CULTURAL DIPLOMACY: HISTORICAL PERSPECTIVES AND THE PRESENT
1. The Emergence and Development of a Country’s Cultural Diplomacy.
Cultural diplomacy is an important part of public diplomacy—the image-building aspect of a state’s foreign policy—aimed at strengthening its positive perception in the world through culture and the arts. It is a joint contribution made by state and public cultural institutions, artists, cultural figures, and experts to the country’s attractiveness, security, and well-being, as well as to mutual understanding and trust in its citizens around the world.
The place and role of any state in the modern system of international relations depends not only on its political, economic, and military resources, but also on its cultural and spiritual potential and cultural heritage, which can serve as a powerful catalyst in achieving a state’s foreign policy goals. That is why intercultural dialogue is a significant component of the development of relations between states, both bilaterally and multilaterally. A state’s cultural diplomacy must, first and foremost, reflect the cultural needs of society, keep pace with contemporary global cultural trends, promote the cultural development of society, and generate new ideas. Experience shows that intercultural communication is a powerful tool for advancing national interests.
Despite the relatively recent establishment of the term itself, cultural diplomacy has been firmly rooted in foreign policy practice for quite some time. Representatives of various social groups and strata—researchers, scholars, artists, and businesspeople—acted as informal or cultural diplomats even in the early stages of the formation of international relations.
Cultural diplomacy is a component of the concept of “soft power,” which, by its very nature—unlike “hard power”—has the ability to “persuade through culture, values, and ideas.” This conviction was reflected in the work of the developer of the “soft power” theory, the renowned American political scientist Joseph Nye.
Today, we are witnessing how culture—the main “ingredient” of “soft power”—is gaining ever greater significance and influence in shaping both international and interstate relations as well as domestic social processes.
Cultural diplomacy has always played an important role in the relations of major European countries with the outside world because “economic and military power may secure a leading position on the international stage, but it is not enough to win the hearts and minds of the global community.”
Cultural diplomacy is not a new phenomenon. For example, during the Renaissance, various states promoted their own cultures abroad as a powerful tool for developing trade and political influence (the English in India and the Middle East, the Germans in Africa, and the French in Indochina).
A significant role in fostering intercultural dialogue is played by a range of joint initiatives involving the public, private, and civil society sectors. Their close interconnection is evidenced by the presence, within the foreign affairs ministries of most countries, of powerful departments dedicated to cultural relations. For example, diplomatic institutions include the following non-governmental organizations: the British Council, the French, Polish, Swedish, and Goethe Institutes, the Czech Cultural Center, and others. The activities of these institutions are closely linked to cultural diplomacy; they are not limited to diplomatic events, and their primary goal is to establish close cultural ties with the host country. At the same time, they view cultural ties not so much as a supplement to economic and political ties, but rather as a defining factor in their country’s foreign policy interests. It is worth noting that the United States spends billions of dollars on foreign cultural policy, Germany spends hundreds of millions of euros, and the United Kingdom spends hundreds of millions of pounds sterling.
The United States is undoubtedly the leader in cultural diplomacy. The American model differs significantly from those of other countries. An important tool of U.S. cultural diplomacy is cultural and academic exchange programs, as well as grants aimed primarily at promoting American values, culture, and science. Unlike the United States, the success of the British model of cultural diplomacy is linked to the prestige of British education and the United Kingdom’s significant role in world history and culture. In the UK, cultural diplomacy is carried out by several government and non-governmental organizations, including the Foreign and Commonwealth Office, the Department for International Development, the National Security Council, the Department for Culture, and the British Council. It is worth noting that the British Council was founded on the initiative of the Foreign Office in 1934. This institution serves as an effective means of disseminating information about the country and fostering a positive perception of its foreign policy and education system, promoting the language, and establishing intercultural dialogue.
Common features of the U.S. and British models include the dissemination of literature, art, and cinema to other countries.
France’s experience with cultural diplomacy, which began in the 19th century and features a clearly defined, centralized policy, is noteworthy. In France, cultural policy is funded and coordinated by the state. This is an example of a centralized model of cultural diplomacy. Its priority areas are: increasing audiovisual presence worldwide; participating in the development and use of new information systems and technologies; promoting the French language; expanding inter-university cooperation; and preserving French cultural heritage. Non-governmental organizations play an important role in the implementation of cultural diplomacy. The most important participant in France’s cultural diplomacy is the non-governmental organization “Alliance Française,” founded in 1883. Its main areas of activity include: organizing cultural exchanges; language courses; organizing exhibitions, fairs, forums, and festivals; and cooperation in the fields of culture, science, and education. Overall, this model is characterized by a close link between foreign policy and culture, as well as a high proportion of state funding for cultural programs.