first Confucius Institute was established

in Seoul, South Korea in 2004. By 2010, 322 had opened their doors in 96 different countries

as well as many more outposts dedicated to classes, raising the total to nearly 700

locations worldwide. The purpose of the Confucius Institute is to firstly teach the Chinese

language and secondly to promote Chinese culture, history and art, and where there is an

increase in demand the supply must increase.29

AIMS OF THE ORGANISATION - To provide scope for people all over the world to learn about Chinese language and

culture. - To train lecturers of Chinese language and publish teaching materials. - To provide non-native Chinese learners with learning materials. - To adopt flexible teaching patterns which adapt to suit local conditions when teaching

Chinese language. - To become a platform for cultural exchanges, as well as a bridge reinforcing friendship

and cooperation between China and the world. - To hold cultural festivals, exhibitions, and competitions to promote Chinese culture.

WHO PARTICIPATES? People all around the world who wish to learn Chinese, and become familiar with Chinese culture along with universities and cultural organizations.

RELEVANCE AS CULTURAL DIPLOMACY With the growing weight of Chinese economy and Chinese political influence, China increases

its awareness to improve its soft power. A growing China in general might be one of the main

reasons why an increasing number of people start to learn its language and culture. However

business opportunities and cultural uniqueness are the primary motivation behind them.

Businessmen in particular are keen to learn Chinese since Asian markets have boomed in

recent years. Cultural difference between Western countries and China, for instance, highlight

the growing importance to learn Chinese culture. The Confucius Institute has not only

successfully filled in the gap in Chinese learning and teaching, but also promoted and made

Chinese available to those who would have otherwise never been tempted to start to learn

Chinese.

However, the Confucius Institute is financed by the Chinese government, which naturally has

an impact on the agenda of the organization. There have been accusations that the Institute’s

practices intervene in academic freedom and that it spies on Chinese living abroad.

Nevertheless, no sound evidence has been given in support of the espionage.

In light of such accusations, it is comprehensible that not everyone is happy with the

spread of the Confucius Institute, especially in the situation where most people learn

Chinese due to practical need. There are several worries over the institution and its linkage to

the Chinese government. The first of those worries is that Chinaʼs rise on the world stage in

recent decades seems rapid; changes are taking place at a very quick pace. Furthermore

European and American decline, and the fact no one can be sure what China’s agenda is

has raised alarms. More specifically, China is not a democratic country, but a communist one,

and history has shown that communism is not equal. Secondly, Chinese increase in military

spending, including the modernization of military equipment and the expansion of military

capability agitate anxiety. Thirdly, China is often castigated for its poor human rights record,

and many reckon that the attitude of the Chinese government to human rights is hostile.

To sum up, despite the virulent criticism that the Confucius Institute has been exposed to, the

whole project seems to have successfully become a hotspot of Chinese learning worldwide,

similar to the cultural institutes of European countries, rather than an offensive communist

agenda plotted by the Chinese government.

5.6 The Chinese Government Scholarship Programmes

- Country: China - Websites: http://en.csc.edu.cn/Laihua/e31c1db5e5734072b54e1ddfdad88ee9.shtml

http://www.chinamission.be/eng/lxzg/ofzz/ http://www.ebeijing.gov.cn/Elementals/InBeijing/StudyingInBJ/Scholarships/t1058193.htm

- Sponsors: Various

THE GREAT WALL FELLOWSHIP SCHEME Under the co-sponsorship of UNESCO, twenty-five fellowships for advanced studies at

undergraduate and postgraduate level have been set up by the MOE. These fellowships are

for the benefit of developing member states in Africa, Asia, and certain countries in the Arab

States. The scheme is sponsored by the Chinese Ministry of Education (MOE) and the United

Nations Education, Scientific and Cultural Organization (UNESCO).

THE CHINESE GOVERNMENT SCHOLARSHIP PROGRAMME FOR THE E.U. This program is a full scholarship scheme set up by the MOE for European students, with the

goodwill to expand student exchanges between China and the European Union. The Chinese

Government launched the scholarship program as a follow-up to the 2006 China-EU Summit

in January 2007. The program provides 100 full scholarships per academic year from 2007 to

2011. The programme is sponsored by the Chinese Ministry of Education in conjunction with

the Mission of the People’s Republic of China to the European Union

THE STUDY IN ASIA SCHOLARSHIP SCHEME The program is a full scholarship scheme established by the MOE aiming to stimulate the

mobility of Asian students and scholars within Asia. It aims to strengthen mutual

understanding among people in Asian countries, develop education cooperation and

exchanges, and promote Asian education quality. It is only available to applicants who come to

study as general scholars and senior scholars. The programme is sponsored by the Chinese

Ministry of Education, in conjunction with the Chinese diplomatic missions in other Asian

countries.

ORGANISATION DESCRIPTION International students under Chinese Government Scholarship Programs will be allocated in

Chinese HEIs or Chinese research institutes, designated by the Ministry of Education of PR

China to pursue their proposed studies in areas related to science, technology, agriculture,

medicine, economics, law, management, education, history, liberal arts and philosophy. The

Ministry usually formulates scholarship plans on an annual basis, and entrusts the China

Scholarship Council to manage recruitment and carry out the routine management of Chinese

Government Scholarship Programs.

The full scholarship includes: exemption from registration fees, tuition fees, fees for laboratory

experiments, fees for internships, fees for basic learning materials, accommodation fees for a

dormitory on campus as well as a living allowance, a one-off settlement subsidy after

registration, outpatient medical service, comprehensive Medical Insurance and Protection

Program for International Students in China and a one-off inter-city travel subsidy.

AIMS OF THE ORGANISATION - To strengthen mutual understanding and friendship between Chinese people and

people from all over the world. - To develop cooperation and exchanges in the fields of politics, economy, culture,

education and trade between China and other countries. - To train Chinese language instructors and provide information about contemporary

China.

WHO PARTICIPATES? People welcome to apply must be aged between 18 and 35, and have passed the senior high

school diploma. In some cases special requires like undergraduate studies and special

citizenship apply.

RELEVANCE AS CULTURAL DIPLOMACY When the ‚bamboo curtain‚ was still drawn closed, educational exchanges were limited to

China’s allies and friends. The first group of 33 students from East European countries arrived

in 1950, thus it was not until 1978 when Deng Xiaoping promoted market forces and foreign

trade that the opening-up policy was initiated and international student exchange took the

next stage. Even though the outbreak of SARS in 2003 brought difficulties to maintain the

then already high numbers, it did not bring an end to the steady rise. The total number of

international students studying in China reached 265,090 in 2010.30 Reasons for the rise are

not only the force with which China is promoting itself as a soft power, but also the public

embrace by hard powers like the USA due to the successfully maintained social and political

stability and economic growth of China. The enrolment of self-financed students made such a

big stride that it has surpassed that of scholarship students. China is on a good way, but

in comparison with 671,616 in 2008/200931 international students in the USA, it is still on

the up and up.

Interestingly, exchange programs have largely been written out of the documentation of

diplomacy as Giles Scott Smith states, due to the ‚interpersonal nature of the exchange

experience, coupled with its inherently private character.‛32 Hence, exchange programs as

means of cultural diplomacy, and their impact on the building of sustainable relationships are

sparsely covered by social sciences. With announcing more and more scholarships, the Chinese

government expresses a strong belief that educational exchanges can support its long-time

goal of soft power. Until now it seems as if China has abstained from direct political influence

when it comes to student exchanges, other than what was expected from many Western

countries. This attitude follows Scott-Smithʼs suggestion, as independence needs to be upheld

n order to maintain the integrity of the participants and the programs themselves.‛33 Cultural

diplomacy is a two-way avenue; in most cases student exchanges can help to enhance the

image of a country, strengthen economic and academic ties and establish long-lasting

relationships. However, the risk of not achieving what was initially intended is much higher for

academic exchanges than for any other tool of cultural diplomacy. While cultural diplomacy

always intends to nurture a favourable perception of a country, its values and its systems, it

is entirely dependent on intercultural dialogue, mutual respect and the personality of the

participant; as Konrad Adenauer felicitously said, ‚all of us live under the same sky, but we

donʼt all have the same horizon.‛ Yet psychological researches have highlighted that critics will

rarely be swayed, but doubters may become believers and even supporters. In the case of

China we can see a definite rise not only in prominence of Asian culture in target nations as

both an economic partner and holiday destination, but also as study subjects.

5.7 Beijing International Book Fair - Location: Beijing, China - Website: http://www.bibf.net - Contact: Telephone +86 (0) 106 506 3080, fax +86 (0) 106 508 9188 - Sponsors: State Press and Publication Administration (State Copyright Administration),

the Information Office of the State Council, the Ministry of Education, the Ministry of Science and Technology, the Ministry of Culture, the People's Government of Beijing, the Publishers Association of China, and the Chinese Writers Association.

ORGANISATION DESCRIPTION The fair was created and initially hosted in 1986 by the China Book Import and Export (Group)

Corporation, and has been successfully held 17 times since. It is an important exhibition

receiving special support from the state's 11th and 12th Five-year Plans.

Over the past 25 years, BIBF has become one of the four greatest international book fairs with

considerable authority and influence, receiving attention and recognition from the international

publishing community and writers all over the world.

The 18th BIBF was held at the new China International Exhibition Centre from August 31st to

September 4th, with 2,155 booths over an area of 53,600 m and a 24% increase in overall

scale over last year. The fair is divided into five sections: Domestic Publications, Overseas

Publications, Digital Publishing, Library Purchasing and Delivery, and Domestic and Overseas

Periodicals. Since 2005 every book fair picks one country as The Guest of Honour. This year

(2011) it is the Netherlands.

AIMS OF THE ORGANISATION - To form an international platform for book transaction. - To create a vehicle for exchange and cooperation between Foreign and Chinese

publishers. - To present officially licensed Chinese literature to the outside world.

WHO PARTICIPATES? The participants are over 2,000 publishers from 60 countries and regions.

RELEVANCE AS CULTURAL DIPLOMACY When it comes to the evaluation of the relevance of the Beijing book fair as one of China’s soft

power tools in its foreign policy, it is of course extremely difficult to assess its real impact on

foreign audiences. It could however, as a part of China’s cultural diplomacy, be a valuable asset

in China’s strategy to change her overall perception and appearance in the long run, and also

foster some sort of mutual understanding.

Thus it is worth asking, whether the Beijing International Book Fair itself increases the

attractiveness of China’s culture, political ideas or even its policies. Generally speaking, the

aims of international book fairs match the broader/basic idea of cultural diplomacy: the

exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture

(Milton C. Cummings). The BIBF is, as stated earlier, one of the largest of its kind in Asia and

also one of the biggest and most important book fairs in the world. Targeting publishers

around the globe, it is designed to be a platform to present officially licensed Chinese

literature to the outside world. It is worth mentioning that the State Press and Publication

Administration, which acts as the main censoring agency in China, also have to authorize not

only the Chinese exhibitors but also the foreign ones. Therefore the basic idea of cultural

diplomacy, as a two-way avenue of equal exchange, is limited in the sense that both local and

foreign critical literature is strictly censored in China. Governmental critics and literature written

by dissidents like the environmental activist and writer Dai Qing or Bei Ling are two more

famous examples of prohibited literature. Nevertheless, for westerners the fair remains an

important gateway to the Chinese literature market, and a good occasion for exchange and

cooperation between Foreign and Chinese publishers.

Arguably, arts and literature exchanges do contribute to a country’s attractiveness and thus to

its soft power. But is it also cultural diplomacy when the exchange of ideas is limited by

governmental authorities, and when all Chinese publishers are entirely state companies?

Again, the answer is not easy: ‚Writers who want to be published in China know exactly

what is historically and politically sensitive, so they work around the pitfalls‛ said Dai Qing

in a newspaper article.

5.8 Chinese Orchestral Exchange

PROJECT DESCRIPTION Chinese Orchestral exchange first took place in September 1973, when the Philadelphia Orchestra became the first American Orchestra to travel to China. The Orchestra, directed by Eugene Ormandy, travelled to Beijing and Shanghai putting on six concerts during a two-week visit.34 Its aim was to facilitate the exchange of ideas and culture through the medium of music. The event was warmly received by the Chinese audiences and paved the way for other American orchestras to tour the country.

Perhaps the most significant development was that China recognized how orchestras could be encompassed into their own soft power. In January 2010, the Education Association for China Tomorrow invited Chinaʼs Jade orchestra to visit Washington DC to perform for the local people.35 Its aim was to enhance the recognition and understanding of Chinese traditional folk culture among American folk culture.

Furthermore, in February 2012 the Shanghai Chinese orchestra will perform at the Bass concert Hall in Texas, playing traditional and contemporary Chinese music. The Chamber Ensemble of the Shanghai Chinese Orchestra is the first modern native orchestra in China. This is part of a major multi-year cultural exchange between Minneapolis-based arts Midwest, the Chinese ministry of culture and the US major University presenter’s consortium.36 The Chinese government has provided financial support.

RELEVANCE AS CULTURAL DIPLOMACY The culturally diplomatic relevance of orchestral exchange is that China has learnt how classical music can be used as an effective tool as part of its overall soft power approach. Gerald Mertens, chairman of the German Orchestral Union argues, ‚Only through exchange, especially with the universal language of music can it be achieved to enhance mutual understanding and two-way acceptance.‛37

Initially it helped the Chinese government to improve its image with the United States, and they recently launched a new public relations campaign. This included a promotional video that featured celebrities such as Lang Lang, a Chinese piano virtuoso, which was aired in Times Square.38 Its purpose was to counter the negative American views that perceive China as a threat.

Today, however, due to the increased popularity of classical music spreading throughout the world, China has also been able to use orchestral exchange to influence states within the East-Asian region. For instance the Hong Kong Youth Chinese Orchestra (HKYCO) will make its first visit to Taiwan from 6th-12th September 2011. They will perform contemporary Chinese music at the ‚Orchestra Festival in Changua County.‛39 This is a festival of outstanding musicians from the Chinese mainland and from Taiwan. The HKYCO has also toured in Singapore, Malaysia, France, Israel, and Australia.

Furthermore China has used orchestral exchange to target other neglected parts of the world. For instance at the beginning of 2011 the Chinese government funded an Azerbaijani orchestra show.40 Azerbaijan has been a target of Chinaʼs diplomatic ambitions, primarily due it being an oil-producing nation. Thus this was a good move in terms of showing a little interest in order to win China business in the future. This economic relationship can be illustrated by the increase in trade turnover between the two, from $200 million in 2004 to $368 in 2006.41

Ultimately China has used orchestral exchange as an effective tool in fulfilling its primary economic interests.

In conclusion, orchestral exchange was first used as a form of cultural diplomacy by the U.S. to

build relations with China. Today, as Chinaʼs economic power increases and its influences

spread, they have adopted orchestral exchange to build a new image to its rivals and new

relations with economic partners.

5.9 Cultural Exchange between China and Taiwan

- Countries: China, Taiwan - Websites: http://www.npm.gov.tw/en/home.htm - http://www. dpm.org.cn/www_oldweb/English/default.html

PROJECT DESCRIPTION In February 2008, the directors of Beijing’s Palace Museum and Taipei’s National Palace Museum met for the first time in 60 years to talk about possible museum exchanges in the future. As part of the exchange, the Beijing Palace Museum has agreed to loan twenty-nine artefacts to Taipei's National Palace Museum. In a show scheduled to open in October, the pieces will be reunited with objects taken by the nationalists under Chiang Kai-Shek, when they fled the mainland after losing China's civil war.

WHO PARTICIPATES? The director of Beijing’s Palace Museum and his delegation, as well as the director of Taipei’s National Palace Museum and her delegation. Furthermore museum exchanges have already

been conducted by minor Chinese and Taiwanese museums.

RELEVANCE AS CULTURAL DIPLOMACY Cultural exchanges can often be a way to bypass political disagreements, and in this case the meeting was handled in exactly this way; a political disagreement. Chiang Kai-Shek moved nearly all the important artefacts to Taiwan in 1950, making the National Palace Museum the owner of the biggest collection of Asian artefacts in the world. China has claimed the artefacts as stolen and has tried to recover them for quite some time. Therefore it is understandable that Taiwan refuses to lend objects to a Chinese museum unless it gets a legal guarantee that they will be returned.42

However, in the latest sign of warming cultural exchange between the peoples, the National Taiwan Museum in Taipei has agreed to loan a group of works to China’s Hubei Provincial Museum. In return the National Taiwan Museum will be lent more than 100 objects.

The trend seems to be toward greater openness: the Chinese Zhejiang Provincial Museum in Hangzhou agreed to loan a fragment of Yuan Dynasty painter Huang Gongwangʼs "Dwelling in the Fuchun Mountains" to the National Palace Museum, reuniting the two sections of the painting for the first time in 350 years. As Zheng Xinmiao, director of the Beijing Palace Museum said in Taiwan, "The road for cooperation has been opened, but things may be difficult at the start.‛43

Analysts interpret Beijing's conciliatory approach as a bid to improve China's image in Taiwan, perhaps to soften opposition to reunification. Whatever the underlying case might be, Beijing's

more amicable stance is welcome news: Chou Kung-shin, director of the Taipei museum says "Cultural exchanges are the most convenient and effective way to establish communications across the Strait."

5.10 ‘Die Kunst der Aufklärung’ Exhibition in Beijing

- Countries: China, Germany - Website: http://www.kunstderaufklaerung.de/

PROJECT DESCRIPTION ʻDie Kunst der Aufklärungʻ Exhibition in China is a joint project of the Dresden State Art

Collections, the National Museums of Berlin, the Bavarian State Painting Collections of Munich

and the National Museum of Beijing. This joint exhibition, held at the National Museum of

China in Beijing, is primarily financed by the German Foreign Office and marks the high point

of the German-Chinese program of cultural events which were bilaterally agreed upon in

2005. After the celebrated completion in summer 2011 of renovation work by Hamburg-

based architects Gerkan, Marg und Partner, the National Museum of China is set to become

one of the largest museum buildings in the world. Along with its new architectural

dimensions has come the demand of establishing the museum as a forum of art and culture

for all continents.

From 2 April 2011 on, the three German museum bodies will unveil nearly 600 exhibits

spread over a total display area of 2700m2 in the National Museum of China in Beijing. At its

heart, the exhibition features artworks which best exemplify the great ideas of the

Enlightenment, its influence on the fine arts and its effective history, from the artistic

revolutions of the 18th century right up to the present day.

AIMS OF THE PROJECT - To demonstrate the educational ambitions of the National Museum of China as a place

of enlightenment itself. - To display the art of western civilisation. - To deepen relations between the respective countries and museums, as well as to raise

the possibility of new cultural exchanges.

WHO PARTICIPATES? The Art of the Enlightenment is an exhibition presented by the Staatliche Museen zu Berlin,

the Staatliche Kunstsammlungen Dresden and the Bayerische Staatsgemäldesammlungen

Munich, in conjunction with the National Museum of China in Beijing. The exhibition

falls under the joint auspices of Hu Jintao, President of the People's Republic of China, and

Christian Wulff, German Federal President. The Staatliche Museen zu Berlin, the Staatliche

Kunstsammlungen Dresden and the Bayerische Staatsgemälde-sammlungen München jointly

present the exhibition of European art from the Enlightenment, in conjunction with the

National Museum of China.

RELEVANCE AS CULTURAL DIPLOMACY "For élites and those who visit museums, artistic exchanges can contribute to soft power,"

says Joseph Nye, the co-founder of the international relations theory neo-liberalism and

the theory of soft power.44 Cultural diplomacy has the potential to create a unique

atmosphere of openness, often through a shared experience of a cultural event. By bringing a

collection to another country, even another continent, intercultural dialogue is already

prevalent. The success of cultural diplomacy is dependent on intercultural dialogue and mutual

respect.

For Martin Roth, general director of the Dresden State Art Collections, cultural exchange with

China will be a great field of the future for the European museums. ‚For European Art and

Culture it is a must to be presented there,‚ the cultural scientist said.45 Here underlying

motives are reminiscent. Cultural diplomacy can establish, develop and sustain relations with

foreign states by way of culture, art and education. At the opening of the ʻDie Kunst der

Aufklärungʻ the guest list proved once again that these ties do not necessarily need to be

knotted in the fields of the cultural event, but in the fields of economy and politics as well. The

front row was peppered with CEOs and CFOs of automobile companies and other listed

German businesses.

Clearly the favourable perception of one country’s national ideals is dependant on the

recognition of the cultural identity of the target nation. In the case of China, this mostly

requires a certain take back of one’s ideals such freedom of speech and artistic expression.

However museum exchange is seen as a change also, because museum directors can speak

from a privileged position. Museums do not need to answer the government, and can freely

pursue a cultural agenda with any country. For example ahead of the Beijing Olympics in 2008,

the British Museum presented an exhibition on the history of the games in Shanghai and Hong

Kong, and for the first time the 2nd century marble statue ʻThe Discus Throwerʻ was allowed

overseas. This seems to be an excellent example of how a country can promote and foster its

traditions, values and systems whilst provoking respect and understanding. Even though claims

of human rights breeches (especially in the case of Tibet) arose before the Games, the British

Museum arranged this exchange and thereby more or less supported a preferable view on the

Olympic Games hosted by China. By these means, cultural diplomacy is a two-way avenue; not

only in the exchange itself in making foreign artefacts more available, but also by the foreign

promotion of one’s aspects of culture.

The promotion of foreign values appears to be contradictory to the current exhibition’s theme

ʻThe Art of Enlightenmentʻ. The German museum directors clearly stated that they saw the

exhibition as an opportunity to show the core of the Enlightenment’s history and allow the

general Chinese public to profit from it for their own development. This clearly is wishful

thinking by the curators, as the Chinese organizers seemed to see things differently, saying

there was no contradiction between the subject of the exhibition and their country’s politics. If

there were, ‚this wouldn’t be happening,‛ said Chen Yu, a curator at the national museum,

waving at the paintings. This is mainly due to the emphasis on science. This may explain

the differing interpretations of the exhibition. In China, the Enlightenment is mainly

portrayed as an inventive and scientific century with little reference to its liberalizing and

democratizing nature, which it is symbolizing in the west.46

5.11 The Case of Ai Weiwei Not only was the art scene concerned with the abduction of Ai Weiwei in April this year; but

also the fate of the Chinese artist stirred up a debate on basic principles within the foreign

policy circle as well. The question of whether the independence of museum directors allows or

even obliges them to make riskier political statements than any diplomat could ever make hung

in the air.

The happenings in April appear as if they were written by Orwell himself. Just after the

German President Christian Wulff opened the prestigious show with delicately reminding

words, and the first guest visitors had looked at liberal philosopher Kantʼs shoes, the

Chinese authorities arrested Ai Weiwei. The artist and political activist was missing for a

long time, leading to protests all over the world and campaigns sponsoring the logo ‚Where is

Ai Weiwei‚ -even the Tate Modern had ‚Release Ai Weiwei‚ on the side of the building. Being

in China meant the German museum directors appeared as state-paid representatives of

their culture rather than private, apolitical art lovers.47

The case broke out a discussion about cultural foreign policy, and the use of cooperation with

totalitarian regimes. While the president of the ʻGoethe-Instituteʻ demanded the discharge

of Ai Weiwei, Martin Rothe, the general director of the state museums of Dresden ridiculed

this by stating ‚Well now the Chinese national security will get the shivers. Letʼs stick to reality

and the doable.‚ Ai Weiwei is perceived as an agitating dissident, but does this make him

worthy of being nearly beaten to death when he conducted an enquiry on the tragic deaths of

Chinese school children during an earthquake in 2008? Roth says that he could throw the

towel in if he were to retreat from major projects like ʻThe art of enlightenment.ʻ He pleads for

the outstretched hand rather than the raised index finger.

However the question is not whether one should continue with such cultural exchanges, but to

which of many receivers does one reach out to. There are places in China where cultural

dialogue actually takes place, which are more receptive than the state museums. In artist

quarters like ʻCaochangqing,ʻ artistic freedom is given to some extent. Unfortunately economic

and political interests seem to make it necessary to distance oneself from the freedoms that

come with art. Cowardice has been lifted to a new subtlety. There is no point in voicing

critique. But this is what Western diplomats said about Mubarak and Gaddhafi as well; the

change was brought by the people who were angry, loud and courageous.

5.12 World Expo Shanghai 2010

- Country: China (with 246 participating countries) - Website: http://en.expo2010.cn/ http://en.expo2010.cn/c/en_gj_tpl_85.htm - Dates: 1st of May to 31st of October 2010 - Number of visitors: 7.3 million

PROJECT DESCRIPTION The World Expo is a seminal international fair where countries showcase their latest economic,

scientific and cultural developments. The first event took place in London in 1851, and has

been hailed by many historians as marking the beginning of the western race of

industrialization.48 Today it has become an opportunity for the host to promote its nation

brand. The World Expos have a history of triggering economic advancement in the host

country; for example the 1970 Expo held in Japan turned Osaka into Japan’s second largest

financial centre.49 On 18 November 1999, the Chinese government officially decided that

Shanghai would bid for the 2010 World Expo. With support from home and abroad,

Shanghai won the bid on 3 December 2002, at the 132nd General Assembly of the

International Exhibitions Bureau.

AIMS OF THE PROJECT - To promote better awareness of the environment and foreign cultures in China

through the theme ‚Better city, better life.‛ - To represent the common wish of the whole humankind for a better living in future

urban environments. - To have an impact on international policy-making in urban strategy and sustainable

development. - To promote the idea that real change is happening and will continue to do so in China.

WHO PARTICIPATED?

It is exclusively countries that participate in the World Expo. Each country is given space in one

or more pavilions, which can be used in a variety of ways in order to promote the culture,

language or business of the particular country. Pavilions are grouped geographically,

thematically or otherwise. Examples of pavilions are the Europe Joint Pavilion, the Joint Pavilion

of Central and South American Countries and China's Joint Provincial Pavilion. One of the

main attractions of the event is the national pavilion that is created in accordance with the

event's theme, set by the host country.

RELEVANCE AS CULTURAL DIPLOMACY

The World Expo has marked China’s re-emergence onto the world stage. Traditionally it

has been a western economic power that has held this event; however the Shanghai Expo has

reflected an economic shift to East Asia. Reinforcing this, Shanghai 2010 has been the most

expensive expo costing $58 billion; it has had the most participants, surpassing 190 of the next

biggest, and it has been the biggest Expo ever taking up 5.28 sq kilometres of land.50 If

anything, the expo has shown China’s ability to flex its economic might, contributing once

again to increases in trade and investment throughout the world.

More beneficial to China’s soft power has been the new global image that China has

attempted to promote through its ‚Better City, Better Life‛ theme. In particular the

construction of the Houtan Park has been one of China’s greatest green achievements. The

park was previously a brown field left over by Shanghaiʼs industrial era, riddled with pollution

and devoid of life. It now provides a safe haven for wildlife, space for urban agriculture and

provides a natural flood control system. Recognition of this success has seen the American

society of Landscape Architects describing the Houtan Park as ‚powerful and exquisite.‛51

Nonetheless the Expo has also had a negative effect on China. With regards to the

environment, the Expo killed some of the world most critically endangered species; fifteen

salamanders on display at the Shanaxi Pavilion also died due to the stressful living conditions of

the event -including hot weather, throngs of people, camera flashes and bad practices of

animal keepers.52 More significant was the phenomena of ‚alternative expos.‛ Coinciding with

the Shanghai world expo, these events were held throughout the city by dissidents who

wanted to voice their frustrations with the practices of the Chinese government, such as the

eviction of an estimated 18,000 residents from their homes53 that allowed the state to build

grounds and improve infrastructure. These protests only continued to highlight the failure of

the Chinese state to advocate universal human rights.

Ultimately the expo gave Shanghai the experience of hosting a major event and has acted as a

stepping-stone toward increasing the city’s potential to develop into a world-class metropolis. It

has gained international recognition by exhibiting major developments economically,

environmentally and culturally. The Idea that a real change is happening across China has

been achieved and this has been reflected in China’s increase in trade and investment

throughout the world.

5.13 Beijing Olympic Games 2008

- Country: China (with 246 participating countries) - Website: http://www.beijing2008.cn/ - Dates: 8th to 21st of August 2008

EVENT DESCRIPTION The Beijing Olympic Games were organized by the Beijing Organizing Committee for the

Games of XXIX Olympiad, which was established after Beijing won the hosting right for the

2008 Games in Olympics bidding session in Moscow. It was under the supervision of Liu Qi,

the President of BOCOG. More than 30 departments were formed to in preparation for the

event, from venue and planning to environmental management. Morrison & Foerster and

King & Wood were the international and domestic legal counsel of BOCOG.

The Beijing Olympics Games took place in the summer of 2008; the first time China had

hosted such games. The Chinese government put a great deal of effort into their promotion,

and also invested in improvements in its infrastructure for the sake of the games.

WHO PARTICIPATED? More than 11,000 athletes from 204 National Olympic Committees competed in 28 sports.

According to Nielsen, it attracted the attention of around 70% of the worlds population as

both spectators present at the site, as well as watching on television.

RELEVANCE AS CULTURAL DIPLOMACY It is hard to deny how the Beijing Olympic Games helped to change the impressions of the

country for the outside world.54 The huge success of the Beijing Olympic Games gave a new

image of China to the globe after the grand opening ceremony and two weeks of intensive

sporting activities. The project was initiated in the summer of 2001 when Beijing won the

bidding over Toronto, Paris, Istanbul and Osaka for the Games of XXIX Olympiad, and the

BOCOG spent almost 7 years in preparation. This international sports event provided China an

opportunity to engage the country with the outside, promoting China in a new light. The

Beijing Olympic Games was surrounded with a very rich cultural atmosphere from the logo of

the event to the souvenirs they sold in stores.

Some dubbed China as the ‚sick man of East Asia‛ at the end of 19th Century, when the

country had neither political nor economic power on the world stage.55 Over recent decades,

China has turned itself into the most powerful developing country. The country is shining on

the world stage due to its robust economic growth, which means however, that some

countries feel threatened by the increasing power of China. Next to politics and economics,

cultural diplomacy becomes more and more important to the Chinese government through

promoting its films, arts, music and sports.56 The Beijing Olympic Games played an

important role in nation image branding and strengthening Chinaʼs importance to the

world. The key issue of the Beijing Olympic Games was ‚New Beijing, Great Olympics‛

following with three core themes - Green Olympics, High-Tech Olympics and Peopleʼs

Olympics.57 The Chinese government wanted to show its elite culture, and showcase its

development through these concepts. The slogan of Beijing Olympic Games ” ‘One World, One

Dream’ - also expressed the value of harmony, which fits the ancient Chinese saying ‚Heaven

and Earth meet when harmony is realized.‛58 The core Chinese culture ‚harmony‛ had been

embodied throughout the Games, from the mascot Fuwa to the Chinese seal characters like

sport icons, which advanced the relationship with the world and also promoted Chinese culture

successfully.

More than eighty heads of state and important politicians from developed and developing

countries participated in the opening ceremony. China used this platform to show how

China and Chinese people hope for a better and harmonious world. China had hosted an

impressive Olympic Games which did spread its Chinese culture spirit to the modern world.

Although there are some countries still sceptical towards China, people are more open to the

country following an Olympic Games full of intriguing Chinese elements.

Nevertheless, not all feedback on this mega-event was positive. Before the official start of

the Beijing Olympics Games, BOCOG organized the longest distance of Olympic torch relay in

the history named ‚Journey of Harmony,‛ where the torch was passed through six continents.

During the torch relay, numerous protests took place. These protests were mainly initiated by

supporters of Tibetan independence, as well as those fighting for human rights in China.

These events were widely reported all over the world, and according a survey conducted by the

Global Public Opinion Centre of Shanghai International Studies University, only 9 out of 27

global media reported the Beijing Olympic Games neutrally; the rest of them holding a negative

attitude in their reporting of the Games.59 Amongst the issues covered were those concerning

human rights and Tibetan independence, security, media freedom, facilities management,

pollution and the Anti-Beijing Olympic Games movement.60 It can be argued that the global

media magnified the issues about the Beijing Olympic Games in terms of reporting negative

attitudes and comments, creating a challenge for the Chinese government in terms of their

mediation.

In the long term, no matter whether a critique is positive, neutral or negative; the games

marked a beginning for to the world to finally face the growth of China squarely. It would

help to improve the image of the country if Chinese government coped with those critiques

with an open attitude, honesty and confidence, in accordance with the ancient Chinese

traditional principle that ” ‘harmony is the most precious thing.

6. Analysis and Conclusions

In this research paper, we tried to present the contemporary Chinese cultural diplomacy in two

ways. First, we introduced the theoretical concept of soft power, public diplomacy and

cultural diplomacy. We clarified the meaning of cultural diplomacy for the Chinese, and

explained the main specifics of Chinaʼs approach to soft power. The crux of the paper is

formed by eleven case studies, each presenting an event or a project that had a strong effect

on the agenda of Chinese cultural diplomacy. We not only examined the great events of

the Olympic Games of 2008 or World Expo in Shanghai, but we also pointed out some

other projects that might not be so well-known amongst the general public. Whether it is the

Beijing International Book Fair or Hanban-sponsored scholarship schemes, all initiatives of

Chinese government aiming at non-Chinese learners have proven to be extremely popular and

successful. The Confucius Institute has attracted thousands of learners around the world and

created an amazing platform for Chinese culture and language. Our objective was not only to

describe Chinaʼs projects in the field of cultural diplomacy, but also to analyze and evaluate

their relative success. Therefore, we have included a critical analysis in most of the case studies.

Moreover, based on our studies, we tried to envision the ways China is going to use its

increasing soft power abilities in the future.

We hope that this paper will help many to become more familiar with the program of Chinese

cultural diplomacy. We aim to contribute to the quickly developing field of study on soft power

and cultural diplomacy, and believe that this study will be beneficial to many in the profession

and beyond.

7. References

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8 Ibid

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10 Ibid

11 M. McClellan, Public Diplomacy in the Context of Traditional Diplomacy, <www.publicdiplomacy.org/45.htm>

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18 Ibid.

19 For discussion on the topic, refer to Joshua Kurlantzick, ‚China’s Charm Offensive,‛ Carnegie Endowment

Commentary (October 2006), pp. 36-8; and Bates Gill and Yanzhong Huang, ‚Sources and Limits of Chinese ‘Soft

Power’,‛ Survival,, (Vol. 48, No. 2), pp. 19”21. From Hongyi Lai: ‚China’s Cultural Diplomacy: Going for Soft

Power‛ <http://www.eai.nus.edu.sg/BB308.pdf> (accessed 2nd September 2011)

20 Hongyi Lai: ‚China’s Cultural Diplomacy: Going for Soft Power‛ <http://www.eai.nus.edu.sg/BB308.pdf>

(accessed 2nd September 2011)

21 Ibid.

22 Joseph S. Nye: Bound to Lead: The Changing Nature of American Power , Basic Books, 1990.

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on 8th September 2011)

24 R. Sutter and C.H. Huang: Military Diplomacy and China’s Soft Power, Comparative Connections (Vol. 8 No.2,

2006), p.75-8425 Evan Ellis: Chinese Soft Power in Latin America: A Case Study,

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September 2011)

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29 Hanban (Confucius Institutes Headquaters), <http://english.hanban.org/>, Confucius Institute/Classroom,

<http://

english.hanban.org/node_10971.htm> (accessed 6 September 2011)

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(accessed 29th August 2011)

32 Giles Scott-Smith: Exchange Programs and Public Diplomacy, Routledge Handbook of Public Diplomacy

33 Ibid.

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6th September 2011)

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Austin, <http://texasperformingarts.org/season/shanghai> (accessed on 6th September 2011)

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online.de/dresden/web/regional/kultur/detail/-/specific/ Orchester-Kulturaustausch-mit-China-fortsetzen-

3887830389> (accessed 6th September 2011)

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<http://chinaprogram.stanford.edu/news/thomas_fingar_on_chinas_new_us_image_campaign_20110214>

(accessed 7th September 2011)

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<http://www.info.gov.hk/gia/general/201109/02/ P201109020182.htm> (accessed on 5th September

2011)

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<http://sinocentric.co.uk/?s=orchestra&submit=Search> (accessed on 7th September 2011)

41 Fariz Ismailzade : China's Relations in Azerbaijan, Central Asia-Caucasus Institute – Silk Road Studies Program,

<http://www.silkroadstudies.org/new/docs/CEF/Quarterly/February_2007/Ismailzade.pdf> (accessed on 7th

September 2011)

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<http://www.topnews.in/beijing- palace-museum-curator-visits-taiwan-cultural-exchange-2133243>

(accessed on 6th September 2011)

43 Beijing Palace Museum Curator Visists Taiwan for Cultural Exchange. TopNews.in (3rd January 2011),

<http://www.topnews.in/beijing-palace-museum-curator-visits-taiwan-cultural-exchange-2133243> (accessed on

6th September 2011)

44 William Lee Adams: The Art of Museum Diplomacy, The Time Magazine (19th February 2011),

<http://www.time.com/time/magazine/

article/0,9171,1880606,00.html#ixzz1Wh8AruPd> (accessed 1st September 2011)

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0,9171,1880606,00.html#ixzz1Wh8AruPd> (accessed 1st September 2011)

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<http://

www.nytimes.com/2011/04/19/arts/19iht-artchina19.html?pagewanted=all> (accessed 6 September 2011)

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(accessed 6th September 2011)

48 http://www.politicsdaily.com/2010/05/20/the-shanghai-2010-world-expo-too-much-tourism-not-enough- inter/

(accessed 2nd September 2011)

49 http://www.dimsum.co.uk/features/shanghai-expos-impact-on-the-chinese-economy.html (accessed 2nd

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50 http://www.politicsdaily.com/2010/05/20/the-shanghai-2010-world-expo-too-much-tourism-not-enough- inter/

(accessed 2nd September 2011)

51 http://www.cityweekend.com.cn/shanghai/articles/blogs-shanghai/shanghai-expo/houtan-park-expos-

green-success-story/ (accessed 02 September 2011)

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53 http://www.politicsdaily.com/2010/05/20/the-shanghai-2010-world-expo-too-much-tourism-not-enough- inter/

(accessed 02 September 2011)

54 A focus for Chinese diplomacy, The Beijing Olympics ” Volume 14, Issue 2 ” March 2008, The International

Institute for Strategic Studies, <http://www.iiss.org/publications/strategic-comments/past- issues/volume-14-

2008/volume-14-issue-2/the-beijing-olympics/> (accessed on 1 September 2011).

55 Virendra Verma, Beijing Olympics: An exhibition of Chinese soft power, <http://www.rieas.gr/images/VIRENDRA.pdf> (accessed on 1 September 2011).

56 Lai Hongyi, China’s Cultural Diplomacy: Going for Soft Power, EAI Background Brief No. 308, P.2.

57 The Beijing Olympic Games and the Olympic volunteering,

<http://en.beijing2008.cn/upload/readerupdate/3.pdf> (accessed on 1st September 2011).

58 Ibid.

59 <http://www.globalpubopinion.org/picture/article/22/2e/4a/8638a4e9422e8ad14c64ce64db7f/c1a088b2-

88e6-412a-9bf4-496238785575.pdf> (accessed on 5 September 2011).

60 Ibid, p.8

The Institute for Cultural Diplomacy expresses its profound gratitude

to the following members and team for their contribution to this project:

Joanna Blazkowska

Léonie Xin Chao-Fong

Ed Freeman

Katarina Loksova,

Mattia Nelles

Friederike Pischnick

Julia Queen

Sai Yang

Country Profiles - Colombia

Table of Contents 1. Introduction 2. Methodology 3. Application of cultural diplomacy in the private sector

3.1 Dia Nacional de la Afro-Colombianidad 3.2 La Fiesta de las Lenguas 3.3 Dia Mundial del Turismo y Il Encuentro Nacional de Patrimonio Cultural

3.4 Programa de Incorporación del Enfoque Diferencial y la Acción Daño en

Entidades y Organizaciones Colombianas 4. Theoretical Background

4.1 El Encuentro de Estudiantes de Historia en Medellín

4.2 Zoom Latinoamericano. Colección de Arte FEMSA

5. Application of Cultural Diplomacy in the Private Sector

5.1 La exposición Dragones Imperiales de China

5.2 Congreso Internacional de Negocias Internacionales 6. Bibliography

1.0 Introduction

The constitutional republic of Colombia is bordered to the east by Venezuela and Brazil, to the south by Ecuador and Peru, to the north by the Caribbean Sea, to the northwest by Panama and to the west by the Pacific Ocean. Colombia has suffered terribly from narco-trafficking, corruption, and the conflict between the government of Colombia and the combined forces of the Revolutionary Armed Forces of Colombia (FARC) and the Army of National Liberation (ELN) over the past 50 years. In spite of the difficulties presented by serious internal armed conflict, Colombia’s market economy has grown steadily in the latter part of the twentieth century. In recent decades Colombia has sought a greater cultural awareness among the international community. As a result of Colombia’s diverse regional cultural traditions, cultural diplomacy has played an important role to improve mutual understanding with other states.

Art is considered one of the defining features of Colombian culture. The arts are supported through private individuals and foundations such as the Telefonica Foundation, the Chamber of Commerce of Medellín, the Tobacco Company of Colombia, Federation of Coffee Producers, and the Bank of the Republic of Colombia; which supports the world renowned Museum of Gold. The government, through the Ministries of the Interior and Education, also provides substantial support for numerous museums, theaters, and libraries throughout the country. Among the government supported institutes are the National Museum of Colombia and the Colombian Institute of Culture, both of which support artists while striving to preserve Colombia's rich history. In addition to these traditional institutes, local governments and private transportation companies support local artists by hiring them to decorate city and town buses in colourful styles. This report will address the most important examples of the projects operating in Colombia

today that bear relation to cultural diplomacy. Whilst these examples differ in their agendas

and aims, they all share the key feature of cultural exchange. Cultural exchange is the most

important feature of the implemented projects, since it provides a better understanding.

2.0 Methodology It is important to consider what the term cultural diplomacy means before assessing

projects that could be related to cultural diplomacy in Colombia. It is also necessary to define the scope and aim of the report. In addition to this, it is vital to know whether cultural projects had been conducted by Colombian institutions or international organizations. Even though cultural projects in Colombia have been conducted by international organizations, for this report only projects and aims undertaken by Colombian institutions will be considered.

Cultural Diplomacy has played a vital role for both national and international organizations in Colombia. There are many reasons why cultural diplomacy should be promoted by companies, institutes or organizations. However the overriding aim is to promote the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding.1 The examples of conducted projects and programs provided in this report are representative of a diversity of institutions and organizations operating in Colombia. Since this report draws on initiatives from both the public and the private sector as well as from civil society, a short overview of these sectors will be given.

The public sector is considered to be the sector that seeks most for the promotion of national or regional interests. Providing information regarding the country or region of origin, specifically its people and culture,organizations in the public sector have a clear intent to promote its native values and culture. The civil society, which is composed of non-governmental organizations and individuals, is motivated by the opportunity to develop and encourage platforms for mutual cultural exchange. This activity could take the form of cooperation through the sharing of valuable professional information and networks, for example; in the context of academic exchange, international forums and tourism. The private sector includes private companies interested in the development of intercultural communication. Global businesses are increasingly interested in intercultural communication and cross-cultural learning as a means of improving their own effectiveness and practices, which makes them an important conduit through which cultural exchange takes place.2 This projects covered in this report come from a range of different areas; from educational projects to the promotion of arts, literature, and intercultural dialogue through festivals. This report will show that cultural projects can be conducted by different organizations coming from several fields. In recent years the Ministry of Culture of Colombia has been increasingly effective in supporting national culture and heritage, and therefore there have been more projects promoted in the last five years by the Ministry of Culture than by any other institutions. The most important projects conducted by the Ministry of Culture will be

1 SOURCE, Milton Cummings, Cynthia Schneider 2 http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy

included in this report. To give a fair overall view, projects that were conducted by private companies such as Avianca and Bank of the Republic of Colombia will be also considered.

3.0: Application of Cultural Diplomacy in the Public Sector 3.1 Día Nacional de la Afrocolombianidad

Agent of Cultural Diplomacy: Dirección de Pobalciones Agenda: the Dirección de Pobalciones was created with the target of improving recognition of the many diverse cultural communities that exist in Colombia. Since Colombia has a wide variety of cultural identities, the Dirección de Pobalcion was founded in 2008 to give expression to the cultural diversity in Colombia. Being part of the ministry of culture, the Dirección de Pobalciones has implemented political and cultural programs since its existence. Vehicle of Cultural Diplomacy: By organizing a special day for the Afro-Colombian culture, the Dirección de Pobalciones is trying to bring the Colombian population closer. Día nacional de la Afrocolombianidad, the national day of the Afro-Colombian community takes place every year on May 21st. This day was established by the minister of culture to preserve the cultural richness of the Afro-Colombian community. During this day cultural traditions and the history of Afro-Colombians is being commemorated. This national day invites people from all over the country to participate through cultural events such as workshops, educational programs, performances and lectures. The project includes:

Performances of Afro-Colombian dancers and musicians from different regions of Colombia

Workshops on the culture of Afro-Colombian community

Cultural educational programs

Lectures on topics related to the culture of the Afro-Colombian community

Exhibit Afro-Colombia art, such as paintings, photos, and The Ministry of Culture and the Dirección de Pobalciones seeks for a better understanding of the Afro-Colombian culture within Colombia. By supporting the national day of the Afro-Colombians the Ministry of Culture is also seeking for more respect and recognition of cultural diversity in Colombia. In accordance with UNESCO the Ministry of Culture defines cultural diversity as an essential characteristic of humanity. The Ministry of Culture of Colombia is committed through this to the preservation of the rich cultural diversity that exists in the country.

3.2 La Fiesta de las Lenguas Agent of Cultural Diplomacy: XXIV Feria Internacional del Libro de Bogotá and El Centro Internacional de Negocios y Exposiciones S.A. The Ministry of Culture in Colombia supports most of the progrmas carried out by the Feria International del libro de Bogotá and El Centro Internacional de Negocios y Exposiciones S.A. Agenda: Improve the relations between international writers, and support literature by bringing people from all over the world together, especially from Latin-America. Vehicle of Cultural Diplomacy: Different cultural programs to promote the internationalization of South American writers and literature Target Audience: Students, parents, children, writers, and teachers interested in South American literature The Centre of International Negotiations and the International Fair of Books in Bogotá have organised numerous cultural events in the past 50 years. They have held more than 9.000 expositions and every year 1.350.000 visitors come to attend lectures and other events. During the festival of the languages more than a million people came to listen to lectures of indigenous people of Latin-America. This day gave the opportunity to indigenous writers, musicians and poets to express their ideas and the wisdom of their ancestors. The Mexican Poet Jorge Cocom Pech, the Guatemalan poet Humberto Akabal and Colombian writers represented 20 indigenous communities and their culture. The main aim of this ceremony is to bring people together from all over South-America to get to know more about the culture of indigenous people. Another important purpose of this ceremony is to maintain the culture and language of indigenous people throughout Latin-America. Native writers such as Leonel Lienlaf, mapuche de Chile, are given the chance to publish work, a great improvement as a lot of their work had never been recognized before. By promoting and supporting cultural events, indigenous people and artists also have the possibility to publish their books and work. Jorge Miguel Cocom Pech had for example the chance to share the Maya culture, language and ideas with other Mexicans and those from different cultures. The support of both the Ministry of Culture and the city of council of Bogotá are both key to cultural events such as this continuing to take place in Colombia.

3.3 Día Mundial del Turismo y II Encuentro Nacional de Patrimonio Cultural Agent of Cultural Diplomacy: Ministerios de Cultura y de Comercio, Industria y Turismo

Agenda: To start discussions and lectures on cultural heritage and tourism in Colombia

among national and international experts such as Francisco Vidargaa from México,

Fréderick Vacheron from France, and Enrique Sánchez y Ramón Villamizar from Colombia.

Vehicle of Cultural Diplomacy: The purpose of the day of tourism and the national cultural heritage is to bring people from all over the world to Colombia. By bringing them together, and by encouraging Colombians and foreigners to visit historic and cultural cities such as Cartagena and Bogotá, cultural exchange is taken place. Target Audience: Colombians, travel agencies, international organizations, students and people from across Latin-America and the wider world. Juan Luis Isaza Londoño, is the director of department of the Ministry of Culture, Heritage and Tourism in Colombia. The Día Mundial del Turismo y II Encuentro Nacional de Patrimonio Cultural is a day that was created in 1980 to enhance relations between several travel agencies and international companies and organizations to stimulate the inflow of tourists from all over the world to experience the cultural richness of Colombia. The city councils of Ciénaga y Santa Marta and the Ministry of Commerce, Industry and Tourism have cooperated to initiate this day. On this day discussions were held by the Ministy of Commerce to analalyse the best way to promote tours in Colombia. In 2010, 940 million tourists travelled throughout the country and other countries in South-America experiencing Colombian art, gastronomy and flora and fauna. El Día Mundial del Turismo 2011 is also a day where culture interaction takes place between different countries and people. By organizing this day to celebrate the culture of Colombia, the diversity of Colombia is also being supported and maintained. Furthermore, aside from emphasising the Colombian culture, other cultures of different countries are also represented. This day also allows the Ministry of Commerce, Industry and Tourism to initiate a program where political issues can be adressed. The following topics are included in the program:

The importance of maintaining Cultural tourism

The importance of maintaining historic properties

The importance of maintaining house properties

The possibility of introducing a national plan for preserving historical centres and cities

3.4 Programa de incorporación del enfoque diferencial y la acción sin daño en entidades y organizaciones colombianas Agent of Cultural Diplomacy: Social State of Law of Colombia Agenda: To improve and reinforce the rights of ethnic groupes and cultures in Colombia. The Ministry of Culture and the organizations la Dirección de Poblaciones and Los Encuentros Nacionales have collaborated in this program. Different regions, international organizations, and public sectors have also cooperated with the Social State of Law in Colombia.

Vehicle of Cultural Diplomacy: The purpose of this program is to bring non-governmental organizations together to discuss human rights issues in Colombia. In cooperation with the Social State of Law cultural programs are carried out to to improve human rights of ethnic groups. Scholars and professors have been in charge of organzing this program. They have created topics to address human rights issues in Colombia. Target Audience: Scholars, scientists, students and NGOs, ethnic groups in Colombia The concept of this program in 2009 was created by the Social State of Law, and is set up to strengthen and recognise the rights of ethnic groups within Colombia. In cooperation with the Social State of Law cultural programs are carried out to to improve human rights of ethnic groups. Scholars and professors have been in charge of organising this program. They have created topics to address human rights issues in Colombia, and have provided theoretical information to others, especially students and NGOs. Most of the presented topics are related to human rights and international humanitarian rights. One of the most important purposes of this program is to recognise human rights issues, cultural ethnic groups and cultural diversity in Colombia. Ethnic minority groups in Colombia have seen the greatest benefits as a result of the work of the program, because their identity, their culture and their property rights are now better addressed by the Social State of Law.

Four objectives were incorporated into this program: “ To recognise the ethnic and cultural diversity of Colombia through investigations, lectures, and communication

To inform the Ministry of Culture of the importance of cultural diversity, by addressing political issues, and by organizing events and projects

To inform political institutions of the importance of the human rights of ehtnic groups and address the importance of the implementation of the international humanitarian law

To improve the coordination and cooperation between the Ministy of Culture, NGOs and politcal institutions

To address the issue of human rights in Colombia. The Social State of Law is seeking for improvement of the living conditions of ethnic groups

4.0 Application of Cultural Diplomacy in Civil Society

This section of the report will assess cultural diplomacy in civil society; which is taken to

mean those foundations or programs initiated or currently directed by the civil sector of

society (such as NGOs, charitable foundations and philanthropists).

4.1 El encuentro de estudiantes de Historia en Medellín

Agent of Cultural Diplomacy: El Instituto Colombiano de Antropología e Historia and La Universidad Nacional de Bogota. Agenda: To bring students together from all over Colombia to become familiar with historical and anthropological investigations Vehicle of Cultural Diplomacy: The purpose of this event is to carry out archaeological, anthropological, historical and linguistic investigations. By carrying out these investigations the Colombian institute of history and anthropology is seeking for more awareness of the Colombian culture and history. Target Audience: Students, scientists, The Colombian institute of history and anthropology is a technical and scientific

organization that investigate, produce, and provide information on historical,

anthropoligical, and archaeological topics. This insitution believes that historical and

anthropological investigations, provide a better understanding of the history Colombia. The

institute is also seeking for more respect and recognition of minority groups and human

rights issues. By addressing historical and anthtropoligical aspects of Colombia, the institute

strives for more protection of cultural heritage.

The Colombian institute of history and anthropology have the following aims:

To establish scientific criteria for anthropological investigations

To inform and support different historical, anthropological investigation for the good of the country and minority groups

.

To provide discussions between professors, students, NGOs and others to raise questions about the necessity of archaeological, historical and

anthropoligical investigations.

To provide scientific and historical information to political institutions, to private and to public organizations, and to universitites.

To inform and publish results of investigations to maintain the register of cultural, historical and archaelogical heritage.

For nine years the National University of Bogota and the Colombian Institute have organised an annual event that brings students from all over the country together. The event is called the Encuentro de Estudiantes de Historia en Medellín, and gives students the opportunity to participate and learn them how to carry out investigations. This event gives students from all over the country also the chance to investigate and interact with other professors and scientists. In cooperation with the ICANH, a private organisation that is responsible for cultural heritage, different events have taken place in Colombia. Other important partners of this institute are the National museum of Bogota, Parques Arqueológicos Nacional and the Laboratorio Arqueología.

4.2. Zoom Latinoamericano. Colección de Arte FEMSA

Agent of Cultural Diplomacy: Museum Nacional de Colombia Agenda: To discover and showcase Colombian art Vehicle of Cultural Diplomacy: The purpose of this event is to carry out archaeological, anthropological, historical and linguistic investigations. By carrying out these investigations the Colombian Institute of History and Anthropology is seeking for more awareness of the Colombian culture and history. Target Audience:

As a result of anthropological research, donations and acquisitions, the National Museum of

Colombia has built a collection of more than 20,000 objects that are symbols of national

history and heritage. This collection includes remains of the first inhabitants of the country

and the material culture of these pre-Hispanic societies. Also included are objects from

current indigenous and afrocolombian ethnography, evidence of different periods of the

nation's history; and works of artistical value that range from the colonial period through

the works of the first ‘modern’ artists: Fernando Botero, Alejandro Obregón, Guillermo

Wiedemann, Juan Antonio Roda, Eduardo Ramírez Villamizar, Edgar Negret and Enrique

Grau.

The Museum offers 17 permanent exhibition galleries with more than 2,500 pieces

currently on display and a calendar of temporary exhibitions that allows its visitors to be in

touch with important national and international displays of history, art and archaeology. A

varied educational and cultural program that includes seminars, lectures, concerts, video,

theatrical and dance performances is also offered by the museum.

As a contribution to academic discussions on Colombia´s cultural history, the Museum

organises the Cátedra Anual de Historia 'Ernesto Restrepo Tirado', an academic event that

has been carried out annually for more than 10 years. It also offers a series of publications

that compile material on the Museum's collections as well as the memoirs of academic

events.

With the development of new technologies such as the website, the Museum is constantly

creating new and contemporary ways of being in touch with its public.

The Museum is guided by its Strategic Plan 2001-2010, a 10-year navigation chart that

channels all human and financial assets towards the objectives of three major strategic

areas: building multiple narratives of the history of cultural processes of Colombia,

developing audiences and strengthening the nation´s museums.

The FEMSA Art Collection is comprised of works of art from seventeen countries. A

selection representing eleven of those countries (Mexico, Guatemala, Nicaragua, Cuba,

Colombia, Venezuela, Brazil, Ecuador, Chile, Argentina and Uruguay) is currently on display

at the Museum.

The exhibition gathers the work of forty artists and instead of proposing complicated

theories, reinterpretations or curatorial gimmicks, it suggests a quiet trip across the artistic

geography of our continent. The selection also seeks to contrast the works of masters who

are renowned among our audiences with other artists less visible in the collective

imagination so that the artwork alone is the protagonist. Dogmatic generalisations about

the idea of "self" are avoided, and the characteristics of the various proposals made in each

of the works displayed is promoted, in order for the viewer to see the notions outlined by

artists on their metaphorical journey through the art of Latin America. One could certainly

argue that cultural exchange has taken place here, since the works of artists of numerous

different Latin-American countries are exposed.

5.0 Application of Cultural Diplomacy in the Private

Sector

5.1 La exposición Dragones imperiales de China

Agents of Cultural Diplomacy: Banco de la Republica Colombia and the Museo del Oro Tairona Agenda: The Banco de la Republica Colombia aims for more collaboration with cultural institutions with other departments of Colombia. Vehicle of Cultural Diplomacy: Target Audience: Scholars, teachers, children, students, and tourists

In June 1880, the Government of Colombia created the Banco Nacional to act as its banker and to promote public credit. The institution’s role as banker consisted of providing the Government with services of allocation of public or Treasury funds, credit extension, collaboration in obtaining both internal and external loans as well as the management of Government Securities. Furthermore, the Banco Nacional was responsible for issuing the national currency. However, in 1894, the Congress liquidated the Banco Nacional due to registered excesses in the currency issue. Years later, the Banco Central de Colombia was created, which functioned between 1905 and 1909, until it too was liquidated for the same reasons. The First World War brought in its wake severe economic and financial difficulties for Colombia that were not resolved with the advent of peace. During the first two decades of the 20th Century the prospects of Colombian banking institutions were not promising due to the existing monetary disorder: currency was issued without control and bank reserves were dispersed. An additional aggravation to this situation was the lack of a formal governmental system of guarantees and backing for the banks.

This situation precipitated the economic crisis of the years 1922 and 1923, which clearly showed the scarcity of money in circulation. Therefore, the need to provide currency and credit with solidity and stability by means of a solid and consistent central bank became imperative.

Apart from this, the bank has supported and worked with several cultural institutions and museums throughout the country to preserve the national cultural heritage.The purpose of this museum is to preserve the national archaelogical and cultural heritage. The main aim of this museum is to serve the society by providing historical, and cultural information of

Colombia. Cultural exchange has played an important role in the policy of this museum, since it has collaborated closely with other museums, cultural institutions, and the bank of

the Republic of Colombia. By investigating and preserving the cultural heritage, the museum believes that the society will benefit from this in the long term.

5.2 Congreso Internacional de Negocios Internacionales Medellín

Agents of Cultural Diplomacy: Avianca Agenda: Organizing and promoting flights throughout the world Vehicle of Cultural Diplomacy: Apart from organizing flights throughout the world, Avianca has also promoted cultural events in Colombia Target Audience: Students, economists, international investors, and professors

Avianca is the flag carrier airline of Colombia and the oldest continuously operating airline

in the Western Hemisphere. It is heaquertered in Bogota with its hub at the el Dorado

International Airport. Avianca is the largest airline in Colombia and a major one in Latin

Ameica. Avianca has the most extended network off destinations in the Americas and one

of the largest and most modern aircraft fleet in the continent. In 2010, Avianca was

accepted to be part of Star Alliance, the world's first and largest airline alliance,

headquartered in Frankfurt am Main, Germany. The process of becoming a full part of the

Alliance will last around 18 months until the airline fulfils all requirements to be official

members of the Alliance.

Avianca has also organised different congresses related to economic, cultural, political, and

social developments. Avianca in coordination with the University of Medellin, is planning to

organise a conference related to international business. During this conference a broad

range of topics related to international economic relations will be addressed. This

conference will give investors, economists, and tradespeople the possibility to exchange

ideas and share information. Such a program can only increase the number of multinational

organisations choosing to invest in Colombia, which has already seen a growth in foreign

investment in the last decade. By organizing an international conference Avianca is seeking

for a better economic, cultural an stable relationship between Colombian and international

investors. This exchange plays an important role for a good sustainable relations with

international partners.

6.0 Bibliography

Día Nacional de la Afrocolombianidad, http://www.mincultura.gov.co/?idcategoria=43667

La Fiesta de las lenguas, http://www.mincultura.gov.co/?idcategoria=43384 Día Mundial del Turismo y II Encuentro Nacional de Patrimonio Cultural http://manantialstereo.com/fm/index.php?option=com_content&view=article&id=50:dia-nacional-del-turismo-y-ii-encuentro-nacional-del-patrimonio-cultural&catid=22:turismo Programa de incorporación del enfoque diferencial y la acción sin daño en entidades y organizaciones colombianas , http://www.mincultura.gov.co/?idcategoria=38512

Zoom Latinoamericano. Colección de Arte FEMSA, http://www.museonacional.gov.co/

La exposición Dragones imperiales de China,

http://www.banrep.gov.co/museo/esp/s_tai01.htm

Congreso Internacional de Negocios Internacionales Medellín

http://www.udem.edu.co/UDEM/Agenda/Academicos/congNegInt.htm

Country Profiles – Czech Republic

Table of Contents 1. Introduction 2. Methodology 3. Current Condition of Cultural Diplomacy in the Czech Republic

3.1 The Application of Cultural Diplomacy in the Public Sector 3.1.1 Czech Centres 3.1.2 The House of International Services 3.1.3 The Czech Film Centre 3.1.4 Meet Factory 3.2 The Application of Cultural Diplomacy in the Private Sector 3.2.1 Colours of Ostrava Music Festival 3.2.2 Grada Publishing 3.2.3 Czech Literature Portal 3.2.4 O2 Fund 3.2.5 Newton Media 3.3 The Application of Cultural Diplomacy in Civil Sector 3.3.1 Multicultural Centre in Prague 3.3.2 Humanitas Afrika 3.3.3 The Society of Friends of Serbians in Kosovo 3.3.4 The Czech Institute for International Meetings 4. Conclusion 5. Bibliography

1. Introduction

The origins of the f irst concept of cultural diplomacy in the Czech Republic, or Czechoslovakia (between 1918 ” 1993), dates back to the 1920´s when the Czechoslovak Republ ic was founded. At that t ime the f i rst Czechoslovak president T. G. Masaryk kept in touch with countr ies that had supported his government- in-exi le before the Austro-Hungarian Monarchy fel l apart and str ived to maintain and strengthen the exist ing relat ions between Czechoslovakia and Great Britain, France, and the USA. In addit ion to thi s, new international connections were to be establ ished with countr ies such as Russia or Yugoslavia in both a pol it ical and a cultural way. Although these contacts were in fact of a pol i t ical character, Masaryk, maintaining the old relat ions and establ ing new ones at the same t ime, always respected historical and cultural tradions of the country in terms of phi losophy, l i terature, and trade.

After the WWII, in the late 1940´s, when the communists took control over the country, any kind of diplomacy of the Czechoslovak Social ist ic Republic was subordinate to the Czechoslovak Cummunist Party which was required to fol low the Soviet Union´s concept of i ts satel l i te countr ies´ representation abroad. Surpris ingly enough, i t was the cultural diplomacy methods that turned out to be working more than the methods of pol i t ical diplomacy in that era of the iron curtain. Many Czechoslovak art ists were al lowed to perform abroad, especial ly in the 1960´s, an era which is commonly associated with Prague Spring or a term refered to as Social ism with a human face. Both of these phenomena meant relaxing the tension between this part of the Soviet block and the Western world and resulted in prol if ic exchanges in terms of culture, business, education, and science.

The late 1980´s and the early 1990´s saw tremendous polit ical, social, and cultural changes. After the country became independent in 1989 and when it later on spl it into the Czech Repu bl ic and the Slovak Republic in 1993, a bigger emphasis was put on the country´s representation abroad as wel l as reestabl ishing its t ies with the West. It was only later on, in the late 1990´s, that the concept of Czech cultural diplomacy was created by the Ministry of Foreign Affairs of the Czech Republic. I ts understanding is

closely related to the concept of the Czech cultural pol icy that was created by the Ministry of Culture of the Czech Republ ic. 3 In fact, the Ministry of

Culture is in charge of cultural events and act ivit ies on an internal level , whi le the Ministry of Foreign Affairs, within i ts concept of cultural diplomacy, „exports‚ these individual i tems of Czech culture abroad and thus deals with Czech culture on an external level . As offic ial ly stated, the means of Czech cultural diplomacy are supposed to be used for both international cooperation incentives and its sustainabi l i ty.

3 Euroactiv. Spolupráce mezi kulturními institucemi je prospěšná zejména pro malé státy (transl.: Cooperation between cultural institutions is contributing especially to small countries). May 25, 2010. http://www.euractiv.cz/print-version/clanek/eliska-tomalova-spoluprace-mezi-kulturnimi-institucemi-je-prospesna-zejmena-pro-male-staty-007528 (accessed September 29, 2011).

2. Methodology

The term of cultural diplomacy is relat ively new to the Czech pol it ical discourse, let alone to the Czech public. The concept may st i l l be understood and interpreted differently. Despite i ts recent emergence as an expression and as a phenomenon, the term has been already defined and explained by El iska Tomalova who works for the Inst itute of International Relat ions in Prague. I t is actual ly French cultural diplomacy that she deals with in her book The Cultural Diplomacy: French Experience (2008), but she also provides various definit ions and insights into the developm ent of cultural diplomacy as such, which can be general ly applied. That is why this work fol lows Tamalova´s definit ion of cultural diplomacy which says that „Cultural diplomacy is a part of public diplomacy and is implemented by means of presentation, promotion, and strengthening a country´s reputation abroad on the basis of cultural activ it ies in the broadest sense of word.‚ 4

Fol lowing from the definit ion above, we wil l choose only those institutions, organizations, societ ies, bodies, etc., which de al with such a kind of work, or such act ivit ies that clearly qual i fy for what is understood

4 Tomalová, Eliška. Kulturní diplomacie: Francouzská zkušenost (transl.: Cultural Diplomacy: French Experience. Prague: UMV, 2008. pp. 35-38.

as cultural diplomacy in general , and by Tomalova in part icular. The purpose of the research is to l ist institut ions, organizations, societ ies, companies, and businesses that exercise what is understood as cultural diplomacy in three different sectors: the publ ic sector, the private sector, and the civ i l ian sector.

This paper starts with an introduction to the concept of cultural diplomacy in the Czech Republ ic, i ts development throughout the history of the Czechoslovak Republ ic and the Czech Republic. Fol lowing that is a part devoted to the contemporary state of cultural diplomacy in the country which provides a picture of var ious actors who exercise cultural diplomacy both in the country and outside the count ry. This sect ion includes examples of cultural diplomacy applicat ion in three sectors: the f i rst one being government and public sector, the second being private sector, and the third being civ i l sector. Each of these three parts comprises of several concrete examples of how a part icular project was real ized, who it was carr ied out by, who was the target audience, etc. Thus this sect ion wi l l involve al l the relevant events, happenings, and projects that were real ized either in the terr itory of the Czech Republic or outside. I t is necessary to take into consideration that some of the organizations, institutions, societies, and projects l isted below qualify both as publ ic sector and as

pr ivate sector at the same t ime. This very fact makes the classif icat ion within the practical part of the research questionable, which is one of the major chal lenges to this work. In addit ion to it , the l ist of examples includes only those projects that have been running for some t ime now and proved themselves as sustainable. Those projects that were designed as a s ingle event without any prospects for the future wi l l hardly be discussed in this work.

This work uses exclusively internet sources and websites of those institutions, organizations, and societies which have bec ome the subject of this research. These sources also include internet books, art icles, essays, and theses that were avai lable on the internet in the period of t ime between 26 t h September and 5 t h October, 2011. Most of the sources used refer mainly to an era dating from 1993, the foundation of the Czech Republic, up to the present, the year of 2011.

3. Current Conditions of Cultural Diplomacy in the Czech Republic

As suggested above, the Czech Republ ic´s foreign policy has changed a lot after the Velvet Revolution in 1989. The country was having hard t imes going through a transit ion period that basical ly meant a transformation from planned economy into a free -market economy based on western business principles. New values were looked for in terms of pol i t ical , social , and cultural orientation.

Since it was the industry, education and health services sectors that needed to be f inanced extensively in the f irst place, investments into Czech culture were neglected. However, the country already had a relat ively good cultural reputation in the world and could rely on its heritage in f ields such as architecture, music, f i lm, and l iterature. 5

By 1999 the country had become a member of numerous international organizations and became integrated into a large network of international projects. Being the most western Slavic nation and most probabl y the most developed one among Slavic countries, the Czech Republ ic became popular among other Slavic nations such as Russia, the Ukraine and Slovakia who st i l l represent the biggest minorit ies, especial ly in Bohemia. The Southern parts of the Czech Republ ic st i l l keep close relat ions with Austria as a heritage of Austro-Hungarian Monarchy t imes . The Western parts of the country also keep close t ies with Germany, especial ly on regional level . Simi lar relat ionships can be seen in the Northern part of the country where a lot of Czechs can speak Pol ish and feel c lose to Pol ish tradit ions. Relat ionships to Slovakia are in very good condit ion as the country was once a part of Czechoslovak Republic. This br ief character izat ion is to suggest that the Czech Republ ic , being situated in Central Europe, has seen many cultural interact ions , pr imari ly with its neighbouring countr ies. This fact has inf lunced the country´s cultural diplomacy prior it ies which tend to be directed inwards, meaning that an emphasis is put on in tegrative projects within the country i tself rather than on promotion of intercultural perceptions outside the terr itory of the country. Thus, more of the country´s efforts is preferably put into treatment of minorites as a cultural representation of a par t icular country in the Czech Republic. International schools are being founded, which include Austr ian, German, Pol ish, Russian schools, etc.

At present, basical ly, the major portion of cultural diplomacy work is carr ied out by Czech Centres (Česká centra) which have been establ ished in

5 Tomalová, Eliška. Kulturní diplomacie: Francouzská zkušenost (transl.: Cultural Diplomacy: French Experience. Prague: UMV, 2008. pp. 20-21.

many countries. 6 I f compared to other countr ies - the cultural diplomacy powers such as the USA, France, Germany, etc. - the Czech Republic has never been considered a geopolit ical or economic power and has never disposed of sufficient f inancial means to be as effect ive in cultural diplomacy as those countr ies that have tradit ional ly invested a lot of money into their promotion abroad. However, much has changed rec ently. Since more effort is currently being put into soft power methods within the European Union than ever before, and hard power methods are being left behind, even smal l states can become powerful with regard to their goals pursued by means of cultural diplomacy.

3.1 The Application of Cultural Diplomacy in the Public Sector

3.1.1 The Czech Centres 7

Agent: The Ministry of Foreign Affairs of the Czech Republic in cooperation with the Ministry of Culture of the Czech Republ ic

Agenda: Intercultural perceptions, intercultural dialogue promotion

Vehicle: Exhibit ions, authorial readings, lectures, discussions, translations

Target audience: Everyone

Example: Czech Centre in Berl in (http://berl in.czechcentres.cz/)

The Czech Centres, as organizations funded by the Czech Republic’s Ministry of Foreign Affairs, present the Czech Republ ic abroad as a cultural ly and economical ly developed country. These centres can be considered as an act ive instrument of Czech foreign pol icy within the sphere of cultural diplomacy as they foster dialogue with the international publ ic and support the act ive presentation of the country in the cultural, scientif ic, education, trade and tourism f ields. The focus of these centres is to raise awareness of the Czech Republ ic as a country with both a r ich cultural heritage and the capacity to generate new values. The Centres support cultural cooperation and contribute to shaping of mutual ly beneficial relat ions with organizations act ive in cultur al sphere in the Czech Republic and abroad. By way of exhibit ions, concerts, lectures, author’s readings, f i lm screenings, discussions, seminars and participation in

prominent fest ivals and trade fairs, the Centres contr ibute to the professional and balanced presentation of the Czech art ist ic scene in the

6 Czech Centres. n.d. http://www.czechcentres.cz/ (accessed September 28, 2011). 7 Czech Centres. n.d. http://www.czechcentres.cz/ (accessed September 28, 2011).

domains of f i lm, architecture, design, l i terature, music, theater, dance and f ine art. In cooperation with the Ministry of Foreign Affairs of the Czech Republic, the Czech Centres execute projects that contribute to the formation of the Czech Republic’s foreign cultural pol icy. Moreover, the Czech Centres act ively part ic ipate in the network of European Union cultural relat ions inst itutes, the EUNIC, which serves as a platform for multi lateral cultural cooperation within Europe as wel l as without.

3.1.2 The House of International Services 8

Agent: Ministry of Education, Youth, and Sports of the Czech Republ ic

Agenda: To encourage international exchanges between pupils, students, and teachers interested in different f ields of study, to present Czech educational system abroad and introduce new teaching methods

Vehicle: Exchange study programmes, exchange teaching programmes, schools with international environment, scholarships

Target audience: Pupils, students, and teachers of different national it ies

Example: Maths teachers met in Prague to discuss new teaching methods

http://spice.eun.org/web/spice/spice -summer-academy

The House of the International Services is a contr ibutory organization that deals with educational programmes for Czechs who want to pursue their academic career abroad, for Czech teachers who want to pursue their professional career in foreign countr ies, and for foreigners who come to the Czech Republic to study or work as teachers. Thus, the House of International Services provides information about Czech international schools, Czech schools abroad, and educational programmes for foreigners such as summer schools or Czech language courses. Czech international schools, Czech Schools and educational programmes for foreigners have been designed especial ly for chi ldren from different cultural backgrounds. However, they can be also attended by Czech chi ldren. T hese schools aim at el imination of language and cultural barr iers and at learning or studying in an international environment. The network also includes Czech universit ies that part icipate in mutual ly beneficial projects on both national and

international levels. Many of them provide education or language courses for adults as wel l as exchange programmes for teachers and scientists abroad. These act iv it ies are supposed to raise the country´s reputation and encourage intercultural perceptions.

8 DZS (The House of International Services). n.d. http://www.dzs.cz/ (accessed September 28, 2011).

3.1.3 The Czech Film Centre 9

Agent: The Ministry of Culture of the Czech Republ ic

Agenda: Promotion of Czech f i lms abroad, attract ing fi lmmakers to the Czech Republic to shoot new fi lms

Vehicle: Fi lm distr ibution, f i lm projection, f i lm fest ivals

Target Audience: Everyone

The off ice of the Czech Fi lm Center (CFC) was establ ished in 2002 on the init iat ive of the Audiovisual Producers' Association (APA) with the goal of systematical ly profi l ing contemporary Czech cinematography and the Czech f i lm industry, pr imari ly abroad. The main goal and content of the CFC’s activ it ies are the promotion of Czech cinematography and the Czech f i lm industry abroad. Structural ly, the CFC is divided into 2 divisions: F i lm Promotion (FP), which is involved in the promotion of Czech f i lm s abroad and the office of the Fi lm Commission (FC), which, on the contrary, provides services to incoming foreign fi lm productions and promotes the Czech Republic as a shooting location. The CFC's main act ivit ies relate to: informational act iv it ies ” providing up-to-date information on the state of Czech cinematography and the Czech f i lm industry; promotional act iv it ies ” the coordination of promotional act ivit ies at important international fest ivals and markets, the organisat ion of promotional events in t he framework of fest ivals in the Czech Republic; publ ication act ivit ies ” the publ ication of annual catalogues, DVDs and other regular or occasional publ ications; networking ” making and maintaining contacts in the area of the international f i lm industry and the mediat ion of the necessary contacts to both Czech f i lm professionals and foreign institutions, organisations and production and distr ibution companies with the goal of connecting to both already exist ing and new structures operating in this area.

3.1.4 Meet Factory 10

Agent: Sponsors, City of Prague, Ministry of Culture, Goethe -Inst itute in Prague

Agenda: Promotion, support, and development of Czech arts in cooperation with foreign art ists, intercultural dialogue about arts

Vehicles: Exhibit ions, events, discussions, performances

9 The Czech Film Centre. n.d. http://filmcenter.cz/cz/homepage (accessed September 29, 2011). 10 Meet Factory. n.d. http://meetfactory.cz/ (accessed September 28, 2011).

Target Audience: Artists, young artists, everyone

Meet Factory was establ ished in 2001 by David Cerny. The basis of the project and its original ity is an interdiscipl inary complex of dramaturgic ser ies based on the international residential program already proven successful in past gal lery activ it ies. In Meet Factory, f ine arts, theatre, f i lm, music and educational programs closely meet together. The project is supported by numerous institut ions such as Goethe-Institute in Prague, the Czech-German Fund For The Future, Künstlerhaus Bethanien, the Dutch Embassy in Prague, Ri jksakademie van Beeldende Kunsten, PAKT Gal lery in Amsterdam, the Mondriaan Foundation, the theatre inst itute in Giessen, the Visegrad Foundation, the Mexi can Embassy, the Portuguese Ministry of Culture, the Calouse Gulbenkian Foundation, Instituto Camoes in Prague, the American Embassy in Prague and others. It is al l these partners that part icipate in relevant project select ion and thus guarantee the qual it y of events organized.

3.2 The Application of Cultural Diplomacy in the Private Sector

Private sector involvement in cultural diplomacy appl ication is very specif ic. In the Czech Republic, many cultural events on both national and international levels are supported by sponsors coming from the private sector. However, the sponsors are known to act in this part icular way in order to make themselves more visible and better -known among potential customers. Ful l f inancial part icipation of pr ivate sector in proje cts related exclusively to promotion of Czech culture is very rare. The examples l isted below show some companies that are act ive in supporting numerous public projects some of which can be related to cultural diplomacy. I t is also important to take into account the fact that some of these companies do not ever provide ful l f inancial support to those events that qual i fy as cultural diplomacy applicat ion cases. Their support may sometimes be substantial, but sometimes only symbolic.

3.2.1 Colours of Ostrava Music Festival 11

Agent: Colours Production, Ltd.

Agenda: Presentation of different kinds of music, introducing new kinds of music and musicians from al l around the world

Vehicle: Music, happenings, discussions

Target audience: Everyone

Colours of Ostrava, or simply Colours, is a multi -genre fest ival, the biggest international music fest ival in the Czech Republic and one of the

11 Colours of Ostrava. n.d. http://www.colours.cz/ (accessed September 27, 2011).

biggest music events in the Central Europe, held every summer in the centre of Ostrava, the third biggest city in the Czech Republic. This fest ival features 16 stages including 4 big open-air stages (the main stage of which has capacity of 15,000 people), 6 indoor stages, a theatre stage, a workshop stage, a chi ldren stage, a cinema and l ive discussions.

The fest ival takes place in the wel l -known Si lesian Ostrava Cast le entertainment distr ict and on the Cerna Louka Fairgrounds, as wel l as at other places in the city centre. The audience attendance for Colours is approximately 30,000 people and it was the f i rst fest ival in the Czech Republic to be sold out one month ahead of t ime.

3.2.2 Grada Publishing 12

Agent: Grada Publishing

Agenda: Intercultural perceptions, exchange of knowledge by means of books

Vehicles: Books, translations

Target audience: Everyone

Grada Publishing was founded in the year of 1991. The company has developed into a one of the biggest publ ishing companies in the Czech Republic, focusing on special l i terature.

Being a company that has achieved a great reputation, Grada Publishing sponsors countless cultural events. The company also aims at publ ishing translations of books by prominent scientists or writers and thus, as the company claims itself , creates a platform for intercultural perc eptions by means of written word.

3.2.3 Czech Literature Portal 13

Agent : Arts Institute

Agenda: Promotion and popularizat ion of Czech l iterature abroad, increasing the sales of Czech books

12 Grada Bublishing. n.d. http://www.grada.cz/ (accessed September 28, 2011). 13 Czech Literature Portal. n.d. http://www.czechlit.cz/ (accessed September 29, 2011).

Vehicles: Sel l ing books

Target audience: Everyone

The multi l ingual Czech Literature Portal is intended mainly for the promotion of Czech l i terature abroad. The aim of the Portal is to provide information on contemporary Czech au thors and their works (novel ists, poets, playwrights, essayists including authors of l i terature for chi ldren) and increase their sales. I t is not the purpose of the Portal to stand in for the comprehensive range of academic sources avai lable in this area. The service i t seeks to provide is that of a modern, central ized source which is regularly updated, comprising information on the l i terary l i fe of the Czech Republic in its broadest sense. The information is intended to reach abroad: scholars ( including students), translators, editors, l i terary centres, organizers of l i terary events (fest ivals, fairs, readings, exhibit ions), journal ists, compatriots and regular readership in the Czech Republic. The Czech Literature Portal is managed by the Arts Inst itute.

3.2.4 O2 Fund 14

Agent: O2 Fund

Agenda: The company fund is designed to sponsor phi lanthropic events and develop mutual understandings and sympathies between nations

Vehicle: Donation text messages free of charge (raised money used according to a part icular purpose)

Target audience: Everyone

O2 Foundation is one of the f i rst corporate foundations registered in the Czech Republ ic and has become an example of one of the freq uently used models of corporate giving. The foundation is a member of Czech Donors Forum ” Association of Foundations. In 2004 and 2008, the company received the prest igious Via Bona Award recognizing its foundation’s act ivit ies and thus a publ ic recognit i on of long-term, qual i f ied and systematic support of activ it ies beneficial to the society.

I t was founded by Eurotel company in the second half of the 1990´s. The way the money is used is very specif ic. The aim of the company is to help chi ldren, young people, and seniors. The company currently runs 3 helpl ines which are supposed to be used by disadvantaged people from the Czech Republic and also from abroad. Another specif ic way of support ing people in need is providing a free donation text message s ervice that is

14 O2 Foundation. n.d. http://www.nadaceo2.cz/ (accessed September 27, 2011).

used mainly in emergencies such as f loods, etc., to raise money for areas affected by natural disasters al l around the world and create an atmoshphere of sympathy and compassion between nations.

3.2.5 Newton Media 15

Agent : Newton Media

Agenda : The company supports projects that help to integrate people l iving on margins of society into mainstream society

Vehicle : Seminars, lectures, workshops (depending on the act iv it ies of an organization that is sponsored by Newton Media)

Target audience : Everyone (depending on the target audience of oranizations that receive money from Newton Media)

Newton Media owns the most extensive archive of ful l texts dating back to 1993 when it was founded. I t processes information at a high professional level and offers a broad spectrum of services revolving around this information.

The company offers tradit ional monitoring, media analyses, cr is is communication, advert is ing monitoring, social network monitoring and other services, and, also provides a broad spectrum of services for publ ishers.

Newton media is very act ive in support ing vari ous projects , ranging from homes for orphaned chi ldren to handicapped people associations, and projects helping other minorit ies to integrate into mainstream society in the Czech Republic.

3.3 The Application of Cultural Diplomacy in the Civilian Sector

3.3.1 Multicultural Centre in Prague 16

Agent: Multicultural Centre in Prague in cooperation with other funds and sponsors

15 Newton Media. n.d. http://www.newtonmedia.cz/ (accessed September 27, 2011). 16 Multicultural Centre Prague. n.d. http://www.mkc.cz/en/home.html (accessed October 4, 2011).

Agenda: Promote tolerant society, open to differences and making the most of cultural variety within the Czech Republic and beyond its borders whi le promoting the values of social integration and cohesion

Vehicle: Cultural events, multicultural education, workshops, seminars, international projects

Target Audience: Minorit ies representatives, Czech publ ic, scholars, scientists

Example: Photography exhibit ion

http://www.mkc.cz/en/events -648929/photography-exhibit ion.html

The Mult icultural Centre in Prague is a non -profit organization interested in issues related to the coexistence of different cultures in the Czech Republic and abroad.

Ever s ince its activ it ies began in 1999, the Multicultural Centre has been fulf i l l ing its goals through public debates, a var iety of educational, c ultural and public information activ it ies, research, publ ications and the establ ishment of l inks between individuals and organizations with simi lar aims within the Czech Republ ic and abroad.

The goals are to show that multicultural coexistence is possible and enriching for everybody; to promote a tolerant society, open to differences and making the most of cultural var iety within the Czech Republic and beyond its borders whi le promoting the values of social integration and cohesion; to advocate intercultural dialogue and learning among diverse cultures within and outside of the EU by engaging in a wide range of act iv it ies including cultural and educational events, public debates, publ ishing, research and col laboration with other organizations and individuals at home and abroad.

3.3.2 Humanitas Afrika 17

Agent: Humanitas Afr ika

Agenda: The goal of the society is to propagate a mutual understanding between Czechs and Afr icans, to raise awareness of problems of Afr ica among Czechs

Vehicle: Workshops, seminars, f i lm projections, presentations, exchange programmes

17 Humanitas Afrika. n.d. http://www.humanitasafrika.cz/ (accessed October 4, 2011).

Target Audience: Czech publ ic, students, scholars, Africans

The society Humanitas Afrika was founded in Prague in 2000 in order to promote a mutual understanding between the Cz ech public and Afr ican nations. Besides that, the society aims at keeping the Czech publ ic wel l informed about issues related to Afr ica in the most diverse respects. Humanitas Afr ika also mediates help for orphaned chi ldren in Afr ica and bases i ts act iv it ies on contr ibutions by volunteers and sponsors. An invaluable part of the society´s work is i ts educational act ivity and

organization of seminars for pupils and students throughout the whole country.

In 2005, the society founded an Afr ican Informat ional Centre and a l ibrary which provides countless sources related to Afr ica in English, French, and Czech.

3.3.3 Society of Friends of Serbians in Kosovo 18

Agent: Society of Friends of Serbians in Kosovo

Agenda: The goal of the society is to maintain and develop the relat ionships between Czechs and Serbians who l ive in Kosovo, and to promote cultural exchanges

Vehicle: Discussions, lectures, events, publicat ions

Target audience: Everyone

The main goal of the society is to support Serbians l iv ing in Kosovo. The goals are reached by means of diverse act iv it ies of which the most prominent are events, discussions, lectures, and publications. Members of the society organize and paricipate in projects that are des igned to maintain and develop the exist ing relat ionships between Czechs and Serbians and promote a pol i t ical and cultural cooperation. The society was founded in 2005 and is seated in Prague.

3.3.4 Czech Institute for International Meetings (CIFIM) 19

18 The Society of Friends of Serbians in Kosovo. n.d. http://www.humanitasafrika.cz/ (accessed October 4, 2011). 19 The Institute for International Meetings. n.d. http://www.beepworld.de/members67/cifim/ (accessed October 5, 2011).

Agent: Czech Inst itute for International Meetings (CIFIM) in cooperation with Konrad Adenauer Foundation

Agenda: Social and cultural exchanges between the Czech Republic and Germany are promoted be the institute in order to strengthen the t ies between these two countries

Vehicle: Lectures, presentations, exhibit ions

Target audience: Czech and German public, historians, students, scholars

This non-profit organisat ion was founded in Tábor, Czech Republic, in a baroque cast le in Tábor -Mesice. The CIFIM charter was registred by the Ministery of the Inter ior in 2000 .

CIFIM is a non-profit charity concerned with humanities (pol it ical sciences, economy, and social relat ionship), research and public ity, Christ ian ethics, cultural and artist ic act iv it ies .

The institute consists of 4 sections:

1) Human r ights and education associat ion. International associat ion in the Czech Republic dedicated to the legacy of John and Robert Kennedys´ struggle for human rights and the education of the masses.

2) Czech-German Meetings Club: the mission of the club is to break the stereotypes between Czechs and Germans; to increase co -operation in the newly integrated Europe, and to contr ibute to the security of and development in Central Europe.

3) Ludwig Erhard forum: Economic, pol i t ical, scientif ic and research -orientied act iv it ies in the f ield of economy in the spir i t of the "Father of the German economic miracle" and the founder of "social market economy".

4) Jan Bervida Society: Culture, l i terature, arts, music and socia l development without boundaries for the sake of European and international integration.

4. Conclusion

The purpose of this work was to l ist inst itutions, organizations, societies, companies, and businesses that exercise what is considered to be cultural diplomacy both inside the Czech Republic and outside the Czech Republic. For this work, the definit ion of cultural diplomacy by El iska Tomalova was chosen as she deals with the concept in the context of Czech foreign pol icy and thus respects the spec if ics of the country.

In the introductory sect ion, modern history of cultural diplomacy in the Czech Republic was discussed and was fol lowed by a brief descr ipt ion of current situation. The pract ical part of the work provided several examples for each of three sect ions that were public, private, and civ i l sectors. On the basis of the research the fol lowing conclusion can be drawn:

1) The Czechoslovak Republ ic, and later on the Czech Republic, has disposed of cultural potential that could be promoted abro ad. No matter what the polit ical regime in the country was l ike, the Czechoslovak Republic str ived to keep good relations mainly with the neigbouring countr ies, f i rst of al l as a result of pol it ical circumstances and also as a result of the country´s pragmatic approach in general . I t was only in the late 20 t h century that the concept of cultural diplomacy of the Czech Republic started to develop as a part of the Czech Republic ´s foreign pol icy. Currently, the term is not used widely yet and has not become a part of everyday polit ical discourse.

2) As the examples show, the Czech Republ ic is act ive in al l three sectors that became the subject of this research. In spite of the fact that the sectors are considerably different from each other, there can be found a common denominator. The country tradit ional ly aims at promotion of the most prominent art icles of Czech culture such as music, f i lms, architecture, and arts. In comparison to other countries, subjects l ike foods or language play a minor role for the Czech Republ ic . In addit ion to this , promotion of Czech culture abroad is not carr ied out randomly across countries al l around the world, but i t is focused on countr ies that have always had good relat ionships with the Czech Republ ic such as the USA, Great Br itain, etc., and on neighbouring countr ies such as Austr ia, Germany, Poland, and Slovakia where many Czechs l ive and interact with both their host country and their home country at the same t ime. Concerning the private sector, the examples show a l imited part icipation of Czech businesses in Czech culture promotion. Sponsoring cultural events, however, is commonplace.

Since it is soft power means that have been prefered recently among European countr ies, the Czech Republ ic is expected to invest more and more into its culture promotion both ins ide and outside its terr i tory.

5. Bibliography

Colours of Ostrava. n.d. http://www.colours.cz/ (accessed September 27, 2011).

Czech Centres. n.d. http://www.czechcentres.cz/ (accessed September 28, 2011).

Czech Literature Portal. n.d. http://www.czechlit.cz/ (accessed September 29, 2011).

DZS (The House of International Services). n.d. http://www.dzs.cz/ (accessed

September 28, 2011).

Euroactiv. Spolupráce mezi kulturními institucemi je prospěšná zejména pro malé státy.

May 25, 2010. http://www.euractiv.cz/print-version/clanek/eliska-tomalova-spoluprace-

mezi-kulturnimi-institucemi-je-prospesna-zejmena-pro-male-staty-007528 (accessed

September 29, 2011).

Grada Bublishing. n.d. http://www.grada.cz/ (accessed September 28, 2011).

Humanitas Afrika. n.d. http://www.humanitasafrika.cz/ (accessed October 4, 2011).

Meet Factory. n.d. http://meetfactory.cz/ (accessed September 28, 2011).

Multicultural Centre Prague. n.d. http://www.mkc.cz/en/home.html (accessed October 4,

2011).

Newton Media. n.d. http://www.newtonmedia.cz/ (accessed September 27, 2011).

O2 Foundation. n.d. http://www.nadaceo2.cz/ (accessed September 27, 2011).

The Czech Film Centre. n.d. http://filmcenter.cz/cz/homepage (accessed September 29,

2011).

The Institute for International Meetings. n.d. http://www.beepworld.de/members67/cifim/

(accessed October 5, 2011).

The Society of Friends of Serbians in Kosovo. n.d. http://www.humanitasafrika.cz/

(accessed October 4, 2011).

Tomalová, Eliška. Kulturní diplomacie: Francouzská zkušenost (transl.: Cultural

Diplomacy: French Experience. Prague: UMV, 2008.

Country Profiles - Denmark

Table of Contents 1. Cultural Diplomacy in Denmark ” An Introduction 2. Contempporary Cultural Diplomacy in Denmark ” An Overview

2.1 Application of Cultural Diplomacy by the Government or Public Sector 2.1.1 The International Culture Panel under the Danish Ministry of Culture 2.1.2 VisitDenmark 2.1.3 The Danish Cultural Institute ” Promoting Danish Culture Abroad 2.2 Application of Cultural Diplomacy by the Private Sector 2.2.1 ISS ” Diversity and integration as business model 2.2.2 The Carlsberg Foundation 2.3 Application of Cultural Diplomacy in the Civil Society 2.3.1Inclusion ” Working for Diversity in Denmark and theMiddle East 2.3.2 F.O.O.D ” Food Organisation of Denmark

3. Analysis and Conclusions 4. Bibliography

1. Cultural Diplomacy in Denmark – An introduction

Recently, namely on the 15th of September there were elections to the Danish Parliament, and the new government was formed on Monday 3rd of October. The result means that Denmark has elected its first female Prime Minister, the Social-Democrat Helle Thorning-Schmidt. The earlier liberal-conservative minority government coalition has been replaced by a coalition led by the Social-Democratic party together with the Socialist People’s Party and the Danish Social-Liberal Party. Therefore the state of public sector cultural diplomacy in Denmark may take some turns as the new government policies take hold. One indicator is the fact that the new government has abolished the Ministry of Integration, that was established by the liberal-conservative government in 2001.This point towards a political change, when it comes to the Danish profile on the issues of integration and immigrants, largely a result of the influence of the Danish Social-Liberal Party.20 From 2001 up until the formation of the new government, the liberal-conservative minority coalition was supported by the Danish People’s Party, a far right nationalist party, which has been in government and re-elected in respectively in the 2005 and 2007 general elections. In recent years, the theme of immigration and integration has taken centre stage in political debates in Denmark. Denmark, one of the most homogenous countries in the world, has in comparison with other European countries a strict immigration policy, a policy that largely stems from the influence of the influence of the Danish People’s Party. This policy has also influenced Denmark’s image abroad, and has likewise created problems internally in Denmark, that especially relates to integration. Therefore there is a growing need for diplomatic efforts, both inside and outside the borders of Denmark, which can help create an arena for more mutual understanding and cultural exchange. This could make the integration of immigrants into the Danish society less problematic, and could help establish a better profile for Denmark in international relations that would be beneficial politically, economically and culturally. Besides these positive effects, it could also help create a better mutual understanding and co-existence in Denmark, between natives and ethnic minorities.

The last couple of years there have been a number of cases, which has negatively highlighted Denmark in international politics. One of the most

recent cases, which are also symbolically interesting, is the ‘border dispute’ between Denmark and Germany. As a concession given to the Danish People’s Party by the Venstre coalition and the Conservative People’s Party, it was agreed to establish 24 hour border controls on the Danish-German

20 Information, Et systemskifte i dansk udlændingepolitik (03.10.2011)

border again. This should, supposedly, be done within the framework of the Schengen agreement, which it proved later on, it was not. The proposal was more of a symbolic nature, and it created a diplomatic crisis with Germany and negatively influenced the image of Denmark in Europe, which was also grudgingly admitted by the then minister of finances Claus Hjort Frederiksen.21 From a symbolic angle, taking into consideration that Denmark has one of the strictest immigration policies in Europe, it is revealing that it is a ‘border’ dispute.

Another case that gained international attention and the need for renewed efforts to strengthen the image of Denmark abroad is the case of the Mohammed drawings, which struck in the winter of 2005-2006, and created a diplomatic crisis between Denmark and Muslim countries around the world.22 This case posed some important questions related to some of the fundamental concepts related to democracy, especially to freedom of speech. How far does this concept stretch? Is freedom of speech to be understood literally or is it a model that stresses freedom of speech under responsibility, which is more in the interest of democracy and the internal and external relations of the country? Beyond these questions the case should not solely be seen as a debate about values, but also as a demonstration of the vulnerability of Denmark and its active foreign policies in the world of globalization. The vulnerability was demonstrated by the helplessness of the government in the boycott of Danish companies and products, attacks on Danish embassies, the burning of Danish flags and warnings against tourism in certain countries. Generally, the Danish brand was seriously influenced in a negative direction in Muslim countries by this crisis.23 Since then, there has therefore been a strong case for cultural diplomacy, in order to strengthen and re-establish the rumour of Denmark in international relations, and thus to be able to continue with economic and political efforts, especially in the Middle East, but also in the growth areas of the world such as for example the BRICS countries.

Before moving into the concrete research and the projects of interest, it is necessary to offer an explanation of what exactly cultural diplomacy is and how it is understood in the context of this paper. International Relations is a diverse and vast field, and cultural diplomacy is one of the many aspects of this discipline. Cultural diplomacy does not come with a ready-made definition, as it is a matter that has received a broad range of attention. The

21 See for example: Politiken, Hjort erkender: Grænsesagen skader Danmarks omdømme (10.06.2011);

Jyllands-Posten , Tysklands udenrigsminister: Ulykkesvarsel for Europa (01.07.2011). 22 Petersen 2007: 31 23 Ibid., 36.

importance of cultural diplomacy in international relations, especially in the period after the Second World War cannot be ignored. This was also observed in 1967, by the then German foreign minister Willy Brandt, when he declared that cultural diplomacy can be considered the: ‚third pillar of foreign policy‛24 The term cultural diplomacy can be understood to be a part of what is called ‘soft power’ politics. This term comes from the field of international relations, and the American scholar Joseph Nye’s definition of hard and soft power. He defines hard and soft power in the following way:

Hard power can rest on inducements (‚carrots‛) or threats (‚sticks‛). But sometimes you can get the outcomes you want without tangible threats or payoffs. The indirect way to get what you want has sometimes been called ‚the second face of power‛…This soft power – getting others to want the outcomes that you want – co-opts people rather than coerces them.25

So in this framework soft power can be understood as the power of ‘attraction’. This is where cultural diplomacy enters the stage, as a means with which it is possible to create an environment that draws positive attention and thus attraction towards a country, an organisation or a private firm, for that matter. Cultural diplomacy can be defined in a number of ways, but one way of defining it is suggested by the American political scientist Milton C. Cummings as: “the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding.”26And having defined what is meant by cultural diplomacy, the question arises of how to understand culture, which is a very complex and debated issue. In this paper, a very broad definition that is offered by UNESCO will be adhered to. Here culture is broadly defined as:

…in its widest sense, culture may now be said to be the whole complex of distinctive spiritual, material, intellectual and emotional features that characterize a society or social group. It includes not only the arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs…27

24 Cited in Meissner 2002: 184 25 Nye 2004: 5 26 Cited on: Institute for Cultural Diplomacy 2011 27 UNESCO 1982

Having laid out the understanding and definitions of soft power, cultural diplomacy and culture that will be adhered to in the present research. Firstly, this paper will give an overview of the state of cultural diplomacy efforts in contemporary Denmark. It will then make a comprehensive analysis of cultural diplomacy in the Danish public sector, the private sector and the civil society. It should be noted beforehand, though, that the public sector component will be more comprehensive than the private and civic sector sections in this specific case, as most projects that can be said to promote and brand Denmark and Danish culture abroad and at home are mostly state-sponsored. This is due to the size of the public sector in Denmark, and the interest of the ministry of culture to take part in efforts to promote and brand Denmark. In many areas the Danish public and private sectors tend to overlap when it comes to the issue of cultural diplomacy.

2. Contemporary Cultural Diplomacy in Denmark – An overview

As this is a study of contemporary cultural diplomacy in Denmark, the main focus will be on efforts taken since the 2001 general election. Naturally, some of the examples include foundations and companies pre-date this, but the projects and ideas that will be described will still mainly be focusing on the post-9/11 period, in order to stay relatively contemporary. As has already been outlined in the introduction some of the current challenges confronting Denmark is internally very much related to immigration and integration. This translates abroad it is related to Denmark’s international image or brand, which is often connected to xenophobia, Islamophobia, the Mohammed-drawings and the question of how to deal with these issues in an increasingly interdependent and globalizing world. Therefore it is no coincidence, as will be shown below, that one of the key areas of focus for public cultural diplomacy efforts in Denmark is the Middle East.

What will comprise the following pages is a case study of cultural diplomacy in Denmark, divided roughly into three sections, firstly the public sector, the private sector and civil society. Denmark has a large public sector; therefore more time and space will be devoted to this section. The areas of focus in this section will be; the Danish Ministry of Culture, the Danish tourism bureau VisitDenmark, the Danish Pavilion at the 2010 Shanghai World Expo and the Danish Cultural Institute. These four examples have been chosen because of their importance to Danish cultural efforts both in political and economic terms but also in diplomatic exchanges. The next section will be on the private sector, and here two examples have been chosen as illustrations of cultural diplomacy. For this part the Danish branch of the multinational cleaning company ISS, is used as an example of a private company that uses the concepts of integration and diversity in their business model in a way that may positively affect these areas in Denmark. The second example from the private sector is the foundation behind the biggest brewery in Denmark, the Carlsberg Foundation. Both of these companies supports Danish culture, and thus contributes to the development and communication of Danish culture internally and well as externally. In the final section some space will be dedicated to the civil society and to two separate projects. It is the case of Inclusion, a project that works to create common footholds between Denmark and Middle Eastern countries and a project called FOOD, which has as its objective to spread knowledge and interest in the Danish/Nordic food culture and possibilities.

2.1 Application of Cultural Diplomacy by the Government or Public Sector

2.1.1 The International Culture Panel under the Danish Ministry of Culture

Actors: The Danish Ministry of Culture, the International Culture Panel and a host of third parties. The Danish Ministry of Culture was created on the 7th of September 1961, by the newly elected Social Democratic government led by State Minister Viggo Kampmann under the name Ministry of Cultural Affairs.28 The Ministry of Culture budget for 2011 is 86 million DKK.29

Agenda: To support and develop Danish culture in Denmark and abroad.

Vehicle of cultural diplomacy: Supporting different cultural programs that are directed specifically towards the BRICS countries and the Middle East.

Target audience: Public, private and civil actors in Brazil, Russia, India, China, South Africa and the Middle Eastern area.

Cultural diplomacy in Denmark is at the state level sponsored mainly by the Danish Ministry of Culture, that forms an umbrella under which a host of projects and other smaller departments deal with the promotion and development of Danish culture, at home and abroad. Some of the most significant projects to be mentioned here include the national tourism bureau VisitDenmark, the Danish pavilion at the 2010 Shanghai World Expo and the Danish Cultural Institute. These will be dealt with in separate chapters; this chapter will be devoted to the International Culture Panel.

If we start with the current state and strategy of the Danish Ministry of Culture, which handles what can be termed cultural diplomacy on the Danish state-level, it shows us some of the main concerns of the former Danish government both in terms of what the objectives are, but also in terms of what the geopolitical focus are. Under the Ministry of Culture, the international strategies are formulated by the International Culture Panel. Their latest strategic plan, the International Cultural Panel Strategic Work plan for 2011-2013, outlines the objectives and some of the programs that are

28 Kulturministeriet 2011: 8 29 Kulturministeriet 2010 (a): 9

planned to be sponsored in order to reach the goals.30 On the general level, it states four main objectives/functions of international cultural exchange:

To support the development and continued renewal of Danish art and culture

To market and strengthen Denmark as a brand

To increase Danish export in general

To support dialogue, mutual understanding and respect between Denmark and the cultures of other countries, as well as between different cultures in Denmark31

These objectives are supposed to be the focus of the two overarching themes, which are proposed to be sustainability and children- and youth culture. These themes are strategically chosen in order to highlight some topics that are believed to be characteristic of Danish culture and economy. The sustainability theme indicates the position of Denmark in the international economy when it comes to the energy sector, architecture and design. The children- and youth culture theme is chosen because of Denmark’s perceived position in the ability to: ‚…communicate to children, where ‚the Danish model for children’s interaction with art; to experience art, learn how to understand it and to try and create art‛, is at the core.‛[Authors translation]32

The strategic areas chosen for the most intensive efforts are chosen of mainly economic and geostrategic concerns, which are also clearly stated in the plan. From an economic and quite rational perspective, the BRICS countries are chosen for special attention as they are important new areas of economic growth and therefore new potential markets for Danish cultural and general export.33 The other area stressed in the plan for specific focus is the Middle East. This area is chosen because of the economic potential as well, but maybe more importantly the document stresses that: ‚…the cultural

exchange will be marked by the clash of very different cultures and fundamental values ” a crash that influences the whole world of today.‛

30 Det Internationale Kulturpanel 2011 31 Ibid. 32 Ibid. 33 The BRICS countries are defined as Brazil, Russia, India, China and South Africa by the International

Culture Panel. What is new in this definition is that South Africa is included, and some people are

furthermore voicing the idea that Turkey could be talked about as a part of this group as well. This would,

of course, mean yet another change in the acronym.

[Authors translation]34 Here it is relevant to refer to the Mohammed crisis of 2005-2006, which clearly illustrated that cultural diplomacy is needed in order to secure national interests in this area.35 During the crisis Danish products were boycotted in a range of countries in the Middle East, and a diplomatic crisis evolved. This could be seen as one of many reasoning’s behind the decision to target this area specifically, in order to re-establish the relations of cultural, political and economic nature, which existed on a broader range before the Mohammed-crisis.

2.1.2 VisitDenmark Actors: This tourism organization is co-financed by the Danish state and the private sector with respectively 114.2 million DKK and 141.7 million DKK in the 2010 budget.36 In 1967 the Danish Tourism Council was created and tourism was professionalized in Denmark. The 1st of January 2005 the Council changed its name to VisitDenmark for strategic reasons. Agenda: To brand and market Denmark internationally to tourists and people coming to Denmark to attend conferences and the like in cooperation with partners both public and private. Vehicle of Cultural Diplomacy: To promote and market Denmark as a tourist destination, and thus to attract people to the country as visitors of either tourist purposes or professional purposes in order to attract investment and development in the Danish tourism sector. It is also to conduct research and to communicate knowledge about Denmark as a tourist destination.37 Target audience: International tourists and conference guests, as well as a national audience travelling in Denmark. As well as a focus on neighbouring countries, there is also an emphasis on new alternative markets in Asia and South America. VisitDenmark is an example that shows the interrelation in Denmark between the public and private sectors when it comes to cultural diplomacy. This 34 Det Internationale Kulturpanel 2011 35 For a comprehensive day-to-day overview of the Mohammed-crisis see: Danmarks Radio, ‘Muhammed-

krisen dag for dag’ (08.02.2006) 36 VisitDenmark 2010 (a): 28. 37 VisitDenmark 2010 (b): 4.

example is on a higher level driven by financial and economic reasons than for example the International Culture Panel, by its focus on branding and marketing Denmark as a destination of travels and thus to generate ‘tourism-dollars’ and workplaces in Denmark. The focus in this program is therefore not so much on cultural exchange as a tool with which to create mutual understanding and better conditions for Denmark abroad, as it is rather on using Danish culture as a tool in the marketing and branding of Denmark, in order to get people interested in travelling there.

The latest strategy of VisitDenmark was published in 2010 and sets out some goals and objectives for the period until 2017. Furthermore, in 2009 a joint strategy for the whole Danish tourism sector entitled Our Journey – the joint strategy for Danish Tourism towards 2015 was published and in 2010 a bill introduced by the Minister for Economic and Business Affairs was passed in the Danish parliament that makes up the present framework for VisitDenmark.38 In this new strategy for VisitDenmark, it is interestingly also growing more independent from the Ministry of Economic and Business Affairs, as it will no longer be handling policy tasks on behalf of this ministry, although it will still be funded by the Danish state. The clear objective, which is also interesting from a cultural diplomacy perspective, is to attract more foreign tourism than domestic in the years to come. This is expected to be done using international marketing in order to create awareness of Denmark as a: ‚haven with room for joy, inspiration and contemplation.‛39 Furthermore, one of the concepts that were introduced in the introduction of this paper was the concept of soft power which can also be understood as the power of attraction. This concept is not solely related to state-level diplomatic efforts designed to create a better position for countries in international relations and politics, but can also be related to the economic sector and the attraction of capital and investment. This is exemplified in the VisitDenmark case, where international marketing on a range of platforms, are used to brand Denmark in order to:

…increase awareness of Denmark as a tourist destination, and the strengths of the Danish society, on a global level. [To]…identify the power of attraction of a number of sights, products and characteristics in Denmark and highlight these ‘beacons’ internationally. The most

38 Ibid.: 3. 39 Ibid.: 8.

appealing of the ‘beacons’ will become central to our marketing campaigns…40

VisitDenmark is maybe best described as a public-private partnership, as it is both financed by the public and private sectors in Denmark. The reason it is placed in the public sector chapter in the present paper, is that it is still closely connected to the Danish state both in case of funding, but also in its role as the official Danish tourism bureau or organisation. This report has tried to illustrate how cultural diplomacy is used in this case, to develop the tourism sector and to generate workplaces in Denmark. Even though this project mainly focuses on economic possibilities, the positive branding of Denmark, however correct or not, can still feed positively into Denmark’s position on the world stage and the general image of the country. This should therefore also be taken into account, when analysing more political and cultural efforts driven by for example the Ministry of Culture and the International Culture Panel. 2.1.3 The 2010 World Expo in Shanghai: Welfairytales Actors: The national committee consisting of chairman HRH The Crown Prince and representatives from the Ministry of Economic and Business Affairs, Realdania, A.P. Møller Maersk, Grundfos, Vestas Wind Systems A/S, the Danish Agricultural Council and The New Carlsberg Foundation. The project was initiated in September 2008 and the exhibition took place between May and October 2010. The budget for the pavilion was 150 million DKK, with the Ministry of Economic and Business Affairs contributing with 75 million DKK, the other major investor being Realdania with 50 million DKK, and lastly A.P. Møller Maersk, Grundfos, Vestas Wind Systems and the Danish Agricultural Council contributing a total of 20 million DKK. Lastly, the New Carlsberg Foundation contributed.41 Agenda: To stress specific emblems of the Danish urban environment, such as welfare, sustainability, environment and social consideration. This is to be done by interaction with visitors, and in order to create a platform for cultural dialogue between Denmark and China, symbolized especially by the ‘gesture’ of cultural generosity of transporting the Little Mermaid from Denmark to Shanghai for the Expo.42 40 Ibid.: 10. 41 Danish Enterprise and Construction Authority 2009: 3. 42 The Ministry of Economic and Business Affairs 2008: 7, 16.

Vehicle of Cultural Diplomacy: The project was an exhibition at the 2010 World Expo in Shanghai, which took place between May and October 2010. The Danish pavilion was the biggest contribution by Denmark at a World Expo in history, which highlights the Danish interest in developing ties to China. The pavilion showcases themes that are emblematic of the present status of the Danish economy, such as sustainability, environment and urban development. Thus, it is very much about generating interest and awareness of Danish industry in China. Target audience: As stands to reason, the target audience was the visitors at the World Expo, especially Chinese nationals. Besides this it was also an effort to create interest in the Danish business model from investors and companies by highlighting the themes described above. The name of the Danish Pavilion at the 2010 Shanghai World Expo is a merger of the words welfare and fairytales: Welfairytales. In the Danish context this points towards two of the things that Denmark are internationally renowned for, the welfare state and the Danish writer Hans Christian Andersen. The fairy-tale component is one of the central themes that are supposed to convey a message to visitors through the symbolic language that is used by the designers of the exhibition. The heart of the exhibition was the statue of the Little Mermaid, which is normally situated at Langelinie in Copenhagen. For the expo the statue was transported all the way to Shanghai, to become the main attraction of the pavilion. By choosing this as the main attraction and placed in the most central spot of the exhibition, the symbolism invited visitors to think creatively and be inspired by the three main themes. These themes were; tales of how we live, which highlighted sustainable solutions in Danish cities; tales of what we love, which highlighted some examples of what Danes do in their free time in the cities; and lastly, tales of where we’re going, which focused on the current state of Danish technology as well as the future. The Danish contribution tried to highlight how Danish industry, technology and concepts are relevant to the booming Chinese economy. Therefore this project, a bit similar to the VisitDenmark agenda, is about the branding and selling of Denmark as a country with many possibilities and solutions that has international potential. Furthermore, the project was designed to communicate to the audience a specific set of ‘Danish’ values:

Denmark thinks holistically in the sense that consumerism and growth go hand in hand with sustainability and social responsibility. Denmark stands for the natural, beauty, quality of life and passion for life. Denmark respects tradition in renewal. Denmark stands for transparency – we want to achieve a society with well-informed citizens.43

There was an interest in cultural exchange built into the exhibition, as can be seen for example in the fact that while the Mermaid was in China, Chinese art was widely exhibited in Denmark. But it is also clear, a little bit as in the case with VisitDenmark that this is first and foremost done in order to generate interest and investment in the Danish private sector. That is also part of the explanation for why the exhibition is not under the Ministry of Culture but the Ministry of Economy and Business Affairs. On the other hand, the exhibition has definitely created awareness of Denmark in China, and it was one of the biggest contributions to the Expo. The ‘Danish’ values that are defined in the document published in relation to the Expo, are also clearly pointing towards the economic reasoning behind the pavilion with keywords such as sustainability, renewal, transparency and consumerism, that can’t really be said to be specifically Danish values, but rather characteristics of some Danish companies and to a certain extent of the Danish society. But with that being said, this is a typical example of cultural diplomacy, with cultural exchange in both directions, and a serious effort to create knowledge and spread information about first and foremost Danish technology, but also Danish culture, design and architecture. 2.1.4 The Danish Cultural Institute – Promoting Danish culture abroad Actors: The Danish Cultural Institute is a self-governing institution, but it receives a large part of its funding from the Danish state. Last year it received 14.8 million DKK from the state out of a total income of 23.9 million.44 The rest of the income was mainly generated from activities and payments from participants. The Institute was established in 1940 by Folmer Wisti under the name the Danish Society. It changed its name to the Danish Cultural Institute in 1989.45

43 Ibid.: 40. 44 Det Danske Kulturinstitut 2010: 23 45 Det Danske Kulturinstitut 2011 (a)

Agenda: This institution has as its primary goals to educate about Danish culture, art and society in order to further international understanding as well as to strengthen the knowledge of foreign culture in Denmark.46 Vehicle of Cultural Diplomacy: What the Institute mainly does is to arrange study trips, student exchanges, Jop-Swop’s and work practically with promotion and exchange from their bases in the Benelux countries as well as Brazil, Estonia, China, Latvia, Lithuania, Poland, Russia, Great Britain, Germany and Hungary. In 2010 the institute completed around 600 projects of differing sizes and shapes.47 Target audience: Publics, artists, academics, politicians and other interested people in the countries where the institute operates, as well as internally in Denmark. It is all about exchange and the institute has many offices around the world, so the audience is quite extensive and diverse depending on the specific project on offer. In the action plan for 2011 the institute focuses on the challenges that it faces in the increasingly globalizing and multipolar world of today. The institute will therefore focus on strengthening its cooperation with international actors, and in the effort to reach that goal they are working together closely with the International Culture Panel outlined in chapter 3.1.1. Furthermore, the institution is part of the EUNIC network that is an umbrella organization in the EU that furthers cooperation between national institutes of culture. They are focusing on three strategic areas. This is the BRICS/Middle East area, Europe and the Nordic/Baltic area. The plan for cultural exchange in 2011 encompasses the following objectives:

Support artists, communicators and other actors with tools to act in a globalized world. Communicate knowledge of Denmark as a society of diversity and with a diverse scene of art and culture. Arrange and support study trips, student exchanges, and job-swop’s to strengthen linguistic, intercultural and academic/professional competences. [Authors translation]48

All these objectives will be focused on the three main areas of interest outlined above, and in the countries where there are offices. What is really stressed continually throughout the action plan is the need to be able to

46 Det Danske Kulturinstitut 2010: 2 47 Ibid. 48 Det Danske Kulturinstitut 2011 (b): 3

tackle and successfully manoeuvre in the increasingly multipolar, interdependent and globalizing world. This is also stressed in the recently replaced government’s last strategy for the internationalisation of Danish culture, where especially the role of the artist in a globalizing world was seen as one of five key objectives.49 Therefore globalisation is taking an increasingly central place in strategic assessments in the area of public cultural diplomacy in Denmark. With that in mind, the report will explore examples of cultural diplomacy in the private sector in Denmark, and all that encompasses. 2.2 Application of Cultural Diplomacy by the Private Sector 2.2.1 ISS – Diversity and integration as business model Actors: This large private service company was established in 1901, as a small security company. In 1934 the company developed a role in the cleaning industry when it established The Danish Cleaning Company. The present name of the company was adopted in 1968. In 2005 ISS A/S was de-listed from the Danish stock exchange, as it was acquired by funds advised from EQT Partners and Goldman Sachs Capital Partners. In 2010 the total number of employees in the group reached 500.000 and the ISS group had revenue that passed 70 billion DKK.50 Agenda: The ISS group is a very large multinational company, which works in a range of businesses. They work with security, catering, facility management, cleaning, support services and property service. It is not state funded, it is not an NGO that works with societal problems, rather it is a company and the basic idea is to generate surplus. It has an interesting business model, though, in its use of integration and diversity as tools with which to create a positive profile. The extent of this profile was also seen in 2009 when ISS won an award for integration, awarded by the recently abolished Danish Ministry of Integration. I will return to this below. Vehicle of Cultural Diplomacy: One of the things that the ISS has as part of their business model is ‘societal responsibility’. What this is referring to, is the company’s effort to recruit disabled persons, people that have been out of the work market for a longer period of time, and to recruit non-ethnic Danes. This is based on a ‘philosophy’ of diversity and non-discrimination. In this way the company can somehow be said to facilitate a platform for a more multicultural and diverse Danish society and thus a platform for cultural

49 Kulturministeriet 2010 (b): 11 50 ISS 2011 (a)

exchange, by adding ‘societal responsibility’ to their business model or philosophy.51 Target audience: What is focused on here is the business model of ISS, more specifically the part of it that is dedicated to the way they recruit people in Denmark and their focus on societal responsibility. The target audience of the recruiting methods is: long-time unemployed workers, disabled people, homosexuals and non-ethnic Danes in order to support diversity and integration. What is more interesting is who this effort is supposed to draw the attention of. This will be dealt with below. As already stressed in the introduction to this case study on cultural diplomacy in Denmark, two themes have been big issues internally in Denmark and has also to times negatively influenced Denmark’s image abroad. These two themes are integration and immigration, and ISS has noticed this and brought it into their ‘philosophy’. This draws attention, and when a private firm supports and makes an effort in the integration area, one of the important areas of focus for the former liberal-conservative government in Denmark, it pays off. This was clearly reflected when ISS was awarded the 2009 integration award for their employment efforts, by the recently abolished Ministry of Integration. The judges in the committee consists of seven people, that represent schools, private businesses, sports and different committees and centres that relates to the topic of integration. The committee found that ISS deserved the award because they:

…over several years have shown good results with the integration of ethnic minorities on the labour market, and their effort regarding non-ethnic Danish leaders and traumatized in work underlines the company’s will to strengthen the position of ethnic minorities on the labour market.[Authors translation]52

It is clear that their efforts were positively received by the former government, and that they generated positive attention around their company. The function that ISS serves in the area of helping especially non-ethnic Danes integrating into the labour market in Denmark is important to cultural exchange, and maybe even more importantly, to the establishment and further development of a multicultural platform for mutual understanding and acceptance. The audience for this effort should, however, not solely be seen as the people being targeted for recruiting, but also the people that are influenced by the positive attention such a profile generates. Therefore this 51 For more on ’societal responsibility’ see: ISS 2011 (b) 52 Nyidanmark.dk 2011

part of ISS’s business model or philosophy is targeted also to investors and future customers, which find the approach sympathetic and important to the Danish society. ISS is, after all, a private company that needs a surplus at the end of the day. 2.2.2 The Carlsberg Foundation Actors: The Carlsberg Foundation was established by Captain J.C. Jacobsen, brewer, on the 25th of September 1876 and was confirmed by the Crown on 18th of October 1876. Upon J.C. Jacobsen’s death, his will dedicated the Old Carlsberg Brewery to The Carlsberg Foundation.53 Today, the foundation owns 51% of the stocks in Carlsberg A/S. In 2010 the foundation had a total income of 121.7 million DKK.54 Agenda: As it says in § 2 of The Carlsberg Foundation Charter the objectives of the foundation are:

A) to grant funds to The Carlsberg Laboratory and to direct the Laboratory’s affairs in the manner prescribed in the Statutes of the Laboratory; B) to foster and support the natural sciences, mathematics and philosophy, the humanities, and the social sciences; C) to maintain and develop The Museum of National History at Frederiksborg Castle; D) to grant funds for socially beneficial Objects through the Tuborg Foundation, especially those which assist Danish trade and industry.55

Vehicle of Cultural Diplomacy: Besides from owning the majority of the stocks in Carlsberg A.S., the foundation supports a range of other things economically. Among these are the Carlsberg Laboratory, science, The Museum of National History and the Tuborg Foundation. Other than that it also places funding with the New Carlsberg Foundation and the international art museum Glyptoteket. The vehicle of cultural diplomacy here is therefore mainly economic support to art, national heritage and science. Target audience: Depending on what part of the activities of the foundation one is looking at, the audience is deferring. The Carlsberg Laboratory works with the scientific development of malting, brewing and fermenting

53 The Carlsberg Foundation 2007: 6 54 The Carlsberg Foundation 2011: 14 55 The Carlsberg Foundation 2007: 8

operations. The main audience here is the brewing industry, in particular the associated company Carlsberg A/S and their audience. The support of science in Denmark is geared towards scientists in the fields of natural science, mathematics, philosophy, humanities and social science. Here the support is in the form of grants that are applied for on a yearly basis. The foundation does not support Ph.D. students, nor do they support clinical and technical sciences. In 2010 the Carlsberg Foundation granted a total of 130.8 million DKK for science.56 The two last main branches of support from the foundation, namely the The Museum of National History and the Tuborg Foundation, are mainly targeting respectively museum visitors and tourists and Danish trade and industry. The Museum of National History at Frederiksborg Castle is one of the concrete things that are directly supported by the foundation. This specific case can function as an example of how the foundation works and what it supports. The museum was founded in 1878 on the initiative of J.C. Jacobsen as a:

…supplement to and continuation of The Chronological Collection of the Danish Kings at Rosenborg and other museums of cultural history, shall have as its task the collecting, keeping and exhibiting in the Castle premises of works of visual art - chiefly paintings, drawings and sculptures - and items of furnishing illustrative of Danish history.57

Today the museum is driven by the foundation as a separate area of investment, as is seen in the paragraph above called ‘Agenda’. Last year the museum was allotted a total sum of 16.9 million DKK, which is 550.000 DKK more than in 2009.58 The museum is mainly showcasing paintings, busts, drawings and photographs that are supplemented each year with new additions. Besides this, the Castle in itself is an attraction for foreign tourists coming to Denmark every year, as well as Danish tourists. Therefore the foundation here runs an important outlet of Danish culture and heritage, and thus contributes to the overall effort of showcasing and presenting Denmark to both a national and international audience.

56 The Carlsberg Foundation 2011: 19 57 The Carlsberg Foundation 2007: 27 58 The Carlsberg Foundation 2011: 19

2.3 Application of Cultural Diplomacy by the Civil Society 2.3.1 Inclusion – Working for diversity in Denmark and the Middle

East Actors: This civil society project is led by a Board of Directors consisting of six members, with different ethnic and academic backgrounds. One of the main actors, and a member of the board, is the sociologist Jacob I. Myschetzky, who has been working especially with migration, dialogue and development between Egypt and Denmark. Other than this, the organization is very loosely organized and on the webpage it states that it is: ‚…independent of party political and religious interests.‛59 The project was started in 2003. Agenda: Broadly speaking, Inclusion works for an inclusive society that appreciates diversity and to develop the potential that resides in the realization of this. More concretely, it works to create better relations and exchange between Denmark and the Middle East, and especially between Denmark and Egypt. Vehicle of Cultural Diplomacy: What Inclusion does is to work with the question: How can diversity become a resource in Denmark? They try to put diversity on the agenda in Denmark by networking and organizing campaigns, events and international cooperation. The organization is solely organized around the board, and it is not a member based organization. Below I will show an example of one event they have created. Target audience: The idea is directed towards the public and private sectors, and in general the organization tries to put diversity as a resource on the map and thus to influence decision makers and influential people to include this in their agendas. Inclusion works across individuals and organizations, and are willing to cooperate broadly to further their case and to exchange ideas and knowledge across the spectrum. The general idea is to mobilize people in their localities, and therefore it encourages local initiatives and engagement.60 One example of what Inclusion is involved in, is the project Living Together - Cairo, which is a partnership of Inclusion, the Egyptian civil society network of 25 NGO’s and CBO’s called Tadamon, American based freeDIMENSIONAL and lastly Townhouse a gallery in Cairo showcasing independent

59 Inklusion 2011 (a) 60 Inklusion 2011 (b)

contemporary art. The project aims to work for better understanding and the inclusion of refugees into Egyptian society in order to create better conditions for ‘the other’ in Egypt. As it outlines in the information document about the project, Living Together - Cairo works for:

The project’s aim is to improve relations among Egyptians and the different refugee communities living together in Cairo by designing tools that build cultural & diversity awareness, leadership & problem-solving skills, and – ultimately – cooperative livelihoods, which are shared through concrete, practical application.61

The project works to a great extent through Tadamon and tries to coordinate an effort between the 25 NGO’s and CBO’s by lobbying and networking. The problem is that many refugees coming to Cairo are living in inhumane conditions in slum areas, and are seen both inside the refugee communities and in the poor neighbourhoods as a threat in the competition for scarce resources. The people living in these areas come from different cultural backgrounds, and misunderstandings and ineffective communication are the norm rather than the exception. To further the already difficult and complicated situation, refugees have self-marginalized from the existing communities and the efforts so far have solely been concentrating on refugees and their conditions. What the project aims to do is to coordinate the efforts between NGO’s and CBO’s that already work with furthering coexistence in these communities, and thus to work with both sides to get to the root of the problem.62 2.3.2 F.O.O.D – Food organisation of Denmark Actors: It is a ‘not for profit’ organisation, funded by public and private actors. First of all, the organization are funded by The Branding Denmark Fund with 12 million DKK over a period of three years to brand and market Danish food and gastronomy.63 Secondly, some of the biggest private companies in the Danish foodstuff sector are supporting F.O.O.D. These are: Arla Foods, Danish Crown, Team Gastronomy Denmark and lastly the organisations in the Danish seafood and shell life sector. Agenda: According to Branding Denmark it is to spread and expand the knowledge of Danish and Nordic gastronomy, and furthermore to develop

61 Living Together – Cairo 62 Ibid. 63 Branding Denmark 2011

Denmark’s strong brand as a provider of quality food.64 According to the F.O.O.D it works to:

…give more people the chance to experience the flavours, the ideas and the talent that are unfolding in the Nordic kitchen and in the development of a Nordic food culture. We are a not for profit organisation established on the idea that there is a great sensation, creativity and amazing skills in the Nordic food culture.65

And lastly, it must be assumed that the backing behind the project from some of the biggest private foodstuff companies in Denmark are, in all likelihood, mostly based on the Branding Denmark agenda. It is in their interest to strengthen the image of Denmark as a provider of quality foodstuffs, which would increase demand and be healthy for their businesses.

Vehicle of Cultural Diplomacy: There are four main vehicles that are utilized by F.O.O.D to spread their agenda. Firstly, there will be developed one international annual signature event that showcases Danish and Nordic food and gastronomy. Secondly, international journalists and important decision-makers and opinion formers in the area should be invited to certain events. Thirdly, Danish food and gastronomy should be marketed internationally, including the mapping out of quality foodstuffs and gastronomy in Denmark. Lastly, Denmark should be represented at international festivals, events and expos connected to food and gastronomy.66

Target audience: For this project it is mainly an international audience that is sought to be influenced, and this is both in the form of tourists, but more importantly it is also an effort to increase Danish export in this area and to attract investment. It is in essence a project that seeks to propagate Danish food, gastronomy and foodstuff industry abroad.

As the F.O.O.D project develops events, competitions and campaigns to market and brand Danish and Nordic food culture, an example will here be

outlined. At the small Island of Læsø in Denmark, famously known for its production of salt at Læsø salt works, there is an annual completion supported

64 Ibid. 65 F.O.O.D 2011 (a) 66 Branding Denmark 2011

by F.O.O.D. It is the annual Scampi Festival, where the Golden Scampi Claw is awarded to the most gastronomically and creative use of the sweet shell-fish. The competition is marketed by F.O.O.D as not necessarily specifically Danish, but rather it is described to be taking place: ‚…between the Scandinavian countries of Norway, Sweden and Denmark…‛67 The festival is visited every year by people interested in gastronomy, and the competition attracts chefs from some of the best restaurants in the area.

The F.O.O.D project is quite different from all the other examples that have been shown from both the public and private sectors in Denmark. It is perhaps most similar to the VisitDenmark example, as it is also about the branding of Denmark to an international audience. The reason why it is included here is the fact that food is here also considered being a part of culture in a broad sense, and thus the promotion of a national/Nordic food culture abroad can also be considered part of the cultural diplomacy concept. Interestingly, the project is also dubbed ‘not for profit’, which is probably correct when it comes to the organisation in itself, but it certainly has a value for the public and private sectors in Denmark when it comes to creating demand as well as tourism ‘dollars’.

67 F.O.O.D 2011, http://thefoodproject.dk/projects/the_virgin_lobster

4. Analysis and conclusions On Monday 3rd of October 2011, the new government in Denmark was formed. Of particular interest to this research, is the fact that the Ministry of Culture is now led by what can almost be said to be the opposite of his predecessor. According to Jørn Langsted, a professor in cultural policies at Aarhus University, the former Minister of culture in Denmark, the Conservative Per Stig Møller represented what he calls a national-conservative stance in cultural politics, primarily working with cultural heritage and the big institutions. The new minister, the Danish Social-Liberal Uffe Elbæk, on the other hand, represents what he refers to as the ‘creative class’, and this signals a new current and possibly some big changes in the area of cultural politics in Denmark.68 What has been done in the present research has been to investigate the state of cultural diplomacy in Denmark in respectively the public sector, the private sector and in the civil society. If we begin with the public level, I have not considered what the change of government will mean to future cultural efforts, but have instead been focusing on projects that have taken place or were planned to take place by the former government. The case of the International Culture Panel revealed the former governments focus on two central areas of concern for cultural diplomacy in Denmark. These were connected to respectively economic efforts and diplomatic/political efforts, and geographically to the BRICS countries and the Middle East. What becomes clear when the public sector examples are accessed, is that cultural diplomacy on the state-level in Denmark is very much connected to the branding, marketing and cultural export of Denmark. Even though the examples are different it becomes clear when they are compared, that they are somehow connected to economic concerns ” as is seen in the Welfairytales contribution to the Shanghai Expo in 2010 where characteristics of Danish industry and design were highlighted. It is also seen in the VisitDenmark case, branding and marketing are the key words in order to create tourist ‘dollars’. Lastly it is slightly different in the case of the Danish Cultural Institute, where cultural exchange enjoys a more central position, maybe because of its more decentralized position in Danish cultural politics. All this taken into consideration, each project and institution does work with

68 Cited in: Information, Den kreative klasse rykker ind i kulturministeriet, (05.10.2011)

cultural exchange and the sharing of knowledge although this takes place at different levels and to differing extents. In the private sector two examples were brought forward, two very different ones. The first case, the ISS, is an example of a multinational company originating in Denmark, which takes a societal responsibility and incorporates it into its business model. This example shows how this can be an effective way of creating positive attention around a company, and to further and develop a business concept. The inclusion of integration and diversity in the philosophy and working method of this company has proved successful and the company now has one of the largest percentages in Denmark of non-ethnic Danes employed in a private company. Cultural diplomacy is in this case used to develop the profile of a company, and as a way of taking societal responsibility in order to generate positive interest, and in the end profit. The other example, the Carlsberg Foundation, is quite different. This very old foundation, founded in the 19th century, supports science, history and culture in Denmark with grants and funding. The philosophy adhered to in this case is most clearly illustrated in the funding of the Museum of National History at Frederiksborg Castle, where it becomes clear that the foundation has an interest in Danish cultural heritage, and in showcasing, preserving and collecting this for both national and international tourists to come see and experience. And furthermore, the foundation also contributes with grants to the development of science in Denmark, and to the exchange of knowledge between Denmark and other countries. The last sector, civil society, was a bit more challenging in its approach. But the two examples that were eventually used, illustrate some important mechanisms of cultural diplomacy. The civil society network, Inclusion, posits an example of how a loosely organised network can work together with other actors in order to further their topics of interest and spread their message. The other example, F.O.O.D has a less clear or defined profile with funding both from Branding Denmark and Danish food industries, which questions the organizations background, and whether it solely works to promote Danish/Nordic food and gastronomy or if it also serves purposes that is more related to the food industry in general. Whatever the case is, the project does organize events, campaigns and competitions that showcases Danish and Nordic food culture and thus functions on this level as an agent of cultural diplomacy.

As it was stated in the introduction, the image of Denmark abroad, especially in the Middle East, as well as also in Europe, has been challenged during the last ten years. Therefore there has been a need in Denmark for efforts to re-establish this image, with a more positive and compelling one. On a general scale, great changes still remain, but as it has been shown there have been some strategies and programs that have aimed at bettering and improving this situation. It will be interesting to see what will happen in the future, especially in the field of Danish immigration and cultural policies, especially with a new government that has already been signalling a somewhat different approach in these fields.

5. References

Articles and books

Kulturministeriet 2011, 50 års Jubilæumsmagasin, Rosendahls-Schultz Grafisk, available online at: http://kum.dk/Documents/Temaer/Jubil%c3%a6um/Kulturministeriets_jubilaeums_magasin.pdf [Accessed 05.10.2011]

Meissner, Werner 2002, Cultural Relations between China and the Member States of the European Union, The China Quarterly, pp. 181-203

Nye Jr., Joseph 2004, Soft Power: The Means To Success in World Politics, Public Affairs, New York

Petersen, Nikolaj 2007, Handlerummet for dansk udenrigspolitik efter Muhammed-krisen, Den Ny Verden: Tidsskrift for Internationale Studier, 2006:2, Dansk Institut for Internationale Studier, København, pp. 31-60

Newspaper articles

Danmarks Radio, ‘Muhammed-krisen dag for dag’ (08.02.2006) at: http://www.dr.dk/Nyheder/Udland/2006/02/08/103259.htm [Accessed 05.10.2011]

Information, Den kreative klasse rykker ind i kulturministeriet, (03.10.2011) at: http://www.information.dk/281032 [Accessed 05.10.2011] Information, Et systemskifte i dansk udlændingepolitik (03.10.2011) at: http://www.information.dk/281036 [Accesed 05.10.2011]

Jyllands-Posten , Tysklands udenrigsminister: Ulykkesvarsel for Europa (01.07.2011) at: http://jp.dk/udland/europa/article2479507.ece [Accessed 05.10.2011]

Politiken, Hjort erkender: Grænsesagen skader Danmarks omdømme (10.06.2011) at: http://politiken.dk/politik/ECE1305120/hjort-erkender-graensesagen-skader-danmarks-omdoemme/ [Accessed 05.10.2011]

Webpages

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Table of Contents 1. Introduction 2. Methodology 3. Cultural Diplomacy in the Public Sector

3.1 Ecuadorian Houses

3.2 International Meeting of Andean Nationalities

3.3 Yasuni ITT Initiative

4. Cultural Diplomacy in the Private Sector

4.1 orporation ‘Mucho Mejor si es Heecho en Ecuador’

5. Cultural Diplomacy in Civil Society

5.1 Ecuadorian Migrants’Association ‘Cahari’

5.2 Ecuadorian ‘Ecuavoley’ Association

6. Bibliography

1. Introduction

The development of notions of cultural diplomacy in Ecuador is relatively new. Until the twentieth century, the majority of the political and social relations were centered in the family, the church and the land. These relations were defined in terms of blood lines, access to economic resources and linage. In this context, the concept of culture was limited and controlled by the economic and political elites.

The second half of the twentieth century saw the development of Ecuadorian political institutions marked by the legacy of the colonial past, economic dependence and regional rivalries. During this period the notions of culture and cultural identity in Ecuador were strictly limited to the inner realm of the country and were deeply divided and polarized by racial standards and discrimination.

It was not until 1896 with the Liberal Revolution that the first social organizations emerged and the formerly secluded groups start gaining importance in the country and started to take part in the cultural discussion of the country. At this point the emergence of an incipient civil society coincided with a growing cultural awareness.

Since then the notions of culture and cultural diplomacy in Ecuador have gained some terrain in the public discourse but there is still a long way to go. It has been increasingly obvious that presenting a positive image abroad has a positive potential and consequently, the government, the private sector and the civil society have started to use culture as a pacific means to achieve other goals. Despite some positive developments, an official promotion from a distinctive cultural image is still missing.

In respect to the public sector, culture and cultural distinctiveness have proven to be an excellent tool to strengthen central policies and tendencies. The current Ecuadorian government has centered its cultural diplomacy efforts in the Ecuadorian diaspora. Now that representative communities of migrants are located and concentrated in cities like Madrid, Milan and New York, the government has provided them with increasing support in order to raise visibility and use the Ecuadorian diaspora as a positive link between foreign countries and the homeland. ‘Ecuadorian Houses’, touristic information, natural diversity and artistic support have shaped the government position in this respect.

The Government has also given culture a prominent role in the structure of the state. The Ministry of Culture and Education, along with the Ministry for the Protection of Patrimony are the institutions in charge of cultural events, high level conferences and policies intended to protect and enhance the cultural diversity of the country. Along with these ministries, various secretaries and projects support the activities of the state in this respect.

The Civil Society also plays an important role in terms of cultural diplomacy. Many organizations of citizens have started to gain awareness about the importance of culture, tolerance and integration. This phenomenon is especially visible in migrants’associations abroad that have been created in order to facilitate integration and share Ecuadorian traditions with other people. What is worth highlighting is that these organizations are born from citizen’s initiatives, with no intervention from the state. They realize how important it is for them to be integrated in the host countries but also to remain close to their cultural roots. Two cases to portray this statement are presented in the next section.

Finally, the private sector has also a role to play when it comes to cultural diplomacy. Social responsibility is a concept closely related to this notion. Unfortunately, this is not a generalized practice in the private sector in Ecuador. Companies are just starting to get involved in social responsibility activities and to act outside the traditional charity frame. Despite this fact, interesting initiatives are to be found in the private sector. Big corporations have developed inclusive cultural programs that support performers, museums, etc.

2. Methodology

In order to choose the examples included in the next section certain criteria was applied. It has been decided that this research project will include projects or initiatives taking place in Ecuador or being carried out by Ecuadorian organizations abroad. The aims of these organizations or projects should include at least one of the following aspects:

- Exchange of ideas, intercultural dialogue and understanding.

- Promotion of Ecuadorian culture abroad.

- Promotion of cooperation at a national or international level.

In order to provide diversity of examples, cases from three different sectors were included: the private sector, the public sector and the civil society. For the purpose of this project these sectors are going to be understood and analyzed under the following criteria:

- Private Sector: is composed by enterprises, companies and corporations, small, medium, large business, independent initiatives or projects (with no direct involvement of the government).

- Public Sector: include all those projects, initiatives and institutions directly funded by the state or directly linked with state institutions.

- Civil Society: refers to the set of institutions, organizations of behavior situated between the state, the business world, and the family. This includes voluntary and non-profit organizations of many different kinds, philanthropic institutions, social and political movements and other forms of social participation69.

The projects selected intend to represent a variety of sectors and can include arts, sports, trade, etc.

69 London School of Economics (LSE) Definition

3. Cultural Diplomacy in the Public Sector

3.1 Ecuadorian Houses

Agent of Cultural Diplomacy

National Secretary for Migration (SENAMI) and its regional branches in Milan, Barcelona, New York and Madrid.

Project Description and Agenda

The main objective of this project is to provide support to Ecuadorian citizens living abroad and to offer them a cultural space where they can practice their traditions and preserve the elements of their culture. The ‘Ecuadorian Houses’ are also intended to be exchange forums where the culture and the Spanish language can be transmitted to other people.

The project was created with the intention of supporting the growing number of Ecuadorian migrants abroad. The houses were established in the cities where a significant amount of migrant population is concentrated, that is New York, Madrid, Milan, London, Rome, etc. The houses aspire to become a link between the Ecuadorian diaspora and their homeland. The intention is to keep and strengthen the links between the people and their country in order to facilitate their eventual return to Ecuador.

The Ecuadorian Houses as cultural spaces seek to promote cooperation and tolerance and are intended to be dialogue spaces where identity and migration policy discussions can be held in a pacific and constructive way.

Vehicle of Cultural Diplomacy

In order to fulfill the objectives of this project the ‘Ecuadorian Houses’ provide a wide range of services and organize various cultural events. Among the most representatives activities are:

- Ecuadorian history and culture classes for Ecuadorian citizens and other interested people.

- Spanish language courses.

- Professional and academic support for Ecuadorian students abroad.

- Assistance and funding for small and medium scale business projects developed by Ecuadorian citizens abroad.

- Diffusion of information regarding cultural events, contests, artistic performances.

- Organization of cultural events highlighting Ecuadorian tradition and heritage.

Target audience

This project is mostly targeted to Ecuadorian migrant population but it also attempts to include local population and other people interested in Ecuadorian culture, Spanish language and inter-cultural dialogue.

3.2 I International Meeting of Andean Nationalities

Agent of Cultural Diplomacy

This event was supported and organized by the Ministry of Culture of Ecuador, the National Secretary of Strategic Planification and Development, the Ministry of Foreign Affairs, the Ministry of Education, the Embassy of Bolivia to Ecuador and the Andean Community of Nations (CAN)70.

Project Description and Agenda

The event was a regional meeting for Andean nationalities with representatives of Ecuador, Bolivia, Venezuela, Peru, Colombia and Guatemala. The country delegates met in Quito and attended forum discussions, workshops and meetings with local and regional authorities. The event had two objectives. On one hand to implement the ‘Sumak Kawsay’71 as an alternative to regional integration, and on the other hand to strengthen and promote multiculturalism and tolerance in Latin America.

The main objective of this event was to set precedent for the next international meetings in order to institutionalize this initiative and promote cultural understanding between indigenous nationalities in Latin America. With this conference it was also intended to raise awareness about the cultural diversity of the Andean region, endorse tolerance and dialogue.

70 Sp. Comunidad Andina de Naciones. 71 Sumak Kawsay is the quechuan expression for ‘good living’ a concept developed in the Andean region of Latin America and incorporated into the legal constitutions of many countries of the region. The concept includes the idea of a harmonious way of living that respects all members of society and it’s in synchrony with the nature.

Vehicle of Cultural Diplomacy

The international meeting was composed of different workshops and conferences intended to foster dialogue between the delegates and to create visibility for the event. The workshops and the meetings with regional and national authorities, experts and scholars created the proper environment for dialogue and the space for the participants to develop position papers and projects related to the topic.

Target Audience

The conference was targeted to the representatives of various Andean communities and indigenous organizations in Latin America, scholars, government officials.

3.3 Yasuni ITT Initiative

Agent of Cultural Diplomacy

Ministry of Foreign Affairs, Ministry of Patrimony, Ministry of Non-Renewable Natural Resources, National Secretary of Strategic Planification and Development, Ministry of Environment, United Nations Development Programme (UNDP).

Project Description and Agenda

Ecuador is one of the most biologically diverse countries in the world and is also the home of a variety of indigenous cultures. The richness of the country includes heavy crude oil reserves located in the Ishpingo Tambococha Tiputini (ITT) field which is located in the Yasuni National Park. Due to the environmental importance of this natural reserve the Ecuadorian government announced to the United Nations that Ecuador ‘had decided to maintain the crude oil in the ITT field indefinitely underground, in order to put social and environmental values first, and to explore other ways to benefit the country economically’72.

Since Ecuador is a developing country the non-exploitation of the oil reserves would signify deep economic loss, the government has asked the international community to cooperate with Ecuador by contributing at least with half of the revenue that the Government would receive by extracting the oil. The Government would initially assume up to half of the opportunity cost of keeping the oil underground, becoming the first contributor to the Initiative.

72 Yasuni ITT Trust Fund: Terms of Reference, p. 4.

As part of Ecuador’s commitment to indefinitely refrain from extracting the 846 million barrels of heavy crude oil reserves, currently estimated at US$ 7.2 billion, and prevent the emission of 407 million metric tons of Carbon Dioxide (CO2), the Yasuni ITT Trust Fund was created. This Trust Fund attempts to enable the international community to channel financial contributions towards reduction of CO2 emissions, preservation of cultural and biological diversity and poverty reduction, which are part of the key development objectives of the Millennium Development Goals.

The aim of the project is also to foster international cooperation through the protection of global values (environment, cultural diversity, mutual aid). In order to achieve these goals the government has engaged in a campaign intended to inform the population about the initiative. The information about the project not only consisted in technical details but it was also focused in presenting Ecuador abroad as an environmentally sustainable society able to adopt projects of this nature. In this way, cultural diplomacy efforts were included in the main fundraising campaign. It was obvious that in order to gain support from foreign governments, their populations need to be convinced first. For this reason a cultural, civil society oriented strategy was adopted.

Vehicle of Cultural Diplomacy

In order to fulfill the objectives of the Yasuni ITT Initiative conferences about bio-diversity, Ecuadorian national parks, Ecuadorian culture and natural resources, lectures with specialists held all over the world, etc. These related events have served as a platform to present Ecuador and shape a new image of the country as a positive, innovative environmental force in the international community.

Target Audience

The project is directed to the whole population, people interested in climate change and environment protection, scholars, students, government officials, NGOs, civil society organizations and private organizations.

4. Cultural Diplomacy in the Private Sector

4.1 Corporation ‘Mucho Mejor si es hecho en Ecuador’ (Much Better if it is done in Ecuador)

Agent of Cultural Diplomacy

‘Mucho mejor si es hecho en Ecuador’ is a private, non-profit corporation, created with the objective to promote the purchase of Ecuadorian products abroad and to eliminate the perception that Ecuadorian products lack quality. The corporation was founded in 2005 and works with 400 private enterprises and corporations.

Project Description and Agenda

The corporation was created with the idea of creating a brand that would represent products manufactured in Ecuador. In order to do this, the corporation designed a label which can be displayed on products and advertising. Companies who would like to participate in the initiative, had to adopt the label and incorporated it in their own product labels.

To date, the initiative was been adopted by 450 Ecuadorian enterprises, including several of the major corporations in the country. According to marketing studies73 the brand is broadly recognized and preferred in Ecuador and has also benefited the sales of products abroad. The purpose of this project was by the time of its creation to add extra value to the national production and to use the label as a distinction that will reinforce national identity and market competitiveness.

By using the national label, Ecuadorian producers have an extra incentive to improve the quality of their products. The labeling under a national brand, has fostered a sense of national pride and responsibility to represent the Ecuadorian industry in a positive way.

Vehicle for Cultural Diplomacy

73 http://www.americaeconomia.com/negocios-industrias/campana-mucho-mejor-si-es-hecho-en-ecuador-logra-el-reconocimiento

The main role of this project has been the production of a label which has been used consistently to differentiate Ecuadorian products. The corporation also conducts research about market preferences abroad, marketing strategies, etc., and consults and organizes international events to sponsor Ecuadorian products.

Target Audience

The project is targeted to small, medium and big enterprises who are interested in differentiating their products abroad or at home.

5. Cultural Diplomacy in the Civil Society

5.1 Ecuadorian Migrants Association ‘Cahari’

Agent of Cultural Diplomacy

This association was founded by a group of Ecuadorian migrants living in Spain, in 2007. The founders of the project are Oscar Andrés Varas Castro, Irene Elizabeth Almeida Almeida, Jenny Patricia Macias Herrera, Juan Lizardo Quesada Armas, Blanca Violeta García Cadena.

Project Description and Agenda

The association was created in order to represent Ecuador in Spain. The aims of the association include:

- To provide information about Ecuador.

- To enhance social and cultural integration into the Spanish society.

- To advocate for the rights of Ecuadorian migrants living abroad.

- To organize cultural events like workshops, art expositions, ‘Ecuavoley’ competitions, social gatherings, etc.

The Ecuadorian Migrants Association intends to provide fellow Ecuadorians with the space to express themselves and share their culture. As other migrant associations, ‘Cahari’ has adopted the role and the responsibility of becoming a ‘cultural embassy’ in charge of promoting Ecuador’s image abroad.

Vehicle of Cultural Diplomacy

The Association organizes events, artistic performances, conferences, etc. It also acts as a space for anyone who is interested in learning more about Ecuador or who wants to organize other cultural events. In this way the association becomes an point of reference for people to embrace their culture and share it with others.

Target Audience

The activities of the association are targeted to Ecuadorian citizens living in the city of Motril and also to Spanish citizens who wants to participate in the cultural activities and events.

5.2 Ecuadorian ‘Ecuavoley’ Association

Agent of Cultural Diplomacy

Sport organization founded and directed by Mr. Segundo Caizaguano Punguil in Barcelona, Spain. The ‘Ecuavoley’ Association is an independent civil society association that recognizes the support and involvement of several institutions like the ‘Generalitat de Catalunya’, the Ecuadorian National Secretary for Migration (SENAMI), the Catalan Volleyball Association, among others.

Project Description and Agenda

The ‘Ecuavoley’ Association was founded by Mr. Segundo Caizaguano in 2007. This Ecuadorian citizen intended to use sport as a way to foster the integration of the Ecuadorian community in Spain. ‘Ecuavoley’ is a variation from the traditional volleyball, a very popular game developed in Ecuador. This sport has become a popular expression of Ecuadorian culture.

The aim of the ‘Ecuavoley’ association is twofold: to share Ecuadorian traditions in sport and to create a link to enhance unity and shared national identity among the Ecuadorian community living in Spain. The aim is that through the practice of ‘Ecuavoley’, people can have the opportunity to get to know each other, be proud of their culture and share with others.

Vehicle of Cultural Diplomacy

Sport, is in this case, the vehicle of cultural diplomacy. The practice of ‘Ecuavoley’ is seen as a way to create a pacific channel for integration and cultural exchange between Ecuadorian and Spanish citizens.

Target Audience

The project is targeted to Ecuadorian and Spanish citizens who would like to practice ‘Ecuavoley’ or are interested in being part of a sport association.

6 Bibliography

- Agencia Publica de Noticias del Ecuador y Suramérica, http://andes.info.ec/ecuador/ecuador-sera-sede-del-primer-encuentro-de-los-pueblos-y-nacionalidades-andinas-94541.html

- Asociación Ecuatoriana de Ecuavoley, asociacioneecuavoley-cat@hotmail.com

- Asociación de Inmigrantes Ecuatorianos Cachari, http://www.asociacioncachari.com/quienes.html

- Casa Ecuatoriana, http://www.migranteecuatoriano.gov.ec/content/view/422/192

- Ministerio de Cultura del Ecuador, http://www.ministeriodecultura.gob.ec/

- Ministerio de Turismo del Ecuador, http://www.ministeriodecultura.gob.ec/

- Secretaria Nacional del Migrante (SENAMI), http://www.senami.gob.ec/

- ‘Crecen prácticas empresariales con responsabilidad en Ecuador’, article available in:

http://andes.info.ec/ecuador/crecen-practicas-empresariales-con-responsabilidad-en-ecuador-97107.html

-‘Tres empresas ecuatorianas se encuentran entre las mayores firmas de la región’, article available in:http://www.americaeconomia.com/negocios-industrias/tres-empresas-ecuatorianas-se-encuentran-entre-las-mayores-firmas-de-la-region

- ‘Mucho Mejor si es hecho en Ecuador’ Corporation, available in:

http://www.muchomejorecuador.org.ec

- Yasuni ITT Project, available in: http://yasuni-itt.gob.ec.

-‘Yasuni ITT: An initiative to change history’, available in:

http://yasuni-itt.gob.ec/files/2010/08/YasuniITTInglesAgo2011.pdf

Country Profiles - Germany

Table of Contents 1. Introduction- Research Method 2. Methodology 3. Historical Overview Before WWII

3.1 Deutsche Akademie 3.2 Deutscher Akadamischer Austauschdienst 3.3 1936 Olypimcs

4. Historical Overview Since 1945 4.1 Radio Deutsche Welle 4.2 World Festival of Youth & Students 4.3 Franco-German Youth Office 4.4 Kulturweit

4.5 Weitwärts

5. Overview of Contemporary Cultural Diplomacy in German 6. Application of Cultural Diplomacy in the Public Sector

6.1 German Academic Exchange Service (DAAD) 6.2 Institute for Foreign Relations (IFA) 6.3 Kulturveranstaltungen des Bundes in Berlin 6.4 International Youth Service of the Federal Republic of Germany

7. Application of Cultural Diplomacy in the Private Sector 7.1 Atelier Culture

7.2 Weltküche

7.3 Protestent intercultural day care centre Astrid Lindgren 7.4 Into… 7.5 Lanxess Young euroclassic China Tour

8. Application of Cultural Diplomacy in Civil Society 8.1 SPUKU 8.2 ZEIT Foundation 8.3 Musica Altona 8.4 Maecentata Institute 8.5 Buntkicktgut

9. Analysis and Conclusion 10. Bibliography

Introduction

Germany anno 2011 is a nation undergoing rapid changes. The society is increasingly intercultural with persons with a migration background making up 19,2 % of the population.74 As a consequence, integration and concepts like multiculturalism are becoming ever more contentious as the debate which erupted after the publication of Thilo Sarrazin’s book ‚Deutschland schafft sich ab‛ (Germany Does Itself In) clearly illustrates.75 This debate proved to be very polarizing, enraging citizens from both the right and the left of the political spectrum. In this tense environment, the necessity of cultural diplomacy within Germany has augmented drastically - in order to work towards peaceful coexistence between different cultural groups, increased contact and exchange is an absolute necessity. Germans with and without migration backgrounds need more platforms on which to build common experiences and values. The development of such platforms will require a concerted effort to promote cultural diplomacy programs. But what exactly is ‚cultural diplomacy‛? This is a difficult question to answer as the words making up the expression, ‚cultural‛ and ‚diplomacy‛, both are inherently difficult to define. What is counted as cultural is truly contentious and diplomacy can also be interpreted to mean many different things. Bearing these problems in mind, the report decided to use a rather broad definition given by political scientist Milton C. Cummings which is also officially used by the Institute for Cultural Diplomacy. He understands cultural diplomacy as:

‚the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding‛76

This definition takes the focus away from what can be called traditional cultural diplomacy, which is limited to nation branding and advertising one’s country abroad. Instead, it emphasizes the facilitation and initiation of cultural exchange, the goal of which is not necessarily to construct a perfect national brand, but rather to increase intercultural knowledge and thereby intercultural understanding. However, the term ‚cultural diplomacy‛ is not one frequently used in the academic and popular discourse in Germany. In fact, the Institute of Cultural Diplomacy is the only non-governmental organization (NGO) in Germany to focus on this field. Contrary to other countries, the concept of cultural diplomacy is not utilized in the German public or private sector. For example, in the United States, cultural diplomacy is a part of the academic vocabulary and also used by the United States State Department. The absence of the term ‚cultural diplomacy‛ in Germany is further illustrated by a quick search with commonly used search engines. There are almost no hits for the term not coming from the homepage

74 Federal Statistical Office of Germany, 'Persons with migration background' (2009) 75 See for instance: The Economist, 'Sarrazin vs Saracens' (01.09.2010); Spiegel Online International, 'Why Sarrazin’s Integration Demagoguery Has Many Followers' (09.06.2010) 76 SOURCE: Milton Cummings, Cynthia Schneider

of the Institute for Cultural Diplomacy. Yet ‚cultural diplomacy‛ could play an important role as an umbrella term in the discourse of cultural exchange and the building of increased understanding between cultures. Currently, there are many initiatives that aim to achieve the above, but these efforts are fragmented as they are not recognized as part of the same effort. The goal of this report is to research whether cultural diplomacy is exercised in Germany although the term is not a part of German vocabulary, and to outline which organizations engage in activities that could be defined as cultural diplomacy. Finally, the report aims to promote the concept of cultural diplomacy in the academic and popular discourse through its findings and insights. In the following section, we will define relevant terms and discuss the methodology used for selecting the programs. This will be followed by an overview of cultural diplomacy in Germany before and since the Second World War. We will then discuss contemporary cultural diplomacy projects, five projects each from the public sector, private sector, and civil society. Lastly, we will analyze these programs to identify any trends or changes.

2.0 Methodology Before starting to assess whether there is cultural diplomacy in Germany, some methodological questions have to be addressed. First and foremost, it is necessary to define the scope of the report. What exactly does the report mean when talking about cultural diplomacy in Germany? Does it include cultural diplomacy conducted in the geographical entity named Germany by all relevant institutions, German and non-German? Is it only cultural diplomacy conducted by German institutions, organizations, foundations and individuals in and outside Germany? Or is it rather the actions undertaken by those German institutions solely within Germany? For this report it was agreed to include examples taking place in Germany or being carried out by German organizations abroad. Secondly, organizations or initiatives are seen as examples of cultural diplomacy when they have at least one of the following aims: To promote the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding.77 Third, the examples of activities and projects which can be defined as cultural diplomacy in Germany, making up the body of the report, are chosen bearing certain criteria in mind. These criteria are in line with a rationale of quality examples representing a diversity of projects and organizations. First of all, to maintain a diversity of examples, the report draws on initiatives from the public and private sector, as well as from civil society. In this report, the definitions of cultural diplomacy in the public and private sector, as well as civil society are as follows:

- Cultural diplomacy in the public sector is taken to mean organizations or programs initiated or currently directed by public institutions and offices. - Cultural diplomacy in the private sector: Foundations or programs initiated or currently directed by private enterprises and business. - Cultural diplomacy in civil society: Foundations or programs initiated or currently directed by civil society (NGOs, foundations, philanthropists).

The rationale of quality combined with diversity was also key when selecting the examples for each of the three sectors. As indicators of quality, the report primarily used awards, longevity (historical importance) and the program’s or organization’s standing in Germany. With regards to the diversity of examples, this was ensured through the selection of examples which differed in themes and size. Thus, the report covers projects focusing on everything from educational exchange to the promotion of arts to intercultural dialogue through sports. Furthermore, the report attempts to strike a balance between organizations and initiatives acting on an international, national, regional and local level. Finally, it is important to note that this report on cultural diplomacy in Germany is intended to give an overview of the current state of affairs and does not purport to be a quantitative analysis of the situation.

77 SOURCE, Milton Cummings, Cynthia Schneider

3.0 Historical Overview Before World War II While the term ‚Cultural Diplomacy‛ might still not be part of German politics, its practice has a long tradition in Germany. Already before World War II there were several programs promoting German culture in the world. Two of the most important examples of German cultural diplomacy today, were already established in 1925. Therefore, it is not possible to understand current-day Germany’s cultural diplomacy efforts without knowing the history of the concept. During the ‚Golden Twenties‛ of the Weimar Republic, the ‚Deutsche Akademie‛ (German Academy) and the ‚Akademische Austauschdienst e.V.‛ (Academic Exchange Service) were founded. However, in the course of Hitler’s dictatorship these institutions were misused for the regime’s propaganda. This was also the case for another historically important event which took place in 1936 in Berlin: the Olympics.

3.1 Deutsche Akademie The ‚Deutsche Akademie‛ was founded on initiative of a group of scientists from Munich like Georg Pfeilschifter, rector of the University of Munich, or Karl Haushofer, known for his geopolitical research. Already 1923 these academics decided to found an institution for cultural work abroad. On the 5th of May 1925 the ‚Deutsche Akademie‛ was established with the aim to foster Germanity and to promote non-governmental, cultural relations to other countries as well as Germans living abroad. The members of the academy were made up of mainly national conservatists. Because several other institutions were competing with the ‚Deutsche Akademie‛, the academicy experienced a financial crisis during its first years of operation. In order to remedate this situation the organization started to focus on language education in other countries. In 1930 the first language schools were established in south-east Europe and in 1932 the academy started a division dealing with the education of foreign German teachers, which was named ‚Goethe-Institut‛. Both activities lead to the financial support of the ‚Auswärtiges Amt‛ (German Foreign Office). With the beginning of Hitler’s dictatorship the ‚Deutsche Akademie‛ was politicized and used to promote national-socialist ideas. In 1941 it had to change its legal status which led to an extensive financial improvement. The workforce grew from 100 to 1000 employees and the academy ran around 250 language schools in occupied or neutral states. Yet, due to the war, the academy’s buildings were destroyed, lecturers had to fight in the army, and eventually the academy quit its work with the end of the war.78 In 1951 the academy was reopend as the Goethe-Institute. The Institute started out with providing further training for foreign German teachers in Germany and from the 1960s and onwards it took over all of the German cultural institutions abroad, intensifying German foreign cultural policy. Since 1970 the cultural work involving dialogue and partnership has

78 Eckard Michels, 'Deutsche Akademie, 1925-1945' (14.03.2011) in Historisches Lexikon Bayerns,

become a great part of German foreign policy.79 In 1976 the Goethe-Institute and the Foreign Office settled on a general agreement that the institute was to be an independent cultural organisation. In addition to institutes abroad, the Goethe-Institute established institutes within Germany. Already existing institutes were moved to cities and university towns. The unification of the two German states in 1989/1990 marked a turning point in foreign cultural diplomacy as a new focus on Eastern Europe emerged. Today the Goethe-Institute not only provides an access to German language, culture and society, but also promotes international cultural cooperation. The Institute tries to build bridges across cultural and political borders and also to deal with cultural diversity constructively.80

3.2 Deutscher Akademischer Austauschdienst The ‚Akademische Austauschdienst‛ was one of the rivaling institutions of the ‚Deutsche Akademie‛. It was established in January 1925 in Heidelberg. A student of social and political sciences, Carl Joachim Friedrich, organized 13 scholarships for German students of social and political sciences in cooperation with the New Yorker Institute of International Education inspired by his own studies in the USA from 1922-1923. Following this initiative the Exchange service for political sciences was founded in Heidelberg. In October the same year, the institution moved its headquarter to Berlin, aiming to organize academic exchanges for all fields of study. The first connections to a foreign country were established in 1927 with a branch in the United Kingdom. France and Hungary followed suit in 1928. From 1930 and onwards all scholarship students had to become part of the alumni group which was established three years before. One year later the exchange service got its final name, ‚Deutscher Akademischer Austauschdienst‛ (DAAD), under which it also operates today. From 1933 on the DAAD was forced into line with the Nazi regime in Germany but claimed to be continuing work as usual. Many new branches opened over the following years, even after the start of the war. However, in November 1943 all records of the DAAD were destroyed by bombings, forcing the DAAD to halt its work. With the end of the war, the DAAD was officially liquidated.81 In 1950, simultaneously with the founding of the Federal German Republic, the DAAD was re-launched. It provided scholarships for students who wanted to study in West Germany and also supported German students, interns and trainees in their attempts to study abroad. Since the 1960s the DAAD has set up offices in London, New York, Rio de Janeiro, Nairobi and many more. Since the reunification the DAAD is cooperating with all higher education schools and universities in Germany. Today the organization is represented throughout the world by 14 offices and 50 information centers.

79 Benjamin Hanna, 'Culture and Communication in German Foreign Policy' (06.09.2011), German Foreign Office 80 Goethe-Institute, 'Wer wir sind - Geschichte' 81 German Academic Exchange Service, 'Geschichte'

3.3 The 1936 Olympics In 1930, the International Olympic Committee decided to award the 1936 Summer Olympics to Germany, at that point a parliamentary democracy. Three years later, in 1933, Hitler became chancellor and saw the Olympics as an excellent way to spread the vision of Nationalist Socialism through cultural diplomacy means. Furthermore, he saw it as the perfect platform to showcase Germany’s powerful military, high German standards of living and the country’s strong economy which had shaken off the Great Depression faster than any other country. At the same time as the Summer Olympics, Berlin hosted a national exhibition showcasing German culture. In the end, Germany did quite well in the Olympics. However, the most famous performances during the Olympics were provided for by African-American Jesse Owens, who won four gold medals in track and field competitions. Another fascinating aspect of the Olympics was the documentary produced by Leni Riefenstahl entitled Olympia and released in 1938. Riefenstahl used groundbreaking methods, which have now become the standard for sports documentation. Although she was pressured to show Germany in a positive light, she filmed athletes of all countries with the same degree of professionalism. Her film was an enormous success. Ultimately, the 1936 Olympics are an example of how cultural diplomacy can be used to further questionable goals, such as spreading what arguably amounts to propaganda.

4.0 Historical Overview since World War II

The legacy of World War II has had a profound effect on the German state for decades. Especially in the period directly following the reestablishment of the democracy in Germany in 1949, the Federal German Republic (FGR) was very focused upon reintegrating into the world community by adhering to civilian power norms and values. Since then, the government has invested heavily into cultural programs, recognizing them as a way to promote diversity and openness within the FGR as well as improving its image abroad. Within Germany, cultural diplomacy between different communities did not play a very important role until recently. The arrival of many guest workers from Turkey, Italy, Yugoslavia, Greece, and other Mediterranean countries in the 1960s brought about significant changes in the FGR’s cultural landscape. Since they were not expected to stay in the long run, the German government did not see the need to improve its integration policies. Similarly, cultural diplomacy projects aimed at improving understanding between cultural groups were not very common until after reunification. Unlike cultural diplomacy within Germany, cultural diplomacy abroad has been a priority of the FGR since the very beginning. During the Cold War, cultural diplomacy programs helped cement ties between Germany and allied nations, notably the United States and France. Unlike the cultural diplomacy pursued by the Nazi regime, these new efforts focused on promoting openness, tolerance, and democratic values among people. Cultural diplomacy programs abroad were able to reestablish ties that had been severed between the people of Germany and those of its former enemies. Exchange programs between French and German youth, for example, paved the way for less animosity between these populations. Using soft power means such as cultural diplomacy was a very clear signal to the outside world that the FGR eschewed the hard power tools used by the Nazi regime and was willing to be integrated into the world system. Furthermore, cultural diplomacy abroad gave the FGR a much-needed image boost. It enabled others to learn more about its culture and society as a way of showing them those aspects of Germany that were so often overshadowed by its dark past. Foreign cultural diplomacy was the best way to improve relations between its peoples and those of allied countries, which led to improved relations between the governments of those countries. The German Democratic Republic (GDR) also used cultural diplomacy means. However, unlike the FGR’s programs, the GDR’s programs sought to signal to its allies, notably the Soviet Union, its continued support for and belief in the values of socialism, rather than its support for the values of democracy and the like. Cultural diplomacy with fellow socialist countries took the form of student or artist exchanges. The few cultural diplomacy programs the GDR conducted with the FGR or the non-socialist world at large were mainly focused on sports competitions. Also, the GDR employed many guest workers, mainly from Vietnam, Cuba, Mozambique, Poland and Angola. They had a limited work stay and lived in particular housing developments. There happened to be no integration because of lack of knowledge of the German language and also the GDR government did not encourage contact between the different cultures. The programs discussed below show different examples of cultural diplomacy programs conducted by German institutions either in Germany or abroad.

4.1 Radio Deutsche Welle Shortly after the Federal German Republic was founded, the establishment of a German international broadcasting service was discussed. On June 11th, 1953 a short wave service named ‚Deutsche Welle‛ was founded and went on air on May 3rd. During the first broadcast, a three-hour program aired in five different locations at different times, Theodor Heuss, the former German president, addressed ‚the dear countrymen around the world‛. Since 1955 the transmission was possible in English, French, Spanish and Portuguese and each broadcast lasted five minutes. In the 1960s the DW expanded its program which is now broadcast in more languages such as Persian, Russian, Turkish, Czech, Hungarian and Croatian. The English Service has expanded its broadcasting service and can be listened to in Australia, East Asia, Pacific and Africa. Also the French Service was expanded to Africa. In 1970, the radio station started a new language course which was called ‚The Baumann Family‛ and could be listened to around the world. The DW added more and more languages to their broadcasting such as African languages or Indonesian. After 1990 Deutsche Welle and Radio Moscow agreed on taking over former Soviet radio jamming posts to serve as transponder for strengthening radio signals to Asia. Today more than 100 million households are able to tune into DW-TV.82

4.2 World Festival of Youth and Students 1973 The World Festival of Youth and Students took place in the summer of 1973 in East Berlin. The government of the German Democratic Republic (GDR) used the games to demonstrate internationalism and sovereignty to the world. It was the first time that foreigners were able to enter the country and it was that the youth of the GDR had the possibility to meet teenagers from other countries with an emphasis on the Western world. During the festival more than 200 political and more than 1000 cultural events took place. In total 8 million people visited the festival including were 25 000 visitors from abroad.83

4.3 Franco-German Youth Office (FGYO) On January 22nd, 1963, Chancellor Konrad Adenauer and the French president Charles de Gaulle signed a German-French friendship contract which laid the foundation for the Franco-German Youth Office. The purpose of the organization is to strengthen the bonds between German and French youth and deepen the mutual understanding of history and culture. It is an international organization governed by a board of directors and led by General Secretaries from both countries. Since 1963 the Franco-German Youth Office has enabled 8 million German and French youths to participate in nearly 300 000 exchange programs.84

82 Deutsche Welle, 'History of Deutsche Welle' 83 Bundeszentrale für Politische Bildung, 'Weltfestspiele 1973' 84 Deutsch-Französisches Jugendwerk, 'The Franco-German Youth Office' (2008)

4.4 kulturweit ‚kulturweit‛ is an initiative which started in 2009 and is carried out by the German Commission for UNESCO. This program offers young people the opportunity to become active in foreign cultural and educational policy and to represent German educational experiences abroad. The volunteer service is supported by partner organizations such as German Academic Exchange Service (DAAD), German Archeological Institute (DAI), Germany’s international broadcaster Deutsche Welle (DW) and the Goethe-Institute (GI). Through the experiences participating volunteers gain from ‚kulturweit‛, they develop international and intercultural insights which are very valuable for the volunteers.85

4.5 weltwärts ‚weltwärts‛ is a voluntary service of the Federal Ministry for Economic Cooperation and Development focusing its opportunities on development issues and policy. It originated in 2007 as an educational opportunity for young adults between the age of 18 and 28. The aim is that participating volunteers learn how to adapt to a new culture and gain extensive knowledge about the culture(s) they are dealing with. The program’s duration can vary from 6 to 24 months and during this time cultural exchange has priority. ‚weltwärts‛ tries to promote rapprochement, respect and tolerance.86

85 Kulturweit, 'Who we are: kulturweit ” the international cultural voluntary service' 86 Weltwärts, 'Über welrwärts ” der entwicklungspolitische Freiwilligendienst

5.0 Overview of Contemporary Cultural Diplomacy Programs in Germany Cultural diplomacy programs continue to gain momentum in Germany. In 2006 alone, the German federal government spent over seven billion Euro, or 1.45% of total government expenditures, on culture.87 Of course, many other projects are also funded through private means. Cultural diplomacy programs with an internal focus have become especially popular in Germany since its reunification in 1990. These types of initiatives are used to address problems currently facing the country, the most important of which are integration and multiculturalism, interreligious dialogue, and demographic change. Firstly, the debate on integration and a multicultural society has become central to contemporary political discourse in Germany, particularly in the past decade. There has been a rise in anti-immigration sentiment, as many Germans believe that former guest workers and other immigrants have failed to make efforts to integrate into German society. In 2010, Thilo Sarrazin, then on the board of directors of the German Bundesbank, published a controversial book entitled ‚Deutschland schafft sich ab‛ (Germany Does Itself In) in which he claims that Muslim immigrants have had a negative effect on German society.88 Though politicians were quick to denounce the thesis of his book and his defense of eugenics, it quickly became clear that Sarrazin’s remarks struck a chord with many Germans. This book led to an intensification of the multiculturalism debate. In October of 2010, Chancellor Angela Merkel declared that a multicultural society in Germany, one in which members of various cultural backgrounds lived together in harmony, had ‚utterly failed‛.89 These sort of remarks have made clear that efforts to increase understanding between different cultural groups within Germany need to be intensified. Interreligious dialogue relates closely to the debate on integration, since to many Germans, Muslims are the most ‚problematic‛ group of immigrants. Improving the understanding between the Islamic world and what traditionally is seen as German culture, which is strongly influenced by Christian values, is a very important aspect of peaceful coexistence between immigrants and Germans. The demographic changes facing Germany - notably low fertility rates and an aging society - mean that the country will have to adjust. One of the aspects is an improved intergenerational dialogue, which can be ameliorated through cultural diplomacy means. The second aspect of the problem is that according to current projections, Germany will be lacking over one million qualified workers by the year 2015. By 2030, that number will rise to a staggering 5 million workers. If that challenge is not met, the losses for the economy could amount to a total of 3.8 trillion Euro over the years.90 To meet this deficit, Germany will have to accept qualified workers from abroad, which again means that integration will to remain an important policy challenge. Cultural diplomacy abroad continues to be a priority of German foreign policy. Indeed, foreign cultural policy (auswärtige Kulturpolitik) is of such importance to the government that it is recognized as the third pillar of its foreign policy next to political and economic relations. Its main aims are to share with the world the diversity of Germany’s cultural scene, to make Germany a prime destination for students and researchers, to spread the

87 Statistisches Bundesamt Deutschland, 'Ausgaben der öffentlichen Haushalte für Bildung, Wissenschaft und Kultur' (2003-2006) 88 The Economist, 'Sarrazin vs Saracens' (01.09.2010) 89 BBC News, 'Merkel says German multicultural society has failed' (17.10.2010) 90 Der Tagesspiegel, 'Bald droht Arbeitskräftemangel in Deutschland' (22.12.2009)

German language, and to create a stable foundation for international relations dialogue by improving relations between peoples.91 Important issues which cultural diplomacy issues seek to address include dialogue with the Islamic world, to improve German’s standing in the world at large, and to improve cooperation with partner countries. Below, we will discuss five examples of cultural diplomacy from the public sector, private sector, and civil society, respectively.

91 German Foreign Office, 'Cultural relations : tasks and objectives'

6.0: Application of Cultural Diplomacy in the Public Sector

In this part, the report will consider programs and organizations of the public sector, meaning organizations or programs initiated or currently directed by public institutions and offices.

6.1 Deutscher Akademischer Austausch Dienst (German Academic Exchange Service) Agent of Cultural Diplomacy: DAAD Agenda: Further academic exchanges between Germany and other countries in the world. Vehicle of Cultural Diplomacy: Different programs to promote the internationalization of German universities, promote German studies and the German language abroad and assist developing countries in establishing effective universities Target Audience: Students and scientists open for international, academic exchange

Since its establishment in 1925, the German Academic Exchange Service (DAAD) has granted scholarships and financial aid to over 1.5 million students and academics both in Germany and abroad, making this the largest funding organization of its kind in the world. Not only does it provide grants and scholarships for academic exchanges abroad, but it is also involved in supporting the internationalization of German universities, and working for the advancement of German studies and German language abroad. Furthermore, the DAAD offers assistance and expertise to developing countries in improving their own educational systems. The DAAD's budget is composed of funding from various German ministries and the European Union, as well as numerous enterprises, organizations, and foreign governments. The DAAD was founded in 1925 when a student organized scholarships for 13 German students in cooperation with the New York Institute of International Education. An exchange service was founded as a part of the University of Heidelberg before being moved to Berlin shortly after with the goal of supporting student and academic exchanges abroad. After closing for a period during World War II, the DAAD reopened in 1950 and soon expanded its work to include funding internships abroad. Since then, the work of the DAAD has continued to expand, covering more than 250 programs today. These range from funding six-month study-abroad stays to supporting doctorate programs abroad spanning several years. Each program is open to students from all over the world, regardless of their country of origin or their field of study. The DAAD has gone from supporting 400 students in 1950 to assisting nearly 60,000 students and academics in

2008. In addition to its central office in Bonn and its office in Berlin, the DAAD is represented on every continent in the world through 14 offices and 50 information centers.92 One of the programs that has been administered by the DAAD for the past forty years is the Berlin Artists-in-Residence program. Each year, this program enables 20 artists in the areas of visual arts, literature, music, film, dance and performance to live in Berlin for one year. It is considered to be one of the world's most prestigious scholarships for artists. The program's main goal is to encourage exchanges centered on art as well as on the involvement in cultural questions that are being discussed in other countries. It also aspires to further cultural and artistic diversity in Berlin. To meet these goals, the DAAD organizes special events in cooperation with other cultural institutions in Berlin. Furthermore, the program encourages contact with artists from Berlin in order to foster cultural exchange and understanding.93

6.2 Goethe-Institute

Agent of Cultural Diplomacy: The Goethe-Institute in cooperation with among other the Ernst von Siemens Musikstiftung, Kulturstiftung des Bundes, Robert Bosch Stiftung Agenda: Encourage international cultural exchange Vehicle of Cultural Diplomacy: Organizing cultural and linguistic programs and events, and making contributions to various festivals and exhibitions in the fields of film, theatre, literature and translation Target Audience: People interested in teaching and learning German as a foreign language, persons generally interested in Germany

The Goethe-Institute e.V. is an institution acting on behalf of the German Federal Republic in the issues of foreign cultural and educational policies. The Institute was founded in 1951 as a replacement of the German Academy (Deutsche Akademie, DA). Its first task was to offer further training for foreign German teachers in Germany. In 1959/ 1960 the Goethe-Institute took over all of Germany’s cultural institutes abroad. During the students’ revolts in the late 1960s the Institute adapted its program of cultural events to include sociopolitical topics and avant-garde art. Since the 1970s the concept of ‚extended culture‛ formed the basis of activities at the Goethe-Institute. In 1976 the Goethe-Institute became an independent cultural organization based on a general agreement with the Foreign Office. After the fall of the Berlin Wall, the activities centered on Eastern European countries and therefore many new institutes were set up. In 2001 the Institute fused with the organization Inter Nationes which was a society to produce and sell informative literature about German cultural goods abroad. The Goethe-Institute was the first non-profit association to establish a Western information center in Pyongyang/ North Korea. In the

92 DAAD, 'About us: Brief Description' 93 Berliner Künstlerprogramm des DAAD, 'Profile'

following year it received the Prince-of-Asturia-Price of Spain. In 2007 the funds for the Goethe-Institute were increased by the German parliament. According to its statute, the Goethe-Institute’s three principal objectives are promoting the study of the German language abroad, encouraging international cultural cooperation and conveying an all-round image of Germany by providing information on its culture, society and politics. It supports intercultural collaboration with various festivals and exhibitions in the fields of arts, film, music, theatre, dance and literature. The Federal Foreign Office finances two-thirds of the Institute with a total of €223,15 million. Other incomes come from language course and examination fees, donation and sponsoring with a total of €61,63 million. Supporters from the economic field are Audi AG (Brisbane/Melbourne/Perth/Sydney), BMW Group (Lisbon/Milan/New York/Wellington), Daimler AG (Tokyo/Singapore), Deutsche Bank AG (Washington/Hong Kong), Deutsche Lufthansa AG (Ankara/Chicago/Seoul/Sydney/Tokyo) and Roland Berger International Strategy Consultants GmbH (Krakow). Also foundations support the Institute, for example Ernst von Siemens Musikstiftung (Beijing/Tel Aviv), Kulturstiftung des Bundes (Sao Paulo), Robert Bosch Stiftung (Istanbul/Cairo/Moscow/Beijing/Washington), Stiftung Erinnerung, Verantwortung und Zukunft (Berlin) and Stiftung Mercator (Beijing). During its 60 years of existence the Goethe-Institute has opened 150 institutes all over the world and today employs almost 3000 people. Throughout these years the Institute held many events and became the ‘core of foreign cultural and educational politics’ as Guido Westerwelle expressed it at the sixtieth anniversary on 5 July 2011. The anniversary was celebrated in the Berlin art gallery at Kulturforum and later on there was also an open-air festivity for the public with a concert of Jens Friebe, a Berlin pop musician.94

6.3 Institut für Auslandsbeziehungen (Institute for Foreign Cultural Relations) Agent of Cultural Diplomacy: The Institut für Auslandsbeziehungen in cooperation with among others Alexander von Humboldt Stiftung, Deutscher Akademischer Austauschdienst, Deutscher Entwicklungsdienst Agenda: Cultural exchange through art, dialogue between civil society and intervention through foreign culture policy information Vehicle of Cultural Diplomacy: Cross-cultural exhibitions and internships Target Audience: Young professional and artists from a German and non-German background The Institute for Foreign Cultural Relations (ifa) is the world's leading German institution in artistic and cultural exchange. It organizes exhibitions of German art around the world and

94 Goethe-Institute, 'About us'

brings together artists with different cultural backgrounds through international conferences and exchanges. The institute also exhibits art, architecture, and design from around the world in its galleries in Stuttgart and Berlin. Its central goal is to use cultural exchange to promote a peaceful, mutually beneficial coexistence between the peoples, religions, and countries of this world. To achieve these goals, the ifa initiates intercultural dialogue, raises awareness about relevant questions involving intercultural exchange, and promotes German culture and art abroad. The ifa was founded in Stuttgart in 1917 as a museum and institute to promote Germany's culture and image abroad. Between 1933 and 1945, the institute was taken over by members of the Nazi party and used to promote German propaganda and its racial policies. After a brief closure at the end of the war, the ifa reopened in 1949 and has grown to become the largest cultural mediating organization in Germany. The institute is funded by the German Foreign Office, the state of Baden-Württemberg, the city of Stuttgart, and the Robert Bosch Foundation. Some of its numerous partners are the Alexander von Humboldt Foundation, the Anna Lindh Foundation, the British Council in Germany, and the German Academic Exchange Service. One of the Institute's many programs, in cooperation with the German Foreign Office, is the CrossCulture Internships initiative, which aims to improve ties between Germany and the Islamic world through intercultural dialogue and networking. Through this program, young professionals and volunteers from both Germany and Islamic countries are granted the opportunity to complete an internship in the respective foreign culture. The internships generally fall under the following areas: education and knowledge-based society, justice and human rights, economy and environment, international politics and political education, and media. The internships are very flexible and can be adapted to the wishes and abilities of the prospective participants. During their stay abroad, interns will not only improve their skills in their prospective field, but also ameliorate their intercultural competence and gain diverse experiences and knowledge of the foreign culture.95

6.4 Kulturveranstaltungen des Bundes in Berlin (KBB)

Agent of Cultural Diplomacy: Commissioner of the Federal Government for Culture and Media, Federal Foreign Office Agenda: Vehicle of Cultural Diplomacy: Cultural activities and institutions in Berlin such as Haus der Kulturen der Welt, Asia-Pacific-Weeks 2011: Cultural program, International Literature Award Target Audience: Artists from all over the world, but mainly the ‚average‛ Joe visitor

The Kulturveranstaltungen des Bundes in Berlin (German government-sponsored Cultural Events in Berlin, KBB) is a platform of international cultural cooperation which organizes up to 3,000 events each year in Berlin. This program, with events in the areas of visual arts, dance, theater, music, literature, and film, attracts over one million visitors a year from all over the world. Its projects include the Berlinale (an international film festival), Berliner Festspiele (international festivals and programs in the arts), and the Haus der Kulturen der

95 Institute for Foreign Cultural Relations (ifa), 'About us'

Welt. In the sixty years of its existence, the KBB has gone a long way in shaping the cultural landscape of Germany, as well as presenting the diversity and creativity of German culture to other countries in the spirit of cultural exchange on an international scale. The work of the KBB is supported by the German State Minister for Media and Cultural Affairs.96 The Haus der Kulturen der Welt (House of the Cultures of the World) displays visual arts, music, literature, theater, film, academic discourses and digital media from all over the world, especially from countries outside of Europe. Through these exhibitions, visitors experience first-hand the diversity of the world and are encouraged to engage in an intercultural dialogue and think critically about the challenges and questions of the future. The house reflects local and global processes of transformation, as well as questions of cultural identity. Furthermore, the House offers a forum for dialogue and cooperation between different groups within Berlin while enriching their perspective of international art and culture. The House was founded 1989, during a time of great changes in Europe and the world. In the 1990s, it began to take a stance against xenophobia and promoted openness and tolerance. By the end of the decade, the House's reputation had spread and it had become one of the foremost locations of Berlin's multicultural scene. In addition to its cultural program, the House also publishes academic articles and studies; in its 20 years of existence, it has published 150 articles and produced 40 CDs. The House is largely funded by the German Foreign Office and the State Minister for Media and Cultural Affairs.97

6.5 International Youth Service of the Federal Republic Germany (IJAB - Fachstelle für Internationale Jugendarbeit der Bundesrepublik Deutschland e.V.)

Agent of Cultural Diplomacy: The International Youth Service of the Federal Republic Germany through the Federal Ministry for Family Affairs, Senior Citizens, Women and Youth, Thuringia Ministry for Social, Family and Health, Bavarian State Ministry for Education and Cultural Affairs Agenda: Intercultural competence, JiVE International Youth Work - Experience diversity (Jugendarbeit international - Vielfalt erleben), IKUS Intercultural learning field in school (Interkulturelles Lernfeld Schule) Vehicle of Cultural Diplomacy: Specialist programs, language service, qualification, cooperation youth and development international Target Audience: Voluntary and statutory child and youth services, international youth work and international youth policy The IJAB was founded in 1967 as an international youth exchange and visitor service with the approval of representatives of central youth organizations and facilities for youth work. In 1971 the organization received the legal structure of registered society. Since 1989 the

96 Kulturveranstaltungen des Bundes in Berlin, 'Über uns: Das ist die KBB' 97 Haus der Kulturen der Welt, 'About us'

organization YOUTH for Europe (JUGEND für Europa) which is a German agency for the EU program YOUTH in Action (JUGEND IN AKTION), is located within the IJAB. The agency conducts the YOUTH in Action program on the behalf of the European Commission, and promotes after-school activities as well as initiatives for young adults. The International Youth Service of the Federal Republic of Germany sees itself as a specialist agency and mediator in international dialogue by providing information and advice. It supports international youth work and youth information on a national level and promotes youth policy cooperation on an international level. IJAB offers a platform for exchange in the field of youth policy especially between the work done on a national and European level. The youth work helps to strengthen social peace, security and stability as well as promoting exchange in order to further understanding and intercultural learning. Therefore the Service work against xenophobia, racism and violence and tries to improve the mutual understanding between young people from a different national and cultural background. The International Youth Service promotes the acquisition of cross-cultural skills as well as openness towards, and understanding of, foreigners. In 2010 the IJAB was financed by the government through the Federal Children- and Youth Plan with 2.28 million Euro and also received 2.13 million Euro for project promotion. Furthermore, the Service received 0.22 million Euro from miscellaneous resources such as the European Commission. Therefore the IJAB was able to conduct 48 projects, 25 of these had total promotion by state programs and 23 miscellaneous projects.98 To achieve its objectives the IJAB organises exchange programs and language courses for specialists in child and youth services. The specialist programs include activities such as study programs, seminars and visits in institutions in the field of child and youth services. Furthermore, an exchange of expertise is facilitated between German youth and children’s offices and foreign counterparts. When working internationally, language skills are of great importance and thus the IJAB also maintains a language service as part of its organization.99

98 For more information on the financial situation of the IJAB see the 2010 annual report: IJAB, 'IJAB: Jahresbericht 2010' 99 IJAB, 'Self-conception' (2009)

7.0 Application of Cultural Diplomacy in the Private Sector

The following part of the report will consider programs and organizations of the private sector, meaning organizations or programs initiated or currently directed by private enterprises and businesses.

7.1: Atelier Culture Agent of Cultural Diplomacy: Atelier Culture in cooperation with Wiesbadener Salon Agenda: Providing jobs for women with migration history who can profit from the intercultural environment, personally and financially Vehicle of Cultural Diplomacy: Inside: the work of the women with different migration history; Outside: the work of the Atelier Target Audience: Inside: Women with migration history; Outside: Everyone who is interested in the work of the Atelier

‚As much individuality as possible, as much cooperation as necessary.‛ This is the principle of a group of entrepreneurs in Wiesbaden of which Atelier Culture is the leading part. It started as a funded project by the city of Wiesbaden, the state of Hesse and the European Union in May 2009 and aimed to support especially women with migration background. Due to several reasons like a lack of education or German language skills, their age or the non-recognition of their educational achievements, it is difficult for these women to find an adequate job. The sewing-cafe was supposed to be a place where these women could meet in an intercultural environment, exchange their ideas and help each other with their work. Eventually they had to present this work to a jury. It soon became clear that the project had a huge potential. At first, sixteen professional and young talented designers from Germany, Brazil, Marocco, Pakistan, Russia and Syria presented their work through the program and convinced the jury and others of their talent. From then on the project did not need more funding. Today people can go to the atelier and use materials and machines for 7.50 € per hour. Furthermore, Atelier Culture offers sewing and stitching classes, organizes congresses and workshops. Rooms can also be rented to exhibit own creations, sewing machine entrepreneurs can be consulted. There is also a counseling service for those who want to get their own enterprise running.

The head of the project is Anke Trischler. Before she got the idea of Atelier Culture, she worked for several big companies, in leading positions. However, not being satisfied with the kind of work she did, Ms Trischler decided to make a drastical change of carreer.100 In 2010 Atelier Culture was named one of the „Selected Places‚ (Ausgewählte Orte) of the German initiative „Country of Ideas‚ (Deutschland- Land der Ideen).101 For the prize giving ceremony Atelier Culture had an ambitious plan. It tried to create a ‛cultural carpet‚ composed of 365 single carpets for every place honored by the initiative. In the end the atelier ‚only‛ finished 200 and the best of them were shown at the IHK building where the ceremony was held. The different nationalities working at Atelier Culture and the cultural diversity represented by clothes makes the project a good example of lived integration and cultural diplomacy.

7.2: Weltküche Agent of Cultural Diplomacy: Weltküche and Graefewirtschaft e.V. Agenda: Cooking meals from diverse origins with people with migration history Vehicle of Cultural Diplomacy: The food and the people who prepare it Target Audience: Everyone who is eating at Weltküche but also the people who are working there

Berlin - Kreuzberg: one of the most multicultural districts of Berlin and the perfect place for Weltküche, a multicultural cafe. Supported by Graefewirtschaft e.V. it is a place with a wide offer of specialties from countries all over the world. The meals represent the workers of the cafe: from Arabic to Indian to South American. The café was founded by migrants from 9 different countries and Germans. The aim is to offer jobs for immigrants in independently established companies. Usually, the place enjoys good attendance by people with diverse background and various ages. Students, seniors, and businessmen are all using the great and varied offer. The prices are low and the meals are tasty and healthy. Annette Jankowski is the head of the project. With degrees in business studies, communication and psychology she had a great career in the Deutsche Bahn AG. However, she increasingly felt that her work at the Deutsche Bahn was meaningless. Eventually, she drew the conclusion and quit. From then on she engaged with Weltküche, also by spending her own savings on it. Besides the cafe, Graefewirtschaft established a sewing company and a catering agency as well.102 The kitchen works like a professional kitchen with just one significant difference: the kitchenware would be considered useless everywhere else. Unfortunately, Weltküche has to keep expenditures low to maintain affordable prices. Therefore, the project always hopes

100 Hallo Wiesbaden, 'Atelier Culture' (20.12.2010) 101 Ausgewählte Orte 2011, 'Atelier Culture ” der Näh-Salon', Deutschland Land der Ideen 102 Die Weltküche, 'Über uns'

for donations, not just money but also flatware, plates or whatever else needed in a kitchen.103 Thanks to this great idea and concept, Graefewirtschaft already received awards for Weltküche. The prestigious „Selected Places‚ (Ausgewählte Orte) award of the initiative ‛Germany - country of ideas‚ (Deutschland - Land der Ideen) is just one of many amongst others.104 Soon Weltküche will be working 100% self-financed and without financial support from Graefewirtschaft e.V. The project is well prepared for it and able to stand on its own feet.

7.3: Protestant intercultural day care center Astrid Lindgren Agent of Cultural Diplomacy: The day care center itself Agenda: Offering children an intercultural arena where they can build their intercultural communication skills Vehicle of Cultural Diplomacy: The children Target Audience: Families and their children living in that area

The day care center Astrid Lindgren in the suburb Vorwerk-Falkenfeld of Lübeck is part of the Protestant-Lutheran day care division Lübeck gGmbH (Evangelisch-lutherisches Kindertagesstättenwerk Lübeck gGmbH). It was rebuild in 2000 and offers places for children from the age of three to six. The center draws its members from a small but culturally diverse area around it and focuses on a balance between children with and without migration background. The center tries to maintain this equilibrium in regards of the employees, too. At the moment six out of the ten workers have a migration background. However, their work does not only include taking care of the children. They also engage in various intercultural events and celebrations like the Muslim Ramadan or the Jewish Chanukah festival in the city. For the parents of the children many different events are organized based on their cultural background. These include dance and culinary events, intercultural sew and stitch groups and discussion groups about various topics. Furthermore, the center has several cooperation partners such as a kindergarden in Tanzania, the migration forum of Lübeck and various religious groups. The work done at the day center and in the community as a whole is constantly evaluated, amended and customized. It is not just about integration into the German society. Through the early contact to different cultures and religions the children are sensitized to a globalized world. While growing up they will have an advantage in dealing with people from all around the world.

103 Garçon Boulevard, 'Börek, Fattush und Tabbouleh - Weltküche' (20.03.2011) 104 Ausgewählte Orte 2011, 'Graefewirtschaft ” Arbeitsplätze für Migranten', Land der Ideen

This is why the center is a ‛Best Practice‚ example of the charter of diversity (Charta der Vielfalt) which supports diversity in the whole society.105

7.4: Introduction Agent of Cultural Diplomacy: The Siemens Arts Program of the Siemens Foundation in cooperation with the Goethe-Institut and the Ensemble Modern Agenda: Giving sixteen composers the chance to go abroad for one month to experience a foreign mega-city and compose a unique work out of this experience Vehicle of Cultural Diplomacy: Exchange program for composers for the period of one month in one of four mega-cities Target Audience: Composers who are sent abroad but also everyone who is listening to the work of these composers

In collaboration with the German Goethe-Institute and the Ensemble Modern, the Siemens Arts Program started the project ‚Into...‛ as a musical approach to cities. It deals with political and social circumstances as well as the history of the cities and the stories of its people. The four mega-cities chosen are all multi-religious and multicultural, playing a major role in their region. From a scientific point of view they were chosen based on the studies of Prof. Dr. Regina Römhild of the Humboldt-University Berlin about cities and migration. The sixteen composers who participated in the program, tried to grasp the essence of a city by spending one month in either Istanbul, Johannesburg, Dubai or the Pearl River Delta. They used their very own techniques to get in touch with the new environment. They were supported by the local Goethe-Institute to experience the city not just as tourists. Interesting aspects of the cities the composers could get in touch with were visual arts, new and traditional music, sociology, architecture, urban planning, migration, the natural sciences and the performing arts. The work of the composers has been and will be played by the Ensemble Modern in cities like Berlin and Frankfurt but also in the cities of inspiration. The directors of the program knew that it is not possible to get an inside view of a different culture and city in just one month. However, already in such a short but intense time, the composers gained special experiences that are totally different from the places they are from. This subjective experience was incorporated in their works.106 Thanks to the great internationality, the innovative and intelligent concept and especially the long lasting effect - the best compositions were adopted by music festivals and concert halls - ‛Into...‚ was honored by the Culture group of the German economy (Kulturkreis der deutschen Wirtschaft) with the German culture advancement award 2009 (Deutscher Kulturförderpreis 2009).107

105 Charta der Vielfalt, 'Miteinander leben ” voneinaner lernen: Interkulturelle KITA' 106 Into..., 'into… project' (2009) 107 Kulturkreis der deutschen Wirtschaft, ' Die Projekte der Gewinnerunternehmen ' (2009)

The Siemens Art Program was established by the Siemens AG. It worked from 1987 to 2009 on various projects in fine arts, music and cultural history to underline the importance of these sectors for society. Based in Germany it was not only focused on the national but also the international level. Since October 2009 it is part of the Siemens Foundation to concentrate Siemens‘ social engagement in one organization.108

7.5: Lanxess young.euro.classic China Tour

Agent of Cultural Diplomacy: LANXESS AG in cooperation with well-known maestros and an orchestra made up of young, talented musicians from Germany and China Agenda: Playing music with a Chinese-German orchestra Vehicle of Cultural Diplomacy: The music of the orchestra and the people participating in it Target Audience: Young, talented musicians and the audience in China The LANXESS AG is one of Germany‘s largest chemical groups and was founded in 2004 when the Bayer AG spun off some of its operations. Lanxess has factories in over 30 countries and like other companies of this size is concerned by its corporate social responsibility. Therefore, Lanxess is engaging in several social help programs. Additionally, the company supports interesting intercultural projects like ‚Hong Kong Cyle‛ which raises awareness for the issue of clean water. One of the projects Lanxess puts most effort in is also a good example for cultural diplomacy. The ‛Lanxess young.euro.classic China Tour‚ brings talented musicians from China and Germany together to play concerts in China. The initiative was started in 2007 and since then the members of the symphony orchestras work together annually to create programs with well-known maestros. From 2007 to 2009 the foreign ministers of China and Germany, Frank-Walter Steinmeier and Yang Jiechi, have been patrons of the project. Since 2010 present foreign minister of Germany, Guido Westerwelle, continued the patronage. The first tour in 2007 was a great success, with two special guests attending the beginning of the tour: Prime Minister Wen Jiabao of China and Chancellor Angela Merkel of Germany went to the concert to initiate the German-Chinese year 2007 in Beijing. In addition to these prominent guests the orchestra was honored to play as the only German-Chinese cooperation at the Olympic Games 2008 in China. In 2010 the orchestra was led by Gerd Albrecht and they were allowed to perform in the German pavilion of the EXPO in Shanghai. In 2011 the musicians played Vivaldi‘s The Four Seasons and various Chinese solo plays on traditional Chinese instruments under maestro Wolfgang Katschner.

108 Siemens Arts Program, 'Concept' (2009) Siemens

The ‛Lanxess young.euro.classic China Tour‚ is not only a great example of promoting young talented musicians. It also represents a great example of cultural diplomacy as it projects ideas of both countries to a broad audience and the musicians themselves.109

109 Lanxess YEC Orchestra, 'Mehr als ein klassisches Engagement', Lanxess AG

8.0 Application of Cultural Diplomacy in Civil Society

The final section of the report will assess cultural diplomacy in civil society, taken to mean those foundations or programs initiated or currently directed by civil society (NGOs, foundations, philanthropists).

8.1 SPUKU, Sprach- und Kulturmittler (Linguistic and cultural mediators) Agent of Cultural Diplomacy: Refugio Thüringen e.V. and the Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH (Institute for Occupational Training and Social Management) through the initiative SPUKU. Agenda: Educate unemployed immigrants to become linguistic and cultural mediators (Sprach- und Kulturmittler). Vehicle of Cultural Diplomacy: 18-month long training program ending in a qualification as linguistic and cultural mediator. Target Audience: Unemployed immigrants with a good knowledge of German The organization Refugio Thüringen e.V., in cooperation with the non-profit Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH (Insitute for Occupational Training and Social Management) established the project Spuku in 2002. According to these non-governmental organizations (NGOs) the project was long-due in Germany where integration has become an increasingly contentious issue. The idea behind the creation of the program was the difficulties which many immigrants experience when first coming to Germany. Upon arrival, many of these immigrants do not know German and thereby encounter big problems when having to go to the doctor’s, for example. Likewise, understanding and navigating the bureaucratic system for many becomes an insurmountable challenge when faced with offices where the only spoken language is German. 110 Thus, the concept of linguistic and cultural mediators was conceived as a way of dealing with the frequent communication problems that occur when immigrants deal with the German system for the first time. The initiative has many similarities with what is a compulsory service in juridical procedures where an interpreter can be demanded when for instance the accused lacks the ability to express him- or herself efficiently in German.111 However, Spuku distinguishes itself in another way as well. Not only does it serve cultural diplomacy by enhancing the integration of persons with little or no knowledge of German, it also aims to help unemployed migrants to find work. The project achieves this by offering

110 Ausgewählte Orte 2011, 'SPUKU ” Sprach- und Kulturmittler', Deutschland Land der Ideen 111 Europa - Zusammenfassung der EU-Gesetzgebung, 'Das Recht auf Dolmetschleistungen und Übersetzungen in Strafverfahren' (20.01.2011)

the training program as a linguistic and cultural mediator to unemployed individuals with a migration background. The education takes place over the course of 18 months during which participants receive lectures on the basics of intercultural communication, interpretation, history and sociology. Parallel to their studies, the students also do a 3-month internship to prepare them for the labor market.112 While Spuku is mainly financed by the European Social Fund through the Society for the advancement of employment and the economy in the Free State Thuringia113, the project is coordinated by its initiators Refugio Thüringen .V. and the Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH (Institute for Occupational Training and Social Management). Refugio Thüringen is a non-profit organization, founded in 2002 as the „Psychosocial Centre Thüringen‛. The center aims to be a place for counseling traumatized and psychologically distraught refugees. In addition to offering aid to refugees, the organization also endeavors to inform the public about the situation of refugees.114 The Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH (Institute for Occupational Training and Social Management) was established in 1998 and mainly engages with educational and counseling projects.115 The institute puts special emphasis on the constantly changing requirements of a dynamic labor market. Spuku was chosen as an example of cultural diplomacy by civil society in Germany as it was initiated by this sector through the NGOs Refugio Thüringen and the Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH. Content-wise, the project is an excellent illustration of cultural diplomacy as it aims to not only improve communication and understanding across cultures, but also to support the successful integration of individuals with a migration background into the German labor market. Although the initiative is of local scope its potential is national, perhaps even international.

8.2 ZEIT Foundation Ebelin & Gerd Bucerius Agent of cultural diplomacy: ZEIT Foundation, Bucerius Law School, Bucerius Kunst Forum, American Friends of Bucerius. Agenda: Promotion of scholarship and education programs as well as cultural initiatives. Vehicle of Cultural Diplomacy: Summer schools, educational programs, forums, scholarships. Target Audience: Students from all levels of the educational system.

112 Refugio Thüringen e.V., 'Qualifizierung Sprach ”und Kulturmittler für den Bildungs-, Sozial- und Gesundheitsbereich' 113 Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH, 'SPUKU' 114 Refugio Thüringen e.V., 'Wer sind wir?' 115 Institut für Berufsbildung und Sozialmanagement gemeinnützige GmbH, 'Die IBS GmbH'

The ZEIT Foundation Ebelin & Gerd Bucerius was established in 1971 by the founder of the German newspaper Die Zeit, Gerd Bucerius. Today the foundation is one of the most influential organizations in Germany focusing on funding scholarships and educational programs as well as supporting cultural initiatives.116 Much of its work is carried out by the Bucerius Law School (founded in 2000) and the Bucerius Kunst Forum (Forum for the Arts, founded in 2002). As one of the biggest foundations in Germany, the ZEIT Foundation sponsors a wide array of programs, organizations, and initiatives. Among these are several which are of interest from a cultural diplomacy point of view. In the field of Research and Scholarship the Bucerius Ph.D. Scholarship Program in Migration Studies ‚Settling Into Motion‛ is an example of activity which can be considered as cultural diplomacy. The scholarship is awarded to 6 to 8 candidates annually whose research is focused on migration, its reasons and consequences.117 As such, the Ph.D. students are advocates of cultural diplomacy through their contributions towards a field which is of central importance to the debate on cultural diplomacy. Also, within the sector of Arts and Culture, the ZEIT Foundation supports various initiatives which have a cultural diplomatic value. An illustration of this is the foundation’s support of the ‚Museum für Völkerkunde Hamburg‛ (Museum of Ethnology in Hamburg).118 The museum’s event ‚Um Alles in der Welt ” Lessingtage 2012‛119 is an active exercise of what Mark Donfried describes as a ‚new‛ cultural diplomacy120 ” an exchange of information about different cultures, rather than a nation branding effort conducted by countries to promote their cultural image abroad. Finally, there are several examples of cultural diplomacy to be found in the ZEIT foundation’s work within the field of Education and Training. Highlights here are a project implemented in several schools across Germany called ‚More Migrants as Teachers‛121 and the various international symposia organized by the foundation, such as the Symposium on Religion and the Symposium on Asia. 122 As the foundation states: ‚intercultural dialogue is at the centre of the foundation’s international activities.‛123 Since intercultural dialogue lies at the core of cultural diplomacy, the programs are without doubt a great illustration of one form of cultural diplomacy. While sharing its name with the newspaper Die Zeit, the ZEIT Foundation is not financially dependent on its name brother. Initially, the foundation was funded through 100 000 German Marks drawn from Bucerius’ private assets. After Bucerius and his wife passed away, all their private assets were transferred to the foundation, making it one of the most

116 ZEIT-Stiftung, 'Home - English' 117 ZEIT-Stiftung, 'The Bucerius Ph.D. Scholarship Program in Migration Studies' 118 ZEIT-Stiftung, 'Museum für Völkerkunde Hamburg' 119 ZEIT-Stiftung , 'Um Alles in der Welt - Lessingtage 2012' 120 Mark Donfried, 'Searching for a Cultural Diplomacy', lecture given at ICD 05.09.2011 during the conference ‚Cultural Bridges in Germany 121 ZEIT-Stiftung , 'Schülercampus Mehr Migranten werden Lehrer' 122 ZEIT-Stiftung 'Religionssymposium', ZEIT-Stiftung; Bildung und Erziehung, 'How Asia Changes ” the World' 123 ZEIT-Stiftung, 'Portrait of the Foundation'

well-endowed foundations in Germany. In 2009 the foundation’s total assets amounted to € 725 million with an annual budget of € 24 million.124 This budget is administered by an executive board and a board of trustees counting 15 men and one woman.125 For an overview of annual income and expenditure, follow the below link: http://www.zeit-stiftung.de/home/index.php?id=14.

8.3 Musica Altona

Agent of Cultural Diplomacy: The organization Musica Altona in cooperation with local schools, kindergardens, parents‘ school, youth cafés, the Turkish Society of Hamburg, HAUS DREI (House Three), FABRIK (Factory), Aktionskreis "Freundschaft macht Schule" (Lobby group), Bürgerstiftung Hamburg (Citizen association), Helene Müller Daudert Foundation, Foundation Kinderjahre and the Rotary Club Altona. Agenda: Integration and intercultural education through music. Vehicle of Cultural Diplomacy: Musical education. Target audience: Children and youth from the district of Altona. Musica Altona is a local organization in the district of Altona in Hamburg. Founded in 2002, the organization is an important contribution to the enhancement of cultural diplomacy in a district where 13,7 % of the population had a migration background in 2009.126 The necessity of the organization’s work was recognized in 2010 when the Körber Foundation accorded Musica Altona its price ‚Hamburger Tulpe‛. The price aims to reward and encourage initiatives by the civil society which contribute to intercultural understanding. Musica Altona undertakes to further intercultural understanding though musical training with an international outlook.127 In addition to bringing together children from diverse backgrounds to play music together, the organization offers a training program which in itself is international. Thus, not only are music and instruments from the German and European tradition introduced to the students, but the presentation of music from other parts of the world lies at the heart of the educational vision. Students participating in the Musica Altona program benefit from music classes given by teachers from Ecuador, Russia, Columbia, Argentina and Germany.128 Classes can be individual or conducted in groups and are organized by age groups. Low prices ensure that almost anyone can participate in these programs.

124 Matthias Gretzschel, 'Was ist ein gutter Bürger?' (29.04.2011) Hamburger Abendblatt 125 ZEIT-Stiftung 'Vorstand' 126 Statistisches Amt für Hamburg und Schleswig-Holstein, 'AusländerInnen in % der Bevölkerung + Altona + 2009' 127 Hamburger Tulpe 2010, 'Musica Altona e.V.', Körber-Stiftung 128 Ibid.

Musica Altona is an independent organization with a wide array of partners in the local educational sector. Schools and kindergardens provide locations and inform children and their parents about the offer. Financially, the project is sustained mainly by Bürgerstiftung Hamburg and local enterprises (Cello & Co., Stiftung Kinderjahre, Einhorn-Apotheke in Altona, Hamann Kölling Druckvorlagen GmbH, No. 1 Guitar Centre) as well as through the participation fees paid by the students.129 While the musical instructors get a remuneration for their work, the administration of the organization is done on a volunteer basis with 15 people actively engaged in the direction of Musica Altona.130

8.4 The Maecenata Institut Agent of Cultural Diplomacy: The Maecenata Institut in cooperation with Die Stiftung, Zeitschrift für Stiftungs- und Vereinswesen, Deutscher Kulturrat, Phineo gAG, Bündnis für Gemeinnützigkeit, Stiftung Zukunft Berlin. Agenda: ‚To promote knowledge and understanding of civil society and private philanthropy through academic research, documentation and information, and exchanges between academics, public leaders and professionals in the field.‛ Vehicle of Cultural Diplomacy: Database for Research on Civil Society (Forschungsdatenbank Zivilgesellschaftsforschung) as well as several research projects and policy advisory service. Target Audience: The public, politicians and media.

The Maecenata Research Institute was founded in 1997 by Maecenata Management. Although affiliated to the company, Maecenata Management the Institute is a non-profit limited company. As a research institute which provides independent information about civil society the Maecenata Insitute is a part of this sector. At its founding, the mission of the Maecenata Institute was stated to be ‚to promote knowledge and understanding of civil society and private philanthropy through academic research, documentation and information, and exchanges between academics, public leaders and professionals in the field.‛131 Additionally, the first director of the Institute, Dr. Rupert Graf Strachwitz, emphasized the role of the institute as a part of a strong ‚civil society as a third arena of societal activity beside the market and the state.‛132 These goals are achieved through several activities conducted by the Institute. Firstly, the Maecenata Institute administers the Database for Research on Civil Society (Forschungsdatenbank Zivilgesellschaftsforschung) where German foundations have been listed since its establishment in 1989. Also, the Institute has authored more than 300 publications and completed approximately 60 research projects.133 Finally, the insights gained from the

129 Musica Altona, 'Geschichte - Förderer', 130 Hamburger Tulpe 2010, 'Musica Altona e.V.', Körber-Stiftung 131 Maecenata, 'Maecenata Institute' 132 Ibid. 133 Ibid.

academic work are forwarded to the society and politics through policy advice services as well as public information. The Maecenata Research Institute is by contract affiliated with the Humboldt University. Content-wise it also cooperates with several foundations of the civil society (see ‚Agents‛ above). Financially, the Maecenata Institute relies on funds from several charitable foundations (i.e. Bertelsmann Foundation, Mercator Foundation) as well as subsidies from Maecenata Management. However, as the financial report of the institute shows, the financial situation for the organization is rather difficult.134

8.5 Buntkicktgut - Interkulturelle Straßenfußball-Liga München Agent of Cultural Diplomacy: The organization Buntkicktgut in cooperation with the Association for Intercultural exchange and education, Youth office, office for living and migration Munich. Agenda: Football as a means of intercultural exchange and integration as well as preventing delinquency and violent behavior. Vehicle for Cultural Diplomacy: Street football league. Target audience: Children and youth, especially though not exclusively from a disadvantaged background. Buntkicktgut, literally translated ColorfulKicksWell, was initiated in 1997. The project originated in a support institution for asylum seekers and civil war refugees in the districts Sendling and Neuhausen in Munich. While the project initially counted ten soccer teams from eight different institutions, the feed-back for the initiative was so positive that the idea of a street soccer league was expanded to include the whole city. As of 2010, the project consisted of more than 100 participating teams and 1000 players. These players are between eight and twenty-one years old and originate from more than 80 different countries.135 Buntkicktgut was founded on the idea that sports, in this case soccer, can be an instrument for intercultural exchange and integration by offering children and youth a meaningful after-school activity and thereby prevent delinquency and violence. The project can pride itself to be a front-runner of the now very popular UN program ‚Sport for Development and Peace‛ which gained momentum in 2001.136 As co-founder and project director Rüdiger Heid puts it: ‚Football was the only thing they knew (…) especially where there is

134 Maecenata Institute, 'Jahresbericht 2010' (2010), p. 36 135 Buntkicktgut, 'Historie: Nur wer die Wurzeln kennt versteht die Blüte der Gegenwart', 136 United Nations Sport for Development and Peace, 'Why sport?', United Nations

no common language, football can be a medium for communication‛.137 Through playing together the children and teenagers learn how to work in a team. Furthermore, values like fairness, tolerance and participation are emphasized by the team leaders. According to Buntkicktgut, inducing the above values through sports is ideal as rules are more easily followed and sanctioned on the football field.138 Financially, Buntkicktgut is supported by the public sector (the offices for education, sports, health, environment, labour and economy; the department for youth, the advisory board for migrants, Streetwork), private sector (Kreisjugendring (local youth organisation), AWO (Organisation for the Welfare of Labourers), Caritas Sozialdienste (Caritas Social Services), Kinder- und Mutterschutz e.V. (Children’s and Mothers’ Protection), Verein für Sozialarbeit e.V.(Association for social work), and fees paid by the participating teams. The emphasis on intercultural exchange and building common values is why Buntkicktgut has been presented as an example of cultural diplomacy in German civil society. As a project that aims to build cultural bridges between children and youth from different cultures it is without doubt an important contributor to increased intercultural understanding as can be deduced from its many awards. So far buntkicktgut has been awarded the 1st place in ‚Münchner Lichtblicke‛ (2000)139 and the integration competition ‚Auf Worte folgen Taten‛ (Words followed by Action)140 as well as the 2nd place in the German Football Association’s (DFB) Integration Prize.141

137 buntkicktgut , 'Die Idee: Ein Ball ” zur interkulturellen Begegnung und Integration' 138 Ibid. 139 Ausländerbeirat der Landeshauptstadt München, 'Preisträger Förderpreis „Münchner Lichtblicke‚' 140 BertelsmannStiftung, 'Auf Worte folgen Taten' (31.01.2002) 141 Deutscher Fussball-Bund, 'Integration ist Teilhabe'

9.0 Analysis and Conclusion The goal of this report was stated to be ‚to research whether cultural diplomacy is exercised in Germany although the term is not a part of German vocabulary, and to outline which organizations engage in activities that could be defined as cultural diplomacy.‛ The report also aimed ‚to promote the concept of cultural diplomacy in the academic and popular discourse through its findings and insights.‛ Through an examination of the historical background for cultural diplomacy in Germany, as well as current examples the report has found that there indeed are many organizations and programs in present-day Germany which engage in cultural diplomacy as defined by this report, even though these efforts are not labeled as cultural diplomacy initiatives. Many organizations and programs do significantly contribute to ‚the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture‛ as the examples of intercultural businesses, academic exchange programs and multicultural football leagues demonstrate. Through the above assessments the report has also discovered many interesting trends which will be analyzed in the following. This section will start with a summary of the historical development of cultural diplomacy in Germany where we will give one possible explanation for why the term ‚cultural diplomacy‛ no longer is used publicly in Germany. We will then go on to assess whether the projects which can be counted as cultural diplomacy in Germany have changed their character over time. This report has shown that cultural diplomacy in the form of nation branding was an important part of German foreign policy before the Second World War. As the examples of the Deutsche Akademie, Deutscher Akademischer Austauschdienst and the Olympic Games of 1936 all demonstrate: Cultural diplomacy was consciously conducted by the public sector through the traditional pillars of language education, academic exchange, and the promotion of German sports and arts abroad. However, the misuse of these promotional structures under Hitler, lead to an abandonment of cultural diplomacy as aggressively pursued by the German government. As Benjamin Hanna of the department for culture and communication at the German Foreign Office argues, the public cultural diplomacy in Germany is no longer directly done by the government.142 Instead the government promotes the knowledge of German language, culture and interests abroad through independent institutions which are predominantly financed by the state. Examples of such institutions are the Goethe-Institute and the Deutscher Akademischer Austauschdienst (German Academic Exchange Service). This rather unique structure, which was conceived of after the Second World War has stood its ground until today and indeed seems to expand through new initiatives such as ‚weltwärts‛ and ‚kulturweit‛. If cultural diplomacy stands strong, yet unnamed, in the public sector, another trend has emerged over the last few years which sees initiatives from the private sector and civil society grow in scope and importance. The private sector is no stranger to societal initiatives

142 Benjamin Hanna, 'Culture and Communication in German Foreign Policy' (06.09.2011), German

Foreign Office

as the growing awareness of corporate social responsibility (CSR) shows. Yet, in the past CSR was often focused on employee welfare. The examples chosen for this report suggest that although this is still an important part of CSR, new fields such as environmental awareness and intercultural understanding and competencies are increasingly important. Thus, big firms such as Siemens and LANXESS sponsor programs which aim to further intercultural exchange. However, also on the level of medium and small business we can see that issues like integration gain ground. Through enterprises like ‚Weltküche‛ we even see how businesses are founded on the idea that they should serve as a tool for integration and cultural diplomacy. This development can possibly be seen in relation with the surge in popularity of micro-credit and help-for-self-help initiatives over the last ten years. Finally, as already touched upon, an entirely new pillar of cultural diplomacy agents is emerging: Cultural diplomacy as conducted by civil society. While individuals and their exchange always has been crucial for cultural diplomacy, and thereby does not represent anything new, the rise of cultural diplomacy within civil society has to be seen in relation to the rise of the concept of ‚civil society‛ in academic and popular discourse in general. The focus here is on the necessity of organized civil initiatives as a counter-weight to non-democratic international structures. As the foundation of both the Institute for Cultural Diplomacy and the Maecenata Institute illustrates, organizations aiming to provide a third voice to the debate increase. Furthermore, the cultural diplomacy directed by NGOs like buntkicktgut has recently received a boost through increased public recognition, in this case the establishment of a UN program of ‚Sports for Development and Peace‛. In sum, what this report shows, is that cultural diplomacy is conducted by a wide and increasing host of agents in Germany spanning every theme and size. However, the term as such has not yet been able to enter the academic or popular language in a significant manner. This is mainly connected to the negative historical connotations ‚German public diplomacy‛ evokes in people.

10.0 B

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Country Profiles - Hungary

1. Introduction

Cultural diplomacy has a very long history, approximately originating when elites traveled to

explore other parts of the world and, in essence, culturally represented their native

countries in foreign lands. In more recent times the idea of cultural diplomacy has

significantly changed. Now across the globe organizations as well as individuals in the

public, private and civil sectors are seeking to foster better understanding through the

growing field of cultural diplomacy. Cultural diplomacy is a form of soft power, and

numerous sectors are employing it as a new form of negotiating and a means of achieving

better political relations with countries all around the world. Now even smaller countries are

organizing exchanges or providing people with opportunities to interact through cultural

diplomacy.

Taking the example of Hungary, it is a very small nation within Europe. There are not many

people in the world (only fifteen million) who speak the Hungarian language; therefore

Hungary only reaches a small circle of people. Hungary as a whole needs to use more

efforts culturally since it is not a huge economic power, but through culture has a lot to

offer. One can see that cultural diplomacy in Hungary is also a more recent concept. For the

first time ever the government has dedicated a whole section to coming up with a plan to

develop a cultural diplomacy strategy. Although this is a very current development, there

have been numerous organizations, foundation, businesses, and associations that have

been active in the field of cultural diplomacy either consciously or unconsciously. These

active participants of cultural diplomacy are trying to spread Hungarian culture around the

world, by first starting in Hungary and then expanding. The next step of expansion is the

Hungarians living outside of the present borders of Hungary and then to those interested in

Hungarian culture. Often these groups

are establishing contact with other similar groups in other countries, and through a

common passion are fostering relations with each other. Since this has been going on, the

Hungarian government has decided to take a step towards implementing cultural

diplomacy through governmental initiatives in other fields, like politics, and economics.

Cultural diplomacy in Hungary is taking a new turn, from initially only being focused on the

Hungarians living outside of Hungary, to now changing to having a more international

perspective in order to establish relations with other countries, while maintaining the

present ones as well. Throughout the course of this paper, the methodology will be

explained with definitions about cultural diplomacy and the various sectors. There will be an

analysis of three major trends in cultural diplomacy and their historical background,

followed by the presentation and analysis of the examples of cultural diplomacy within the

three sectors. The final section will deal with looking at a concluding analysis of cultural

Diplomacy in Hungary and Hungary’s future goals in this field.

2. Methodology

This research is based on a specific country case study along with the definition of cultural

diplomacy. The case study is cultural diplomacy in Hungary within different aspects of

society. The definition of cultural diplomacy as presented by the Institute for Cultural

Diplomacy is, ‚the exchange of ideas, information, values, systems, traditions, beliefs, and

other aspects of culture, with the intention of fostering mutual understanding143‛. This

definition is originally by Milton C. Cummings, a prominent political scientist from the

United States. The definition is ideal to use due to its nature of being very general which fits

wells with the numerous definitions of what culture and what diplomacy are, and how they

fit together. Evidently there are numerous definitions of cultural diplomacy, since the term

has many different forms and applications, therefore to use a more general one is best in

order to be able to include the varied applications of cultural diplomacy in Hungary.

Using specific examples within Hungarian society, it will be demonstrated as to how the

examples fit into the definition of cultural diplomacy mentioned above. More specifically,

taking the definition and demonstrating how it fits into the cultural diplomacy conducted in

connection with Hungary within the governmental, public, private, and civil sectors. The

first section deals with the public sector in general. These areas are usually funded by the

government in order to be able to achieve their goals. Usually these organizations have a

clear goal in mind to promote actively their national culture in various forms144. The private

sector includes those actors which are profit generators, yet are fostering cultural

diplomacy, whether it is in connection to their specific business or not. Usually, investment

in this area involves private entrepreneurs using their profits to help provide the forum for

cultural exchange, without necessarily forcing their product on others. Civil society includes

those actors which are citizen initiated, loosely led, and non-profit. Many civil societies

operate upon networked connections in order to bring about cultural exchange145.

Although these three categories will be used throughout the paper, some of examples

mentioned can fit into more than one group. Therefore classification entirely into one sole

category also poses certain problems, but the examples provided tend to fall within the

categories provided. With these three different categories, one is able to see the different

aspects, motivations, and sections of cultural diplomacy.

The following involves an in-depth analysis of each of the examples provided, such as how

they are representative of cultural diplomacy and further investigating their agents,

143 Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011.

http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy.

144 Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011. http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy. 145 Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011. http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy.

agendas, vehicles or method of action, and target audience. Using the idea of an agent is

necessary in order to see who is initiating the cultural diplomacy in question. Next, taking

the agenda of what this actor intends to attain, and what goals they have for the programs

conducted. Further, exploring the vehicle of cultural diplomacy means concretely looking at

what the actors are doing, or how this particular cultural diplomacy is being conducted. The

last aspect is looking at the intended audience, or what group the actor is using to get

through to, in a cultural manner. Who are the ideal candidates where this type of cultural

exchange would provide the more effective and sustainable results. Within these four

characteristics, one is able to clearly see how cultural diplomacy works in the specific case

studies and how this applies to Hungary.

3. Historical Trends of Cultural Diplomacy

First Trend

The current situation in Hungarian cultural diplomacy is mainly the efforts are going

towards the Hungarian minorities living the surrounding countries around Hungary. In order

to maintain close cultural ties, there are many academic, cultural, sporting, and other types

of exchanges taking place. These areas include, present day Serbia with its northern

province of Vojvodina, Croatia, Slovenia, Slovakia, the Czech Republic, Ukraine, and

Romania with its region of Transylvania. The priority at first is to preserve Hungarian culture

abroad in the surrounding countries.

Historically Central and Eastern Europe have always been more heterogeneous in terms of

population mixing than Western Europe. Therefore as a region in Central Europe, Hungary

has always been populated with mainly Hungarians but also other ethnicities have lived

together. From the time when the first Hungarian (Magyar) tribes migrated to Europe from

Asia around 500-800 CE146, they were in the oldest sense of word, cultural diplomats, since

they were coming to Europe from afar and bringing and representing their own culture in

the hopes of creating a new life in the new surroundings. From this time ‘Hungarian-ness’

flourished in Europe, contributing to being one of the oldest languages in Europe. In the

year 1000 Hungary became a Christian nation under King Stephen I147. From that time, until

the formation of the Austria Empire, Hungary remained mainly Hungarian and often served

as a tough barrier against Ottoman rule. Even throughout the Austrian Empire, under the

Hapsburg rule, there were numerous ethnicities living together. This trend continued until

Hungary was officially acknowledged as the largest majority living within the Austrian

Empire, which became the Austro-Hungarian Empire. From this historic tie, Hungary often

relied on Germany and Austria for the translation and circulation of Hungarian culture

primarily through literature throughout the rest of Europe148. After the First World War,

Hungary was subjected to conditions of the Treaty of Trianon in 1920149, which separated

Hungary from two thirds of its territory at the time. Consequently this is the reason behind

the very strong Hungarian minority presence in all of the countries surrounding Hungary.

After the Second World War, Hungary was overtaken by communist rule. In 1956, the

Hungarian revolution took place which granted Hungarians freedom, only to be crushed

brutally by the military force of the former Soviet Union150. Since 1989, there has been a

regime change in Hungary, where the official communist rule was broken and democracy

was finally able to sprout151. Although there have been trying times, Hungary still continues

146 Molnár, xii. 147 Molnár, xii.

148 Sáringer, 4. 149 Molnár, xv. 150 Molnár, xvii. 151 Molnár, xviii.

to strive for a corruption-free democracy. With the coming of democracy numerous cultural

organizations that had been previously banned also began to shoot up. Before the regime

change Hungarian cultural diplomacy was mainly focused on Hungarians living outside the

present borders of Hungary. More recently, if one were to use Cumming’s definition, in the

most modern sense of the word, cultural diplomacy in Hungary on an international scale

arguably only started with the fall of the communist regime.

Always when there is talk of Hungarian culture, and more specifically Hungarian cultural

diplomacy, there is special attention given to Hungarians not living in Hungary. These

Hungarians can further be divided into two distinct categories of those Hungarians in the

countries which are presently bordering Hungary, and Hungarians in the countries around

the world. Generally the focus of cultural diplomacy is usually on those Hungarians living in

the surrounding countries around Hungary.

Second Trend

Hungary’s accession into the European Union has been seen as another potential market

for Hungarian cultural diplomacy by expanding Hungarian culture throughout Europe.

Although Hungary has had a long history within Europe, the strong ties developed with

certain countries have only been present since the last two hundred years. More recently,

Hungary’s accession to the EU took place in 2004, along with nine other Central and

Eastern European countries. Since then Hungary has also joined the Schengen area for the

free movement of Europeans within Europe. These two accessions combined have hugely

opened the doors for Hungary, as well as the other member countries of the European

Union to more cultural diplomacy and cultural connections. Also, Hungary’s reliance on the

German speaking world has been overtaken by the growing prominence of the English

language; therefore Hungary needs to focus more on the Anglo-Saxon speaking world152.

Since these doors have opened, Hungary can work on renewing its image, and the renewal

of its culture within the European Union. More specifically there are seven main strategic

points where Hungarian cultural diplomacy has had more of an opportunity since joining

the EU. The first is the expansion of the cultural program which encourages the

development of small historical towns within Hungary153. The second step includes having

more cultural activities for children and in general during childhood, in order to increase the

awareness of culture from a young age154. The third step stresses a need to establish new

cultural centres and to make them more accessible to the general public155. The fourth step

includes setting up programs to preserve culture within Hungary156. The fifth step is to make

152 Sáringer, 4. 153 Sáringer, 2. 154 Sáringer, 2. 155 Sáringer, 2. 156 Sáringer, 2.

historical culture more accessible and known in society157. The sixth step is to make known

the abilities of Hungary within the country and abroad158. The seventh step is having a

balance relationship of culture being both current and in the past, putting together the

classical with the new159. The last strategic step is to also look upon Hungarian culture as a

marketable product with an emphasis on having a competitive influence160. With these

goals and tactics in mind, Hungary can again renew its culture throughout Europe and

subsequently around the world.

Moreover, in 2006, a professor from the Corvinus University of Budapest named Bozóki

András wrote in depth about Hungarian cultural diplomacy, which became quite popular

throughout Hungary. This document is called A szabadság kultúrája Magyar kulturális

stratégia 2006 ” 2020 (The Culture of Freedom, Hungarian Cultural Strategy 2006-2020).

This document outlines the strategies, priorities, and actions of Hungarian cultural

diplomacy. It strongly advocates the need for the government and all sectors of society to

keep up with the changing situation of Hungary’s culture161, as well as stressing equal

opportunity and access to culture for everyone, regardless of social standing162. What is also

important to add to these priorities is the fact of not only sharing culture but going one

step further and creating partnerships, common projects, and cultural organisations163.

Futhermore, discussing and further elaborating on culture in a positive context, is what is

needed in order to sustain long term cultural diplomacy with Hungary’s partners.

Third Trend

For the future, it would be wise for Hungary to focus on cultural diplomacy on the

international stage. Hungary, for obvious reasons, is focused on European politics, but one

of the oppositional stances in current Hungarian politics is focusing instead Hungary’s

efforts more towards the East, such as towards Russia and China. Therefore this could be a

potential market for Hungarian cultural diplomacy in establishing ties with countries further

East. The radical right political party within Hungary called Jobbik ” The Movement for a

Better Hungary is extremely adamant about these incentives to orient Hungary more

towards the East. The party are huge supporters of the dual-citizenship law for granting

Hungarians outside the present borders of Hungary, Hungarian citizenship. Specifically

dealing with the case of citizenship, as of January 1, 2011, anyone that can retrace their

routes to Hungarian ancestry and that can demonstrate knowledge of the Hungarian

157 Sáringer, 2. 158 Sáringer, 2. 159 Sáringer, 2. 160 Sáringer, 2. 161 Bozóki, 6. 162 Bozóki, 5. 163 Sáringer, 3.

language has the right to apply for Hungarian citizenship164. Although this is a political

move, it has cultural origins since, those now given the opportunity to apply for citizenship

to those that are also Hungarian and hence Hungarian culturally. This is a very significant

move because of the fact of extending citizenship to many people is viewed as historically

symbolic, therefore cultural diplomacy eases those relations with Hungarians all over the

world.

Moreover, according to Harsányi Lászlo, a professor of cultural politics at the Budapest

Corvinus University, currently in Hungary there is a divide between two different

perceptions of cultural diplomacy which have not been decided upon as to which area to

pursue. These two ideas range from using cultural diplomacy as a tactic of cultural politics,

or on the other hand, taking cultural diplomacy as a tactic in foreign relations and using it

as a strategy in decision making. Therefore, one of the challenges of Hungarian cultural

diplomacy in the future is to reconcile these two diverse aspects and be able to use them

together.

The progress for the expansion of cultural diplomacy programs has been successful with the

last couple of years. In 2006 there have been Hungarian cultural offices opened in Beijing,

Shanghai, and Tel-Aviv. In 2007, the cultural sector opened offices in Belgrade and in

Zagreb. In 2009, there was an expansion to Madrid, and Abu Dhabi. Together with opening

these offices, was the strengthening of the relationship between the Spanish, Hungarian,

and Belgian Council of the European Union rotating presidency. All of these cultural

expansions combined, helped open up the doors to have cultural offices in other countries

and in other cities.

164 Peter, Laurence. "New Hungary citizenship law fuels passport demand." BBC News, January 4, 2011.

http://www.bbc.co.uk/news/world-europe-12114289 (accessed October 5, 2011).

4. Examples of Hungarian Cultural Diplomacy

In this following section, the examples of Hungarian cultural diplomacy will be

demonstrated and analysed, within the three sectors of public, private, and civil society.

Cultural Diplomacy in the Public Sector

Hungarian Cultural Institutions: ie. Collegium Hungaricum Berlin Agent: The Ministry for Education and Culture in Hungary is the active agent and supporter

of Collegium Hungaricum. The original idea for this particular cultural house came from

after the Second World War, when Hungarian soldiers were looking for cultural institutions

in foreign countries because of a lack of their home culture. Thus 1923, in the three

locations of Rome, Vienna and Berlin, the Hungarian government opened the first ever

Hungarian offices abroad165. During the Second World War, these houses were destroyed

and were only reopened again in 1973166. All of these Hungarian cultural institutions

including the Collegium Hungaricum are part of long-term cultural projects by the

Hungarian government.

Agenda: To provide a place for Hungarian culture to flourish in Berlin through cultural

events organized by the Collegium Hungaricum, occasionally in collaboration with another

German organization is the main goal. Historically, Collegium Hungaricum was a meeting

place to those Eastern European thinkers, and artists that did not share the same ideology

as the government in power at the time in their native countries. This grew to become very

popular therefore at the time in the early 1970s, it was an indispensable part of Berlin

cultural life167. Since 2000, the goal of the Collegium Hungaricum is to provide a diverse

and modern cultural experience on the Berlin cultural front, through presenting Hungary as

European, building up and developing relations within the cultural sphere with other

organizations, working with current and topical issues related to Hungarian and German

culture168. This institution is seen as successful because of a very diverse and vibrant

programs being offered even for the month of October.

165 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed

September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.

166 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed

September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.

167 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1. 168 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.

Vehicle of Cultural Diplomacy: The Collegium Hungaricum in Berlin offers a wide range of

cultural interaction possibilities. These come in the forms of: artistic and photography

exhibitions, concerts, literature events, organizing debates about current topics of interest,

book presentations, and film showings. As well as language courses for those wishing to

pursue Hungarian studies. This is cultural diplomacy in its most basic sense since it is

providing the framework for cultural exchange to take place in the hopes of a better

common understanding of the other and shared tied between German and Hungarian

cultures.

Target Audience: The target audience is very diverse but, Collegium Hungaricum especially

caters to those with a deep interest in the Hungarian cultural heritage. Since the example

being used is the office in Berlin, it is evident that the target audience is Germans who are

interested in getting to know Hungarian culture and potentially pursue Hungarian language

studies. As well as those Hungarian artists living in Berlin or Germany, to provide them with

a location to exhibit their work.

Locations: Vienna, Austria; Berlin, Germany; Brussels, Belgium; Bucharest, Romania; Delhi,

India; Helsinki, Finland; Cairo, Egypt; London, United Kingdom; Moscow, Russia; New York,

United States; Paris, France; Bratislava, Slovakia; Prague, Czech Republic; Rome, Italy;

Stuttgart, Germany; Sofia, Bulgaria; Tallinn, Estonia; and Warsaw, Poland.

Hungarian Days in Groningen

Agent: Embassy of the Republic of Hungary in The Hague, the Netherlands. This was a one-

time project, but with hopes of being repeated in other areas.

Agenda: The main goal of arranging this particular gathering by the Hungarian embassy

was to bring together small and medium business owners from the northern part of the

Netherlands (Groningen-Friesland-Drenthe region), and from southern Hungary in order to

help foster potential new business relations. More specifically to bring together these two

regions for cooperation in research and development, in innovation, and in supply chain

partnering169. Through the presentation of the southern Hungarian region, the Hungarian

169 Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and

Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011.

government hoped to increase Dutch investment in the region. Although the main goal of

this event was economics and business oriented, it was also surrounded by numerous

cultural events in order to allow the northern Dutch to get to know Hungary in more depth.

This is an effective way to conduct cultural diplomacy, by bringing two aspects together as

professor Harsányi Lászlo suggested. Taking culture and bringing it into foreign relations

and business to tie everything together.

Vehicle of Cultural Diplomacy: The vehicle through which the participants were interacting

was through meetings and conferences of all sorts, named B2B Match Making Event, such

as the Co-operating in Technology and Innovation and Business Development Region meets

Region Seminar. In addition, there were also one on one meetings set up between future

business partners from the Netherlands and from Hungary. The Dutch also discussed the

current trends of the Dutch economy, and the potential business opportunities for Dutch

businesses in Central and Eastern European countries170. From the Hungarian side, there

was a similar situation describing the investment opportunities, and introducing knowledge-

centres171. As

well, there were successful business encounters of the past presented by both sides. The

cultural aspects of the program included the presentation of two Hungarian artists known

as BOLDI and Pál Breznay through an exhibition of their work, Hungarian tourist

information day, a Hungarian day conference with a key-note lecture by Mr. György

Schöpflin, Member of the European and the screening of ‚Cloud over the Ganges‛ a movie

directed by Mr. Gábor Dettre, followed by a discussion over Hungarian wine172. By combing

both the business and the cultural aspects, the Hungarian government has more of a

Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510-

AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf.

170 Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011. Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510-AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf. 171 Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011. Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510-AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf. 172 Embassy of the Republic of Hungary in The Hague, "Hungarian programmes in Groningen from 26 May 2011." Last modified May 27, 2011. Accessed October 4, 2011. http://www.mfa.gov.hu/kulkepviselet/NL/en/upcoming_events/110526GroningenDays.htm.

chance to succeed in creating business endeavours because of creating a familiarity with

the country as a whole.

Target Audience: For the small and medium sized businesses, the main target audiences

were those involved in the following industries: pharmaceutical, medical devices,

biotechnological, agricultural/food, chemical and logistics. Therefore any business owner

that is looking to export and expand within Europe has the opportunity to get to know

others in Hungary working within the same field. Since this project took place recently, the

results as of the short term are not know yet, but in terms of participation of the business

owners, it was a high turn out with over seventy Dutch business owners and twelve

Hungarian business owners173. Therefore it can be seen that for an initial project, it was a

success as the high number of participants had many opportunities to get to know the

other regions in terms of potential for investment. Through the cultural sections of the

program, the participants were able to see the appeals of Hungarian culture.

Balassi Bálint Intézet (Balassi Institute)

Agent: Originally the idea for the Balassi Institute was given by the Hungarian Minister for

Education. Along with the support of the Hungarian Language Institute, and the

International Hungarology Centre. It was originally formed in January 1, 2002174. Based on

this information it was initiated by the public sector, but it has ties to certain non-

governmental organizations such as the two mentioned above.

Agenda: The main aims include the promotion and teaching of the Hungarian language in

Hungary to Hungarians living abroad and no-Hungarians studying in Hungary. Additionally,

it was also formed to respond to the growing demands of language knowledge within the

present globalized world. As there are many Goethe Institutes and French Institutes all over

the world, including in Hungary, the Minister of Education had suggested creating a similar

173 Embassy of the Republic of Hungary in The Hague, "Hungarian Days in Groningen: “Region meets

Region” investment seminar and b2b event." Accessed October 4, 2011.

http://www.mfa.gov.hu/kulkepviselet/NL/en/news_events/110526-Groningen-seminar-b2b

event.htm?printable=true.

174 Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.

http://www.bbi.hu/index.php?id=99&fid=110.

institution to compete with other similar European institutions175. Moreover, as a historical

result there are presently about five million Hungarians living outside of Hungary today.

Aware that in most cases, the national government does not support the linguistic heritage

of their own minorities in financial or educational means, the Balassi Institute was created in

order to allow Hungarian children the opportunity to learn the Hungarian language. This

type of cultural exchange which gives Hungarians living abroad the opportunity to learn

more about their culture is very useful since the participants are able to take the learned

skills and apply them when getting to know another culture.

Vehicle of Cultural Diplomacy: The main vehicle of cultural diplomacy of the Balassi Institute

is academic exchange, and language courses. The functions that they serve, specifically

within these academic exchanges include:

- The cultivation of the Hungarian language and education of Hungarians living outside of Hungary,

- Offers extended education courses, linguistic and terminological sessions for teachers of the Hungarian language,

- Organization of Hungarian studies programs, and the research of the Hungarian language abroad, with the cooperation of other international institutions.

- Preparatory courses and tests for state exams in Hungarian, - Establishing connections and networks between Hungarian foreign institutes, - Researching and organising text book publications dealing with the instruction of

the Hungarian language - Offers a scholarship fund and financial assistance for Hungarian studies, - Creates a database of communication for all those with teachers of the Hungarian

language, - Organization of Hungarian cultural events like exhibitions, conferences176 - All of these tasks and goals listed are done with the overall goal of getting the

Hungarian culture out into the rest of the world and making it more popular as a choice of study and making the Hungarian language and culture widely known around the world.

Target Audience: For the Balassi Institute, the main vehicle for transmitting cultural

diplomacy is academic exchange; therefore the main target audience is students of

Hungarian studies or students in general who wish to pursue linguistic studies. In addition,

the Balassi Institute also wishes to facilitate interaction between the teachers of the

Hungarian language, and other institutions who are involved in teaching Hungarian. Also,

the Balassi Institute is expanding to open new networks and centres in places outside of

175 Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.

http://www.bbi.hu/index.php?id=99&fid=110.

176 Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.

http://www.bbi.hu/index.php?id=99&fid=110.

Hungary. These include Osijek, Croatia (Eszék) in 2007, Kaniza, Serbia (Magyarkanizsa) in

2009, Krakow, Poland in 2009, and Gothenburg, Sweden in 2009177. This expansion is

following through with the desire to move Hungarian political and cultural efforts more

towards Eastern Europe and the Balkans, and eventually moving on to the Nordic countries.

These efforts to expand the institute to different countries also strengthens the knowledge

of Hungarian language; therefore the target audience is constantly expanding, to include

more and more international students.

Cultural Diplomacy in the Private Sector

The examples in this section were chosen to showcase varied examples of Hungarian

cultural diplomacy in certain aspects that may not be immediately apparent.

Rubik’s Cube

Agent: The Rubik’s Cube private business is implementing cultural diplomacy, not directly,

but instead they have created a forum for people of different nationalities to interact,

through many competitions and international events held worldwide. The common interest

is their thorough fascination with the Rubik’s Cube and people get together in order to

discuss and race to become the fastest puzzle solver. How the Rubik’s Cube connects to

Hungary is that it was invented by a Hungarian named Ernő Rubik in 1974178. In 1982 the

first International Rubik’s Cube Championships were held in Budapest179. This

tradition continues today. Therefore this is an aspect of Hungarian culture that has spread

throughout the world and it is bringing people together.

Agenda: The main aims of this international business is to bring people together through

their products and organize events held all around the world. In addition, in 1990, there

was the establishment of the International Rubik’s Foundation which encourages and

177 Sáringer, 8. 178 Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011.

http://www.rubiks.com/world/history.php.

179 Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011. http://www.rubiks.com/world/history.php.

financially supports young and upcoming designers and engineers180. Since this is a private

owned business, one cannot leave out the agenda of generating revenue and increasing

sales. This was also increased by the invention of a new product called Rubik’s 360, a

similar concept, except with colourful balls181.

Vehicle of Cultural Diplomacy: The Rubik’s Cube itself is the vehicle of cultural diplomacy. It

is bringing people together who share a similar fascination with this little puzzle, therefore

all of the organization championships and competitions are also a part of the vehicle in

order to spread cultural diplomacy. More specifically, there is the International Rubik’s Cube

Championships, and other events organized by the World Cube Association (WCA), which

in turn provides the forum for people to interact. Through these vehicles it is also a way for

Hungary to present to the world their own invention and through competitions a view of

Hungary to be experienced with an international group of people. Rubik himself stated that

the cube is more of a piece of art182, which directly relates to culture since it is spreading

worldwide.

Target Audience: The target audience is very diverse. According to Rubik himself, the real

fascination with the toy is that parents are going back to the original, simple, and orderly

toys of their own childhoods183. He also states, that with all of the chaos, and instability in

the world presently, the Rubik’s Cube is something that parents and the elderly can teach

their children from a time when there was more order in the world184. Thus parents and

children equally are very much targeted through the company’s marketing schemes since it

is reminiscent of the past. The success rate can be measured by the decision to re-launch

the product very recently185.

180 Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011. http://www.rubiks.com/world/history.php. 181 Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009.

http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011).

182 Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009. http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 183 Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009. http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 184 Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009. http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 185 Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009. http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011).

International Visegrad Fund

Agent: This organisation was created June 9th, 2000 in Štiřín in the Czech Republic, in order

to promote closer cross border collaboration between the four member countries of Czech

Republic, Poland, Slovakia, and Hungary186. The agent in terms of finances is from the

governments of the four countries represented. Although the funding does come from the

governments, they are contributing large sums of money but what this international

organization decides to do with the money is completely undetermined by the government

of any country. Since this collaboration is among four countries, it allows them to have a

larger goal in mind of supporting culture, regardless of which country it is originating from.

The annual budget for the year of 2010 was six million Euros187. This Fund is classified in the

private sector because of the huge sums of money used independently to support culture.

The Visegrad Group, of which the International Visegrad Fund is a part of, is also an

organization set up for closer collaboration in European affairs between the four countries.

Agenda: The agenda of the Visegrad Fund includes the support for collaborative projects

between the member countries. These common projects take place in the fields of ‚cul-

tural, scientific, research and educational projects, youth exchanges, promotion of tourism

and cross-border cooperation188‛. Therefore it is very subjective which is positive, since this

can include more opportunities to work together in a variety of fields. Although the funding

for the Visegrad Fund is coming from the respective governments, the Fund operates with

its own board of executives, and an administrative body.

Vehicle of Cultural Diplomacy: The main vehicle for cultural diplomacy is providing the

financial support in order to be able to sponsor and hold culturally collaborative events

between the four member countries. These events can range from a variety of fields.

Target Audience: The most common recipients of the scholarships, grants, and financial aid

are non-governmental organizations, municipalities, local governments, universities,

schools, public institutions, and individual citizens. Therefore the most common forms of

support come to those with specific projects of bringing these four countries together in

cooperative events. In addition some of the scholarships offered by the Fund are also

186 Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011.

http://visegradfund.org/about/basic-facts/.

187 Visegrad Fund, "Budget - 2010 Budget." Last modified 2011. Accessed September 27, 2011.

http://visegradfund.org/about/budget/.

188 Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011. http://visegradfund.org/about/basic-facts/.

accessible to those in the Balkans and former Soviet countries, thus there are occasional

times when the financial support even goes beyond the four main countries. Since the

Visegrad Fund’s foundation, there were over four thousand different recipients of this

grant, either as an organization or as an individual, and it is increasing every year189.

Cultural Diplomacy in Civil Society

The examples of cultural diplomacy within the civil sector were selected based on their

varied vehicles of cultural diplomacy. Within each of the fields selected (folk dance,

pedagogy, and theatre), they all have the same goal of reaching out to others in their field

in order to be able to culturally interact and thus contribute to an understanding of the

other. All of the selected examples are involved in past, present, and continuous projects,

which is very sustainable to ensuring future cultural exchanges within the different fields.

Deszk Község Népmȕvészetéért Alapítvány (Deszk District Folk Art)

Agent: The agent is the Deszk Község Népmȕvészetéért Foundation, which was created

December 25th, 2005190.

Agenda: The goal of the creation of this foundation was to aid folk art traditions and

values, specifically in the southern region of Hungary. These traditions, according to the

foundation need to be kept alive, while putting emphasis on the desire to pass on these

traditions to the next generation. Specifically within this foundation, there is a desire to

preserve folk dancing and folk dancing organizations, in order to spread dancing culture

even further. In addition, the goals of the foundation include working towards the

continuation of dance halls for children and for adults, the organization of intensive dance

lessons, organizing excursions to significant villages, and keeping cultural ties with

Hungarians living outside of Hungary and their respective associations191.

Vehicle of Cultural Diplomacy: The vehicle through which this foundation reaches out to

others is by performing the traditional dances of Hungary’s past and ensuring that this

tradition is kept alive. Along with establishing sustainable relations with other types of folk

dance groups all around the region and outside of Hungary, the foundation also organizes

certain types of professional training for those that would like to pursue dance as an art

type. At the Deszk Község Népmȕvészetéért Foundation, there are also numerous teachers

that come from all over the world, in order to teach new folk dances and dancing

189 Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011. http://visegradfund.org/about/basic-facts/. 190 Deszk Község Népmȕvészetéért Alapítvány , " „ MÚLT NÉLKÜL NINCS JÖVŐ " (Dr. Holló Ferenc József) ."

Last modified February 15, 2010. Accessed October 4, 2011.

http://www.deszkineptanc.hu/index.php?page=kronika.

191 Deszk Község Népmȕvészetéért Alapítvány , "Alapitvanyunkrol." Last modified February 15, 2010. Accessed October 4, 2011. http://www.deszkineptanc.hu/index.php?page=alapitvany.

techniques. In addition, there is also an annual summer camp where those interested can

take place, and often professional folk dancers are invited to teach and to perform.

Target Audience: The Deszk Község Népmȕvészetéért Foundation aims to ensure Hungarian

dancing traditions; therefore the target audiences include all those in the field of dance and

who are also interested in keeping these traditions alive. Along with this goes the

preservation of different types of dance around Hungary’s southern region, which also

includes those members of folk dance groups in Vojvodina. Although the foundation

concentrates on the preservation of Hungarian folk art and dance, there are numerous ties

with other such organizations and foundations in other countries which are working to

preserve their own traditional dances. More specifically those organization with which

Deszk Község Népmȕvészetéért Foundation has a close connection are: Tisza

Néptáncegyesület, in Magyarkanizsa, Serbia, where the folk dancers from Deszk took part

in the Kukorika Fesztival (Corn Festival), and the people from Magyarkanizsa regularly go to

Deszk, to share folk dance experiences. There is also Ifjúsági és Kulturális Egyesülettel

located in Transylvania, Romania. These two cities got into contact because they are

officially twin cities and after establishing the contact the Deszk Letye-petye folk dance

group performed at the Narcisz Fesztival in Transylvania. Another area where this

foundation is active is in Rahó, Ukraine, where the Deszk folk dance group traveled to

Ukraine to perform at their Brindza Festival. Since the number of contacts and associate folk

dance groups with which there has been the establishment of relations has grown, this is a

successful project and continuous since there has been already exchanges taking place.

A Kisrigó-Fészek Alapitvány (The Little Mockingbird Nest Foundation) Agent: This foundation was formed in 2001, in Szeged, Hungary at the kindergarten called

Rigó Utcai Óvoda. It was formed by the parents of the children who attended the

kindergarten, and the kindergarten teachers along with their own finances, and other

material support192. This foundation is classified in the civil sector because of the fact that it

is made up of individual citizens like parents and volunteers, and it is solely funded by the

members, and the donations of other citizens.

Agenda: The aims of the foundation include: contributing to the kindergartens, their

nurturing, and parenting techniques, in the area of Szeged, and Csongrád Megye, the

support of low-income families to ensure equal opportunities, and working together with

Hungary’s Serbian and German minorities with Vojvodina, Transylvanian organizations, and

192 Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011.

http://kisrigofeszek.lapunk.hu/?modul=galeria.

German organizations193. Therefore this is an example of a foundation that is working with

Hungarians not just within Hungary but Hungary’s surrounding nations.

Vehicle of Cultural Diplomacy: This foundation is very active within their field. Their vehicle

for cultural diplomacy includes: organization of conferences, and outings for the

kindergartens of the province of Csongrád, workshops, meetings, training session for

kindergarten teachers, the production of professional resources like newspapers, websites,

information letters and the organization of a learning session for Hungarians on both sides

of the border. They work together with schools involved in training kindergarten teachers,

organize workshops dealing with innovation in the field, support the Serbian and German

minority kindergartens in the province and the Hungarian kindergarten teachers in the

bordering countries through exchange of experiences, and other forms of aid. Further to

this, they work together with German civil organizations for donations for low-income

families194.

Target Audience: Since the foundation was founded by parents of young children, and

other kindergarten teachers, it is based in the field of early childhood education. Therefore

the target audience is usually anyone that is involved in this field, but most specifically

kindergarten teachers at this particular school, in the province, in Romania, in Serbia, and in

Germany. In Serbia one of their main associate partners is Kerekítő Magyar Pedagógusok

Egyesülete (Kerekítő Hungarian Pedagogical Association), together they arrange numerous

workshops, where kindergarten teachers of both countries participate. Their latest

collaborative event is scheduled to take place at the end of the month. Therefore these

collaborations are also current and sustainable. Due to the fact that the target audience is

so specific, it is still a great form of cultural diplomacy where taking experience and

knowledge from a certain field and expanding to others within the region and outside of

the borders. Although this is cultural diplomacy on a small scale, it is still very relevant

because it is effective and has many established connections between kindergarten schools

in all the regions that it reaches. These types of projects although they are on a smaller

scale are often more effective because of the people that they reach, developing individual

relations and personal encounters.

Krétakör (Chalk Circle) Agent: This is civil organization based in theatre performances, a centre for contemporary

arts, and they develop and produce community games based on social experiments.

Originally Krétakör was started by independent citizens getting together and organizing

performances themselves. Either they would perform or not, but the goal was more

performance for themselves instead of getting it to the public domain. This period was from

193 Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011. http://kisrigofeszek.lapunk.hu/?modul=galeria. 194 Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011. http://kisrigofeszek.lapunk.hu/?modul=galeria.

1995 until 1998195. At this point, the organization can be classified as within the civil sector

but since the performances were not reaching a wide audience or sometimes not even

being performed. During the next phase, after gaining some public attention and financing

from a private donor, the company began to be exposed outside the present borders of

Hungary. In 2008, there was a radical change when the company started its performance

series called Apology of the Escapologist196.

Agenda: The agenda of this civil society is changing the perception of conventional theatre,

and expanding it using a combination of pedagogues, social scientists, and media artist. As

well as performing to a wider audience all of the time, and hence expanding their own type

of cultural diplomacy, through the numerous interactions.

Vehicle of Cultural Diplomacy: The vehicle through which cultural diplomacy is achieved is

with the performing arts, not just in Hungary but in other European countries as well, along

with a very nationally diverse cast. Therefore there is cultural diplomacy in action but the

actors, directors, and other team members working together, and through this also

allowing for cultural exchange. Further to this, Krétakör commission includes a wide variety

of organization and people, from all over Europe like Hungary, France, Germany, Czech

Republic, the Netherlands, and also on the level of the European Union197.

Target Audience: Since Krétakör is a theatre company, the main target audience are those

which an interest, ability, and experience in theater. Indirectly, through performances in

Hungary and in Europe, the company is reaching out to audiences as well. Through these

indirect cultural interactions, one can see cultural diplomacy in action by sharing art with

other cultures through the platform of theater.

195KRÉTAKÖR, "About Us: 2008." Accessed October 4, 2011. http://kretakor.eu/

196 KRÉTAKÖR, "About Us: 2008." Accessed October 4, 2011. http://kretakor.eu/ 197 KRÉTAKÖR, "Partnerek: Megrendelők." Accessed October 4, 2011. http://magyar.kretakor.eu/

Future Goals of Hungarian Cultural Diplomacy

The future of Hungarian cultural diplomacy lies in a three-fold solution, separated into

short, medium, and long term goals. The long term goals include merging together the

image of Hungary, Hungary’s position in the world, within the European Union, and within

Central Europe198. Through these steps Hungary as an active country in cultural diplomacy

will be able to present itself to the rest of the world as such. Moreover, the country needs

to strengthen the role of cultural diplomacy within the field of politics and foreign relations

in order to all work together to achieve the long term goal of presenting Hungary to the

world199. Ideally major communication and connectedness between the different sectors

would be the best way to achieve this long term goal.

To continue, the short and medium terms goals are strengthening the current cultural

centres and expanding on what there is presently. In order to make it easier to expand

there needs to be a common voice among the foreign relations office, the cultural and

sports sectors, and the Balassi Institute, to have a clear goal of what Hungarian cultural

diplomacy is and what are its tasks ahead200. Along with this, there needs to be a national

and an international perception in terms of tourism for what is within the capacity of

Hungarian cultural diplomacy201. The areas within which Hungary wishes to be active

culturally are within the member countries of the European Union, within the border

countries surrounding Hungary, the United States, NATO, the Visegrad countries, Russia,

China, India, Japan, Korea, the southern European countries (namely the Balkans), the

Eastern European countries, as well as additional support from the Committee on Foreign

Relations within Hungary and other material and financial support.

What still remains to be done for the future are eventually expanding to that initiative

around the world, where Hungary does not have an economic presence. A method to

opening up bilateral relations with a specific country can be done initially through culture

and the rest could follow after. An example of a country with a Hungarian minority but

with which Hungary does not have formal relations is Argentina, Brazil and Canada. These

could be potential markets to open up with the use of cultural diplomacy and a chance for

Hungary to present its renewed cultural image to the world. Formerly Hungary has close

relations with the Maghreb countries of northern Africa, namely Tunisia and Algeria, but

since the 1980s these relations have soured. Before 1980, the Hungarian language was a

popular language choice for young students of northern Africa, and cultural centres were

frequented by the local population. Therefore in order to regain relations, a good starting

point would be to re-establish relations through cultural diplomacy. Further to this, Hungary

should take into consideration the current political situation in certain northern African 198 Sáringer, 9. 199 Sáringer, 9. 200 Sáringer, 9. 201 Sáringer, 9.

countries, Hungarian cultural diplomacy, since it is something that the region is familiar

with could aid in the peace process and through that, expand culturally as well.

To continue, there is also a large Roma minority presently living in Hungary. It is the largest

minority in Hungary according to the 2004 census report, numbered at 190 000202.

Comparing the situation since the beginning of the regime change in Hungary, ten years

later, other smaller national minorities have increased in identification, whereas the Roma

identification has reduced203. Similar to the situation in other parts of Europe, there is

discrimination and a widespread negative perception of the Roma within society. Therefore

for the Hungarian government to improve relations with the Roma, and to aid with their

integration within Hungarian society, cultural diplomacy could be the way forward. The

Roma themselves also have a long history in Europe, but this does not change the fact that

they are often discriminated against. Helping the Roma in Hungary could eventually help

the Roma in Europe since they are often of a nomadic nature. The Roma do not belong to

any nation in the ‘imagined community’ sense of the world204, since they embody another

type of community, one that does not rely on European borders. Within the European

Union there has been difficulty in creating the feeling of being European, therefore,

Hungary along with the rest of Europe could learn about the rethinking of cultural space in

the sense of the Roma205. The Roma culture knows no boundaries. This could also help

change the perception of culture belonging to only one nation and its urban cultural space

to being moved to a European level, and encouraging a European culture206. This is a huge

potential market for cultural diplomacy in Hungary, as well as cultural diplomacy within the

whole of Europe.

202 Nemzeti és Etnikai Kisebbségi Hivatal, "National and ethnic minorities in Hungary." Last modified 2004.

Accessed September 29, 2011. http://www.szmm.gov.hu/main.php?folderID=1414, 2.

203 Nemzeti és Etnikai Kisebbségi Hivatal, "National and ethnic minorities in Hungary." Last modified 2004. Accessed September 29, 2011. http://www.szmm.gov.hu/main.php?folderID=1414, 2. 204 Robins, 639. 205 Robins, 641. 206 Robins, 642.

6. Conclusion

Cultural diplomacy is a tool now that is being used more and more all over the world in order to

achieve certain goals. Taking this into consideration the Hungarian government, like any other

world government using cultural diplomacy has a double motive in mind. The first is in order to

promote the culture of the particular country, and the second is to attain desired goals.

Through the numerous examples presented within the three different sectors, one can see

aspects of cultural diplomacy in society. Within the public sector, Hungary has strong plans of

spreading Hungarian culture and language through events and institutions like Collegium

Hungaricum in Berlin, Hungarian Days in Groningen, and the Balassi Institute. Moreover, in the

private sectors, the companies like Rubik’s Cube foundation and the International Visegrad

Fund support cultural diplomacy through their numerous programs. Although directly they are

not supporting cultural diplomacy, they are providing the forum for cultural diplomacy and

exchange to take place. Within the civil sectors, there are three Hungarian organizations that

deal with bringing cultural diplomacy to everyone but a focus on the Hungarians living outside

of the present boarder of Hungary today. Keeping up relations with Hungarians living outside of

Hungary is very important therefore in the future it should maintain these relations but at the

same time not forget to expand into other countries. The three civil sector organizations

mentioned include, the Deszk Község Népmȕvészetéért Alapítvány, the Kisrigó-Fészek

Alapitvány, and Krétakör. All of these organizations through a specific field of focus are

bringing and sharing culture with Hungarians and also more and more with others in Europe.

When there is a common theme shared among many, then regardless of national attachment

there will be a cultural exchange, which is the goal of cultural diplomacy.

An overall assessment of cultural diplomacy includes Hungary’s involvement with Hungarians

living outside Hungary’s borders presently in the neighbouring countries and expanding into

Europe and even beyond. Due to historical reasons, Hungary has suffered from an inferiority

complex throughout the course of the last century, but the changing of the communist region

into a democratic system, followed by the joining the European Union in 2004, opened up the

doors for Hungary in huge dimensions all over the world for cultural diplomacy207. With this

new opening up of the country as a whole, it no longer needs to be ashamed of its past and

can newly present itself to the world as a country that has been successful208. This has also

strengthened Hungarian national identity, in order to accept and be patriotic about Hungarian

culture in order to use this to facilitating

exchanges of all types with other nationalities and other cultures209. Therefore what was

hindering Hungarian cultural during the Second World War until the regime change is no longer

the case, and Hungary is free for cultural diplomacy.

Currently within Hungary, the fastest growing industry is the in the cultural sector210. However,

the support system has not adapted to accommodate for this fast paced change and the

207 Bozóki, 8. 208 Bozóki, 8. 209 Bozóki, 8. 210 Bozóki, 10.

government needs to be spending more money on cultural practices. Currently cultural

spending is 1 to 1.5% of Hungary’s annual budget211, since there is not that much funding

available, the country has seen as rise in regional funding in cooperation for cultural projects of

all sorts212. This is a successful policy, which enables Hungary’s regions to take responsibility for

culture as an asset that needs to be sustained. Funding overall is a huge concern in Hungary.

There needs to be the development of a standardized regulation to ensure funding and support

for cultural organizations that are new start-ups213. More specifically for art exhibitions, theater

performances, and workshops, the government should set up a yearly plan to ensure the

sustainability of these projects214. For Hungary to be able to work and maintain its cultural

sector it also needs to rearrange its ability to fund projects.

With the expansion of Hungarian cultural houses taking place in all parts of the world, this is a

very positive sign to show how far Hungary is going and taking the importance of cultural

diplomacy very seriously. Although Hungary is presently doing a lot, there is always room for

improvement. Expanding into countries with which Hungary had former relations, but have

muted of late, due to various political reasons, is a first potential market to explore culturally.

Furthermore, expanding more towards the East, and the growing development of countries

there would aid Hungary in not solely relying on the West for aid in dire situations. Hungary

also has a huge Roma population, and presently the relations are strained, therefore, using

cultural diplomacy to find commonalities in order to help them integrate more into society and

help ease relations could prove effective. Through cultural diplomacy Hungary can start to build

up strong relations with other culturally rich countries and from these cultural relations,

economic and political ties can develop.

Cultural diplomacy is a great tool for Hungary to use in order to connect and have various

exchanges with other countries. From these fruitful encounters, Hungary can develop stronger

ties which will be beneficial to both sides in challenging situations. Cultural

diplomacy hopes to be the goal of future integration and future cooperation and Hungary is on

track and achieving these ends.

211 Bozóki, 10. 212 Bozóki, 10. 213 Bozóki, 11. 214 Bozóki, 11.

7. References

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27, 2011. http://visegradfund.org/about/budget/.

Country Profiles – Hong Kong

Table of Contents 1. Introduction 2. Overview of Contemporary Cultural Diplomacy in Hong Kong 3. Application of Cultural Diplomacy by the Government and Public Sector

3.1 Application of Cultural Diplomacy by the Private Sector 4. Analysis and Conclusions 5. Acknowledgements

1. Introduction

Unlike many ex-British colonies, which have now become independent countries, Hong Kong has not turned herself into an independent state. Rather, she was handed over by the United Kingdom to Mainland China on the 1st of July, 1997 and re-titled as the HKSAR ” the Hong Kong Special Administrative Region. Hong Kong now represents the first successful case of a ‘one country, two systems’ policy worldwide. With over 156 years of colonial governance, Hong Kong remains a very special place. She is a renowned financial centre and an important hub of international trade, where east meets west. As a special administrative region (SAR) of China, Hong Kong depends on the Chinese government for the handling of diplomatic relations as well as military defense. Hong Kong has retained autonomy in other aspects however, an example being in her economic and commercial relations. This enables her participation in international economic organizations such as the World Trade Organisation and the Asia Pacific Economic Cooperation Forum, as well as in international sporting events like the Olympic Games, independent from the People’s Republic of China. This paper will investigate to what extent cultural diplomacy is being implemented in Hong Kong’s international relations.

2. Overview of Contemporary Cultural Diplomacy in Hong Kong

Before its integration into China, the foreign relations of Hong Kong were the responsibility of the United Kingdom. As Queen Elizabeth II acts as Supreme Head of State of the British Commonwealth, diplomatic missions among member states have a High Commission overseas department instead of an embassy or consulate, with external affairs being managed by the local British Embassy or High Commission of a special office. Therefore, the highest diplomats who were sent to Hong Kong from the British Commonwealth before 1st July, 1997 were high commissioners. After the sovereignty of the small island state was handed over to China, the High Commission in Hong Kong changed its name to the Consulate General, and foreign relations of Hong Kong became the concern of the Chinese government. However, the Hong Kong Economic and Trade Offices still represent Hong Kong in several cities worldwide, since it was established during the colonial time.

2.2 Application of Cultural Diplomacy by the Government or Public Sector

The Hong Kong Economic and Trade Office (HKETO) is directed by the Commerce and Economic Development Bureau of Hong Kong, and works to enhance public opinion and understanding of the state, as well as to promote it’s economic and trade interests. The HKETO closely monitors any activities which may affect the development of Hong Kong, as well as maintaining close contact with prominent businessmen, politicians and the media, and organising regular events to promote its image. The Chinese government is responsible for Hong Kong’s foreign affairs, but the state does have freedom to handle non-political foreign affairs independently. Therefore Hong Kong has in fact set up a number of HKETO offices globally, to act as mediator in its economic and trade interactions with the rest of the world.

2.3 Application of Cultural Diplomacy by the Private Sector

Cathay Pacific Airways was founded in Hong Kong in 1946, by American Roy C. Farrell and Australian Sydney H. de Kantzow. As one of the largest airlines in the world, Cathay Pacific put a great deal of effort into its promotion of Hong Kong, with the aim of it becoming an increasingly popular tourist destination. In the wake of the 2002/2003 SARS outbreak, Cathay Pacific created its ‘We Love Hong Kong’ campaign, with the aim of rebuilding the country’s public image. Similarly, following 9/11, the airline organized a lottery for 10,000 free inbound tickets to Hong Kong, a project which it called the ‘World’s Biggest Welcome.’ In 2011, Cathy Pacific also cooperated with the Chinese government in its sponsorship of London’s Chinese New Year celebrations; the eighth year the company had done so.

3. Analysis and Conclusions

Following this research carried out regarding Hong Kong’s employment of cultural diplomacy, it can be concluded that the state has few official authorities (or indeed other organizations) currently making use of cultural diplomacy as a means of improving international relations. Existing organizations focus mainly on the country’s economic and trade interests, as well as increasing its levels of tourism. It can be argued however, that Hong Kong has difficulty in making effective use of cultural diplomacy since its official foreign affairs are handled by the Chinese government. In cultural aspects, Hong Kong also shares its background with China, and therefore benefits directly from its motherland’s own ‘nation branding’ exercises. It must also be noted that Hong Kong is a ‘business-oriented’ city, and may benefit more from creating an image of itself as a place for corporate investment; HKTEOs are already successful in their liaisons regarding economic and trade issues. It is likely that this style of conducting international relations in Hong Kong will remain the same for the foreseeable future, focusing on strengthening her corporate image on a global level.

The Institute for Cultural Diplomacy expresses its profound gratitude

to the following members and team for their contribution to this project:

Hillary Au Yeung

Edward Lowes

Table of Contents 1. Introduction

1.1 Cultural Diplomacy in India

1.2 Methodology

2. Examples of Cultural Diplomacy in India

2.1 Examples of Cultural Diplomacy

2.1.1 International Youth Exchange Program

2.1.2 Cooperating Training in India

2.1.3 Fullbright Program Worldwide

2.1.4 SAARC Chair/Fellowship/scholarship scheme 2011/2012

3. Examples of Cultural Diplomacy in the Private Sector

3.1 Maximum India

3.2 Indian Festival of Los Angeles

3.3 Jaipur Literature Festival

3.4 The World Culture Festival 2011 in Berlin

3.5 India Art Fair

4. Examples of Cultural Diplomacy in Civil Society

4.1 Reality Tourism (ORCBT)

4.2 Cultural Exchange Programme by Youth for Understanding (YFU) India.

4.3 Sweden World Youth

5. Conclusion

6. Bibliography

1. Introduction

India, the world’s most populous democracy, shares its geographical boundaries with Pakistan to the west; the People’s Republic of China, Nepal and Bhutan to the northeast; and Burma and Bangladesh to the east. India is the seventh largest country by geographical area and accommodates around 1.2 billion citizens making it the second-most populous country in the world. Known for its rich cultural past, India was home to four world religions: Hinduism, Buddhism, Jainism and Sikhism, and was further culturally diversified by the later arrival of Zoroastrianism, Christanity and Islam. India suffered through a colonial past of 200 years under the British rule, but finally got its status as an independent nation in the year 1947. Over the past 64 years, since India got its independence on 15th August 1947, India has maintained cordial relations with the most nations. The relations with Pakistan have been strained following the partition, the Kashmir region being the focal point of dispute between the two regions. But besides that, India has been involved in many strategic partnerships with Russia, Israel, and France along with other countries. The country has also played key roles in South Asian Association for Regional Cooperation and the World Trade Organization. Until now, the nation has provided 100,000 military and police personnel to serve in thirty-five UN peacekeeping operations across four continents. For about a decade now, India has also pursued a "Look East" policy which has helped it to strengthen its partnerships with the ASEAN nations, Japan and South Korea on a wide range of issues but especially economic investment and regional security.

- Cultural Diplomacy In India: Talking about Cultural Diplomacy, India has always been keen on sharing its culture with an international audience. Though internationally the nation is more popular because of its ‚Bollywood‛ image, the government of India is taking initiatives to bring forward the Indian handicrafts, art, music and tourism to an international platform. Music and arts have been playing a key role in developing cordial relations with Pakistan, especially when artists are crossing borders and spreading the message of peace through their work. Artists like M.F.Hussain; authors like Salman Rushdie and Kiran Desai; musicians like A.R.Rehman; Nobel Laureates like Amartya Sen are as known for their Indian origins as well as for their works. Strong diasporas like in USA and United Kingdom have also played their part, with internationally acclaimed personalities like Meera Nair and Gurinder Chadha, promoting the Indian culture and bringing it to the silver screen for the international audience. To promote cultural exchange and also to try to meet international educational standards, the Indian government has recently been offering many scholarships to foreign students to come to India and has also been taking part in many exchange programs to offer its students the possibility of gaining international exposure.

A high in the initiatives for cultural exchange came when India hosted the Commonwealth Games in 2010. A total of 6,081 athletes from 71 Commonwealth nations and dependencies competed in 21 sports and 272 events, making it the largest Commonwealth Games to date. A strong infrastructure was developed to support this grand event which meant that government had to spend around US $13.38 Billion215 to host this event in its best capacity. But the highlight of the program was the international media attention that the nation garnered, thus making its mark on an international platform. Apart from the Commonwealth games, the country has also hosted Asian Games and 2011 ICC Cricket World Cup.

This report is intended to gauge the level of cultural Diplomacy in India by looking at some examples which promote cultural exchange between the nation and the rest of the world. On what basis the examples have been selected will be explained in the next section.

- Methodology: The basic aim of the research is to investigate the scope of Cultural Diplomacy in India. The first and the foremost task was to define Cultural Diplomacy. What do we understand by Cultural Diplomacy? What are the instruments of Cultural Diplomacy? While selecting the examples,

215 Manu Kaushik (1 September 2010). "Business Today – India's leading business magazine". Businesstoday.intoday.in. Retrieved 3 October 2010

the main question that came out was how to categorize these examples. Should we just focus on the examples that are purely state-sponsored or should we include the NGOs and other private organizations as well? But then what about, the projects that are initiated by the government of other nations. Since we are living in a globalized world, it is difficult to determine the monopoly of a particular sector over Cultural Diplomacy. Through the course of this research, it emerged that different projects had a variety of sponsors. Hence, keeping in mind the vast range of projects we developed a three point plan in which the examples were divided into three categories. These were:

(a) Examples of Cultural Diplomacy in the Public Sector: This includes projects which are solely funded by the government.

(b) Examples of Cultural Diplomacy in the Private Sector: This includes projects which have been led by Private Companies, Institutions or individuals

(c) Examples of Cultural Diplomacy in the Civil Society: This includes projects that are initiated by NGOs in collaboration with Indian Government or foreign governments.

Following this division it was necessary give as many details as possible to each example in order to understand the project and its scope. These details include its sponsors, the objective, basic plan and the target audience. In conclusion we will expose whether the projects are relevant or not to cultural diplomacy.

2. Examples of Cultural Diplomacy in India

2.1 Examples of Cultural Diplomacy in the Public Sector

2.1.1 International Youth Exchange Programme

Website: http://yas.nic.in/index1.asp?langid=1&linkid=152

Agent of Cultural Diplomacy: Department of Youth Affairs, Government of India

Agenda: Appreciation of different cultures and promoting world peace

Vehicle of Cultural Diplomacy: Scholarships

Target Audience: Young people between the age of 15-35, working particularly in the areas of skill-development of youth for better excercise of self-employment, environment, population control, health, and against drug abuse and AIDS, against social evils and in the field of Science, Technology and disarmament other youth related matters.

The project is an initiative taken by the Department of Youth Affairs, where official experts, students and professionals are encouraged to participate in international conferences, seminars, workshops and so on, related to the the various fields highlighted above. Full financial assistance is given to the participants but their nomination should be approved by the State government/ Indian Embassies/ Foreign governments/ United Nations Agencies or reputable NGOs based in India or abroad.

The exchange is aimed at:

Attaining mutual understanding, friendship, exchange of ideas and experience between the youth of the world.

Promoting bi-lateral co-operation among youth in the fields of science, technology and disarmament.

Better appreciation of different cultures, progress made by respective countries in various fields; and

Promoting world peace, brotherhood and general prosperity of the mankind

The project is in line with the world’s growing necessity for cultural diplomacy to maintain peace and understanding among the future generations. Keeping the political relations aside, the initiative takes into account the importance of cultural exchange as an instrument to promote durable world peace, brotherhood and general prosperity of the Mankind.

2.1.2 Cooperating Training Programme

Website:http://www.casadelaindia.org/indianet/cm/indianet/tkContent?idContent=64&locale=en_UK&textOnly=false

Agent of Cultural Diplomacy: Casa De La India (India House), Spain; University of Valladolid, Spain; the Public University of Navarre and the NGO Fireflies of India

Agenda: encouraging mutual understanding, tolerance and dialogue by means of the interchange of ideas and concepts of the world

Vehicle of Cultural Diplomacy: Courses held in Bangalore, India

Target Audience: Experts in development issues and co-operation with India

The Cooperating training programme is one of the exchange programmes listed under the projects commenced by Casa De La India (Indian Embassy) in collaboration with the University of Valladolid, the Public University of Navarre and the NGO Fireflies of India. It is designed to organise multi-disciplinary courses in India for the training of experts in development issues and co-operation with India. The courses, lasting for a minimum of four months, are held in Bangalore and are open to university students in Spain who wish to further their knowledge of the theoretical and practical aspects of co-operation in India. The project is aimed at preventing political, economic and social conflicts in the International, national and local ambits, minimizing prejudices and distrust, encouraging ecological knowledge and respect for the environment, promoting equal rights between the sexes, social and religious groups, as well as helping mutual understanding, tolerance and dialogue means of the interchange of ideas and concepts of the world.

2.1.3 Fullbright (International Educational Exchange Programme) in India

Website: http://fulbright.state.gov/ Agent of Cultural Diplomacy: U.S state government in collaboration with the government of India Agenda: Research; lecturing to promote mutual understanding in area studies (both American and Indian) as well as in areas of contemporary relevance to the U.S. and India; and professional training in newly emerging areas of importance to India such as environmental sciences and agriculture. Vehicle of cultural diplomacy: The Fulbright Program offers grants to study, teach and conduct research for U.S. citizens in India and non-U.S. citizens to come to the United States Target Audience: Students, Scholars, Teachers, and Professionals

The Fulbright Program was established in 1946 under legislation introduced by then Senator J. William Fulbright of Arkansas. The bilateral agreement on education exchange, signed by Prime Minster Jawaharlal Nehru and U.S. Ambassador Loy Henderson on February 2, 1950 in New Delhi, established the United States Educational Foundation in India. Earlier the program was majorly funded by United States Congress to the Department of State along with the contributions coming from participating governments and host institutions in foreign countries and in the United States, but since 2008 the government of India has decided to fund this program, thus increasing the number of scholarships by more than 100 per year. The project was commenced in 1950, with around 4500 grants already been given to Indian students to date to attend universities in U.S to further their studies in these three main sectors: research; lecturing to promote mutual understanding in area studies (both American and Indian) as well as in areas of contemporary relevance to U.S and India; and professional training in newly emerging areas of importance to India such as environmental sciences and agriculture. Besides

this, around 2800 Fullbright grants have been awarded to U.S citizens to come to India for their studies

The program aims at promoting mutual understanding between the nationals of India and the nationals of the US through the educational exchange of outstanding scholars, professionals and students.

2.1.4 SAARC Chair/Fellowship/Scholarship Scheme 2011/2012

Website: http://india.gov.in/overseas/study_india/scholarships_international.php

Agent of Cultural Diplomacy: ICCR (Government of India) Agenda: The SAARC Chair, Fellowship and Scholarship Scheme was instituted in 1987 with the aim of providing increased cross-fertilization of ideas through greater interaction among students, scholars and academics in the SAARC countries. Vehicle of cultural Diplomacy: Postgraduate Scholarships

Target Audience: Students

Following the main objective of promoting interaction among students, scholars and academics from SAARC countries, the Indian government offers six fellowships and twelve scholarships to students of the member countries (Bangladesh, Bhutan, Maldives, Nepal, Pakistan and Sri Lanka). Students are expected to enrol in courses related to Economics, Education, Environment, Agriculture, Mass Communication, Language and Literature, Sociology, Transport Engineering, Applied Economics, Master of Business Administration Programme, Biochemistry, Social Work, Food Technology and Home Science.

2.2 Examples of Cultural Diplomacy in the Private Sector

2.2.1 Maximum India

Website: http://www.kennedy-center.org/programs/festivals/10-11/india/

Agent of Cultural Diplomacy: The Kennedy Centre, sponsored by private companies such as Pepsico, Tata, Tata Consultancy Services, and The Coca-Cola Company.

Agenda: Promoting different aspects of the country's diverse arts and culture, from folkloric to classical and contemporary.

Vehicle of Cultural Diplomacy: A three week festival comprising of Cultural performances, movie screenings, Indian Gastronomy festival, Literary Fest and art exhibitions.

Target Audience: US citizens

Maximum India, a three week long festival, celebrating India’s diverse culture and traditions, was organised by the Kennedy Centre, Washington DC in co-operation

with the Indian Council for Cultural Relations, New Delhi and the Indian Embassy, Washington DC. The event was financially supported by private companies such as Pepsico, Tata Consultancy Services. For the U.S. citizens as well as the Indian diaspora in U.S., Maximum India presented an opportunity experience and engage with India‘s diverse arts scene. Dance, music and theatre performances by India’s most acclaimed artists formed a central part of this grand cultural exchange.

2.2.2 Indian Film Festival of Los Angeles

Website: http://www.indianfilmfestival.org/index.php

Agent of Cultural Diplomacy: Indian Film Festival of Los Angeles (NGO); sponsored by ArcLight Hollywood, Chakra, Nickelodeon, Taj, Deluxe, Sony etc.

Agenda: Widening appreciation of Indian cinema and culture by showcasing films, supporting emerging filmmakers, recognising the leadership of entertainment industry performers and business executives, and promoting the diverse perspectives of the Indian diaspora.

Vehicle of cultural diplomacy: Film Festival

Target Audience: Audience of Indian Films in Los Angeles

The Indian Film Festival of Los Angeles holds an annual festival which is devoted to showcasing a mix of films designed to build and support the growing interest in the Indian entertainment industry in the U.S.A. It is aimed at generating an audience for Indian films while supporting the career development filmmakers of Indian descent. The festival consists of:

BOLLYWOOD BY NIGHT- this program includes around 21+ screening of classic, new, fresh and noteworthy Bollywood films.

QUESTION AND ANSWER SESSIONS- direct interaction between the audience and a film’s director, producer and cast.

AWARDS- Awards are presented to budding artists under the categories of Best Feature, Best Documentary and Best Short Audience choice Awards to encourage them. The audience get a chance to vote for them and to give valuable feedback.

INDUSTRY LEADERSHIP AWARDS- The awards are given to recognize the achievements of industry executives who have had a substantial and personal impact on the creation and distribution of Indian themed content globally and have led the expansion of the entertainment and media industry in India.

SEMINARS DAY- Speakers from corporations such as Disney, Fox Searchlight, Hyde Park Entertainment, ITVS discuss the issues that impact Hollywood and Bollywood.

ONE-ON-ONE- sessions with industry professionals from major production and distribution companies.

2.2.3 Jaipur Literature Festival

Website: http://jaipurliteraturefestival.org/

Agent of Cultural Diplomacy: Private companies such as DSC, Team Works, Vodafone, The Times of India and Fly Kingfisher.

Agenda: Celebrating national and international writers and encompassing a range of readings, talks, literary lunches, debates, performances, children’s workshops and interactive activities.

Vehicle of cultural Diplomacy: Literary Festival

Target Audience: People of all age groups who are interested in national and international literature.

The DSC Jaipur Literature Festival was originally an initiative of the Jaipur Virasat Foundation, an NGO that works with Rajasthani musicians and craftspeople to preserve skills and promote economic livelihood while preserving cultural heritage. The most recent directors of the Festival are William Dalrymple and Namita Gokhale and the festival is produced by Sanjoy K. Roy, Sheuli Sethi and Teamwork Productions. The aim of the Festival is to bring authors from all over the world onto the same platform to discuss their works with international audience. The festival also brings together the international panaroma of the literature and the local flavor of the region in the form of music and dance performances.

2.2.4 The World Culture Festival 2011

Website: http://www.worldculturefestival.org/en/

Agent of Cultural Diplomacy: The Art of Living Foundation in co-operation with private companies such as Lufthansa, Sony, BB radio and the Berliner Kurier.

Agenda: promoting peace through cultural exchange.

Vehicle of cultural Diplomacy: A show of the cultural heritage of four continents Asia, Europe, America and Africa through performances of folk Dances , Music, Food, Literature, Conferences And Intercultural Dialogue.

Target Audience: Predominantly German

The world culture festival was organised to celebrate the 30th anniversary of the Art of Living Foundation in Berlin, Germany in July, 2011. The event brought together 50,000 participants from all over the world, thus creating a unique mix of sights, sounds, tastes from across seven continents. The festival aimed to promote peace, intercultural dialogue and togetherness, and brought together many

senior governmental representatives, business leaders, academics, leaders of NGOs, religious and spiritual leaders, peacemakers and renowned personalities from all over the world to reflect on issues concerning world peace, unity and intercultural harmony.

2.2.5 India Art Fair

Website: http://www.indiaartfair.in/about-IAF.aspx

Agent of Cultural Diplomacy: Seventh Plane Networks Pvt. Ltd

Agenda: Promoting Indian and international artists in the Indian art market. Of the 84 galleries participating, 34 were international galleries.

Vehicle of Cultural Diplomacy: Art exhibitions

Target Audience: open to all

Launched in 2008, the 3rd Edition of India Art Fair (2011) was visited by a hundred thousand visitors across 4 days. Visitors came from 17 cities in India and 67 cities around the world. Touted as one of the most widely attended fairs globally, around 87 art galleries participated, out of which 34 were international galleries. In addition

to the exhibition, the fair also included sub-events such as Speakers’ forum in which 42 speakers of global acclaim, including Homi Bhabha, Anish Kapoor, Geeta Kapur, Sheena Wagstaff, Hou Hanru and Hans Ulrich Obrist, partcipated to put forward their

views on art and its impact over the world. The India Art Fair is sponsored by Seventh Plane Networks Pvt. Ltd while around 37 partners like Financial Times, The Art newspaper, Flash Art International and Canvas handled the media publicity of the event. Around Rs. 19 crores (US $ 4.1 million) were spent on the Marketing and Public Relations.

2.3 Examples of Cultural Diplomacy in the Civil Society

2.3.1 International Cultural Exchange Programme: Reality Tourism

Website: http://www.realitytourism.org/

Agent: Organisation for Responsible and Community-Based Tourism (ORCBT)

Agenda: Programmes aim to help increase the participants' understanding and tolerance of other cultures, as well as improving their language skills and broadening their social horizons.

Vehicle of cultural diplomacy: cultural exchange programme

Target Audience: Students, young people

Reality Tourism, an Indian NGO, has been taking the initiative of organising International Cultural Exchange Programmes between India and the UK, USA, Canada, Germany, France, Spain, Australia, Middle East, amongst others. There are two scholarships involved in this programme:

Cultural exchange- normally short term programmes, these are organised to cover different aspects of local culture. Students live with a local family and participate in cultural events such as

festivals or ceremonies. Students have the option to participate in school activities including attending classes and/or visiting different places of interest. The programme covers different aspects of Indian culture and provides an opportunity to interact with local people in a home-environment and on a day-to-day basis.

University & School Exchange Programs- these programmes are organised by ORCBT and involve two participating educational institutes from different countries (visiter and host institution). Visiting students attend school/college with local students and stay with the family of local students. These programmes provide an excellent opportunity to gain an understanding of different educational systems, family values, and cultural differences, developing new perspectives and making friends abroad.

The scholarships include the living and the travel costs. The main highlights of the program include the home stays, cultural orientation, participation in local events,

festivals and celebrations, educational activities, and the opportunity to visit local tourist attractions.

2.3.2 Cultural Exchange Programme (YFU, India)

Website: http://www.yfuindia.org/index.html

Agent: Youth for Understanding

Agenda: To give Indian students an opportunity to experience the culture of other nations.

Vehicle of Cultural Diplomacy: Cultural Exchange Programme

Target Audience: Students

Youth for Understanding is a part of the worldwide movement of organizations which have the sole aim of working together to prepare young people for their responsibilities and challenges in a swiftly changing world. YFU offers young people from all around the world the opportunity to explore other nations and cultures, master new languages and discover themselves. Students between the ages of 15 to 18 are exposed to a variety of intensive exchange opportunities which help them to not only to adjust to new surroundings but also enrich them with new experiences. According to the organization, this cultural immersion is the most effective way to encourage personal growth and openness to new ideas and attitudes, as well as a deeper awareness of a common interest in the future and of shared human values. Through this exchange, respect for human diversity is fostered and cultural relations are deepened.

2.3.3 Sweden World Youth

Website: http://www.icdeindia.org/Swedish_Youth.html

Agent: The Swedish Centre for International Youth Exchange

Agenda: To offer young people the possibility to spend six months in Sweden, participating in a program designed to facilitate an exchange among nations as a means to promote peace, inter-cultural understanding, and cross-cultural learning.

Vehicle of Cultural Diplomacy: international exchange programme

Target Audience: students and professionals between the ages 18-25

Sweden World Youth, SWY is an educational and development programme organised by the Centre for International Youth Exchange. The main aim of the program is to empower the students, and to create possibilities to gain international experience. The exchange takes place between Sweden and India where the students spend half of their time in India and half in Sweden. Each group created for this exchange consists of 16 participants, 8 from Sweden and 8 from India. During the exchange period, the group lives in a local community in order to gain a first-hand experience of the different cultures involved.

Conclusion

In sum, we researched around various to mark the level of cultural diplomacy in India. Though it was difficult to pinpoint a particular trend, it was generally seen that the government has been deeply involved in promoting cultural diplomacy not only to safeguard the nation’s interests but also to engage with other countries on a cultural level. As India is a developing nation, many other nations are keen to be a part of its growing industry and of its affairs. The Indian government has also established many cultural centres abroad e.g. Tagore Centre in Berlin and Casa De La India in Spain along with its embassies where many cultural events showcasing the Indian culture are held at regular intervals. In addition to this, international cultural centres like Instituto Cervantes and the Max Mueller Institute have opened bases all over India to maintain a constant exchange of students, teachers and more importantly culture.

We also saw an equal number of projects from the private sector as there were from the public sector. To promote their brand on an international level, the companies have engaged in sponsoring international events and not only this, there have been many international schools which are run by some private groups. Students, as well as professionals, are offered scholarships by companies to gain a fruitful insight into international trade and economies, administration and resources. The majority of the projects are targeted at students as they are considered to be the best instrument to promote cultural diplomacy. Their mobility ensures a constant flow of ideas and cultural impressions which also benefit the growing diplomatic relations between the nations.

Overall, the research has shown that the level of cultural diplomacy in India is fairly high. However, keeping in mind that there is always a scope for improvement, it is important to to add that although there are many sustainable projects which are being maintained but, it would be beneficial if more international events were to be hosted in India, thus increasing India‘s international visibility. Moreover, artists should also be given a priority when it comes to scholarships or funding projects, as they are the cultural ambassadors of the nation.

Bibliography

Cooperating Training Programme: http://www.casadelaindia.org/indianet/cm/indianet/tkContent?idContent=64&locale=en_UK&textOnly=false

Fullbright (International Youth Exchange Programme): http://fulbright.state.gov/

India Art Fair: http://www.indiaartfair.in/about-IAF.aspx

Indian Film Festival of Los Angeles: http://www.indianfilmfestival.org/index.php

International Youth Exchange Programme: http://yas.nic.in/index1.asp?langid=1&linkid=152

Jaipur Literature Festival: http://jaipurliteraturefestival.org/

Maximum India: http://www.kennedy-center.org/programs/festivals/10-11/india/

Reality Tourism: http://www.realitytourism.org/

SAARC Fellowship 2011/12: http://india.gov.in/overseas/study_india/scholarships_international.php

Sweden World Youth: http://www.icdeindia.org/Swedish_Youth.html

THE World Culture Festival: http://www.worldculturefestival.org/en/

Youth for Understanding: http://www.yfuindia.org/index.html

Country Profiles - Jamaica

Table of Contents

1. Introduction 2. Methodology 3. Cultural Programs in Chronological Order

3.1 The Institute of Jamaica Universal Negro Improvement Association/Liberty Hall

3.2 The Institute of Jamaica (National Museum and Gallery) 3.3 Jamaican Cultural Development Commission (JCDC) Festival 3.4 The Japan Exchange and Teaching Program (JET) 3.5 Bob Marley Museum 3.6 Jamaica’s Jazz and Blues Festival 3.7 The Calabash International Literary Festival 3.8 One Love Concert 3.9 MANIFESTO JA

4. Analysis and Conclusion 5. Bibliography

1. Introductory Overview of Cultural Diplomacy in Jamaica

Culture in the simplest definition is ‘the way of life of a people, the sum of their learned behavior, attitudes and material things’216. A country’s culture reflects its history, knowledge, experiences, beliefs, values and tradition. It accumulates over time and is shaped by many factors. Jamaica’s national cultural identity reflects and is composed of many different cultural elements all connected to colonization and migration.

Jamaica is a small island state, situated in the Caribbean with a population of approximately 2.8 million.217 As small as the country is, culturally it has a very strong global presence as seen in sports, tourism and music. The islands culture is diverse and can be described as an amalgamation of various cultures; creating a unique and distinct culture. Jamaica’s motto reflects its history as well as its future; ‚Out of Many, One People‛. Jamaica is largely made up of people of African descent, and to a lesser extent people with European, Chinese and Indian descent. There are also other minorities such as Syrians and a few Germans.

Jamaica was first discovered by Europeans in 1492. This discovery was made on Christopher Columbus’ second voyage to the Americas.218 Jamaica’s colonization began in 1507 by the Spaniards and this continued for approximately 146 years.219 Even though the Spaniards ruled for more than a century, little cultural evidence can be seen in contemporary Jamaica. The only remnant of Spanish rule is old buildings, names of places and rivers. In 1658 the British conquered the island and had a continuous rule until it was granted Independence in 1962. During the Spanish and British rule, the largest group of migrants (slaves) came from Africa. These Africans under British colonization were forced to learn English and do away with most of their cultural practices. However, they secretly held on to their culture; especially language. Over the centuries the language was slowly replaced by English but some African words have been retained up until today, mostly originating from West Africa. The national policy has over the years recognized the linguistics struggle and has made several suggestions to overcome this.

Officially the term ‘cultural diplomacy’ is not used in Jamaica, but the national cultural policy does seem to highlight the importance of culture to foster understanding. As such one can say that cultural diplomacy is becoming increasingly popular as a vehicle to achieve a greater understanding. If one explores cultural diplomacy as define by Milton C. Cummings as ‚the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding‛220, we realize the term is new but the act of cultural diplomacy has been around for a very long time. Many countries have always been and are engaged in cultural diplomacy; only few are cognizant of this and actually utilize the term for example the United States and Germany.

Jamaica’s national cultural policy ‚is the statement of the government’s understanding of the reality within which its citizens have lived historically and through which it is itself called upon to express the desire and willingness to establish and implement a set of coherent principles, objectives and means to

216 Edward T. Hall, ‘The Silent Language’ (1959) 217 CIA Factbook, Jamaica 2011 218 Institute of Jamaica : A study- Cultural Policy In Jamaica 219 Institute of Jamaica : A study- Cultural Policy In Jamaica 220 SOURCE: Milton Cummings, Cynthia Schneider

foster, protect and promote the cultural expression of its people‛.221 The cultural policy of Jamaica is what fuels the country’s cultural diplomacy. It is evident in the provision of opportunities for full and unbridled cultural expression as an act of liberation and empowerment locally as well as internationally.

‚The cultural policy reflects in its expression the notion of cultural excellence and international achievement that our people [Jamaicans] have established over the years of the struggle to be, those attainments in culture and the arts, sports, academia, commerce, advocacy, et. al.‛ 222 Elements of Jamaica’s culture, has been gaining popularity through various programmes and media. However, Jamaica faces major challenges with the increase in crime and violence and small economy. It is challenged to find a way to tap into its music goldmine; Reggae. The Recording Industry Association of America estimated in 1999 that reggae was worth more than US $14.5 billion but Jamaica is yet to realize 10% of that worth.223

The government has outlined in its national policy that it strives to become a ‚Cultural Superstate‛. This can only be achieved by using cultural diplomacy as an engine. The public and private sector as well as the civil society have been engaged

in initiatives that reflect cultural diplomacy. They aim to create a greater understanding of the culture, foster cultural exchange and ultimately creating a mutual understanding amongst cultures. These efforts have been gaining ground, however, there are several challenges such as lack of financial resources and the recognition by the three entities (the public sector, the private sector and the civil society) that they are all working towards one goal; making Jamaica a ‚cultural superstate‛.

This research aims to highlight the various cultural diplomacy initiatives undertaken by the public sector, private sector and the civil society, or a combination of all three. The report ultimately seeks to promote the term ‘cultural diplomacy’ by highlighting its importance in fostering relations and mutual cultural understanding. Hopefully this report will allow the term ‚cultural diplomacy‛ to gain more recognition in the academic circle.

221 Ministry of Education, Youth and Culture- Towards Jamaica, The Cultural Superstate. 222 Ministry of Education, Youth and Culture- Towards Jamaica, The Cultural Superstate 223 Ministry of Education, Youth and Culture- Towards Jamaica, The Cultural Superstate

1. Methodology

The research is an overview of various initiatives but such initiatives are not limited to the ones included within. The projects were not randomly selected, but represent projects that have historical as well as contemporary roots. The project(s) that are considered historical are the ones that were developed at the end of colonialism and the dawn of Independence. The contemporary projects reflect those that were initiated after the 1980’s and reflect a time when Jamaica started to gain international recognition through music and sports.

Many initiatives identified reflect and are in line with, the definition of cultural diplomacy, but Jamaica has not officially recognized it in its national policy. Hence, the question should be asked, ‚how conscious is Jamaica, about cultural diplomacy’? These initiatives are spread across all sectors in society from public sector, to civil sector which does seem to point to the fact that the importance of culture as a tool to foster mutual understanding has been recognized, but has it been recognized as a diplomatic tool?

To have a better understanding of the different projects it is best to have an idea of the various classifications in terms of who initiated or is directing them. Cultural diplomacy in the public sector reflects programs that are initiated or supported (through various resources whether financial or human) by public institutions. Whilst cultural diplomacy in the private sector reflects programs or foundations initiated and or supported by private enterprises and businesses. Finally, cultural diplomacy in the civil society refers to programs initiated or currently directed by civil society. It should be noted that some projects are hybrid in their classification as they were initiated through collaborations.

The initiatives are also arranged in chronological order to give an overview of the developments over the decades since de-colonization. This will help with analyzing how much effort or lack thereof has gone into promoting cultural diversity and fostering mutual understanding. Furthermore, the arrangement of these projects will highlight if there has been more or less involvement of the various entities as well as to see the extent of collaboration between the various entities over time.

It should be noted that the report represents a fraction of the past and present cultural programs in Jamaica and should be looked at as an overview.

3.Cultural Programs in Chronological Order

3.1 The Institute of Jamaica Universal Negro Improvement Association/Liberty Hall

(Civil Society Program, now supported by the public and private sector)

The aim of Liberty Hall is ‚to inform the public about the work of Jamaica’s First National Hero; Marcus Mosiah Garvey, and to use his philosophy and opinions to inspire, excite and positively affect the self-identity of Jamaican people, while creating social and economic wealth‛224.

The Universal Negro Improvement Association (UNIA) was founded in 1914 by the Honourable Marcus Mosiah Garvey. Marcus Garvey, now a national hero in Jamaica, had a strong conviction and a powerful message about African self identity and being self sufficient, as such the UNIA became popular and sprung up in many countries such as the United States, the United Kingdom and a number of African countries. The headquarters was located in Kingston and now called Liberty Hall, since all UNIA locations had to have a Liberty hall. In Garvey’s time Liberty Hall was where meetings were held. It had its own bands, choirs and drama groups, and hosted spectacular cultural and intellectual program.

Several small businesses, such as an employment agency, Laundromat and cooperative bank also operated there. For decades Liberty Hall was a major entertainment centre.

In 1987, the Government of Jamaica, in celebration of Garvey’s centenary, purchased the building and through the Jamaica National Heritage Trust (JNHT) declared it a national monument. A group of committed and influential persons formed The Friends of Liberty Hall in the 1990s. The Friends collaborated with the Ministry of Education, Youth and Culture, the Jamaica National Heritage Trust and the Institute of Jamaica to actualize the restoration. The Government committed J$15 million and the rebuilding in association with the Institute of Jamaica.225

Liberty Hall was re-opened on October 20, 2003, and is a living monument to Marcus Garvey. Once again it provides facilities for education, entertainment and enrichment of spirit for people in Jamaica and visitors from abroad. Its restoration serves to remind us of Garvey’s work and encourages us to use his philosophy to develop ourselves and our community. The Marcus Garvey Museum is a world class museum dedicated to his life and work and is the only multimedia museum in the Caribbean. Visitors are able to use the facilities for a minimal fee, especially the use of the computer room by local community members.

Liberty Hall houses The Marcus Mosiah Garvey Multimedia Museum (MMGMM), The Garvey Research/Reference Library and The Garvey Multimedia Computer Centre. Liberty Hall also engages in a lot of educational outreach programs such as an after school as well as a summer program.

3.2 Institute of Jamaica (National Museum and Gallery)

(Public Sector Program)

The stated mission of the Institute of Jamaica is ‚to enhance the awareness of our Jamaican cultural and scientific heritage and ethos: to develop policies and manage programmes for the acquisition, collection, research, preservation, protection, documentation, analysis, display and dissemination of

our literature, science, history, material culture and the creative arts and in so doing, to celebrate our heritage‛226.

224 Liberty Hall, About Us: Brief Description 225 Liberty Hall, About Us: Brief Description 226Institute of Jamaica, FAQ

The Institute of Jamaica’s (IOJ) mandate is ‚for the encouragement of literature, science and art in Jamaica‛. The IOJ is the umbrella for various divisions such as the African Caribbean Institute of Jamaica/Jamaica Memory Bank (ACIJ/JMB), Jamaica Music Museum (JAMM), National Gallery of Jamaica, natural History Museum of Jamaica, Museums of History and Ethnography and Liberty Hall.

The Institute is the publisher of the Caribbean’s leading cultural magazine; The Jamaica Journal. This magazine was first published in 1967 and is an authoritative source on Jamaican heritage, contemporary culture and natural environment. The magazine covers a wide range of topics from history to the arts. The Jamaica Journal is published bi-annually with scholarly articles that feature varying aspects of Jamaica’s natural and cultural heritage. The Institute through its tours and publications helps with the preservation of natural and cultural history. Anyone can visit the Institute to view exhibitions or participate in their annual calendar events.

The Institute of Jamaica’s annual calendar events are a great way to showcase as well as preserve Jamaican history and culture.

3.3 Jamaica Cultural Development Commission (JCDC) Festival

(Private Sector Program)

The Mission of the JCDC is “To enhance national development through cultural practices by creating opportunities that unearth, develop, preserve and promote creative talents and expressions of the Jamaican people. This will be achieved in an innovative and creative manner through professional and responsive staff collaborating with all stakeholders‛227.

The Jamaica Festival Commission was established out of an Act of Parliament in 1968. Its mandate was to promote and encourage the annual Independence Anniversary Celebration across the island and to stimulate the development of young talent. In the 1980s the Commission’s mandate was extended by another Act of Parliament (Act no. 8) changing its name to Jamaica Cultural Development Commission228. The new mandate’s aim is to "promote cultural programmes and activities in communities throughout the Island; encourage and organize each year, Independence Anniversary Celebrations and other celebrations marking occasions of national interest; stimulate the development of local talent by means of training, workshops, competitions, exhibitions, pageants, parades, displays and such other activities as the Commission may from time to time determine; complement the work of other agencies engaged in the carrying out of community development programmes throughout the island.‛229

A major part of the Commissions work is highlighting and promoting the performing arts. Through the annual staging of the Festival of the Arts Competitions, the talents of many Jamaicanas are exposed and developed. Over the years the Commission has created a pool of distinguished cultural practitioners that have helped to shape the cultural landscape of Jamaica. The creation of various art development programs has fostered a deeper cultural appreciation and understanding amongst

Jamaicans and foreigners alike. Participants are trained in and exposed to workshops, seminars and symposia.

The subjects include:

Speech

Drama

Music

227 JCDC, Mission Statement 228 JCDC, About us: Historical Background 229 JCDC, About us: Historical Background

Dance (includes the Deaf Dance Competition)

Traditional Folk Forms (Children's Jonkunnu and Mento Band Competitions)

The performing arts program also entails National Creative Writing and Exhibition, Culinary Arts and National Visual Arts Exhibition.

The Entertainment Arts events are held annually and are competitive in nature.

Miss Jamaica Festival Queen Competition is a pageant that is held each year when young ladies, with a maximum age of 26, showcase their talent incorporating culture. It is staged all across the island and each parish is expected to produce a winner that will vie for the Miss Jamaica Festival Queen title at the national level. The young ladies are expected to wear cultural garbs and sing, dance or act out pieces; infusing cultural elements.

Festival Song Competition (formerly Popular Song Competition) is staged every year. Participants enter an original song in the competition and over the course of months they do road shows, appearances and performances at local fairs and stage shows as well as make videos to be circulated on national stations and with an audio version on the radio. Each contestant is given a number and fans call in to vote. The songs promote Jamaican culture and promote the island. These songs help to foster an understanding of Jamaican popular music.

3.4 The Japan Exchange and Teaching (JET) Programme

(Public Sector Program)

Jamaica and Japan enjoy a very unique and close relationship. This diplomatic relationship has been growing strength by strength each year since 1964. There has been cooperation through aid, trade and even cultural exchange. The Japan Exchange and Teaching (JET) Programme was established in 1987 to promote and improve English as a foreign language in Japan. The JET programme enhances international (cultural) exchange at the international level. Participants are contracted initially for one year, with the possibility of re-contracting for 4 additional years. Participants not only teach English but Jamaican culture in Japanese public high schools. Participants are invited as representatives (informal ambassadors) of their home countries and play an integral role in promoting mutual understanding between nations.

Since 2000 over 100 Jamaicans have engaged in this program but thousands have applied each year230. Annually only 12-14 persons are selected. Participants have to be university graduates and should have an interest to teach and promote culture in English.

The Program is administered by local authorities in Japan, in collaboration with Japan’s Ministries of Home Affairs, Education and Foreign Affairs, as well as with the Council of Local Authorities for International Relations (CLAIR). However, recruitment and selection is conducted by the Japanese Embassy in Kingston, in consultation with the Ministry of Foreign Affairs and Foreign Trade of Jamaica. Successful candidates undergo training sessions and pre-departure orientation at the Japanese Embassy in Kingston, while a post-arrival orientation is conducted in Tokyo by CLAIR, with the cooperation of the Embassy of Jamaica in Japan. New Jamaican JET recruits usually arrive each year in Japan in late July.231

230 Ministry of Foreign Affairs, Japan- Information and Culture 231 The Embassy of Jamaica, Tokyo, Japan, Jamaica and Japan

3.4 Bob Marley Museum

(Private Sector and Civil Society Program)

The Bob Marley Foundation came into existence in 1986 and has contributed cultural, social, financial and other resources to various communities and organizations across the island. The Foundation has contributed significantly to the Arts and Culture by utilizing different means such as exhibitions, film festivals, cultural development workshops and talent shows in association with the Jamaica Cultural Development Commission. Much of the Foundation’s work has been facilitated through the Bob Marley Museum that houses a theatre and a photography gallery. The Bob Marley Museum is a museum dedicated to the Jamaican reggae icon Robert Nesta Marley, internationally known as ‚Bob Marley‛. This museum is located in the island’s capital, Kingston. The museum is part of the Bob Marley Foundation whose aim is to support local communities in a charitable way.

The Foundation has received financial support from the government of Jamaica as well as the European Union; namely The Private Sector Development Programme (PSDP) to assist in the continuation of its work232.

The Foundation helps to offer a lot of tours to participants to uncover the rich history and sightseeing locations in Jamaica, through the museum. Each year thousands of people from across the globe as well as locals make their way to the museum to see rare photographs, 40 diverse artifacts and other exhibits from the Marley’s private collections.

3.5 Jamaica’s Jazz and Blues Festival

(Private Sector and Public Sector Program)

The Jamaica Jazz and Blues festival started in 1996 but was at the time called the Air Jamaica Jazz and Blues festival owing to the vast amount of sponsorship provided by the national airline. The national airline, Air Jamaica, in association with the Jamaica tourist Board and several other business entities handled the event in the early years. Now the event is handled by Turnkey Production and over the years the lineup has been top-quality. According to the organizers, ‚the event is more than just a

music festival; it’s a one-of-a-kind event experience that brings thousands of people together‛. The figures from the Jamaican Tourist Board suggest that on average 6000 visitors flock to the island each year just to be a part of the event. The event has seen the like of Anita Baker, Kenny Rogers, Billy Ocean, John Legend, Alicia Keys, Diana Ross, Babyface and Gladys Knight; just to name a few.

The Festival now attracts over 30,000 patrons annually and has been expanded to a week-long event in resort towns of Montego Bay, St. James and Ocho Rios in St. Ann.233

Local and international artistes grace the stage, providing great entertainment. Local businesses and local exporters can occupy booths and showcase their products; ranging from food to cars.

Patrons are served some of Jamaica’s renowned cuisine and beverages; spicy jerk chicken, hot Blue Mountain Coffee and cold coconut water. This kind of fusion of excellent Jamaican music and cuisine helps to promote Jamaica internationally in a positive light.

3.6 The Calabash International Literary Festival

(Civil Society Program)

The Calabash International Literary Festival was established as a not-for-profit festival offering free admission that was organized by volunteers, and has been credited for transforming literary arts in the

232 Bob Marley Foundation, About Us: Bob Marley Museum 233 Jamaica Observer- Jazz Festival to Pump Billions into the Economy

Caribbean. It is widely acknowledged that this event has provided a platform for domestic and international writers and performers since its first staging in 2001.

The Calabash festival is held each year in Treasure Beach, Jamaica and features writers from across the Caribbean, as well as top writers from the U.S., Europe, Africa and other regions. The festival was founded by Collin Channer, Kwame Dawes, and Derek Walcott, Russell Banks, Junot Diaz, Edwidge Danticat and other leading writers. Its founders Dawes and Channer are both raised in Jamaica but are professors in the United States of America at USC and Wellesley College, respectively. Many have questioned why both go through the challenging motions each year to organize the festival. According to Dawes, ‚We need Calabash, even more now, not less.‛234 As Channer puts it, in its 10 years, for Jamaicans, the festival has become a loud and eloquent expression of ‚what is best about us.‛235

Calash through its extensive program of workshops and seminars has created a culture and context for emerging voices to explore and hone their talent over a three day course.236 The no-fee policy gives the programmers total freedom in whom they invite; the writers are the festival’s biggest sponsors. According to the directors, ‚Departing writers are asked to suggest four other authors they think would get it, and should be invited and Calabash has had to invent a rule that writers can only return after three or four years. Otherwise, goes the logic, everyone would want to come every year.‛237

In 2009 the festival was cancelled due to lack of funding. The event was not receiving as much corporate and private donation to cover the overhead expenses. The event has over the years received funding from the CHASE Fund and The Jamaica Tourist Board (JTB) however in 2009 those donations fell short. According to Justine Henzell, one of the organizers, ‚We requested US$40,000 from JTB

and they approved US$25,000.‛238 However, the festival is scheduled for 2012 owing to the fact that a lot of donors now realize the impact of this event. It has been described by many as a ‘world class event’ that has helped with cultural understanding through the literary arts. It has drawn authors from all across the globe to the small community of Treasure Island to gain a deeper cultural insight.

3.7 One Love Concert

(Public Sector Program)

The One Love Concert is held annually in Yoyogi Park, Japan. It is a festival that showcases Jamaican food, clothes and music. It is organized by the Jamaican Embassy located in Tokyo and usually held over the course of two days; ideally the first weekend in May. The festival attracts over 40,000 visitors each year.239 ‚The festival features the exhibition and sale of Jamaican art and craft, photographs and other novelty items. Enticing and attractive food booths sell Jamaican cuisine such as jerk chicken, festival, patties and the national dish: ackee and saltfish. The largest booth is the Culture booth where visitors were able to learn Jamaican dance moves, patois (Jamaican dialect), drumming, and hair-braiding as well as try on Jamaican costumes. The inaugural One Love Jamaica Festival was held in Tokyo in 2004 to commemorate the 40th anniversary of diplomatic relations between Jamaica and Japan‛.240

3.8 MANIFESTO JA

(Civil Society Program, funded by Public sector)

234 Janet Silvera, (26.03.09) Gone to bed- Literary Festival cancelled due to lack of funds- Jamaica Gleaner 235Janet Silvera, (26.03.09) Gone to bed- Literary Festival cancelled due to lack of funds- Jamaica Gleaner 236 Olivia Cole, Jamaica’s Big book Party 237 Collin Channer, in Gone to bed- Literary Festival cancelled due to lack of funds- Jamaica Gleaner 238 Janet Silvera, (26.03.09) Gone to bed- Literary Festival cancelled due to lack of funds- Jamaica Gleaner 239 One love Festival- ‘Event’ (in Japanese) 240 The Embassy of Jamaica, Tokyo, Japan, ‘Embassy Updates’

Manifesto JA (Manifesto Jamaica) is a nonprofit organization founded in January 2010 and run by youths under the age of 30. The organization is committed to youth empowerment and nation building through the Arts and Culture. It is a sister entity to Manifesto Community Projects in Canada. It is appropriately tagged as a ‚For Youth, By Youth‛ initiative. The organization’s main goal is to expose, empower and educate. Having received a grant from the Canadian International Development Agency (CIDA) which falls under the Canadian High Commission in Jamaica, the organization has been able to broaden their program of activities.

The agenda clearly states ‚As youth, we believe that Jamaica has all the real conditions to turn our rich cultural diversity into an effective tool to combat hunger, poverty and social exclusion. We believe the Arts can unify Jamaica's youth by opening up new channels of communication, creating economic opportunities, and strengthening ties between communities, regardless of political affiliation.‛241

One of Manifesto JA most anticipated and renowned event is Art’ical Exposure which is an open microphone series of events that showcase the talent of upcoming and aspiring artistes. The show includes the recitations of original dub poetry as well as original songs that have a cultural undertone. Manifesto JA also plans and executes workshops that follow different themes related to the Arts. These workshops provide basic training for young and upcoming artists, giving them an opportunity to expose their talents, documenting the activities (audio/video) to promote their talent locally and globally. The work of Manifesto JA contributes to a global network that stretches from Brazil in the

South to India in the East right up to Canada in the North, connecting like minded people who believe in the power of the arts and culture to change the world.

There Creative Network under Manifesto JA’s umbrella aims to connect practitioners of the Arts and Culture through our international network and local database.

Manifesto Jamaica employs a variety of initiatives to advocate for, and promote the development of six Arts disciplines; performing arts, culinary arts, visual arts, spiritual arts, martial arts and literary arts.

Anyone can be a part of Manifesto Jamaica, sharing the vision of the Arts as a powerful tool for social change. The nonprofit organization welcomes students, artists, teachers, community organizers, writers, philanthropists, legal practitioners, event promoters and planners, to name a few.

241 Manifesto Ja, ‘News’

4. Analysis and Conclusion

As stated previously, the ultimate aim of this report was to explore the various public sector, private sector and civil society directed or initiated programs that reflect the concept of cultural diplomacy. Upon examining the various programs through historical as well as contemporary lenses it is evident that there are many cultural diplomacy programs existing in Jamaica but they are not labelled as such. The very nature of the programs when mirrored against the definition of cultural diplomacy reflect similarities; and based on the stated agenda of most of these programs as well as achieved aims, it can be concluded that cultural diplomacy started just after de-colonization since some elements of culture, especially African were repressed under colonial rule. So upon achieving Independence the civil society and government felt it was necessary to strengthen African retention and continue practicing some of the culture passed on by the British.

In examining the various programs chronologically, it should be noted that the public sector and civil society were the main directors and initiators of cultural diplomacy programs in the mid 1960’s. Having gained independence in 1962, the civil society as well as the post-colonial government became involved in the preservation and promotion of culture. It was not until the late 1970’s we see the private sector engaging in programs that promote cultural exchange and mutual understanding. This can be attributed to the fact that it was around this time that reggae music gained popularity internationally, by artistes such as Bob Marley and the Wailers. The 1970’s represented a wave of great interest in Jamaica’s music, language (patois - the local dialect) and Rastafarianism. This wave was one of the factors that pushed the private sector forward in engaging in programs to promote the values, traditions and beliefs so that people to have a better understanding of Jamaica, not just as a postcard destination but a country that has a diverse culture.

In the latter part of the 1980’s towards the 1990’s onwards we see more of a collaboration between the various agencies in initiation and directing the various programs, showing that they are trying to work together to achieve a common goal. The collaboration is still a bit fragmented; however, we do see evidence of the various entities providing resource support (ranging from financial to human). Some programs have been forced to scale down or be postponed as a result of financial limitations. For example, The Calabash Literary Festival and Liberty Hall are private sector initiated programs but were facing financial challenges and the public sector intervened. This illustrates the fact that the public sector is becoming increasingly aware of the role of culture and how important it is to keep such programs afloat.

Cultural diplomacy is gaining importance across the globe and Jamaica is slowly catching on; and the number of cultural programs that have been initiated and or sustained, support this claim. With the recent achievements of the Jamaican athletes at the 2008 Beijing Olympics and various track meets such as the IAAF World Championships and the Diamond League, we have seen many efforts by private sector organization to develop sport programs that seek to accommodate other athletes training in Jamaica at the MVP Club. However, such programs are currently being developed and are still a work in progress.

A close examination of the various programs illustrates that most of the programs are focused on the Arts, whether this is a limitation or just an attempt to tap into the niche area is something worth thinking about.

The different agents do see the importance of not only developing cultural projects but using those projects to foster the exchange of ideas, beliefs, traditions and values to ultimately create awareness and mutual understanding. Collaborative efforts growing from strength to strength highlight the fact

that all see the role of these programs as playing an integral role in achieving the ‚cultural superstate‛. Whether such an aspiration is achievable or not, that is debatable, but it is surely worth a try when one evaluates the power of cultural exchange.

5. Bibliography

Bob Marley Foundation, ‘Bob Marley Museum’ http://www.bobmarleymuseum.com/ <Accessed on 30.09.11>

CIA Factbook: Jamaica, https://www.cia.gov/library/publications/the-world-factbook/geos/jm.html <Accessed on 04.10.11>

Edward T. Hall, (1959) ‘The Silent Language’ http://www.ishk.net/hall.pdf <accessed on 06.10.11>

Emabssy of Jamaica, Tokyo, Japan ‘Embassy Updates’ http://www.jamaicaemb.jp/japan/index.html

<Accessed on 30.09.11>

Institute of Jamaica ‘Cultural policy in Jamaica: A report prepared for UNESCO’ http://unesdoc.unesco.org/images/0003/000370/037090eo.pdf <Accessed on 29.09.11>

Institute of Jamaica, ‘FAQ’, http://instituteofjamaica.org.jm/ <Accessed on 29.09.11>

Janet Silvera, Jamaica Gleaner, ‘Calabash Gone to Bed-Literary Festival Cancelled Due to Lack of Funding’ (26.03.09) http://jamaica-gleaner.com/gleaner/20090326/ent/ent1.html <Accessed on 05.10.11)

Jamaica Cultural Development commission (JCDC), ‘About us a Brief Description’ http://www.jcdc.gov.jm/about_jcdc < Accessed on 28.09.11)

Jamaica Observer ‘Jazz Fest to Pump Billions in the Economy- Turnkey Productions’ (16.01.11) <Accessed on 30.09.11>

Liberty Hall Website, ‘Programmes’ , http://libertyhall-ioj.org.jm <Accessed on 28.09.11>

Ministry of Education, Youth and Culture, The National Cultural Policy 2002 ‘Towards a Cultural Superstate’ http://www.lacult.org/lacult_en/docc/JamaicaPoliticaCultural.pdf <Accessed on 29.09.11>

One Love Festival Website ‘Event’ (translated from Japanese) http://www.onelove-jamaica-fes.org/ <Accessed on 30.09.11>

Olivia Cole, ‘Jamaica’s Big Book Party’ The Daily Beast (02.06.10) http://www.thedailybeast.com/articles/2010/06/03/jamaicas-calabash-literary-festival.html <accessed on 04.10.11>

Country Profiles - Kazakhstan

Table of Contents 1. Introduction

1.1 Kazakhstan Overview 1.2 Cuktural Diplomacy in Kazakhstan

2. Examples of Cultural Diplomacy in Kazakhstan 2.1 Work and Travel USA 2.2 Bolashak (The Bolashak International Scholarship 2.3 Yunus Emre Cultural Centre 2.4 KINOgerMANIJA ” Film Festival 2.5 2011 Central Asia ” Korera International Contest for Creative Scenario 2.6 A Bridge of Friendship between the EU and ENU 2.7 Sheber ” Annual Kazakhstani Competition for Artisans 2.8 Art Nomad ” Art Exhibition

3. Conclusion

1. Introduction Kazakhstan Overview Officially known as the Republic of Kazakhstan, the country primarily is situated in central Asia, with a small part located in Europe. Kazakhstan is known as the world's largest landlocked country, stretching from Siberia to the deserts of Turkmenistan and Uzbekistan, and from China to the Caspian Sea. It is enclosed by Russia, Kyrgyzstan, Turkmenistan, Uzbekistan and China. The country’s topography is very diverse, comprising of flatlands, steppes, taigas, rock-canyons, hills, deltas, snow-capped mountains, and deserts. Kazakhstan covers two time zones and five types of climate. In 1991, following the disintegration of the Soviet Union, Kazakhstan became an independent sovereign state. The Constitution adopted on August 30, 1995 by referendum replaced a 1993 constitution. Kazakhstan is divided into 14 provinces in addition to which are the cities of Almaty and Astana, which have special State status and therefore are not associated with any province. Astana is the capital located in the north-central portion of Kazakhstan and it is second largest city after Almaty. Almatay is the former capital of Kazakhstan and it is situated in a beautiful setting between mountains and plains found in the south-eastern part of the country. Almatay boasts of modern architecture, wide streets, cool fountains, parks and squares as well as spectacular mountain views, particularly in spring and autumn. Kazakhstan is very ethnically diverse, with only a slight majority of Kazakhstanis being ethnic Kazakh. Other ethnic groups include Russian, Ukrainian, Uzbek, German, and Uyghur. Religions are Sunni Muslim, Russian Orthodox, and Protestant among others. Kazakhstan is a bilingual country. The Kazakh language has the status of the "state" language, while Russian is declared the "official" language. Kazakhstan has stable relationships with all of its neighbours. It is an active participant in the North Atlantic Treaty Organization's (NATO) Partnership for Peace program. It is a member numerous international bodies and organizations such as the United Nations; the Organization for Security and Cooperation in Europe; the North Atlantic Cooperation Council; the Commonwealth of Independent States and the Shanghai Cooperation Organization along with Russia, China, Kyrgyzstan, Tajikistan, and Uzbekistan. Kazakhstan, Russia, Belarus, Kyrgyzstan, and Tajikistan, which established the Eurasian Economic Community in 2000 in order to re-energize earlier efforts at harmonizing trade tariffs and the creation of a free trade zone under a customs union. Of particular note, Kazakhstan is the founding member of the Conference for Interaction and Confidence in Asia, and in 2010, it will serve as chairman in office of the Organization for Security and Cooperation in Europe. Finally, Kazakhstan engages in regional security dialogue with ASEAN (Association of South East Asian Nations). The aim of this report is to present the scope of the work done in the cultural diplomacy sphere within the Republic of Kazakhstan.

Cultural Diplomacy in Kazakhstan To start with some examples, one can mention such major projects as Days of Kazakhstan Culture in Mongolia and Asian Winter Games-2011. Both were state-sponsored events which brought Kazakhstan into the international arena and provided it with an opportunity to showcase its culture and tradition to the rest of the world. The Asian Winter Games-2011 hosted close to 2,000 journalists who helped to broadcast the event around the world. The government invested some US$1.65 billion to construct the required infrastructure for the event, emphasizing the government’s enthusiasm to prove itself capable of hosting such high-level international events. This report will discuss in greater detail eight other examples of culture in Kazakhstan. These examples include projects from public and civil sectors. Some of these projects were partially funded byCorporate houses, international institutions and enterprises. The majority of the projects were inclined towards student mobility (‚Bolashak‛, ‚Work and Travel‛, ‚Yunus Emre Cultural Centre‛) and art exhibitions (‚Nomad Art‛ and ‚Sheber‛), while some were devoted to other forms of art such as cinema and literature (‚KINOgerManija‛ and ‚Central Asia - Korea International Contest for Creative Scenario‛). One will note that the private sector is largely missing from the sphere of cultural diplomacy in Kazakhstan. In the increasingly globalized world, multi-national companies can play a pivotal role in forging cultural ties between nations. Now it is left to be seen when Kazakhstan would achieve this objective. In the meanwhile, we will take a look at the relevant projects that we found for cultural diplomacy.

2. Examples of Cultural Diplomacy in Kazakhstan 2.1 Work and Travel USA Agent of Cultural Diplomacy: U.S. Department of State Local Coordinating Agencies: Aktobe Educational Advising Centre/Rost

(AKEAC), American Travel (TST), B.I.G. World, Eurasia Kazakhstan, Flagman Travel, Global Student Agency, International

Exchange Centre, Inter Tour, ICES Youth Exchange Centre (Lucky Compass), Katherine LLP, Kazakhstan Council for Educational Travel (KCET), Manhattan Agency, My Planet, My Town, Oriksu, USL Kazakhstan, World Exchange, Work Abroad, Yercom

Agenda: Further cultural exchanges between the United

States of America and other countries in the world

Vehicle of Cultural Diplomacy: Different programs to provide bona fide foreign university students an opportunity to become directly involved in the daily life of the people of the United States through travel and temporary work for a period up to four months during their summer vacation Target Audience: Students of Kazakhstani universities open for international cultural exchange The Summer Work and Travel USA program has had the most widespread popularity among Central Asian university students. The program is a three month summer program that is self-funded and allows university students to learn about life in the US through short-term work and travel. The J-1 Summer Work and Travel USA was established in 1961 pursuant to the Mutual Educational and Cultural Exchange Act of 1961 and it is regulated by the Bureau of Educational and Cultural Affairs. According to the Cultural Exchange Act’s purpose, educational and cultural exchanges support the Department of State in furthering the foreign policy objectives of the U.S. The Department of State designates U.S. government, educational and private sector organizations to conduct and implement the educational and cultural exchange programs under a broad grant of authority (U.S. Department of State Guide, 2007). 2.2 Bolashak (the Bolashak International Scholarship) Agent of Cultural Diplomacy: President of the Republic of Kazakhstan

Agenda: Introducing Western, democratic values to Kazakhstan's youth Vehicle of Cultural Diplomacy: Scholarships for acquiring MA and PhD studies abroad to high-performing students in Kazakhstan Target Audience: Kazakhstan citizens finishing general secondary education schools; primary and secondary trade education organisations graduates; Kazakhstan universities students Since its introduction in 1993, the Bolashak programme, meaning ‚the future‛ in Kazakh, has allowed hundreds of Kazakhstan’s brightest students to study abroad at some of the best universities in the world. Bolashak students study Bachelor and Masters Degrees in subjects, which the Kazakh government has identified as priority areas to enable the country to prosper, such as Business, Law, Science and Engineering. Every year the list of the priority majors is compiled based on the requests gathered from the state departments, local authorities, state institutes of higher education and scientific research institutes. Upon graduation, students return to their home country to work in government service for a period of five years. The scholarship covers all tuition, insurance and accommodation costs, as well as living expenses and travel costs from Kazakhstan to the UK and home again at the end of the period of study. Since 2008 four categories of quotas have been implemented for applicants for the Bolashak Scholarship: rural youth, civil servants, teachers, and scientific workers. Overall, the scholarship stimulates young people to work in state and regional departments, gives opportunities for school and university staff members to improve their skills by obtaining Masters Degrees as well as participate in research projects in the foreign institutes of higher education and research. 2.3 Yunus Emre Cultural Centre Agent of Cultural Diplomacy: Yunus Emre Institute Agenda: Promoting Turkish language, culture, arts, andhistory as well as strengthening friendly international ties and increasing cultural exchange Vehicle of Cultural Diplomacy: Turkish language and art courses, painting and photograph exhibitions, and scientific and cultural events like conferences and seminars

Target Audience: Turkish language courses conducted at the Yunus Emre Turkish Cultural Centres provide services for those wishing to learn Turkish as a foreign language and also for those Turkish citizens living abroad to further develop their own language The Yunus Emre Institute established under the Yunus Emre Foundation conducts educational activities and scientific research and applications in order to meet the aims stipulated in the law. The Institute sponsors many projects such as research into how to improve the promotion and teaching of Turkish culture, history, language and literature; supporting scientific studies by cooperating with various organisations; and public awareness campaigns. The Yunus Emre Institute aims to contribute to the training of competent academics and researchers in the fields of Turkish language, history, culture, art and music as well as attempt to provide training through certification programs. The Yunus Emre Institute conducts activities to establish Yunus Emre Turkish Cultural Centres in different countries throughout the world, including Kazakhstan, in order to promote Turkish language, culture, arts and history. 2.4 KINOgerMANIJA - Film Festival Agent of Cultural Diplomacy: The Embassy and the Consulate General of Federal Republic of Germany in Kazakhstan, Goethe-Institute, the Swiss Embassy in Kazakhstan Agenda: Promoting knowledge of the German language abroad and fostering international cultural cooperation as well as conveying a comprehensive picture of Germany by providing information on Germany's cultural, social and political life Vehicle of Cultural Diplomacy: Displaying films from prominent German and Swiss directors in the German language with Russian subtitles in 16 different cities of Kazakhstan (Astana, Aktobe, Karagandy, Uralsk, Oskemen, Atyrau, Semey, Aktau, Pavlodar, Kyzylorda, Kokshetau, Shymkent, Petropavlovsk, Taraz, Kostanay and Almaty) Target Audience: Anyone interested in contemporary Germany and in teaching and studying German as a foreign language

The Festival is held for the first time by The Embassy and the Consulate General of Federal Republic of Germany in Kazakhstan in cooperation with Goethe-Institut and the Swiss Embassy in Kazakhstan. The aim of the event is to make the Kazakhstani public familiar with the works of German and Swiss director and thus foster cultural exchange between the countries. The films to be shown are:

- Vincent Will Meer - Space Tourists - Chiko - Vier Minuten - Auf der anderen Seite - Das leben der Anderen - Gegen die Wand - Giulias Verschwinden - Gucha - Jerichow - Poll - Prinzessinnenbad - Solino

The Festival will take place in 16 different cities of Kazakhstan between 14 October-24 November 2011. 2.5 2011 Central Asia - Korea International Contest for Creative Scenario Agent of Cultural Diplomacy: Central Asian-Korean Storytelling Committee supported by Ministry of Culture of the Republic of Kazakhstan, Ministry of Culture and Information of the Kyrgyz Republic, Ministry of Culture of the Republic of Tajikistan, Ministry of Cultural and Sports Affairs of the Republic of Uzbekistan Agenda: Promoting cultural exchange based on the traditional stories of each participating country Vehicle of Cultural Diplomacy: Central Asia - Korea Storytelling Community Target Audience: All interested parties Following the ‚1st Central Asia - Korea meeting on Cultural Resource Collaboration‛ in August of 2009, the governments of Kazakhstan, Kyrgyzstan, Tajikistan, Uzbekistan and the Republic of Korea established the ‚Central Asia - Korea Storytelling Committee‛ in order to promote cultural exchange programmes based on the traditional stories of each country.

Since its establishment, the committee has held regular annual meetings to discuss and further develop various collaboration projects. For its first project, the committee selected 23 prominent myths, folktales and epics from the participating countries to be translated into Korean, Russian, and English in an effort to preserve and promote the colourful cultural resources of Asia. The ‚2011 Central Asia - Korea International Contest for Creative Scenarios‛ aims to preserve popular, centuries-old, oral stories in order to share their values across borders. The tales contain themes such as heroic courage, wisdom of life and never ending hope, and contributing to the development of culture and arts of the nations. 2.6 A Bridge of Friendship between the EU and ENU Agent of Cultural Diplomacy: Gumilyov Eurasian National University, Delegation of the European Union to the Republic of Kazakhstan Agenda: Discussing issues of cooperation between the EU and Kazakhstan, as well as various aspects of life in EU states Vehicle of Cultural Diplomacy: A series of lectures given by the Extraordinary and Plenipotentiary Ambassadors of selected EU Member-States Target Audience: The ENU's faculty members, undergraduate and graduate students, Ph.D. students, and all interested parties The initiative "A bridge of friendship between the EU and ENU" emerged at the beginning of the 2010 academic year as a logical continuation of the partner relations between the University and diplomatic missions of the EU Member States in Kazakhstan. The project was officially opened by a lecture given by the Head of the Delegation of the European Union to the Republic of Kazakhstan, Ambassador Mr Norbert Jousten on 24 November 2010. Over the entire initiative period, the Extraordinary and Plenipotentiary Ambassadors of the following EU Member-States have made presentations: H.E. Ambassador of Latvia to the RoK Mr Alberts Sarkanis; H.E. Ambassador of Slovakia to the RoK Mr Dusan Podhorsky; H.E. Ambassador of Greece to the RoK Mr Evangelos Denaxas; H.E. Ambassador of Spain to the RoK Mr Alberto Antón; H.E. Ambassador of Germany to the RoK Mr Reiner Schlageter; H.E. Ambassador of Finland to the RoK Mr Mikko Kinnunen; H.E. Ambassador of the Czech Republic to the RoK Mr Bedrich Kopecky; H.E. Ambassador of Hungary to the RoK Mr Imre Laszlóczki; H.E. Ambassador of the United Kingdom to the RoK Mr David Moran; H.E. Ambassador of Romania to the RoK Mr Emil Rapcea;

H.E. Ambassador of Lithuania to the RoK Mr Rokas Bernotas; H.E. Ambassador of France to the RoK Mr Jean-Charles Berthonnet; H.E. Ambassador of Italy to the RoK Mr Bruno Antonio Pasquino; H.E. Ambassador of the Netherlands to the RoK Mr Frans Potuyt; H.E. Ambassador of Belgium to the RoK Mr Daniel Bertrand; H.E. Ambassador of Poland to the RoK Mr Jacek Kluczkowski. In their lectures the heads of diplomatic missions of the United Europe have talked about various aspects of life in the EU and their respective countries. The ENU's faculty members, undergraduate, graduate and postgraduate students were given an opportunity to ask their questions and to use the provided information in their research work. In total, more than 3,000 ENU students have attended the Ambassadors' lectures. 2.7 Sheber - Annual Kazakhstani Competition for Artisans Agent of Cultural Diplomacy: The social fund Our Heritage, the company Chevron, and the Eurasia Foundation for Central Asia (EFCA) with the support of the Ministry for Culture of the Republic of Kazakhstan Agenda: Promoting cultural exchange based on the traditional crafts of each participating country. Vehicle of Cultural Diplomacy: The project to develop native crafts includes a database of folk craftsmen and materials, and in-depth research conducted on the problems, demands and potential of the market. Also, special theoretical and practical seminars and trainings are organized for artisans. Comprehensive work is being done to unite local artisans. Target Audience: All interested parties The competition is intended to inform the public about the skills of Kazakh artisans and the quality of their crafts. The public foundation Our Heritage, with the support of Chevron Corporation, Eurasia Foundation of Central Asia (EFCA), the Ministry of Culture of Kazakhstan and UNESCO, organize the event ‚Development of Crafts and Rebirth of Traditional Applied Arts in Kazakhstan‛. The awards are given for the following categories:

- ‚Asyl Ustaz‛ (Guidance) - ‚Daryndy Bastau‛ (Promising start) - ‚Ozat isker‛ (Enterprising) - ‚Zhogargy sapa‛ (High quality) - ‚Zhanashyldyk‛ (Innovation) - ‚Toltumalyk‛ (Genuineness) - ‚Zhogargy sheberlyk‛ (Mastership)

- ‚Murager‛ (Living heritage). The submitted crafts are evaluated by a special evaluation committee consisting of artists, fine art experts, and representatives of the Ministry of Culture of Kazakhstan, UNESCO, Chevron and EFCA. There is also a handicrafts fair organized in the exhibition hall of the President’s Culture Centre where artisans from every region in Kazakhstan present their works. 2.8 ‚Art Nomad‛ - Art Exhibition Agent of Cultural Diplomacy: Association of Art Exhibitions and auctions in cooperation with ‚Sabi‛ Charity Foundation. Agenda: To promote cultural exchange by displaying works of Kazakhstani artists in art galleries of Almaty, London as well as a charity auction at Christie’s flagship auction house. Vehicle of Cultural Diplomacy: Art exhibitions in Almaty and London Target Audience: All interested parties The exhibition features 80 works of 50 Kazakhstani artists in techniques like painting, drawing, sculpture, ceramics, batik, as well as tapestries, jewellery, and articles made of felt. Among the authors are such masters as A. Sydyhanov, Y. Isambetova, A. Akana, R. Kozhakhmetov, H. Madani, N. Zheerenchiev, H. Bube, J. Suleimenov, D. Aliev, K. Bazargaliev, A. Esdauletov, D. Kasimov, A. Noda, W. Liu Ko, K. Mullashev, J. Kayrambaev and others. The collection of works of art demonstrates the development of Kazakhstan during the period from 1974 to 2008, making it a reflection of more than 30-year history of Kazakh art. The exhibition is a reflection of recent history as well as an indicator of the country's natural beauty, cultural heritage, and the modernity of western countries. The «ART NOMAD» project exhibits the best modern works of Kazakhstani artists and thus demonstrates how the mix of Western and Eastern society, the culture of nomads and urban civilization, hi-tech traditions, practices of old philosophy are smoothly incorporated in the fine arts of Kazakhstan. 3. Conclusion Given its remote geographical location, Kazakhstan has much to gain from being

active on the international stage through events linked to cultural diplomacy.

Kazakhstan has reason to be active in such programs, such is the abundance of

differing languages and cultures, both in Kazakhstan itself and among its

neighbours. In keeping with the vast diversity of language and ethnic heritage,

Kazakhstan’s involvement in the field of cultural diplomacy is varied. Education

takes a consistently central role in the form of financed scholarships at leading

foreign universities and exchanges to the United States. These approaches have

numerous benefits; aside from providing Kazakh students with the opportunity

to engage with other cultures (and of course export their own culture to the

west), the Kazakh government gains experienced graduates to work in its public

sphere. Furthermore, cultural diplomacy in Kazakhstan manifests itself in other

projects, equally representative of its position in central Asia. Through the Yunus

Emre Centre, paths of communication have been extended to Kazakhstan’s

Turkish community, as well as paving the way to maintain positive relations with

a powerful western nation. As a result of the Central Asian Creative Scenario

project, Kazakhstan can use its rich cultural heritage to interact with Far-Eastern

‘Tiger’ economies, such as South Korea. Kazakhstan also encourages domestic

artisan events, aimed at its own internal artistic community. Suffice to say that

Kazakhstan has sought to use cultural diplomacy to achieve various aims, both

internally and externally and to appeal to both East and West. Given that the

geographical position and demographic composition of Kazakhstan is not set to

change any time soon, it certainly has much to gain from the successful

implementation of cultural diplomacy.

Table of Contents 1. Introduction 2. Overview of Contemporary Cultural Diplomacy in Poland 3. Application of Cultural Diplomacy by the Government and Public Sector

3.1 Insytut Adama Mickiewicza (Adam Mickiewicza Institute) 3.2 Ja, Kultura (I, Culture/I Culture) 3.3 Polish Institutes 3.4 Cross Culture WarsawFestival 3.5 Polski Instut Sztuki Filmowej (Polish Film Institute)

3.6 Obok Polska ” Niemcy. 1000 Lat Historii V Sztuce/Tür an Tür. Polen

Deutschland 1000 Jahren Kunst und Geschichte (Side by Side, Poland and Germany. 1000 years of Arts and History) 3.7 Fryderyk Chopin Institute 3.8 Polski Instytute Ksiązki (Polish Book Institute)

4. Application of Cultural Diplomacy by the Private Sector 4.1 Polish National Trust 4.2 Polska Akademia Filmova i Niezależna Fundacja Filmowa (Polish Film Academy and Independent Film Foundation) 4.3 Krakowska Fundacja Filmowa (Krakow Film Foundation) 5. Application of Cultural Diplomacy by the Civil Society 5.1 Fundacja Pro Kultura (Pro Cultura Foundation) 5.2 Stowarzyszenie Willa Decjusza (Villa Decius Association) 5.3 Project ‚Multicultural‛ 5.4 Fundacja Pogranicze (Borderland Foundation) 5.6 Wschodnia Perspektywa (Eastern Perspective) 5.7 Polish Theatre Institute in the USA 6. Analysis and Conclusion 7. Bibliography

1. Introduction The Republic of Poland has a long history which includes powerful monarchy dynasties and years of occupation. The territory of Poland has been changed a lot ” especially when after the WWII its border was moved further to the West. Therefore the relations with Germany and people of Germany are from the one hand very close ” due to personal relations, but on the other hand - very tense and they require hard work which will lead to the mutual understanding. The Jewish culture is very close with Polish one ” even a part of it. However the very tragic history of the Nazi occupation has almost erased Jewish history from Polish territories. Therefore now Poland is trying to preserve at least a small part of the heritage by organizing festivals (in Krakow). These centuries of mutual co-existing of Polish and Jewish cultures can be named as an evident example of cultural diplomacy. Therefore Poland already has its makings in its history. The years which Poland was under the Soviet regime (up until 1989) have also changed its face. Its image in the world can still be very much associated with former soviet countries, which lack the democracy and are not very open for the world. However in 2004 Poland has become an official Member of the European Union, this has opened new perspectives for it. We can see that it is definitely taking advantage of it by developing its relations with other countries as well as its economics. Being a country on a very Eastern border of the EU makes Poland, to some extent, a mediator between non-EU countries and the East: Ukraine, Belarus etc. On the international scene Poland is represented as a developing country with one of the fastest growing economics. Poland’s economy was growing even at the time of financial crisis. Therefore it makes Poland very attractive for the foreign investments and being a part of the EU means Poland can get more support in its projects. Attractive to international politics and supported by effective cultural diplomacy tools, Poland can be taken to a new level and raise its importance in the European and world scale.

2. Overview of Contemporary Cultural Diplomacy in Poland. Currently Poland is paying a lot of attention to its promotion in the world. Especially in 2011 ”the year of Poland’s Presidency in the European Union. This year gives the chance for Poland to establish all the best projects it has now and to become positively well-known in the world by boosting its image in the world. A very significant project is currently taking place in the biggest cities of the world ” the iCulture project ” which is dedicated to the Polish Presidency in the EU. Also very important for Poland is the EURO 2012 Football championship which will be held in Poland and Ukraine in 2012. Mega sport events tend to be very useful for the countries promotion in the world. Also in the long term perspective they can bring economic growth ” by attracting more tourists to the country and by building new touristic and sport facilities. Poland’s government is paying a lot of attention to the promotion of its country. One of the main representatives of the Ministry of Culture of Poland is Adam Mickiewicz Institute, which organizes a lot of top cultural events in the country and outside it. Besides that, around twenty Polish Institutes exist all over the world which help to promote Polish culture abroad and make people aware of Polish history, traditions and heritage. An official promotion website (http://en.poland.gov.pl/) exists in order to inform people about Polish history current events and much more. Therefore it is important to emphasize how far Polish government is involved and aware of Poland’s promotion in the world. It can be assumed that persuasive national promotion program is one of the perspectives of Polish government.

3. Application of Cultural Diplomacy by the Government or Public

Sector

3.1 Instytut Adama Mickiewicza (Adam Mickiewicz Institute). Agent of Cultural Diplomacy: Adam Mickiewicz Institute exists for already more than 10 years and its main goal is ‚to increase the value of Poland's brand as a cultural asset and boosting Poland's effectiveness and efficiency in the area of culture‛.242

Agenda: Main task of the institute is the promotion of Polish culture abroad ” letting people become aware of its development through attending various projects and participating in the programs. Its mission is ‚to demonstrate Poland's role as an indispensable link in the international circulation of ideas, values and cultural goods of the highest order‛.

Vehicle of Cultural Diplomacy: The Adam Mickiewicz Institute is working on various tasks, followed by significant projects, which are well known in European and world cultural scene. Among them are: maintenance of the database of information about Polish culture, introducing and gathering promotional materials to be distributed to the audience. Besides that study visits are organized in cooperation with other cultural institutions in Poland.243

Target Audience: People interested in Polish culture, representatives of cultural organizations, who are willing to cooperate with Polish counterparts.

3.2 Ja Kultura (I, Culture/iCulture)

Agent of Cultural Diplomacy: Project iCulture ” Cultural Programme of the Polish EU Presidency. The main organizer is Adam Mickiewicz Institute ” one of the most significant actors on Polish cultural scene.

Agenda: ‚The international programme has been put together by the Adam Mickiewicz Institute in Warsaw together with Polish and international partners. Events take place in prominent museums, galleries, theatres and festival venues in Brussels, Paris, London, Berlin, Madrid, Moscow, Kyiv, Minsk, Beijing and Tokyo. In Poland, the programme has been prepared by the National Audiovisual Insitute, spanning half a dozen major projects in cities across Poland - from Warsaw and Kraków to Lublin and Krasnogruda‛.244

Vehicle of Cultural Diplomacy: Among the programme activities there is a main theme, which is Art for Social Change. Therefore the programme iCulture involves a huge variety of different congresses, exhibitions, concerts, performances etc. It pays a lot of attention to the role of NGOs, cultural initiatives and projects under Eastern Partnership programme. The programme was opened on July 1st at the National Opera in Warsaw ” the capital of Republic of Poland.245

‚The Flagship Projects are centered around 6 major pillars of Polish culture: the timeless poetry of Czesław Miłosz, the futuristic fantasies of Stanisław Lem, the music of Szymanowski and its impact on today's musical talents, and the ongoing pursuit of freedom and solidarity‛.246

242 ("Adam Mickiewicz Institute" ) 243 ("Adam Mickiewicz Institute" ) 244 ("Project iCulture ” Cultural Programme of the Polish EU Presidency" ) 245 Ibid 246 Ibid

Target Audience: People interested in Polish culture, modern art, performances etc.

3.3 Polish Institutes.

Agent of Cultural Diplomacy: The Ministry of Foreign Affairs of the Republic of Poland. ‚Polish Institutes are centers subordinate to the Ministry of Foreign Affairs whose main task is to promulgate throughout the world Polish culture and knowledge of Polish history and national heritage, and also to promote cooperation in culture, education, science and social life. In many places, Polish Institutes fulfil the role of the cultural and scientific affairs departments of Polish Embassies‛.247

List of Institutes:

- The Polish Cultural Institute in New York www.polishculture-nyc.org - The Polish Cultural Institute in London www.polishculture.org.uk - The Polish Cultural Institute in Vienna www.polnisches-institut.at - The Polish Cultural Institute in Brussels www.culturepolonaise.eu - The Polish Cultural Institute in Minsk www.instpol.by - The Polish Cultural Institute in Sofia www.polinst-bg.org - The Polish Cultural Institute in Prague www.polskyinstitut.cz - The Polish Cultural Institute in Paris http://www.institutpolonais.fr/ - The Polish Cultural Institute in Madrid www.culturapolaca.es - The Polish Cultural Institute in Berlin berlin.polnischekultur.de/ - The Polish Cultural Institute in Leipzig www.leipzig.polnischekultur.de/ - The Polish Cultural Institute in Dusseldorf www.polnisches-institut.de/ - The Polish Cultural Institute in Tel-Aviv www.polishinstitute.org.il - The Polish Cultural Institute in Rome www.istitutopolacco.it - The Polish Cultural Institute in Kyiv www.polinst.kiev.ua - The Polish Cultural Institute in Budapest www.polinst.hu - The Polish Cultural Institute in Stockholm www.polskainstitutet.se - The Polish Cultural Institute in Bratislava www.polinst.sk - The Polish Cultural Institute in Bucharest www.culturapoloneza.ro - The Polish Cultural Institute in Saint Petersburg www.polinst.ru - The Polish Cultural Institute in Moscow www.ipol.ru - The Polish Cultural Institute in Vilnius www.lenkukultura.lt

Agenda: Polish institutes are working on the promotion of Polish culture. They are establishing information about Poland for the people of other countries, as well as conducting cultural and educational activities and projects which help people to become more aware of Polish culture. As mentioned by of the missions of the Polish institutes: ‚the mission of cultural diplomacy is to effectively influence the local artistic and opinion-forming scene. Building good, close contacts with the media is a priority for Polish Institutes‛.248

247 ("Mission and goals of Polish Institutes" ) 248 http://www.msz.gov.pl/The,mission,and,goals,of,Polish,Institutes,20935.html

Vehicle of Cultural Diplomacy: The Polish Institute provides support for the projects mostly carried out outside Poland. These projects are aimed to promote Polish culture and heritage as well as help poles living abroad feel attached to their roots.

Target Audience: People interested in Polish Culture, Poles living abroad.

3.4 Cross Culture Warsaw Festival

Agent of Cultural Diplomacy: - Stołeczna Estrada - Cultural institution of the capital city of Warsaw

The Cross-Culture Warsaw Festival was initiated by the capital city's authorities in 2005.249

Agenda: The festival’s main idea is to provide people living of visiting Warsaw with multicultural performances. Lately Warsaw is becoming more and more international ” and the festival wants to reflect on it.250

Vehicle of Cultural Diplomacy: The festival has existed for six years, and the 7th festival has been held in 2011. During this time it has attracted a lot of artist from all over the world, making the cultural life in Warsaw more and more diverse. ‚Over 130 individual artists and groups from over 48 countries have presented their art within the Festival so far‛.251 By presenting artists from all over the world on the same stage with Polish ones the organizers make it possible to fill the spirit of trans culture and mutual respect to the cultures of the world.

Target Audience: Warsaw citizens and visitors.

3.5 Polski Institut Sztuki Filmowej (Polish Film Institute).

Agent of Cultural Diplomacy: Polish film Institute. Established in 2005.

Agenda: According to the declaration of the Council of Film Industries ‚State Film Institutes in Europe exist to support national and European film cultures and industries. Their role is to intervene in those countries in which the production and distribution of European films requires support.‛252 Therefore the Polish Film Institute’s main task is to fulfill these requirements and to apply them efficiently in order to develop Polish film industry.

Vehicle of Cultural Diplomacy: Polish Film Institute organizes projects and competitions which are aimed to support the development and promotion of Polish film industry. ‚The Polish Film Institute wants to draw Polish viewers back into theatres to watch Polish films and, at the same time, to make them worthwhile to watch and accessible to international audiences, particularly in Europe‛.253 In 2011 it has been involved in several tasks under the Operation Programme. These are: Film Education, Film Education and Dissemination of the Film Culture, Development of Cinema Infrastructure and Promotion of Polish Film Abroad.254

249 ("Cross Culture Festival" ) 250 Ibid 251 Ibid 252 ("About Polish Film Institute" ) 253 ("About Polish Film Institute" ) 254 Ibid

Target Audience: ‚The Polish Film Institute welcomes all foreign partners - producers, distributors and filmmakers alike ” interested in all forms of collaboration with the Polish film industry‛.255 Besides that, its aim is to attract people who wish to promote Polish culture through films and are seeking for any kind of support.

3.6 Obok. Polska – Niemcy. 1000 lat historii v sztuce/ Tür an Tür. Polen Deutschland. 1000 Jahren Kunst und Geschichte. (Side by Side. Poland – Germany. A 1000 Years of Art and History)

Agent of Cultural Diplomacy: There are several actors which help the project to be realized. They are: Berliner Festspiele, the Royal Castle in Warsaw and Martin-Gropius-Bau in Berlin. It is financed by the Federal Government Commissioner for Culture and Media, and the Minister of Culture and National Heritage of the Republic of Poland. 256 Patronage: Bronisław Komorowski, President of the Republic of Poland Christian Wulff, President of the Federal Republic of Germany

Agenda: The exhibition is a joint project of Martin-Gropius-Bau Berlin and the Royal Castle in Warsaw. ‚It came about within the framework of the international cultural programme of the Polish Presidency of the EU Council in 2011. The project has been supervised by a board of experts headed by Prof. Władysław Bartoszewski‛.257

Vehicle of Cultural Diplomacy: The art exhibition is the main target here which is used to illustrate how cultural diplomacy is working between two countries with tough and long history. These two neighbouring countries have influenced each other and uncovering similarities may help to build effective cultural dialogue.

Target Audience: People interested in Polish and German culture, their mutual influences between each other.

3.7 Fryderyk Chopin Institute

Agent of Cultural Diplomacy: The Fryderyk Chopin Institute. Established in 2001.

Agenda: Popularisation of knowledge about Chopin, who takes a very significant place in Polish cultural history as well as representation of Poland abroad. It takes care of organization of ‚concerts, conferences, courses, cooperation with institutions dealing in the protection of the Chopin heritage, gathering of Chopin-related archive materials and museum objects, running a Chopin-information centre etc.‛258

Vehicle of Cultural Diplomacy: Different conferences, concerts, which are aimed to promote Chopin cultural and music heritage.

Target Audience: People interested in music, Fryderyk Chopin and Polish culture.

255 Ibid 256 ("Side by Side. Poland and Germany. 1000 years of Art and History" ) 257 Ibid. 258 ("Fryderyk Chopin Institute" )

3.8 Polski Instytut Ksiązki (Polish Book Institute).

Agent of Cultural Diplomacy: Book Institute. Established in 2004 by Polish Ministry of Culture.

Agenda: The Institute aims to promote Polish books abroad ” on books exhibitions, among

publishing house. Besides that it also aims to promote Polish books inside Poland.259 However its participation on the different books exhibition around the world help to promote Polish culture and therefore makes cultural diplomacy more efficient.

Vehicle of Cultural Diplomacy: It promotes Polish books on various publishing fairs abroad, besides that it also organizes presentations of Polish authors. Through the number of other educational activities it makes people all over the world aware of new books being published in Poland. The Institute is also helpful in organizing seminars for translators of Polish literature which therefore helps them to share their ideas and to make the translations better.260

Target Audience: People interested in Polish literature.

259 ( " B o o k I n s t i t u t e " ) 260 Ibid

4. Application of Cultural Diplomacy by the Private Sector

4.1Polish National Trust

Agent of Cultural Diplomacy: Polish National trust. Founded in 2011.

Agenda: The Polish National Trust was formed to help preserve and promote Poland’s culture and heritage.261

Vehicle of Cultural Diplomacy: The main activities which Polish National Trust does in order to fulfill its mission are:

- ‚Advancing the education of the public on these issues in Poland, the United Kingdom and elsewhere as the opportunity arises;

- Assisting individuals in delivering their financial contributions to specific institutions, associations and preservation projects;

- Raising money independently in support of Polish heritage projects around Poland.

In order to achieve this, the Polish National Trust works with individuals and other Polish groups, associations and societies in the common interest of the maintenance and protection of Poland’s culture and heritage‛.262

Target Audience: People interested in Polish Culture, people interested in supporting projects which are aimed to promote Poland and its heritage.

4.2 Polska Akademia Filmova i Niezależna Fundacja Filmowa (Polish Film Academy and Independent Film Foundation)

Agent of Cultural Diplomacy: Polish Film Academy. Founded in 2003 with support of the Polish Audiovisual Producers Chamber and by the Independent Film Foundation.263 Under the honorary Patronage of the Ministry of Culture and National Heritage.

Agenda: The main mission of the Academy is promotion of Polish films through the annually highlighting of the achievements of Polish film producers and people involved into the film industry.264

Vehicle of Cultural Diplomacy: Annually the Academy is making the selection of the winners in the competition of Polish Film Awards ” Orły. The award has existed since 1999. The competition is usually organized in cooperation with Independent Film Foundation.265 By supporting people who want to promote Polish film industry these two organizations are helping to maintain the spirit of polish heritage in the film industry, in this way introducing Polish culture to its citizens and the world.

261 ("Polish National Trust" ) 262 Ibid 263 ("Polish Audiovisual Producers Chamber of Commerce (KIPA)" ) 264 ("Polish Film Academy"), all translations in the text are made by author. 265 Ibid

Target Audience: People interested in Polish films and their promotion, people interested in film industry.

4.3 Krakowska Fundacja Filmowa (Krakow Film Foundation)

Agent of Cultural Diplomacy: The independent organization Krakow Film Foundation.

Agenda: This independent foundation aims to help polish industry with having a variety of possibilities to develop and maintain efficient work.266

Vehicle of Cultural Diplomacy: Of the main task which Foundation aims to fulfill is popularization of film and culture, as well as film education in Poland and behind its borders. It tries to support different film projects, playing active role in Polish cultural life.267

Target Audience: The main audiences are the film industry activists, producers, which are interested in promotion of Polish film production.268

266 ("Krakow Film Foundation" ) 267 Ibid 268 Ibid

5. Application of Cultural Diplomacy by the Civil Society

5.1 Fundacja Pro Kultura (Pro Cultura Foundation)

Agent of Cultural Diplomacy: Fundacja Pro Kultura. Established in 2003.

Agenda: Promotion and exchange of knowledge and experience in the field of culture, media and new technologies on the national and international level.269

Vehicle of Cultural Diplomacy: The foundation history started in 2003. The main idea for creation such an organization was the need for an existence of an institution in Poland, which would have been in charge of international research on culture. It is aimed to promote the best possible ways which can help Polish organizations and institutions to get the financial aid for their cultural projects. Therefore it helps to develop the culture. Also the aim of the foundation is to initiate the public debates, which will help to share the international experience between various counterparts in cultural institutions in Poland and abroad.270

Target Audience: People from scientific, educational and cultural non-governmental organizations inside and outside Poland.

5.2 Stowarzyszenie Willa Decjusza (Villa Decius Association)

Agent of Cultural Diplomacy: Villa Decius Association

Agenda: “Within several years Villa Decius has established itself as a cultural institution of international outreach and has become one of the bridges linking European nations and a venue for the dialogue of cultures‛.271

Vehicle of Cultural Diplomacy: ‚At the base of all programs lies the idea of meetings of representatives from various fields of science and culture from all over Europe. Through exchange of ideas and thoughts, they can explore mutual stimuli for creative work and advocate pluralism and dialogue in public life‛.272 Besides that ‚in its programs Villa Decius gives an important place to the role of the writer and translator in social dialogue, to European integration, the protection of cultural heritage, the issues of ethnic minorities and the development of tolerance‛.273 By organizing various conferences it helped to develop networking between many other organizations, which might help to build a successful cooperation scheme between Polish and international cultural organizations and representatives.

Target Audience:

“Villa Decius programs are also addressed to managers and entrepreneurs working at the point of contact between different cultures. Many interdisciplinary projects of Villa provide for a

269 ( " F u n d a c j a P r o C u l t u r a " ) 270 Ibid 271 ("Villa Decius Association" ) 272 Ibid. 273 Ibid.

multifaceted outlook on the role of culture in the contemporary world, issues of international cultural cooperation and methods of cultural management and it’s financing.274

5.3 Project ‚Multicultural‛

Agent of Cultural Diplomacy: Stowarzyszenie Forum Kultur (Forum of Cultures Association).

Agenda: Forum of Cultures aims to build an intercultural dialogue between different cultural, ethnic and religious groups living in Poland so that it will raise the population’s awareness on each other and may help to build a peaceful society.275

Vehicle of Cultural Diplomacy: There are Polish language courses organized under the project, which help foreigners to get more involved in Polish everyday life. Therefore the project is building a dialogue between different groups of people. It also pays attention to cultural differences and tries to bring positive changes into the attitude of Poles to foreigners as well as vice versa. Through the events which are organized under this project by Forum of Cultures Association the citizens are expected to become more open to other religions and cultures.276

Target Audience: The projects main audience is inhabitants of Poznan who would like to experience the city’s cultural diversity atmosphere.277

5.4 Fundacja Pogranicze (Borderland Foundation)

Agent of Cultural Diplomacy: Borderland Foundation, established in 1990. It is mainly supported by the grants from various institutions and organizations, and by private donations.278

Agenda: ‚The Foundation's program activity is devoted exclusively to propagating the ethos of the borderland, and to building bridges between the peoples of different religions, ethnicities, nationalities, and cultures‛. 279

Vehicle of Cultural Diplomacy: The foundation takes part in different cultural conferences all over the world, representing Polish culture. It also takes care of the Borderland Centre of Arts, which organizes different events intending to maintain an efficient intercultural dialogue. There are several workrooms, which work in different areas of art. It also works closely with Halma Network, establishing a co-joint projects Borderland House (which also inovleves Villa Decius).

274 Ibid. 275 ( " P r o j e c t ' M u l t i c u l t u r a l " " ) 276 Ibid 277 Ibid

278 ( " B o r d e r l a n d F o u n d a t i o n " )

279 Ibid

Target Audience: People interested in different cultures and in propagating an intercultural dialogue.

5.5 Wschodnia Perspektywa (Eastern Perspective)

Agent of Cultural Diplomacy: Association ‚Eastern Perspective‛, established in 2004.

Agenda: The Association Easter Perspective aim is to help to build a cultural bridge between East and West. It has to initiate the cultural and information exchange that is aimed to build understanding and cooperation between different educational, cultural and science counterparts. The Association wants to create a network of contacts of NGOs in the Central Eastern Europe as well as in the countries of former USSR. Therefore the establishment of long-term program is expected, which will be aimed to break the stereotypes between cultures and will help to build friendly relations between each other.280

Vehicle of Cultural Diplomacy: The Association wants to promote knowledge about the countries of Eastern and Central Europe, as well as Asia (mostly former USSR republics). It wants to discuss different problematic issues which exist between people of this country, to help to overcome them with cultural initiatives.281

Target Audience: People who wish to integrate with cultures of ” members of former USSR. People who wish to build an efficient cooperation between countries in the field of culture.

5.6 Polish Theatre Institute in the USA.

Agent of Cultural Diplomacy: Polish Theatre Institute in the USA, established in 1984.

Agenda: Vehicle of Cultural Diplomacy: “It is dedicated to the promotion of Polish culture in the U.S. through musical and theatrical performances. Nina Polan is PTI Director and Pablo Zinger is our Music Director. International cast performs in Polish and/or English. Polish Theatre Institute in the US is partially funded by the New York State Council on the Arts‛.282

Target Audience: People in the US interested in theatre, Polish culture and performances.

280 ( " W s c h o d n i a P e r s p e c t y w a " ) 281 Ibid 282 ("Polish Theatre Institute in the USA" )

6. Analysis and Conclusion

As it has already been mentioned in the introduction ” the Polish government pays a lot of attention to the promotion of Poland culture in the world. Therefore we can see that there are many more projects which are governmentally funded rather than privately. This cannot be described as a negative thing. However this indicates the level of inclusion of civil society into the official countries development programme. Nevertheless there are number of private trusts and organizations which are promoting Polish culture. As the most significant projects for Poland’s promotion in the world several can be named. They are: iCulture program ” which is dedicated to the year of Polish Presidency in the EU in 2011. Under this project many smaller projects are held which present Poland culturally from the very different aspects: modern arts and classical music, literature and movies etc. Besides the iCulture project other important actors of Polish promotion in the world be named. These are institutions which work under the supervision of the Polish Ministry of Foreign Affairs and promote Poland abroad by establishing different festivals and participating in various cultural events. The civil society sector is established on a good level in the Polish cultural life. There are organizations which work independently on the development of a different field of Polish culture. As an overall conclusion it can be said that even if Polish culture has not been very well established on the world scene before ” probably because of the lack of efficient promotion campaigns. Now it is gaining its importance by introducing new programs, which represent and embrace Polish culture very extensively and in a comprehensive way.

7. Bibliography

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Country Profiles - Rwanda

Table of Contents

1. Introduction

2. Methodology

3. Historical Overview

3.1 BEFORE COLONIALISM

3.2 DURING COLONIALISM

3.3 AFTER COLONIALISM

4. Cultural Diplomacy in Rwanda

4.1 CULTURAL DIPLOMACY IN THE PUBLIC SECTOR

4.2 CULTURAL DIPLOMACY IN THE PRIVATE SECTOR

4.3 CULTURAL DIPLOMACY IN CIVIL SOCIETY

5. Analysis and Conclusion

6. List of References

Introduction

The damage done by the civil wars in Rwanda go beyond the physical and the emotional; the

country has undeniably suffered a life-threatening blow to its self-image and reputation. Hardly

known outside of Africa before the events of 1994, Rwanda’s ‚grand premiere‛ on the global

screen was in connection with a brutal genocide. Today, a visitor to Rwanda would have trouble

seeing remnants of the inter-tribal violence as the country is making great efforts to get itself

back on track.

Known as the ‚land of a thousand hills‛, Rwanda is a mountainous, culturally rich country,

where music and dance play an important role in the people’s traditions. The finest advocate of

Rwanda’s varied and dynamic traditional musical and dance styles is the Intore Dance Troupe.

Rwanda also houses national parks, which are home to the rare mountain gorilla, as well as rich

ecosystems that cover the country’s great volcanoes. Due to the mountainous topography of

the country, travel is difficult, and this has historically isolated self-sufficient local communities,

thus creating various local variation of the Rwandese culture.

The Rwandese government believes that a nation without any historical reference to the events

of its past is in decline. The government therefore prioritizes the preservation and perpetuation

of the country’s cultural heritage for present and future generations. This is done in order to

consolidate national unity, and to promote social cohesion and cultural freedom. This report is

going to explain how the Rwandese government works towards achieving these goals through

cultural diplomacy and how, by doing this, Rwanda reasserts diversity and dialogue between

the country’s different cultures and ethnic groups.

Methodology

In order to assess the position cultural diplomacy has in Rwanda, one needs to first and

foremost take a look at the country's history. Although Rwanda only has three ethnic groups,

the divide between these groups runs deep. To understand how this came to be, this report will

first take a short look at Rwanda's history, focusing on the country's development before,

during and after colonialism. The reason for this approach is that Rwandan society like so many

other African countries has had its structure altered by colonialism. It is therefore important to

see how the country's society functioned prior to the changes made by the colonialists. This

historical overview will be done in the third section of this account.

Cultural diplomacy in Rwanda will be discussed in the fourth section. This will be done by

examining the position it has in three cross-sections of Rwandese society; the private sector, the

public sector and civil society. It is important to specify that there are many other areas in

Rwandan society where cultural diplomacy can be observed and discussed, but the scope

chosen for this report was selected to give a broad yet framed view of cultural diplomacy within

the main sectors of Rwanda which incorporate the economy, the political field and the social

arena. More specifically, the public sector was chosen because it is the part of a country that

deals with what a government does for its citizen through its policies and activities. The private

sector was selected to show whether and how private businesses deal with, and incorporate

cultural diplomacy in their business plans. Finally, civil society was chosen to represent the sector

that is neither governmentally run nor profit-driven. For each sector, two projects are presented

to give concrete examples of how cultural diplomacy can be observed in these different areas.

In the fifth section a short analysis will be made by discussing the findings made in the fourth

section, before concluding the report. It is important to note that the research and analysis

done in this report is not of a final nature. Rather, this report’s intention is to introduce the

range cultural diplomacy has in Rwanda.

Historical Overview

Before Colonialism

The name Rwanda is derived from the verb ‚kwanda‛ in the local Kinyarwanda language,

which means ‚to enlarge, to grow‛. Oral traditions describe medieval Rwanda as a tiny

kingdom of just a few square miles. The country is in other words originally compilated of many

small kingdoms that emerged in the Great Lakes region of Central Africa. The earliest known

inhabitants of Rwanda were pygmoid hunter-gatherers; ancestors to the Twa population that

today comprise 1% of the national population.

Prior to the 15th century, a ruler named Gihanga forged a centralized Rwandese state that

comprised of cattle-owning nobility, the modern-day Tutsis, and of an agriculturist majority, the

modern-day Hutus. The pygmy Twa minority were forest hunters. The kingdom of Rwanda was

founded in the 16th century, in the East. The kingdom developed through conquest and

alliance, expanding and incorporating neighboring kingdoms and chieftaincies. This means that

the country was established based on a complex system of political and economic ties, rather

than shared cultural identity. All three groups, however, speak the same language, practice the

same religion and cohabit in the same territory. They essentially share the same culture,

although each group traditionally had a specific socially proscribed public role.

During Colonialism

It was colonial rule, which officially began in 1895, that was the primary force leading to the

emergence of the Rwandan national identity. Following the 1885 Berlin Conference, Rwanda

became a German colony, although a permanent German presence was not established in the

country for another full decade. In 1919, Rwanda was mandated to Belgium. This mandate led

to the implementation of a system that intensified already existing divisions and polarizations

between the Tutsi and the Hutu population. German and Belgian policies were based on the

concept of indirect rule, and sought to administer their colonies through existing structures of

power. In Rwanda’s case, colonial administrators mistakenly believed it to be organized along

ethnic lines, so they instituted policies where the Hutu were subjugated, and the Tutsi were

favored and seen as the natural rulers.

During the German and Belgian colonial rule, local social and political variations that had existed

prior to colonization were eliminated. The notion of nationality that was introduced by the

colonial administrators created political and social conflicts revolving around how Rwandan

national identity should be defined, and which ethnic groups were the ‚true‛ Rwandans.

Within Rwanda, the myth was that the Tutsis had arrived recently and established their

dominance over Hutu and Twa through conquest. The Germans and the Belgians that regarded

them as natural rulers further reinforced the Tutsis’ position in Rwanda. In the 1950s, a

movement of Hutu ethno-nationalism arose claiming that they were the true Rwandans. This

led to the 1959 peasant uprising, where thousands of Tutsi fled to neighboring countries.

After Colonialism

A UN General Assembly resolution terminated the Belgian trusteeship and granted full

independence to Rwanda effective as of July 1st, 1962. Rwanda thereafter became a republic

under Prime Minister Gregoire Kayibanda, leader of the PARMEHUTU Party that promoted a

Hutu-supremacist ideology. This prompted frequent clashes between the newly dominant Hutu

majority and historically more powerful Tutsi minority, resulting in the flight of more Tutsis

across the Rwandese borders. In 1973, Major General Juvenal Habyarimana overthrew the

repressive Kayibanda regime. This put the country in an even more complicated political

situation over the next 20 years, and simmering ethnic tensions were exacerbated by events in

neighboring states. On the 6th of April 1994, Habyarimana was killed in a plane crash triggering

the genocide in which an estimated one million Rwandans lost their lives, and twice as many

fled in exile. Despite the changing position of Hutus and Tutsis, the Twa remain fixed at the

bottom of the hierarchy. They have no political power and remain the poorest segment of

Rwandan society.

Cultural Diplomacy in Rwanda

The Ministry of Youth, Culture and Sports in Rwanda is mandated to promote the country’s

cultural values, institutions and expressions, heritage and arts. Their mission is officially ‚to

develop and support implementation of policies and strategies that promote Youth, Sports and

Cultural development initiatives that lead to the economic and social transformation as well as

to a productive and patriotic generation‛. This is extremely important as many of Rwanda’s

historic social organizations were eliminated either by colonial rule, the collapse of the

monarchy or as an effect of the civil war of 1994.

The government firmly believes that culture promotes a sense of togetherness and inventiveness

that will result in the creation of an enabling environment for sustainable development. The

Ministry therefore works to ensure this by building and strengthening institutions that promote

Rwandan culture, such as the Institute of National Museums of Rwanda (IMNR), the National

Commission of Fight against Genocide (CNLG) and the Rwandan Academy of Language and

Culture (ARLC) to name a few. The Ministry also promotes culture by including culture activities

in civic education programs. The ITORERO, which will be presented further in the next section, is

a perfect example of such a program, which focuses on integrity, peaceful coexistence, social

cohesion, solidarity and volunteerism. Additionally, cultural festivals are held every year where

Rwandan cultural dances, drama and traditions are often showcased. The country’s efforts to

develop and implement strategies that promote cooperation between national, regional and

international organizations show their commitment towards cultural diplomacy. The Ministry

has even set up an evaluation system that helps measure the progress made in this area.

Cultural Diplomacy in the Public Sector

The Rwandese constitution states that the government is committed to protect ‚sound

traditional and cultural practices based on Rwandan philosophy and culture in general.‛ Doing

this not only conserves and propagates the country’s rich history, but also lead to the economic

development since cultural projects promotes the creation of new jobs, new infrastructure and

the preservation of local natural resources. And since so many young Rwandans do not know

much about their rich cultural heritage due to the events in 1994, it is imperative to the

government to educate this segment of the population so that the country’s rich history and

traditions are not forgotten.

Itorero

Agent of cultural diplomacy: The National Unity and Reconciliation Commission

Agenda: To promote the Rwandese national culture

Vehicle of cultural diplomacy: Modernizing and reintroducing Rwandan traditions into society

Target audience: Rwandese youth, women, faith groups, local defense, opinion leaders, local

leaders, and teachers

Description of project: ITORERO is an informal education system that aims to mentor and

cultivate Rwandans on issues like good governance, national unity, reconciliation, justice,

economic development and other social problems that affect the country. The ITORERO is also a

way to inform Rwandans about government policies and programs. This strengthens the

population’s ownership of these policies and their implementation in society.

The purpose of reestablishing this traditional culture school is to build national unity and

sustainable peace. It was originally initiated to help people deal with and heal from the civil war

in 1994 through the promotion of culture, fighting genocide ideology and fostering the

reconciliation process. The ITORERO is also a way to pool resources by making people forget

their differences and work together towards a common good for the country’s development.

By reintroducing ITORERO, the Rwandese government has facilitated a medium where cultural

diplomacy can be practiced. The ITORERO provides the environment where Rwandans are able

to come together and be reintroduced to their cultural heritage. Positive values are promoted

and streamlined in such a way that young citizens grow a deeper understanding and

attachment to their culture.

National Service of Gacaca Jurisdictions 2

Agent of cultural diplomacy: The Ministry of Local Administration and Social Affairs (MINALOC),

The Rwandese Public Prosecutor’s Office, the Rwandese Supreme Court

Agenda: To allow a community to work together in order to judge those who have participated

in the genocide, identify the victims and rehabilitate the innocent.

Vehicle of cultural diplomacy: Bridging the gaps between ethnic communities through dialogue

and forgiveness

Target audience: Rwandese population affected by the genocide

Description of project: It was felt that the slowness of procedures and the delay in the trial of

cases connected to crimes during the genocide hindered the efforts made for the reconciliations

of Rwandans. The purpose of the Gacaca courts is to give the population the chance to speak

out against the committed atrocities, and to judge and punish the perpetrators that are not

judged and punished by the ordinary courts. The establishment of the Gacaca courts aims to

reestablish concord in a society, as well as making citizens that were manipulated to commit

crimes ‚repent‛ and start anew. By confessing his or her crimes, a suspect who would have

been sentenced to imprisonment would instead receive a commutation of half of their sentence

into works of public interest. The aims of the Gacaca courts are therefore to first and foremost

reveal the truth about the crimes committed during the genocide in 1994, as well as speed up

genocide trials.

The objective of reconciling the Rwandans and reinforcing their unity makes the Gacaca courts

a prime vehicle of cultural diplomacy. These courts are the basis on which a community affected

by the genocide will come together and collaborate, and diplomacy is key in order for justice to

be done for both the victim and the suspect. The use of the Gacaca court system is also a way

for the country to show that its society has the capacity to settle its own problems through a

system of justice based on the Rwandan custom. This reintroduces the Rwandese population to

their cultural heritage and creates a sense of unity as the population feel they contribute

towards their own as well as their country’s development.

Cultural Diplomacy in the Private Sector

Rwanda has undergone considerable and impressive reforms, creating a business-friendly

environment for the country’s private sector. The hope is that by freeing the economy, the

country will attract investments from around the world as well as increase the country’s

economic activity. By expanding exports, improving services, and building infrastructure,

Rwanda is well on its way towards a high economic growth rate. The government’s Economic

Development and Poverty Reduction Strategy and Vision 2020 is currently working on creating

a skilled labor force, as well as improving farm productivity, as they have understood that

prioritizing these activities have a huge say in how the country’s economy will develop in the

years to come.

Coffee Rwanda

Agent of cultural diplomacy: Coffee Rwanda

Agenda: Creating specialty coffee for the global market and improving the welfare of the

impoverished Twa population in Rwanda

Vehicle of cultural diplomacy: Increasing the welfare of coffee farmers, and working towards

reconciliation in the Rwandan communities.

Target audience: Coffee farmers and the Twa community in Rwanda

Description of project: Due to the country’s geography, Rwanda has the perfect conditions for

growing coffee. The high altitude, volcanic soil, and the combination of having plenty of sun as

well as equatorial mists, makes it easy to understand why one of the country’s main export

products is coffee. Rwanda has made coffee-growing a national priority and has worked hard

to establish itself as an internationally recognized coffee producer. Coffee Rwanda sees itself as

a ‚social business‛ that focuses on the health, education and welfare of impoverished

Rwandese families. Profits go towards buying children shoes, paying tuition fees and providing

health care insurance to those that need it. Profits also go to the ‚left behind‛ poor Twa

population in Rwanda. Coffee Rwanda is also a nation-building vehicle; since the women sort

the beans by hand, they talk to each other, and relationships are thus forged between the

perpetrators of genocide and the surviving victims. This way of conducting business is a good

example of cultural diplomacy efforts, as Coffee Rwanda works towards establishing the

reputation of its specialty coffee on the global market, as well as creating a meaningful and

sustainable working environment that focuses on collaboration and reconciliation.

Amahoro Tours

Agent of cultural diplomacy: Amahoro Tourism Association

Agenda: Conserving Rwanda’s natural environment, contributing to the sustainable

development of the local population, providing a high-quality tourist experience

Vehicle of cultural diplomacy: Sharing economic benefits as well as nurture a sense of pride and

awareness through tourism

Target audience: Tourists and local populations

Description of project: Amahoro Tours is the leader when it comes to community-based and

ecotourism in Rwanda. The tours, due to their extensive cooperation with community networks,

guarantee maximum interaction with the local populations. Amahoro Tours is a business that

incorporates cultural diplomacy in its activities, as it first discusses with its local partners how to

best ensure continued growth. By involving the local communities that wish to participate in

tourism activities, Amahoro Tours works towards ensuring that the largest share of a local

population enjoys the benefits that come with tourism. This in turn contributes to a long-term

peaceful environment as the population is involved in what is happening in their environment,

and the goal is not to exploit but help these populations to be a part of the tourism boom in

Rwanda. At the same time, tourists get a memorable experience of have seen the ‚real‛

Rwanda by getting close to the population, and getting to know their culture and way of life.

Cultural Diplomacy in the Civil Sector

A strong grassroots-based civil society is necessary, not only to secure long-term peace, but it is

also here that the key to development lies. Civil society first emerged in Rwanda as a reaction to

the environment change in Europe after the fall of the Berlin Wall. The Rwandan civil society of

the early 1990’s focused on advocating the return of the Rwandese who had fled to

neighboring countries since the 1959 peasant uprising. This social movement was not

appreciated, and many of those involved lost their lives.

Fortunately, the post genocidal period in Rwanda came with an influx of civil society

organizations. Although most were mainly international NGOs there was a slow emergence of

local associations, and most of these focused on women. The government has acknowledged

these women’s associations’ efforts, and the Ministry for Gender and Family Promotion has

particularly given them strong support.

Many Rwandese associations and social groups do not see themselves as part of the country’s

civil society and this is probably due to the persecutions civil societies suffered during the early

1990s. Fortunately, Rwandese civil society recently organized itself in the Rwandan Civil Society

Platform in order to decentralize civil society structures to match administrative decentralized

entities. This way of organizing civil society will, in the long run, facilitate advocacy, lobbying as

well as monitoring government actions.

Coporwa

Agent of cultural diplomacy: COPORWA

Agenda: To promote and defend the rights of potters

Vehicle of cultural diplomacy: Providing potters with information, educating them and help

them increase their pottery revenues

Target audience: The potter community of Rwanda

Description of project: The potters’ communities constitute a marginalized, vulnerable and the

poorest group in Rwanda. The CORPORA’s aim is to empower potters by educating them and

their children, informing them about their rights, as well as providing them with legal

assistance. It is important to the COPORWA that potters have the same opportunities to enjoy

their civil, economic, political and sociocultural rights as any other Rwandan citizen. The

COPORWA also works towards saving and promoting the potters’ communities culture.

Pro-Femmes Twese Hamwe

Agent of cultural diplomacy: PRO-FEMMES TWESE HAMWE

Agenda: To eradicate discrimination against women in Rwanda and ensure the protection of

their rights

Vehicle of cultural diplomacy: Training women, research and communication that promote

women’s rights in Rwanda

Target audience: Rwandese women

Description of project: Women are increasingly gaining ground in Rwanda’s public life. This is

partly because there are fewer men in postwar Rwanda, but also because of changing attitudes

towards women. Indeed, one positive and significant effects of the war has been the change in

traditional gender roles. PRO-FEMMES’ objective is to help improve women’s position in

Rwanda, as well as to help these women develop themselves and participate more in society.

PRO-FEMMES’ focus and activities lead to more cultural diplomacy in Rwanda, as women are

starting to be viewed differently and are actively being perceived as important contributors to

the country’s development. PRO-FEMMES provides women with the necessary skills to rise up

by educating them, and encouraging them to go against tradition and engage themselves in

the different aspects of the Rwandese community, whether economic or political. This has

started to bear fruits as Rwanda currently has the highest representation rates of women in

politics in the world.

Analysis and Conclusion

The goal of this report has been to show how cultural diplomacy is exercised in three different

sectors in Rwanda, as well as give examples of how these different sectors implement cultural

diplomacy in their activities.

Due to Rwanda's complicated historical background and the negative associations people have

of the country due to the 1994 genocide, the Rwandese government is working hard to bring

its citizens together and move forward as a unified country. The public sector is focused on

reeducating the people of what it is that makes them Rwandan. The ITORERO project that was

initiated by the government for example, shows how tradition is considered to be of great of

importance in order for its people to unite. The government is therefore focused on projects

and initiatives that remind Rwandans of their rich culture, and how much they share in common

regardless of ethnicity. The Rwandese Ministry of Youth, Culture and Sports and its mandates

show how the government connects the youth to cultural activities through sports and other

events that demand a level of interaction between different gender and ethnic groups. The

Rwandan government believes that focusing on youth is necessary in order for history not to

repeat itself. Making sure that the youth are aware of their cultural and traditional past, as well

as engaging them to interact with different groups is a positive way of preventing hatred from

blossoming again in the Rwandese community.

The private sector also involves itself in these efforts, by making sure that their activities

promote a sense of community. They do this by including local communities in what they do, as

well as earmarking a percentage of profits to go to activities that promote the development and

propagation of the Rwandese people and culture. Amahoro Tours was mentioned as a good

example of this. Their method of conducting business is not only inclusive, but it makes sure

that as many people are given the opportunity to benefit from working together and

cooperating. It would seem as if private sector in Rwanda acknowledges that in order to build

Rwanda out of the genocidal shadow it has been trapped in for so long, they have to combine

and follow the efforts made by the public sector.

Civil society is also trying to join in these efforts, but with a little difficulty. This is partly due to

the fact that Rwandese civil society was practically nonexistent before the 1990s. And even

then, being associated with them was dangerous. Indeed, many either lost their lives or had to

flee the country due to their involvement with these types of societies. Fortunately, with the

influx of international NGOs after the genocide, there has been a growing number of civil

societies emerging in Rwanda, especially those that focus on widows and orphans. An example

mentioned in this report was PRO-FEMMES, an organization that focuses on empowering

women in a previously traditionally patriarchal community.

The wide range of projects that have been mentioned in this report show how, in order to be

successful, cultural diplomacy is essential although the projects and initiatives are not directly

labeled as "cultural diplomacy projects". However, Rwanda's intricate and painful history puts

diplomacy in a crucial position in its society. For the country and its people to come together,

engaging in diplomacy is not possible without having an understanding of the country's culture.

The Gacaca courts are the perfect example of the importance of diplomacy when discussing the

country's culturally and ethnically sensitive past. Most of the presented project also focus and

work towards reconciling, understanding and unifying the three different ethnic groups in

Rwanda, which also is an important element of cultural diplomacy.

This report shows the huge role cultural diplomacy is playing in Rwanda, even though the

concept is not directly used in government policies and business plans. By engaging in activities

where the exchange of ideas, information, Rwandan values and traditions is enabled, a large

number of organizations and initiatives are employing cultural diplomacy without being aware

of it. Including the concept in Rwandese discourse would be a great way of giving a name to

the impressive efforts the country is making to unify its people and move away and forward

from the genocide label.

List of References

African Economic Outlook "Rwanda"

(30.09.11)http://www.africaneconomicoutlook.org/en/countries/east-africa/rwanda/

Amahoro Tours (04.10.11) http://www.amahoro-tours.com/index.html

Coffee Rwanda (04.10.11) http://www.coffeerwanda.com/coffee.php?ref=CR-AP-TOP

Communauté des Potiers du Rwanda (30.09.11) http://www.coporwa.org/

Countries and Their Cultures "Rwanda" (27.09.11) http://www.everyculture.com/No-

Sa/Rwanda.html

"Discover Rwanda's Culture"

(27.09.11)http://www.rwandatourism.com/pdf/buyers_guide_CULTURE1.pdf

Kevin Kelly (1999) " Development for Social Change: The challenge of building civil society in

Rwanda"

The Official Website of Rwanda Tourism

(27.09.2011)http://www.rwandatourism.com/culture.htm

National Service of Gacaca Jurisdictions (29.09.11) http://www.inkiko-

gacaca.gov.rw/En/EnCollaboration.htm

National Unity and Reconciliation Commission "Itorero Ry'igihugu"

(29.09.11)http://www.nurc.gov.rw/reconciliation-tools/itorero.html

Pro-Femme Twese Hamwe (30.09.11) http://www.profemme.org.rw/

The Rwandese Ministry of Youth, Sports and Culture "Mission, Vision and Core

Function"(28.09.11) http://mijespoc.gov.rw/Mission-Vision-and-Core-Function

The Rwandese Ministry of Youth, Sports and Culture

(29.09.11)www.mijespoc.gov.rw/.../Policy_on_Cultural_Heritage.pdf

"The State of Civil Society in Rwanda in National Development"

(29.09.11)http://civicus.org/downloads/CSI/Rwanda.pdf

World Trade Press (2010) "Rwandan Society & Culture Complete Report: an All-

inclusive Profile Combining All of Our Society and Culture Reports"

Country Profiles - Slovenia

Table of Contents 6. Introduction- Research Method 7. Methodology 8. Definition of Terms Concerning Cultural Diplomacy

8.1 Culture 8.2 Foreing Policy 8.3 Diplomacy 8.4 Soft Power and Public Diplomacy 8.5 Cultural Diplomacy

9. Elements of Cultural Diplomacy 9.1 Actors 9.2 Goals 9.3 Tools

10. Cultural Diplomacy in Slovenia 10.1 Main Actors 10.2 Other Actors

11. Application of Cultural Diplomacy by the Government and Public Sector 11.1 Co-projects under the EU Culture Programme 11.2 Viba Film Studio 11.3 Ministry of Culture, in Cooperation with the Project ‚OPEN] ART [SPACE‛ 11.4 Call for a Scholarship ‘Cultural Manager of Central and Eastern Europe for the

Academic Year 2011/12.’ 11.5 FSC Exhibition at the UNESCO Headquarters in Paris 11.6 World Book Capital Ljubljana 2010

12. Application of Cultural Diplomacy by the Private Sector 12.1 Animateka International Animated Film Festival 12.2 Art Stays, International Festival of Contemporary Art 12.3 The Big Architecture Festival 12.4 International Festival Druga Godba 12.5 Bled Meetings

8. Conclusion

A humanistic program means to in favour of all people despite differences in language, ethnicity, and class. Humanistic program also means aspiration for association of the entire nation. This humanistic program will be achieved with the united states of Europe and Slavic nations with their reciprocity will contribute to the association of European countries.

Tomáš G. Masaryk, first president of the Czechoslovakia, 1923

1. Introduction

Following 9/11, Huntington’s theory concerning the clash of civilizations has become a frequently discussed topic among politicians. It has become recognised that in our globalised world, conflicts between different religions or cultures can give rise to events that affect the global community at large. Regardless of whether Huntington's theory is true or not, it is clear that in the future more attention must be paid to dialogue between different cultures, in order to break down stereotypes.

It can be said that western countries are therefore rediscovering cultural diplomacy as a means to overcome conflict, as well as build mutual trust and understanding. Diplomacy on its own is simply a means of communication between countries; however cultural diplomacy represents a positive agenda for cooperation that takes place at a more human level, away from the political arena.

Discussions about so-called ‘European diplomacy’ are also becoming more commonplace. The network of representative offices of the European Commission is today more widespread than the network of representative offices of most member states. Common Foreign and Security Policy (CFSP) of the European Union (EU), together with some member states’ intergovernmental agreements, have led to a partial duplication of tasks and functions of diplomatic missions and consular offices. Slovenians, for whom diplomatic or consular assistance abroad is crucial, can find assistance and information at diplomatic-consular representations (DCR) of any of the European Union member states.

This does not mean that nation-specific DCRs have become redundant or unnecessary; they still perform some of the basic diplomatic and consular functions defined in the Vienna Convention, however this does give rise to differing viewpoints on the new tasks and priorities of the embassies of EU member states. For smaller European countries (including Slovenia), this means that staff and financial resources are better directed to activities that have (even those connected with foreign policy priorities) so far received little attention. These undoubtedly include enhanced levels of cultural diplomacy.

For a country with limited financial and human resources, cultural diplomacy represents an efficient practice of improving international relations, as the cost of implementation is generally low in relation to the benefits that can be achieved. In addition, such activities may also perform secondary functions in terms of other non-traditional diplomatic fields, thus increasing the efficiency of resources within the diplomatic organization.

The practice of cultural diplomacy is representative of so-called soft power, defined as the ability to influence others without the use of threat or coercion. Soft power derives from the attractiveness of national culture, politics, values, ideals and practices. Unlike the ‘stick and carrot’ practices of many larger countries whose power to influence may lie in their military and economic might, soft power is the preferred method for smaller countries such as Slovenia to boost their position in terms of influence, reputation and visibility in the international community.

It seems that it is the ‘invisibility’ of Slovenia in particular that prevents such progress. Although its position must be taken into account along with the country’s youth and small size, this issue is also frequently referenced in domestic political agendas. It is likely that an increase in

culturally diplomatic activity in Slovenia would have a positive influence on both its international visibility and its desirability as a tourist destination, which in addition to improved cultural and foreign policy would also bring economic benefits.

The literature on cultural diplomacy is mainly concerned with the practice of large countries with long traditions of diverse cultural activity, such as the USA and France. Literature regarding culturally diplomatic activities of small states is rarer, and usually of narrower focus. This certainly applies to Slovenia. Such references do generally cover the wider field of public diplomacy (of which cultural diplomacy is a part), however cultural components are merely outlined rather than investigated in detail.

The main objective of this investigation is to determine the current status of cultural diplomacy in Slovenia, the motives for its use and how the country performs in comparison with others. It will also determine to what extent the government of the

Republic of Slovenia, the private sector and the general public are interested and involved in the development of intercultural correspondence and intercultural exchange.

Undoubtedly, the main agents of cultural diplomacy are the institutions of the Ministry of Foreign Affairs (MFA) along with its DCR network. However, actors on the stage of cultural diplomacy may also take the form of other ministries, institutions, NGOs and even individuals. The project therefore wishes to identify the institutions involved in cultural diplomacy in Slovenia, but the central focus will certainly be on the Ministry of Foreign Affairs, as the main government representative.

It is also necessary to point out in advance the limitations of the present thesis. Cultural diplomacy in this analysis covers activities in culture, education and sports. The project does not consider activities in the field of science (with the exception of higher education), despite their potential significance. Also despite a number of international organizations within which the use of cultural diplomacy is possible, a greater interest has been taken in the direct use of culture, education and sports in bilateral relations. The reason for this is that, unlike participation in various international forums - at the bilateral level the state uses its messages and its foreign policy goals more directly and can adapt them to specific audiences more easily.

2. Methodology

In its overview of Slovenian cultural diplomacy, the following methodology was employed:

Stage 1: Selecting sectors The first stage of the research involved outlining the main sectors which, it was believed, could fully represent and define the country’s engagement with cultural diplomacy, namely the government/public sector and the private sector.

Stage 2: Research The second stage involved the research of official websites, publications and other sources that demonstrated the involvement of Slovenia. At first the research was intended to be evaluation-focused, but it soon became clear that this would be a rather subjective and perhaps unfair way of assessing the country, due to unavailable data of other countries which would have enabled comparison.

3. Definitions of Terms Concerning Cultural Diplomacy

3.1 ‘Culture’ The word ‘culture’ comes from the Latin word 'cultura,' and in its original form refers to the cultivation and care of domestic animals, understood today as ‘agriculture.' Historically, the word passed through the French language before assuming its current meaning in English, where it remains an essential reference to cultivation, however it now refers to the cultivation of man. The word’s early use was mainly in relation to good manners, social behaviour and habits, especially among the middle and upper classes. It was in the 17th century, that it started to include the realms of intellectual and social activity (Reeves 2004: 14-15). The term culture was also used from the time of the Enlightenment as a synonym for civilization, however the latter won the battle in 1752 when Tugot used it as a contrast to ‘barbarism,’ and it maintained this meaning until the end of the World War II (Braudel 1987: 37-38). ‘Civilization’ has also been understood in the Eurocentric spirit in reference to those achievements and values that are common to Europe (or the developed West), while ‘culture’ remains at a personal level, as something that is inherent to a human being (Reeves 2004: 16). Today culture is all-too-often equated with high-brow artistic expression. Culture is much more than literature, painting and theatre. Williams (1998: 6) says that culture is first of all ordinary, because it represents "designs, shapes and meanings of human societies, which are reflected in institutions, arts and knowledge." Culture can describe the way in which we live our daily lives. For example let's say that we are ‘environmentally conscious’ and ‘frugal’ when it comes to energy use; this would indicate that we may separate our waste and ensure that we consume as little fuel as possible. Additionally, our ‘culture’ may also represent our way of expressing our thoughts through personal interaction and the arts. For example, we may advocate our feelings of ecological orientation in public debates, whilst writing apocalyptic novels about the end of the world.

In theories of international relations, ‘culture’ is either an inclusive or destructive element. This corresponds to the two conceptions of culture - humanistic and anthropological. The humanistic concept of culture is based on similar assumptions as the concept of civilization; culture is an inclusive element of ancient societies. Culture represents artistic expression, and can be said to give mankind a sense of self-awareness, enabling spiritual growth and development. The anthropological concept of ‘culture’ is as an indicator of the unique elements of a society, representing all aspects of its unique ‘lifestyle.’

3.2 ‘Foreign Policy’

The term ‘foreign policy’ is subject to a wealth of definitions. It is generally illustrated as the activity of a country or its agencies, which seeks interaction with other actors (mainly countries) in the global community, in order to realise its own values and specific goals. Holst (1995: 83) defines the term as "an act defined by policy-makers, whose purpose is to solve a problem or to promote changes in the policy, behavior or actions of another country or countries of non-state actors in the international economy or the physical environment of the world." Benko (1997: 221) writes that foreign policy is "an institutionalized process of action… that you set in the country organized a company performs against a broader and more limited international environment to realize their material and moral interests and to influence him, or that reality in international Communities change, or adapt them." Finally Bucar (2001: 142-143) describes foreign policy as a process consisting of five stages: (1) planning, (2) content (3) implementation, and (4) effects and outcomes.

3.3 ‘Diplomacy’ The word ‘diplomacy’ comes from the Greek word diploma (δίπλωμα), which in ancient times

described the folded parchment or sealed letter of an official document issued by a government or a ruler (Satow 2004: 28). Diplomacy is a multidimensional word; its meaning depends on the context in which it is used. Different definitions of diplomacy also include a variety of emphases. In general, the field of international relations understands the term as a process of communication used in the peaceful resolving of conflicts by, by negotiation and persuasion as opposed to military coercion.

3.4 ‘Soft Power’ and ‘Public Diplomacy’ It can be said that we are able to influence others in three ways: by threats and coercion (‘sticks’), by incentives and payments (‘carrots’) or by attraction. The point of attraction, which is the main component of soft power, is to persuade others to want the same as we do. Overall representatives of a realistic theory of international relations define ‘power’ as the ability of party A to effect and influence party B, so that B does something it would otherwise not do (Strange 1995: 30).

Soft power and modern public diplomacy are relatively young ideas. Nye (2008: 94) defines ‘soft power’ as the ability to achieve desired goals by influencing others through attraction. In this definition of soft power, Nye presents the concept as an alternative to ‘hard power,’ that being the use of threat and coercion. Cull (2008) determines main elements of the public diplomacy as the practices of listening, advocacy, cultural diplomacy, exchange diplomacy and international radio-television transmissions.

Nye says that in international relations, the major sources of soft power are culture, political values and foreign policy. The ability to organize use these sources is called public diplomacy, or as Nye defines it, the "means of mobilizing resources of soft power, which governments use to communicate and influence public preferences of foreign countries" (2008, 94).

3.5 ‘Cultural Diplomacy’ Signitzer and Coombs (1992: 140-142) talk about hard (tough-minded) and soft (tender-minded) lines of public diplomacy, with traditional diplomacy forming part of the former, and public and cultural diplomacy forming a part of the latter. Where public diplomacy uses political information and communication as a means to influence foreign public views; cultural diplomacy works to influence such views more subtly, through fostering mutual knowledge, understanding and confidence through the development of inter-cultural ties.

Given that cultural diplomacy directly influences foreign audiences through culture, the concept is therefore an important generator of soft power. In this way, cultural diplomacy is specified by Arndt (2005: xviii), who argues that it is possible to make use of cultural diplomacy when "formal diplomats serving national governments try to create and channel the natural flow of (cross-cultural interactions) to serve the national interest." Since the essence of foreign policy is to implement of its own interests and values through influencing other actors, cultural diplomacy can therefore be recognised as a tool of foreign policy, by which countries maximize their influence and soft power. As was mentioned before, this is particularly important for smaller, less powerful countries such as Slovenia.

Today the most popular definition of cultural diplomacy was written by Cummings in 2003 in his study of the development of soft power in the USA. The author defined the concept as "an exchange of ideas, information, art and other aspects of culture among nations and peoples to develop mutual understanding." Culture is an important means of developing intercultural understanding. For example, through visiting art exhibitions, performances and other cultural events, one can learn about the culture of other nations, and in doing so discover common

ground (Demos 2007: 26). Cultural diplomacy is therefore also an important means of dismantling ethnic and religious prejudices, as it encourages tolerance, respect and understanding between peoples, religions and regions.

One disadvantage of the Cummings definition is that it does not mention the role of the state or the government when it comes to the implementation of cultural diplomacy. Other authors, such as Mitchell recognise this role as key. For him, cultural diplomacy is a "governments’ business," but is limited solely to international cultural agreements and their implementation (Mitchell, 2008: 51). Mitchell’s definition is also corroborated by Hamilton and Langhorne who define cultural diplomacy as "government[al] support for the protection and promotion of the national culture abroad" (Hamilton and Langhorne 1995, 127).

The Diplo Foundation also recognises cultural diplomacy as a state-centric activity: "Cultural diplomacy is the domain of diplomacy, which deals with establishing, developing and maintaining relations between the countries through culture, arts and education. It is also a proactive process of an external projection of state institutions, value systems and unique cultural figures on a bilateral and multilateral level" (DiploFoundation 2010).

Based on these definitions, this report defines public diplomacy as a bilateral communication with foreign publics, using soft power as a means to attract the attention of members of the foreign public, and thus indirectly influence the actions of their governments. Cultural diplomacy is here defined as the part of public diplomacy that contributes towards the realisation of foreign policy’s aims, by stimulating and promoting inter-cultural understanding through developing long-term, bilateral relations between individuals from different countries in terms of culture, science and education.

4. Elements of Cultural Diplomacy 4.1 Actors As pointed out above, cultural diplomacy and diplomacy in general are based on relationships between different actors in the international community. The Institute for Cultural Diplomacy notes that various actors from the public and private sectors, as well as civil society avail themselves of cultural diplomacy, but their purposes and methods of implementation of differ. Diplomacy was traditionally the practice of a government and its institutions. However it can be argued that despite the changed circumstances in the international community brought about by globalization, the government and its agencies continue to play a key role in its implementation. The link between cultural diplomacy and foreign policy, and diplomacy and its role in achieving the objectives of foreign policy, presume the direct or indirect involvement of the government.

The role of the government in the implementation of cultural diplomacy involves the creation of general guidelines of the country’s cultural policy, making cultural agreements with other countries and building the organisational framework for cooperation through international cultural projects. The government itself is not directly involved in the management and planning of cultural programs and activities, but it offers useful infrastructure can establish institutions where daily activities can be performed. For example, in 2004 the Ministry of Foreign Affairs of the Republic of Slovenia established the Forum of Slavic Cultures (FSC), with the main objective to promote cooperation of Slavic countries in the field of culture, education and science.

Given the fact that Slovenia does not have its own cultural institutes abroad, the Forum of Slavic Cultures is definitely one of the most important institutions of Slovenian cultural diplomacy. In the context of the forum’s activities, the country can promote its own culture and develop closer intercultural relationships with other Slavic Forum member states, whilst introducing Slavic culture to other countries. By establishing the FSC, the Ministry of Foreign Affairs of the Republic of Slovenia had brought into effect the words of the former Minister of Foreign Affairs Dimitrij Rupel, who in his article ‘Appropriate foreign policy’ two years earlier, called for a closer integration of Slovenia with other Slavic countries.

If we go into detail when it comes to the implementation of international cultural policy, we find that different ministries have specific departments responsible for this. Their functions include designing and exercising the international cultural policies of the country, and creating mechanisms for funding and cooperation in artistic and cultural projects. The Diplo Foundation outlines the key bodies of cultural diplomacy as:

Cultural and legal departments in the Ministry of Foreign Affairs,

International offices in the Ministries of Culture (MC)

Departments for cultural relations abroad,

Cultural centres abroad. In the case of Slovenia, the main bodies of cultural diplomacy can be considered the Sector for International Cultural Relations, which operates under the auspices of the Ministry of Foreign Affairs and the Directorate of Cultural Development and International Affairs at the Ministry of Culture.

Among the national authorities acting in the field of cultural diplomacy, it may also be worth adding sections/departments for international cooperation and relations with foreign countries that operate under other ministries. Slovenian examples are the Office of International Cooperation, the Ministry of Education and Sport, the Department for International Relations and EU Affairs, the Ministry of Higher Education, Science and Technology, the Directorate for

International Economic Relations abroad and the Directorate for Tourism at the Ministry of Economy. All of these sections, in their own way and for various reasons seek to promote the country abroad.

It can be said that the role that civil society, non-governmental organizations and individuals take in the implementation of cultural diplomacy is becoming more important with each passing day. The legitimate place of NGOs in the field of intergovernmental diplomacy was acknowledged and recognized in 1996 with the Resolution 1996/31 by the Economic and Social Council of the United Nations (ECOSOC). With progress in communication technology, their involvement in international politics is becoming easier, and there is therefore an increasingly competitive functioning of government bodies in this field (Willets 2008, 341). Due to the non-profit nature of NGOs, their influence in the international community is smaller than it could or should be, but nevertheless these organizations are becoming more and more important propagators of general norms, values and moral standards (Coolsaet 2004, 9).

By promoting the area of cultural diplomacy through their work, NGOs contribute to the emergence of new platforms for cultural exchange, among which can be considered academic exchanges, international forums, and tourism. Mark (2009b: 33) notes that cultural diplomacy pursued by the government, its agencies and employees has a predisposition to represent the most positive image of the country within the international community. The probability that state officials will use cultural diplomacy as an instrument to display unpleasant facts about the country and thus indirectly criticize government policy is therefore very small.

4.2 Goals At the conference ‘New Paradigms, New Models - Culture in EU External Relations,’ which was held between the 13th and 14th of May 2008 in Ljubljana, Gijs de Vries identified three reasons for cultural diplomacy, which could also be seen as its main objectives:

gain influence, which will facilitate the attainment of the objectives of foreign policy;

maintain or improve the image of the country abroad;

encourage the development of industries, especially the cultural industry. De Vries explains that the implementation of cultural diplomacy can have a positive impact on achieving the foreign policy objectives of the country, since it creates conditions that promote peaceful relations between countries and promotes democracy, human rights and sustainable development.

The Institute for Cultural Diplomacy informs about the goals of other actors in the field, which can indirectly contribute to improving the goals of cultural diplomacy of the whole country. Actors independent from the state or conditionally independent actors, such as the British Council or the Goethe Institute, work with the aim of spreading news about native culture and language; thereby contributing to greater visibility and recognition. Also included in intercultural cooperation are individual artists, academics, professionals and other cultural groups. However these, compared to the government in cross-cultural relations, are predominantly not seeking

commercial or political gains, but instead pursue personal goals, such as the promotion of their work abroad, learning about the work of foreign artists, academics and professionals and the establishment of intercultural contact (ICD 2010). This does not mean however, that they cannot contribute to the achievement of the objectives of cultural diplomacy of the country which they come from.

As an example, we can look at the student who decides to study abroad through the EU programme Erasmus. In doing so, s/he may have been led by either the desire for accumulation of knowledge in another country, or the wish to learn about new environments and people.

This can be said to be mainly for personal gain, upon which the state did not have much impact, apart from through their membership or other links with the EU to enable its own citizens’ participation in such programs. The ways in which this Erasmus student in the host country acts as a "cultural ambassador "of his home country however, are numerous.

The involvement of private enterprises and businesses who engage with the promotion of their home country abroad in order to improve their own business success will be discussed later.

4.3 Tools Putting the intercultural understanding among the public of different countries in practice (which is the basis of the cultural diplomacy), is conditional on the usage of the right tools. Based on the facts presented so far, we can see that cultural diplomacy promotes direct contacts between people from different countries in which the national authorities in principle do not interfere directly. The main task of state authorities is to sign bilateral or multilateral agreements in the field of culture, education and science, as they provide a legal basis and coordinate the use of tools of cultural diplomacy.

Among the most important tools of cultural diplomacy are cultural institutes or state centers abroad, and libraries that a home country opens in another country. Among the tools of cultural diplomacy we can also add, are institutions that deal with native language teaching abroad (such as departments of the native language and literature in foreign universities), or academic courses related to the country (e.g. the U.S. studies). In the case of the Faculty of Social Sciences (FDV) at the University of Ljubljana, the presence of the influence of U.S. cultural diplomacy can be felt through the American studies course, as well as the recently opened (March 2010) American corner of U.S. newspapers and literature. Remaining in the educational realm, we can also add the educational and cultural exchanges of people to the list of tools for cultural diplomacy. Exchange of scholars and artists has historically encouraged rapprochement between different cultures. It was used by the ancient Greeks who, as cultural ambassadors sent their best philosophers and poets to foreign countries. In the middle ages a similar practice was also carried out among European courtyards. Intercultural understanding can be also promoted through one-off events such as international conferences, seminars, workshops and exhibitions, performances and other cultural events. For example, during the Slovenian Presidency to the EU Council, Slovenia organized the Slovenian Philharmonic Orchestra concert in Brussels, which was held as a part of an official ceremony of the Slovenian EU Presidency.

5. Cultural Diplomacy in Slovenia

5.1 Main Actors Slovenia, with its 20,273km2 of land and 2 million inhabitants, is one of the smallest countries in the European region. Since 1991 Slovenia has been an independent democratic republic, before which it was a part of the Socialist Federal Republic of Yugoslavia as the Socialist Republic of Slovenia. Slovenia is a member of the following major international organizations: the United Nations (UN), the Organization for Economic Co-operation and Development (OECD), the Council of Europe (CE), the North Atlantic Treaty Organization (NATO) and the European Union (EU). It was also the first of the new EU member states to hold an EU Council Presidency in the first half of 2008. Today, Slovenia has 43 foreign embassies and 17 consulates, where diplomats operate under different ranks in charge of the field of culture. They do however lack a cultural attaché, the latest of which performed his duties in Berlin during the Slovenian EU Presidency. Given the fact that Slovenia has no state institutes abroad, the Ministry of Foreign Affairs and its departments are the main actors in the field of cultural diplomacy. The Division for International Relations in Culture at the Ministry of Foreign Affairs is in charge for bilateral and multilateral cooperation in the field of culture and education, which is a part of the Directorate for Economic Diplomacy and Development Cooperation. The Committee plans and coordinates the activities of foreign cultural policy, and monitors the preparation of bilateral agreements in culture, education, science, and is after the signing of agreements in charge of their implementation. The committee's duties include the monitoring of teaching the Slovenian language at foreign universities, and to assist in promoting Slovene abroad. The Office of the Republic of Slovenia for Slovenes Abroad, working under the Ministry of Foreign Affairs has the task of connecting with expats, in order to promote international economic cooperation. This division operates within the Department of Economic Diplomacy, whose basic mission is to protect and promote the interests of the Slovenian economy abroad. The Service for public relations informs about implementation of Slovenia's foreign policy, political and other processes in foreign countries, and among other things also prepares and leads informative activities in the country’s representative bodies abroad. Since Slovenia, as already mentioned, has no cultural institutes abroad, this makes other "cultural channels" even more important. At this point it is also worth mentioning lectureships of Slovene language operating in sixty-five universities around the world. With Slovene lectureships the focus is on language teaching, but teachers can also include other areas in their work, for example Slovenian literature and culture. A number of Slovene lectureships also organize Slovenian film and literary evenings, translation workshops and cultural events in cooperation with Slovenian Diplomatic and Consular Representative Bodies. Since 1992, Slovenia has signed around 40 general international agreements on cooperation in culture, education and science, and four special agreements283 that were taken over through their inheritance. Slovenia also exercises its international cultural participation by taking part in regional initiatives and institutions, such as the Forum of Slavic Cultures, the Central European Initiative (CEI) and the Anna Lindth Foundation. In 2009, Slovenian investment in culture was €204,040.642 which represents €102 per capita (MK Republic of Slovenia, 2009). Other Slovenian actors in the field of cultural diplomacy are shown below:

283 These are two agreements with the U.S. (cultural heritage, the Fulbright exchange program) and the Agreement on Functioning of the cultural centers of France and Great Britain.

5.2: Other Actors Actor Actions in the field of Cultural Diplomacy

Ministry of Education and Sports The Office of International Cooperation participates in the preparation and conclusion of bilateral agreements, programs and protocols on international cooperation in education. It is a part of a body of international institutions (EU, UNESCO, CE, La Francophonie, etc.), whose activities include education, the coordination of certain projects and programs in the areas of learning and foreign language teaching, and cooperating with Slovenians Abroad.

Ministry of Higher Education, Science and Technology

This service for international relations and European affairs is responsible for forming international policies of international relations in the field of higher education, science and technology. It is a part of relevant bodies and EU institutions, OECD etc. It cooperates with the Ministry of Foreign Affairs and the Office for Slovenian national commission for UNESCO.

Ministry of Economy Directorate for economic relations abroad

It represents a range of Slovenian co-funds, as well as joint exhibition performances of Slovenian companies abroad. The directorate promotes and markets Slovenia as a favourable location for direct foreign investments, guarantees foreign investors qualitative information about the country, and co-funds Slovenian business clubs abroad.

Directorate for tourism

Directs and supervises activities to promote Slovenian tourism abroad, exercised by the Slovenian Tourist Board.

Agency of the Republic of Slovenia for Entrepreneurship and Foreign Investments

Running programs in the field of promoting direct foreign investment, maintaining the website Invest Slovenia and Slovenia Partner; this publishes all important information on the Slovenian economy and provides assistance to foreign companies and investors. Co-finances 11 Slovenian business clubs abroad, among whose activities is also the promotion of Slovenian economy, and Slovenian companies with assistance in entering foreign markets..

Slovenian Tourist Organization Plans and implements the promotion of the country as a tourist destination, represents Slovenia at fairs and markets abroad, maintains the official Slovenian Tourism portal www.slovenia.info, and coordinates the work of 10 Slovenian information centres abroad.

Slovenian Film Fund Supports the promotion of Slovenian film abroad. Radio Slovenia International Preparing the radio content in three foreign languages,

provides information on current political, economic, sports and cultural events in the country.

6. Application of Cultural Diplomacy by the Government and Public Sector 6.1 Co-projects under the EU Culture Programme (2007-2013) The Ministry of Culture this year restored the system of financing projects which were selected from the call for applicants within the EU Culture Programme (2007-2013).

Between 2006 and 2007, the European co-financing of projects was carried out through public competition. In 2011, the Ministry of Culture wanted to minimize the procedures for project applicants, who had been professionally evaluated and selected by public competition of the EU Culture Programme. In accordance with the first article of the Law on Public Finance, the Ministry of Culture can undertake direct contracts with successful applicants, upon the submission of all necessary information and documents.

The amount of funding in 2011 is based on information gained from the Cultural Contact Points in Slovenia. It is limited in terms of the number of projects undertaken, and the level of input of applicants. The number of participants approved in each of the years 2008, 2009 and 2010 was more than 50. In the year 2011 the Ministry can therefore cover a 10% stake as co-organizer, or a 15% stake being as leader of the project (in the case of collaborative projects or European cultural festivals). In the case of translation projects, the maximum level of EU support will be €3,000, €5,000 or €10,000, depending on the set of the EU Culture Programme and the role of the contractor.

6.2 Viba Film Studio Viba Film Studio as we know it today was established in 1994 by the Government of the Republic of Slovenia, as a state institution which operates as the national technical film foundation. It can be said that it has existed for longer (at least from 1956 when the production company Viba Film was established) under different names and under different organisational structures. Today Viba Film Studio is involved in the production and/or post-production of the majority of Slovene films included in the National Film Programme, operating on a strictly commercial basis in the form of international co-productions, commercials, etc.. Viba also cooperates in student productions at the Academy of Theatre, Radio, Film and Television (AGRFT), both during the shooting of films and the post-production.

Since 1994 Viba Film has became a studio serving as a technical foundation for the majority of Slovene films through the use of its studio or/and technical services. Examples of productions include: Gone With the Train (Ekspres, ekspres, 1995) by Igor Šterk; Fortress Europe (Trdnjava Evropa, 1999) by Želimir Žilnik; Bread and Milk (Kruh in Mleko, 2000) by Jan Cvitkovič; Guardian of the Frontier (Varuh Meje, 2000) by Maja Weiss; Spare Parts (Rezervni Deli, 2002) by Damjan Kozole; Ljubljana the Beloved (Ljubljana je Ljubljena, 2005) by Matjaž Klopčič; Landscape No. 2 (Pokrajina št. 2, 2008) by Vinko Möderndorfer; and Slovenian Girl (Slovenka, 2009) by Damjan Kozole.

Furthermore, Viba Film has also been involved in several international productions that have included (to some extent) Slovene share such as Lily's Story (Lilijina Zgodba, 2002) by Robert Manthoulis; Summer in the Golden Valley (Poletje v Zlati Dolini, 2003) by Srdjan Vuletić; I am

from Titov Veles (Sem iz Titovega Velesa, 2004) by Teona Strugar Mitevska; and Grey Lorry of Red Colour (Sivi kamion rdeče barve, 2004) by Srdjan Koljević.

6.3 Ministry of Culture in cooperation with the project "OPEN] ART [SPACE"

The project "Open] art [space" was held from the 7th to the 11th September 2011 in Potsdam, Germany. The event was designed not only as an exhibition, but also as a project exhibition space where artists could create. Organizer, Werkstatt Wort & Bild Berlin, invited artists to participate in the field of painting, drawing, sculpture, video, photography, installations and

performance art. The Slovenian Ministry of Culture cooperated with this event and also encouraged and invited Slovenian artists to participate. Details: http://www.mk.gov.si/si/aktualno/vabilo_umetnikom_za_sodelovanje_pri_projektu_openartspace/

6.4 Call for a scholarship, "Cultural manager of Central and Eastern Europe" for the academic year 2011/12

The Slovenian Embassy in Germany offered a scholarship by the German Robert Bosch Foundation, ‘Cultural managers from Central and Eastern Europe’ (aus Mittel Kulturmanager-und Osteuropa) for the 2011/12 school year. The call was aimed at young people with professional or project experience in arts management, who wished to gain experience in one of the German cultural institutions. The deadline for application was 6 March 2011. Scholars are active in host institutions throughout Germany, and innovative projects represent a young artistic and cultural scene of their home country. Educational systems that include organizing and planning projects, fundraising, public relations and negotiations management form permanent parts of the programme.

6.5 FSC Exhibition at the UNESCO Headquarters in Paris To document Slavic culture and literature, the International Foundation/Forum of Slavic Cultures, in cooperation with the Slovenian and Russian permanent delegations to UNESCO, organized two exhibitions at the UNESCO Headquarters in Paris. The first was a photo review of monuments and natural sites under the protection of UNESCO entitled ‘World Heritage in the Slavic World.’ The other exhibition ” ‘Slavs, Legends Past and Present,’ is dedicated to the survey of contemporary Russian artists and Bulgarian icon painters, and included posters and photos of celebrations of traditional Slavic holidays and national costumes. The exhibition was opened on the 31st of May by the Director General of UNESCO, Ms. Irina Bokova, the Chairperson of the UNESCO Executive Board, Ms. Eleonora Mitrofanova, the Slovenian Ambassador in Paris and permanent representative to UNESCO Ms. Veronika Stabej, and the Chairperson of the Forum of Slavic Cultures Ms. Andreja Rihter. The guests evaluated the exhibitions as successful and engrossing. Several opening speakers talked in Slavic languages, numerous Slavic delegations took care of a rich culinary presentation of their countries, while Ukrainian and Russian musicians put on a warm and noteworthy performance. Other events included a Concert at the UN Headquarters in New York and a Contemporary Drawing Exhibition in Bitola.

6.6 World Book capital Ljubljana 2010 Since 2001, UNESCO has been nominating cities to be the annual World Book Capital City and the city of Ljubljana was already the tenth. World Book Capital Ljubljana 2010284 was launched on the 23rd of April with a spectacle (an encounter of science, art and philosophy through the book) at Križanke, directed by Matjaž Berger. Throughout the year, 500 events transformed the Slovene capital into a lively and cosmopolitan city. As one of the biggest events the Fabula 2010 ” Literatures of the World Festival Festival, offered nearly a month of cultural and literary events throughout the month, including a reading from Nobel Prize laureate Herta Müller. "The World Book Summit", organised by the Chamber of Publishing, Bookselling, Graphic Industry, and Radio & TV Media concluded Ljubljana's prestigious year-long title. Weekly events including readings as well as music events or

284 Organised by Municipality of Ljubljana.

discussions on current topics took place at a new venue, Trubar Literature House in the city centre. The activities during the World Book Capital year involved several different projects aimed at increasing readership, developing a culture of reading, improving access to books and literature, and promoting the richness of literary genres and world literature

7. Application of Cultural Diplomacy by the Private Sector

7.1 Animateka International Animated Film Festival Animateka International Animated Film Festival is organised by ‘2 Reels - Association for Reanimation of Storytelling285.’ It is a specialised competitive festival which focuses on Central and East European animated film production. Although formally established in 2004, its roots go back 6 years earlier to when the Slovenian Cinematheque introduced a special monthly programme (curated by Igor Prassel, who later became the director and the main selector of the Animateka festival) focusing on animated film. Today Animateka is a festival with 9 sections including a rich programme of retrospectives and additional screenings, workshops and events, co-produced by 2 Reels and Kinodvor Cinema. It takes place annually at the Kinodvor Cinema and at the Slovenian Cinematheque in Ljubljana during the second week of December. Each year an international 5-member-jury, composed of artists, festival curators and/or scholars confers the main festival award, and gives five special mentions, one from each member. The main festival award, the Animateka Grand Prix, goes to one or two selected works from the Competition Programme, whilst each member of the jury is able to confer a Special Mention to another film of his or her choice from the Competition Programme. The films Four (Štyri) by Ivana Šebestova, NightStill by Elke Groen, Homeland by Juan de Dios Marfil Atienze and Crocodile by Kaspar Jancis have been among the winners of the Animateka Grand Prix. An additional jury composed of selected representatives from the audience, bestows the Maestro Audience Award to any film from the whole festival programme, while the children's jury grants the NLB Vita Award for a selected work from the Elephant Children's programme. Recent winners of these two awards include the films Log Jam: The Snake by Alexei Alexev, Vasilisa by Darina Shmidt, Tôt ou Tard by Jadwiga Kowalska and Land of the Heads by Céderic Louis and Claude Barras. In 2009, for the second year, the Animateka festival programme also included a special contest for web and mobile device based animations called AnimaWeb

7.2 Art Stays, International Festival of Contemporary Art Established in 2003, the Art Stays, International Festival of Contemporary Art is organised by Arts Stays Cultural Association286. It is the main summer event of visual arts in the Ptuj region. Since 2009 it is one of the two branches of the Art Ptuj Festival, consisting also of the music part of the festival named Arsana. The Art Stays Festival consists traditionally of a number of days of working sessions and a month-long exhibition, which is featured on several locations in

285 The 2 Reels - Association for Reanimation of Storytelling was born in 2007 out of the wish to cultivate and to promote storytelling in all its forms. It brings together 2 spheres of activity bound by their mutual aim to cultivate the telling of stories: Animateka International Animated Film Festival and the Radio Student programme Za 2 groša fantazije ("A Twopence of Imagination"). A significant part of the association's activities is dedicated to educational programmes for adults and children, as stories ” be they in the form of film, written word, sound recording or live storytelling ” should come to life and live on among people. 286 Officially established in 2005, the activities of the Art Stays Cultural Association (Ptuj, Kidričevo) are rooted in the ambitions of young representatives of the local art scene, putting Ptuj, one of the most impressive Slovene towns of medieval and also Roman heritage, on the international map of contemporary arts by inviting protagonists of the art world from abroad and other parts of Slovenia.

Ptuj including the partner institutions: Ptuj ” Ormož Regional Museum, Mihelič Gallery, Ptuj, and Art Salon, Ptuj. The 8th edition of 2010 transformed the colony character of the festival's past events into an academy. Emerging artists participated in a 10-day festival workshop led by international guest professors such as Gary Cass (University of Western Australia, Perth, Australia), S. Chandrasekaran (Head of the Department of Fine Arts at Nanyang Academy of Fine Arts, Singapore), and Raphael Di Luzio (New Media Programme, University of Maine, USA). Artists from 12 countries on 4 continents participated, including those from Italy, Slovenia, Germany, Spain, Slovakia, Hungary, Switzerland, USA, Singapore, Australia, Finland, and Ireland. Beti Bricelj, BridA (Tom Kerševan, Sendi Mango, Jurij Pavlica), Dušan Fišer, and Tanja Špenko represented Slovenia.

7.3 The Big Architecture Festival The International Big Architecture Festival presented by Zavod Big287 and Hiše Magazine is a one”day architectural conference which has taken place annually in Ljubljana since 2008. Guest architects address thematic issues through presentations of their work, and through dynamic dialogue. The 2010 festival on subject of Transformation hosted architects ARX, Portugal Arquitectos, and NL Architects, among others. The theme for the 2011 Big Architecture conference is ‘New Rules, New Responses,’ the exhibition features 'Houses of the World, while the 180˚ Stage presents What is a Way to a Good House? In 2008 under the title ‘Selling Architecture that Sells,’ the conference introduced the Nordic perspective on quality commercial design, with internationally renowned architects holding lectures, among them Dorte Mandrup Arkitekter. The 2009 event, entitled ‘Sustainable Excellence,’ explored the relationship between quality design, innovation, sustainability, creativity, and responsibility. Since 2009, an exhibition of the world's best residential buildings forms a part of the Big Architecture Festival. In 2010 the exhibition was showcased outside in the old city centre near the river Ljubljanica. The Hiše Awards for Innovative Excellence in Private Housing were granted to the best individual house at the closing ceremony.

7.4 International Festival Druga Godba288 The Druga Godba Festival was established in 1984, to present an alternative to the festivals existing at the time whose programmes failed to include more radical or simply ‚different‛ musical practices. Initially, these aims resulted in a programme which concentrated on alternative rock (’rock in opposition), contemporary jazz and experimental music, and which rediscovered and re-established Slovene traditional music.

287 Zavod Big - Creative Industries of SE Europe is a company that publishes Hiše magazine, organises the annual Month of Design with its National Design Awards and, in the last years, also the eminent Big Architecture Festival along with the Hiše Awards exhibition and ceremony. 288 Zavod Druga godba Ljubljana is a non profit cultural organization, which organizes International Festival Druga godba and promotes some of the best Slovenian and Croatian musicians. It was established in 1999 to secure the continuation of International Festival Druga godba created in 1984.

Later, the Druga Godba Festival became a musical ’travelling partner’ of the legendary WOMAD Festival, with which it collaborated in the 1980s. In the 1980s, when the Slovene concert and festival programmes began to expand and open up to musical practices that previously had been neglected, in particular rock and jazz, the focus of the Druga Godba programme shifted to world in ethno music. The festival kept presenting all other original musical genres however, though in a smaller scope and frequency. Alongside its original programme, Druga Godba has initiated and offered a range of parallel events, such as street animation and concerts, musical workshops, events intended for children, exhibitions, film screenings and lectures which formed its accompanying programme. In the 1990s it became the strongest festival with this type of programme in Europe, establishing connections with the majority of other such festivals and becoming also a member of the central international organization in this field, the European Forum of Worldwide Music Festivals. Bogdan Benigar, director of Zavod Druga Godba, was a board member of this important Forum for two terms, from 1996-1998 and from 2004-2008. The latest annual festival was held from 7th ” 14th May 2011. Details: http://www.drugagodba.si/en

7.5 Bled Meetings. Bled Meetings are international meetings of writers held in the town of Bled, Slovenia since 1977, however they originally began in Piran in 1968. Through more than 40 years of existence the traditional Bled Meetings have become one of the most prominent literary gatherings in the world. Since its foundation the Slovenian PEN has stood in defence of those whose freedom of expression was violated, supported the persecuted authors in former Yugoslavia, and paid special attention to Slovenian minorities in neighbouring countries. In the period when Slovenia was gaining independence, the Slovenian PEN was keeping the world informed via the network of International PEN. During the war in Bosnia and Herzegovina it was also gathering and forwarding international aid for writers in that region. Every year, three round tables are organized, one of them by the Writers for Peace Committee which also holds one of its annual meeting at the Bled conference.

8. Conclusion

This investigation has aimed to convey to the reader an understanding of the meaning of cultural diplomacy and its associated terms, its potential benefits for a country’s international relations, and how it is being used by the Slovenian government and private sector as a tool to improve the country’s global position.

In looking at the scope of projects as a whole, it can be said that there is a particular focus in Slovenia on showcasing ‘alternative’ styles of art, literature and film, with world-class projects being undertaken on a regular basis. A strong political undercurrent in such activities is inevitable on account of Slovenia’s relative youth as an independent nation, and its people’s experiences of struggle and persecution until late in the 20th century. Such experiences may have acted as a catalyst for the embracing of artistic freedom today.

Indeed Slovenia’s capital and largest city, Ljubljana is becoming known worldwide as a place which welcomes those of the ‘bohemian’ persuasion, being home to some 56,650 students289 of Ljubljana University’s 20 faculties, three art academies and three university colleges, as well as to a thriving alternative-lifestyle community known as Metelkova. Cultural events such as the Druga Godba alternative music festival, the Animateka animated film festival and the Bled Meetings of literary figures are testament to Slovenia’s prominence as a country where fresh ideas and rebellious attitudes are valued. It is perhaps this aspect of Slovenia’s culture that would be most useful in further developing a competitive nation-brand, similar to Norway’s recent exploitation of its ‘black metal’ music scene.290

Intercultural exchange is also a prominent feature of Slovenia’s culturally diplomatic activity, particularly in the visual arts through the Viba film studio, and events such as the Big Architecture Festival and involvement in the OPEN] ART [SPACE exhibition in Germany. Music also plays a significant role; the a’capella choir Perpetuum Jazzile certainly deserve a mention, having recently embarked on their first worldwide tour, named VX 2011291.

It does seem however that ethnographic events and exhibitions such as the FSC exhibition at the UNESCO headquarters in Paris are lacking on home soil; however it may simply be the case that such activities are seen as commonplace and are therefore poorly documented. It’s ‘invisibility’ as a country, as discussed in the introduction may ultimately stem from a lack of international understanding of such traditions and domestic culture. Either way, despite its slow growth Slovenia has the somewhat intriguing status of being a ‘western’ Slavic country with a rich history and a prominent geographical position. The country could do well to use what resources it has to exploit these attributes in terms of attracting tourism and foreign investment, as well as in the creation of a stronger nation-brand to secure its future as a compact, yet capable country.

289 Author unknown. (2009). Introducing Ljubljana. Available: http://www.lonelyplanet.com/slovenia/ljubljana. Last accessed 06.10.2011. 290 Andreas Markessinis. (unknown). Norway to use black metal for nation branding. Available: http://nation-branding.info/2011/06/15/norway-to-use-black-metal-for-nation-branding/. Last accessed 06.10.2011. 291

Country Profiles - Sweden

Table of Contents 1. Introduction- Research Method 2. Contextual Background

2.1 Swedish Multiculturalism and Integration 2.2 The Sami People 2.3 Challenges

3. Overview of Contemporary Cultural Diplomacy Programs in Sweden

3.1 Cultural Diplomac in Sweden 3.2 Cultural Diplomacy in the Public Sector 3.3 Cultural Diplomacy in the Private Sector 3.4 Cultural Diplomacy in Civil Society

4. Analysis and Conclusion 5. Bibliography

1. Introduction and Research Method

During the past 60 years, Sweden has become an increasingly multicultural society, and today around 200 nationalities are represented within the country’s borders. Even though values of tolerance and solidarity are strong the political debate has become more polarized in the last years. Thus the necessity of cultural diplomacy is ever as important in Sweden for peaceful and tolerant coexistence between different groups to be a reality. But what is cultural diplomacy? According to Milton C. Cummings the notion of cultural diplomacy is defined as ‚the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding‛292. In following this notion, it is possible to understand any person interacting with people from cultures other than her or his own as a facilitator of cultural exchange. In engaging in cultural exchange, communication and respect are increased between individuals, as well as between societies through improved mutual understanding of values as well as reduced susceptibility.

This way of understanding the concept of cultural diplomacy differs from what we can call ‚traditional diplomacy‛, which primarily is focused on nation branding and advertising a country abroad. Instead, cultural diplomacy emphasizes the facilitation and initiation of cultural exchange. It is also important to mention that this form of cultural diplomacy can be facilitated in many different fields, including the arts, sports, literature, academics etc.

The goal of this report is to research how and through what means cultural diplomacy are exercised in Sweden, thus offering a broad picture of cultural diplomacy in Sweden. Since this report is not sufficient to deal with the whole field of cultural diplomacy in Sweden, some methodological issues need to be dealt with. First, to examine cultural diplomacy in all sectors of the Swedish society, cultural diplomacy initiatives or organizations will be presented from the public, private as well as the civil society arena. For these initiatives or programmes to be seen as examples of cultural diplomacy, they need to have at least one of the following aims: To promote the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture with the intention of fostering mutual understanding.293 In this report, cultural diplomacy in the public sector means organizations or programmes initiated or currently directed by public institutions and offices. Cultural diplomacy in the private sector is referring to foundations, projects or programmes initiated or currently directed by private enterprises and businesses. Cultural diplomacy in the civil society is meaning organizations or programmes initiated or currently directed by agents of civil society (such as NGOs, foundations, philanthropists etc.).

In arriving to conclusions about cultural diplomacy in Sweden, the report will include the following sections. First, a contextual background of Sweden will be presented focusing on cultural diversity in Sweden, integration and multiculturalism, and current challenges the country is facing in these regards. Second, an overview of contemporary cultural diplomacy programs in Sweden will be presented in three parts: cultural diplomacy in the public sector, cultural diplomacy in the private sector and cultural diplomacy in civil society. Lastly, an analysis of projects and programs found in the Swedish context will be provided.

292 See Milton C. Cummings definition of “Cultural Diplomacy” at the Institute for Cultural Diplomacy’s website http://culturaldiplomacy.org/index.php?en_culturaldiplomacy 293 Ibid

2. Contextual Background

2.1 Swedish Multiculturalism and Integration

Due to high levels of immigration during the past sixty years, Sweden has become a highly multicultural society. One reason for this is the country’s encompassing migration policies, aiming to protect the right to asylum and to facilitate the freedom of movement across borders. Currently about 200 nationalities are represented among Sweden’s 9.4 million residents and today almost 20 per cent of the population have their roots outside of Sweden. Amongst other nationalities, Finnish, Iraqi, Somalian and Bosnian people are well represented. 294

A consequence of Sweden’s quite generous immigration policies is the focus upon enhanced integration, diversity and equality within the Swedish society. In the public sphere, issues of integration and equality are vividly debated. But in contrast to its Danish neighbor which opts for assimilation, the need for multiculturalism, diversity and anti-discrimination is strongly voiced by the Swedish state as well as in the private and civil society sector.295 The promise of intercultural exchange and mutual understanding are lifted in the political as well as social spheres of Sweden as well as in its relations with other countries. This is for example reflected in a recent study published by the British Council and the Migration Policy Group, that contends that Sweden is better at managing integration than any other of the European countries, the US and Canada.296 The highlighted strengths in the study are the Swedish laws concerning family reunification and anti-discrimination and in offering overall good conditions for migrants to participate in society, including finding employment. But it is also important to mention that laws related to housing and education were considered less advantageous, although still ranking high.297

An example of a cultural diplomacy initiative in Sweden, in form of a public policy, is the ‚hemsprak‛ (home language) policy. Efforts to teach newly arrived immigrants Swedish is an important public integration tool, but it is also acknowledged that it is easier to master a new language if you are proficient in your mother tongue. Thus the ‚hemsprak‛ policy was adopted, meaning that children with a mother tongue other than Swedish is given the opportunity to develop a ‚mastery‛ of their native language within the framework of the public education system.298

2.2 The Sami People

The Sami people are the only indigenous group in Sweden, living mainly in the northern parts of the country, constituting a population around 20,000. Unfortunately, the lack of a deeper cultural understanding between modern day Swedes and Sami feeds a generational divide. This divide has deep roots, originating from the industrialization process in Sweden. When Sweden started to exploit natural resources on Sami land it threatened their traditional reindeer herding and thus their livelihood. Miscommunication and lack of mutual understanding led to the

294 Sweden.se "Migration in Sweden" Available at: http://www.sweden.se/eng/Home/Society/Migration/ (Accessed: 2011-09-29); Palmer, Brian C.W.P "Sweden". Available at: http://www.everyculture.com/Sa-Th/Sweden.html (Accessed 2011-09-27) 295 Peter, Laurence (2006) "Sweden sticks to multiculturalism", BBC [online] September 15 2006. Available at: http://news.bbc.co.uk/2/hi/europe/5348622.stm (Accessed 2011-09-27)

296 The Local (2011) "Sweden best at integration: study" The Local [online] February 28th 2011. Available at: http://www.thelocal.se/32316/20110228 (Accessed 2011-09-27) 297 Ibid 298 The Local (2011) "Sweden's hemspråk: teaching kids their parents' language" The Local [online] May 12th 2011. Available at: http://www.thelocal.se/33736/20110512 (Accessed 2011-09-25)

marginalization of the Sami. Attempts to bridge these difficulties have been made, most notably by the introduction of Sametinget (the Sami Parliament), aiming to facilitate indigenous affairs on national level.299

2.3 Challenges

Sweden often regards itself as a master of multiculturalism and integration, but also Sweden faces several serious challenges connected to these issues. Although there is an overall rhetorical consent among the political parties represented in the Swedish Parliament about the importance of cultural plurality, intercultural exchange and enhanced mutual understanding, the ‚multicultural consent‛ has become challenged. Various far-right groups are increasingly present in the political debate, arguing for the need of a homogenous Sweden and the need for assimilation instead of integration policies. In the general elections of 2010, the nationalistic party Sverigedemokraterna (the Swedish Democrats), aiming at a culturally homogenous Sweden, for the first time crossed the four percent threshold needed for parliamentary representation.300 Thus it is becoming increasingly evident that Sweden, as many of its European counterparts, are experiencing a rise in anti-immigrant sentiments as well as an increasing politicization of the issue of immigration and multiculturalist discourse. But in comparison to both Norway and Denmark, where far-wing parties have been part of the government coalitions of past years, Sverigedemokraterna and their supporters yet had less success in their political endeavors.

3. Overview of Contemporary Cultural Diplomacy Programs in Sweden

3.1 Cultural Diplomacy in Sweden

The concept of Cultural Diplomacy (‚kulturell diplomati‛ in Swedish) is officially used and endorsed by the Swedish state, most notably in the work of the Swedish Institute, a department under the Swedish government. The Swedish Institute states that the cultural diplomacy of Sweden is a part of its public diplomacy, which rather than focusing on relationships between the Swedish and foreign governments (traditional diplomacy), is focusing on ‚…communicating and developing relations directly with the general public and civil societies abroad. This has taken on increased importance in an era of democracy, mass communication and mass consumption where borders are erased and individuals, through their choices and opinions, are to an ever greater extent the ones who set the agenda.‛301

The official cultural diplomacy activities undertaken by the Swedish state have two main objectives. The first is to increase the overall interest and trust in Sweden abroad, for example through academic exchanges and through increasing the awareness about what is seen as Swedish core values; democracy and human rights, within the framework of Swedish aid and development assistance. The second is to aim towards an international understanding about the

299 Lola Akinmade Åkerström (2011) "The Swedish Sami Consciousness" The Local [online] April 28th 2011. Available at: http://www.sweden.se/eng/Home/Society/The-Sami-People/Reading/The-Swedish-Sami-Consciousness/(Accessed 2011-09-25) 300Peter, Laurence (2006) "Sweden sticks to multiculturalism", BBC [online] September 15 2006. Available at: http://news.bbc.co.uk/2/hi/europe/5348622.stm (Accessed 2011-09-27); Valmyndigheten (2010) "Val till Riksdagen - Röster" Valmyndigheten [online] September 23rd 2010. Available at: http://www.val.se/val/val2010/slutresultat/R/rike/index.html (Accessed 2011-09-25)

301 Swedish Institute (2011) "Public diplomacy: Building relations with people abroad" Swedish Institute [online] March 29th 2011. Available at: http://www.si.se/English/Navigation/About-SI/Sweden-in-the-world/ (Accessed 2011-09-27)

importance of intercultural exchange, understanding and dialogue to meet the challenges in today’s globalized world.302 Less explicitly stated cultural diplomacy objectives can be found in the official cultural policy of Sweden, which stress the importance of making culture and cultural activities available for everyone. The importance of enhancing international and intercultural exchange and cooperation within the area of culture is also highlighted in this policy document.303

Within the private sector of Sweden, the notion of cultural diplomacy is not commonly used. But the need of multiculturalism and diversity within this sector is becoming more and more focused upon. Programs and initiatives to enhance the cultural diversity within private companies and businesses are becoming more visible. This has to do with that the private sector also has come to acknowledge that increased globalization affect not only trade structures, but also structures within and between companies and that Swedish companies can gain in extend its cultural diversity.

The civil society of Sweden is highly engaged in the Swedish cultural diplomacy, both within Sweden as well as abroad. The initiatives for increased diversity and broaden cultural representation are manifold, and span over various integration projects, arts-and cultural initiatives, sports etc.

Below, various cultural diplomacy projects within the public-, private-, and civil society sector are introduced to offer a picture of the current state of cultural diplomacy in Sweden.

3.2 Cultural Diplomacy in the Public Sector

The Swedish Institute (SI)

Agent of Cultural Diplomacy: The Swedish Institute

Agenda: To enhance Sweden’s position abroad as well as to contribute to intercultural exchange between Sweden and countries around the world

Vehicle of Cultural Diplomacy: Various arts- and culture exhibitions ‚on tour‛, academic exchange programs

Target Audience: The Swedish public as well as people interested in learning about Sweden and its culture

After the Second World War, the Swedish government aimed at increasing its international relations and corporation. As a tool in this effort, the Swedish institute was founded to enhance cultural exchanges with other countries, as well as to spread the knowledge about Sweden.304 Today The Swedish Institute (SI) is the public body for cultural diplomacy in Sweden, working on the mission of the Swedish government. The cultural diplomacy activities and initiatives of SI are undertaken within the areas of foreign affairs, development and education. Thus, SI could be

302 Swedish Institute (2011) "Kulturell Diplomati (Cultural Diplomacy)" Swedish Institute [online] March 24th 2011. Available at: http://www.si.se/Svenska/Innehall/Sverige-i-varlden/Offentlig-diplomati/Kulturell-diplomati/ (Accessed 2011-09-27) 303 Kulturrådet (2011) "Kulturpolitiska mål" Kulturrådet [online] 2011 Available at: http://www.kulturradet.se/sv/om-kulturradet/kulturpolitiska_mal/ (Accessed 2011-09-25) 304 Swedish Institute (2011) "Historia - Föreningen som blev myndighet" Swedish Institute [online] July 12th 2011 Available at: http://www.si.se/Svenska/Innehall/Om-Svenska-institutet/Historia/ (Accessed 2011-09-26)

understood as the primary actor in the official Swedish work with intercultural dialogue and communication and nation-branding. SI acknowledges that to meet the challenges and opportunities of the future, cultural diplomacy is crucial, but it can also be used as tool to ease the facilitation of Swedish international policy and to spread Swedish business and culture over the world.305 The more specific aims of the Swedish Institute are to306:

Increase the international knowledge, understanding and interest of Sweden abroad; Enhance creativity, innovation and development within Sweden and its partners around the world, through stimulating the exchange of knowledge and talent;

Enhance democracy and sustainable development through working with human rights, freedom of expression and equality;

Enhance the global consciousness about sustainability, climate and environment;

Contribute to economic, social and cultural development in the Swedish development work;

Contribute to the minimizing tensions and the risk of conflicts through stressing the need of knowledge, dialogue and understanding between people within Sweden and between Sweden and other countries

To fulfill its aims, SI works in close collaboration with the Swedish embassies and consulates abroad, and in collaboration with various Swedish and foreign partners.307 During 2010, the institute contributed with support to exchange in 124 countries and undertook information work in over 220 countries, making the institute the ‚globalization department‛ of Sweden.308 Examples of current projects carried out by the Swedish Institute include various art and design exhibitions on the topics of climate and sustainability, democracy, human rights and innovation. Another important part of the work of SI is grants for academic exchange, targeting both Swedish and international students and scholars. These academic exchange programs aims at creating long-term relations with other cultures and societies; something that develops from intercultural exchange.309

305 Swedish Institute (2011) "För Sverige i världen" Swedish Institute [online] March 24th 2011 Available at: http://www.si.se/Svenska/Innehall/Om-Svenska-institutet/ (Accessed 2011-09-26) 306 Swedish Institute (2011) "Sveriges främsta globaliseringsmyndighet" Swedish Institute [online] March 24th 2011 Available at: http://www.si.se/Svenska/Innehall/Om-Svenska-institutet/Sveriges-framsta-globaliseringsmyndighet/ (Accessed 2011-09-26) 307 Swedish Institute (2011) "För Sverige i världen" Swedish Institute [online] March 24th 2011 Available at: http://www.si.se/Svenska/Innehall/Om-Svenska-institutet/ (Accessed 2011-09-26) 308 Swedish Institute (2011) "Sveriges främsta globaliseringsmyndighet" Swedish Institute [online] March 24th 2011 Available at: http://www.si.se/Svenska/Innehall/Om-Svenska-institutet/Sveriges-framsta-globaliseringsmyndighet/ (Accessed 2011-09-26) 309 Swedish Institute (2011) "Stipendier - Långsiktiga relationer och ömsesidigt lärande" Swedih Institute [online] March 23d 2011 Available at: http://www.si.se/Svenska/Innehall/Stipendier-och-utbyte/ (Accessed 2011-09-26); See the Current Projects’ of the Swedish Institute at: http://www.si.se/Svenska/Innehall/Aktuella-projekt/

Swedish Arts Council310

Agent of Cultural Diplomacy: The Swedish Arts Council (Statens Kulturrad) in cooperation with among others, the Swedish International Development Cooperation Agency, Federations of Arts Councils and Culture Agencies and Arts Baltica.

Agenda: To implement the national cultural policy determined by the Swedish Parliament

Vehicle of Cultural Diplomacy: The Swedish Art Council is cooperating with cultural bodies, from the domestic level to the international arena, in co-organizing and funding cultural projects in the fields of dance, theatre, literature, public libraries, music and museums. The Council also functions as a research institute collecting data that evaluates state spending in the cultural sphere.

Target Audience: All residents of Sweden, especially youths and children as well as foreigners

As any government authority in Sweden the Swedish Art Council is part of a particular government department. The Council is sorted under the Department of Culture and its budget and remit is determined annually by the government. The Swedish Arts Council was founded in

1974 and the activities of the Council adhere to the Swedish cultural policy which was laid down the same year. Of the total 5.5 billion SEK that is allocated for culture by the Swedish government 1.8 billion goes to the Swedish Arts Council. The council distributes about 1 billion to performing arts all over Sweden, from the local scene to the national. The Council also gives out grants to independent dance, theatre and music groups as well as to professional organizations of cultural workers. A special focus is directed at initiatives that work towards reaching youths and children. The Swedish Art Council understands a challenging, independent and dynamic cultural life to be one of the prerequisites for freedom of expression, and in the long run for a well-functioning democracy.

The Swedish Arts Council has as its main objectives to:

Promote opportunities for everyone to experience culture, participate in educational programs and develop their creative abilities

Promote quality and artistic renewal

Promote a dynamic cultural heritage that is preserved, used and develop

Promote international and intercultural exchange and cooperation in the cultural sphere

Pay particular attention to the rights of children and young people to culture All these objectives are essentially aimed at safeguarding the Swedish cultural scenes ability to both be a preserver of cultural heritage and a progressive force in the society. To enable Sweden to have a cultural scene that fulfills this, the Arts Council, even though being a government body should make sure that the cultural scene can be independent without direct political ties. Apart from giving support to cultural organizations and supporting cultural workers the Swedish Arts Council also gives out grants to increase the production, distribution and reading of art periodicals. On top of this the Arts Council functions as a research institution that monitors and analyses the Swedish cultural sphere in order to detect where there is problems with funding and quality. It also in charge of producing statistics concerning museums, the conservation of cultural sites, study organizations, libraries and money spent on culturally related matters.

310 For information about the Swedish Arts Council see www.kulturradet.se

3.3 Cultural Diplomacy in the Private Sector

Diversity Challenge

Agent of Cultural Diplomacy: Academic Search

Agenda: To enhance diversity and multiculturalism in the business life of Sweden

Vehicle of Cultural Diplomacy: Through the program ‚Diversity Challenge‛, Academic Search is offering young academics with experience and knowledge about diversity and multiculturalism paid internships at some of the most well known companies in Sweden, thus raising focus on the importance of issues regarding diversity both within these companies and among young academics of Sweden.

Target Audience: Young academics. Academic Search, one of Scandinavia’s most merited recruiting companies, introduced its program ‚Diversity Challenge‛ in 2005 and its seventh program is starting up on October of 2011. The aim of the program is to increase diversity and pluralism in the private sector of Sweden, particularly within Swedish companies. ‚Diversity Challenge‛ offer young academics with experience of and competence in diversity paid internships at some of the most attractive employers in Sweden, including companies as Ikea, Scania, SEB and Vattenfall. The program has also initiated the Academic Search Mångfaldspris (diversity prize) of 10,000 SEK, which one student annually is awarded. The prize goes to the student with the best ideas on how a company practically can work with diversity. ‚Diversity Challenge‛ moreover organizes thematic seminars (the first one of 2011 was on the topic "Diversity Makes a Difference") and education and workshops for companies within the area of diversity.311 In offering its partnership companies the opportunity to come in contact with ambitious and highly performing academics with knowledge and experience of diversity, Academic Search is through its program ‚Diversity Challenge‛ contributing to cultural diplomacy within the private sector of Sweden. Academic Search acknowledges the importance of increased diversity also within the private sector and has through the program taken a concrete step towards making a difference in the work of this sector.

Mangfald i Arbetslivet Agent of Cultural Diplomacy: Svenskt Näringsliv (The Confederation of Swedish Enterprise). Agenda: To increase diversity within the private sector of Sweden as a way for success for both Swedish companies as well as for the Swedish economy at large

Vehicle of Cultural Diplomacy: Since Svenskt Näringsliv is one of the most important actors within the private sector of Sweden, their aim to increase diversity and the view of the need of

311For information about "Diversity Challenge", see http://www.diversitychallenge.se/, Academic Search "Diversity Challenge". Available at: http://www.academicsearch.se/home.nsf/Pages/CSIN84RGKW?OpenDocument&UDID=DADN77DK6C&SUBUDID=CSIN7DLEY9 (Accessed 2011-10-04)

diversity within Swedish companies, their project ‚Mångfald I Arbetslivet‛ can be seen as an important vehicle for cultural diplomacy in the Swedish private sector.

Target Audience: The own organization, the member companies of Svenskt Näringsliv, the media, politicians and opinion-makers. The project ‚Mångfald i Arbetslivet‛ (Diversity within the labor market) was initiated by the Confederation of Swedish Enterprise in 2011, an organization within the private sector of Sweden that represent about 60,000 Swedish companies and enterprises. The idea behind the project is that cultural, ethnic, religious as well as gender diversity is crucial for both the success of Swedish companies and the Swedish economy at large. The organization believes that ‚Diversity contributes to creativity and innovation‛. Furthermore, the organization acknowledges that the establishment of new markets requires knowledge about other cultures and also that businesses that work actively with diversity more easily can adjust its products and services to an increasingly diverse market. Thus, the Confederation of Swedish Enterprise felt the importance of initiating a project dealing with the topic of diversity within the private sector.312 The goals of ‚Mångfald I Arbetslivet‛ are to313:

Increase the awareness about the advantages and benefits of diversity in the business life and for economic growth at large;

To broaden the view of competence;

To increase diversity on leading positions within the private sector;

To profile Svenskt Näringsliv as an important and trustworthy actor in these issues

In aiming towards increased public openness for individual and cultural differences as well as to in a more effective manner acknowledge the worth of various competences, the project is working within the following areas:

Making diversity an important parameter for companies when recruiting

Realizing and publicizing research and writings on diversity in the labour market

Arrange seminars on the topic of diversity

Bring forward positive examples of companies that make use of and develops diversity as an important strategy for growth and profit

3.4 Cultural Diplomacy in Civil Society

Tamam314

Agent of Cultural Diplomacy: Tamam

Agenda: To contribute to the integration of newly arrived immigrants in Sweden as well as enhancing intercultural exchange both within Sweden and abroad.

312 Svenskt Näringsliv (2001) "Mångfald i Arbetslivet - en förutsättning för tillväxt" Available at: http://www.svensktnaringsliv.se/multimedia/archive/00000/M_ngfald_i_arbetslivet_104a.pdf (Accessed 2011-09-26) 313 Ibid 314 For information about Tamam see "Tamams verksamhetsberättelse 2010" Available at: http://www.tamam.se/pdf/verksamhetsberattelse10.pdf (Accessed 2011-09-24)

Vehicle of Cultural Diplomacy: Activities for immigrant children and young adults, such as study groups, excursions and cultural and sports activities, aiming at facilitating integration; Volunteer exchanges between Tamam volunteers in Sweden and its partner countries; Tamam as an overall meeting ground for children and young adults from all over the world.

Target Audience: Immigrant children and youth in Sweden as well as volunteers

Tamam is a non-for-profit and non-partisan organization, based in Lund in the South of Sweden. It was established in 2003 and in the early stages Tamam existed mainly as a network of voluntary groups that initiated activities for newly arrived immigrant youths and children, aiming to reduce the risks of alienation and to enhance integration. During the past few years

the activities have rapidly expanded to including activities in collaboration with local sports- and culture associations, various excursions and trips within Sweden and abroad, and study-groups offering home-work support. Due to this rapid change Tamam transformed into an impartial aid organization in 2008, with a stated mission to work with children and youths in risk of alienation or exclusion in Sweden as well as abroad. At the end of 2010 Tamam consisted of 1594 members between the age of 7 and 25 and in addition to the headquarters in Lund Tamam has currently local offices in Malmö, Uppsala, Stockholm, Göteborg and Eslöv.

With the slogan ‚Friendship without borders!‛ always in mind Tamam seeks to create meeting grounds characterized by diversity, curiosity and happiness for children and young adults. Through the initiatives taken by the organization young immigrants are involved in activities that will create a foundation for turning challenges into possibilities, and thus making them take charge of their own future. Tamam engages with hundreds of participants and volunteers, and acknowledges that both participants and leaders can help and learn from each other; the roles are not fixed. During 2011, Tamam initiated two development projects beside its regular work. The first project is called Nytt Land Nya Möjligheter/Internationen (New Country - New Possibilities), aiming at creating contact areas between newly arrived immigrants and students at the University of Lund. The second project is called Social inkubator för unga idéer (Social Incubator for Young Ideas), aiming to make Tamam a place where young people can turn up with their own ideas regarding social projects, as well as offering help and guidance to bring about the realization of these projects. In addition to the integration work carried out in Sweden, Tamam also carries out work in Albania, Mexico and Paraguay. An important spillover effect of these country offices is that they open up for volunteer exchange opportunities between the countries. Tamam in Albania is working with kids and youths that have suffered traumatic experiences. In the village of Marquinet, Tamam offer free English and French courses and organize social and cultural activities with kids and youth. Tamam in Mexico runs a daycare center for alienated children in the village of Pedernales. The children are getting help with homework, are engaged in various cultural and sport activities as well as taken on excursions and trips. Tamam in Paraguay is working in collaboration with the local organization Fundacion Vida Plena running a daycare center for children living in extreme poverty.

Intercult

Agent of Cultural Diplomacy: Intercult through its projects and initiatives

Agenda: To gather artists from all over Europe in various projects with the mission to encourage intercultural and interdisciplinary art works

Vehicle of Cultural Diplomacy: Intercult gathers artists and audience from all over Europe, creating unexpected meetings for new relationships to develop across borders and disciplines

Target Audience: Artists an audience in Sweden and other European countries

Intercult is a production group and resource center based in Stockholm, Sweden. Since 1996 has Intercult initiated and carried out a wide span of projects aiming at cultural collaboration and development of intercultural- international project competence, in Sweden and Europe.

Through engaging in trans-boundary art and cultural projects, Intercult is linking local and international arts and culture activities, thus working as an important actor for cultural diplomacy. Intercult works actively across a wide span of networks and shares its experience through conferences, lectures and courses in Sweden and in Europe.315

Example of projects:

Black/North SEAS The SEAS project is a platform for art that Intercult arranged during four years, between 2006 and 2010, targeting an audience of over 80,000 people. The project brought together culture producers, artists and researchers from twelve countries, reaching from Scandinavia to the Black Sea. The project gave the artists an opportunity to meet and work across boundaries, leading to new collaborations between artists from the North and the South of Europe. The result was 20 new interdisciplinary art works, all of them inspired by intercultural exchange between artists around political, social and environmental issues.316

Four Corners of Europe The Four Corners of Europe project is a joint initiative between organizations and cultural actors in Europe. During 17 months the project aims at creating future joint productions within the cultural sector of different countries in Europe. One part of the Four Corners of Europe initiative is the Corners Caucasus Xpedition, in which 22 artists and researchers from ten countries are travelling with bus from Turkey, through Georgia, arriving in Baku in Azerbaijan. During the journey, the artists meet people from the region and look for stories and inspiration for new art works.317 Thus, the Four Corners of Europe project can be seen as an excellent example of cultural diplomacy, creating an opening for intercultural exchange both between the artists involved and between the artists and the people they will meet on the way, eventually leading to new and exciting art works. Fast Forward Fast Forward is a platform for joint collaboration between arts practitioners of different disciplines. Focusing on Sweden and the Balkan region, the project aims at exploring the socio-political contexts in these societies with the mission to encourage interdisciplinary and intercultural art. One part of the Fast Forward project is the Fast Forward Dance and Dramaturgy Lab that during one week gathered ten dance experts from the Balkan region and Sweden in Skopje, Macedonia to explore the possibilities that personal and impersonal narratives offer to the creation of art work.318

315 For information about Intercult see www.intercult.se 316 Ibid 317 Ibid 318 Ibid

4. Analysis and Conclusion

Sweden has both comparatively extensive policies on diversity and integration as well as widespread public activities for cultural diplomacy. These can be understood to mirror the highly multicultural society of Sweden, but also working as vehicles for overcoming challenges such a society faces. This report shows that in the public sector of Sweden, cultural diplomacy is mainly enforced by the Swedish Institute, but aspects of it can be found in the work of other official bodies as well, since intercultural exchange and diversity is of great importance for the Swedish society as a whole. But more can of course always be done; in being a highly culturally diverse country with over 200 nationalities represented, Sweden has to continue working hard with various integration measures, in which cultural diplomacy activities are crucial.

The importance of cultural diplomacy measures is becoming increasingly acknowledged also in the private sector. As Svenskt Näringsliv points out, increased diversity within companies and businesses can be regarded as, not only a question of equality, but also as a tool for profit. In spite of this it is important to note that the Swedish private sector has a long way to go in this regard. Finding current cultural diplomacy projects or initiatives within this sector was the hardest part in the research for this report and much is yet to be done. For example, more companies need to include policies for increased diversity and intercultural exchange. In this regard, Academic Search can be seen as a very good example of a company that in an extensive manner seeks to integrate cultural diplomacy programs in its company profile, though targeting both young academics as well as big companies.

The civil society sector of Sweden extensively works with various projects and programs that can be connected to cultural diplomacy. The two different programs presented in this report can be seen as quite representative for how cultural diplomacy in the civil sector is carried out. Even though workings within different areas, Tamam works mainly with integration and Intercult within the arts- and culture sector, the programs are highly focused on intercultural exchange for broaden mutual understanding between people.

Even though the organizations and programs presented in this report are not representative for all cultural diplomacy initiatives and activities going on in these sectors it is evident that many organizations and programs significantly contribute to ‚the exchange of ideas, information, values, systems, traditions, beliefs and other aspects of culture‛ within different areas of the Swedish society. This is important, since for cultural diplomacy to make a real change it needs to be implemented in all spheres of society. With this said, many challenges are still to be overcome, which at the moment is best illustrated by the spreading of anti-immigrant sentiments, strives towards a more ‚homogenous‛ Swedish society. But as this report hopefully demonstrates Sweden is well on its way and can maybe be a model for other countries on how to work with cultural diplomacy within the public-, private- and civil society sectors.

5. Bibliography

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