{"id":1928,"date":"2021-04-05T10:58:57","date_gmt":"2021-04-05T08:58:57","guid":{"rendered":"https:\/\/www.uaace.org\/?page_id=1928"},"modified":"2026-06-19T23:13:20","modified_gmt":"2026-06-19T21:13:20","slug":"section-2-4","status":"publish","type":"page","link":"https:\/\/www.uaace.org\/?page_id=1928&lang=en","title":{"rendered":"Section 2"},"content":{"rendered":"

CULTURAL DIPLOMACY: HISTORICAL PERSPECTIVES AND THE PRESENT<\/strong><\/p>\n

1. <\/strong>The Emergence and Development of a Country\u2019s Cultural Diplomacy. <\/em><\/strong><\/p>\n

Cultural diplomacy is an important part of public diplomacy\u2014the image-building aspect of a state\u2019s foreign policy\u2014aimed 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\u2019s attractiveness, security, and well-being, as well as to mutual understanding and trust in its citizens around the world.<\/p>\n

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\u2019s 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\u2019s 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.<\/p>\n

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\u2014researchers, scholars, artists, and businesspeople\u2014acted as informal or cultural diplomats even in the early stages of the formation of international relations.<\/p>\n

Cultural diplomacy is a component of the concept of \u201csoft power,\u201d which, by its very nature\u2014unlike \u201chard power\u201d\u2014has the ability to \u201cpersuade through culture, values, and ideas.\u201d This conviction was reflected in the work of the developer of the \u201csoft power\u201d theory, the renowned American political scientist Joseph Nye.<\/p>\n

Today, we are witnessing how culture\u2014the main \u201cingredient\u201d of \u201csoft power\u201d\u2014is gaining ever greater significance and influence in shaping both international and interstate relations as well as domestic social processes.<\/p>\n

Cultural diplomacy has always played an important role in the relations of major European countries with the outside world because \u201ceconomic 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.\u201d<\/p>\n

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).<\/p>\n

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\u2019s 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. <\/p>\n

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\u2019s 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.<\/p>\n

Common features of the U.S. and British models include the dissemination of literature, art, and cinema to other countries.<\/p>\n

France\u2019s 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\u2019s cultural diplomacy is the non-governmental organization \u201cAlliance Fran\u00e7aise,\u201d 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.<\/p>\n

The Italian model of cultural diplomacy, unlike the French and British models, is entirely non-governmental. The state funds culture, as in Ukraine, on a residual basis. Among the priorities of Italy\u2019s cultural diplomacy, attracting investment and developing cultural tourism stand out. A common feature with the previous models is the promotion of Italian culture abroad and the popularization of the language.<\/p>\n

A different approach can be seen in the Swedish model of cultural diplomacy. It is characterized by the presence of numerous organizations responsible for implementing foreign cultural policy, which report to the Ministry of Culture. Consequently, the Swedish Institute, founded in 1945, plays the most important role in promoting international cultural exchanges. It operates as part of the Ministry of Foreign Affairs and collaborates with Swedish embassies and consulates. In general, the legislative regulation of Sweden\u2019s cultural sector is not centralized. Each specific issue is regulated by relevant legislative acts issued by various agencies, which demonstrates a certain degree of flexibility and the ability to respond to cultural trends and changes.<\/p>\n

The German model: The defining features of modern German cultural diplomacy began to take shape after World War II, when the governments of West and East Germany faced the task of dispelling negative associations and identifications of all things German with fascism, genocide, and intolerance toward \u201cothers.\u201d That is why German cultural diplomacy was aimed at shaping an image of \u201cnormality\u201d for the country.<\/p>\n

In the late 1970s, the German government declared culture to be an important component of the state\u2019s foreign policy strategy, one that \u201cshould contribute to the political integration of Europe in its cultural dimension,\u201d and German cultural diplomacy to be a component of the state\u2019s European integration policy. An important focus of its activities was the expansion of its cultural presence in \u201cThird World\u201d countries.<\/p>\n

An important component of the foreign cultural policy implemented by the Goethe-Institut is the establishment of political and economic ties with countries in Asia and Africa through a policy of intercultural cooperation with the diaspora in Germany and the expansion of Germany\u2019s cultural presence abroad in countries whose nationals make up the largest percentage of immigrants. <\/p>\n

Other important institutions include the Deutsche Akademische Austauschdienst (DAAD), the Alexander von Humboldt Foundation (AvH), Inter Nationes (IN), and the Institute for Foreign Cultural Relations (IfA), which are responsible for international research programs, student exchanges, intercultural dialogue with other countries, and international cultural and informational exchange\u2014that is, for areas that play a significant role in Germany\u2019s foreign cultural activities.<\/p>\n

With the emergence of the diplomatic service in our country during the Ukrainian Revolution and the formation of the national state in 1917\u20131921, cultural and information diplomacy began to develop rapidly.<\/p>\n

During the Ukrainian people\u2019s struggle for national liberation, the early foundations of Ukrainian cultural diplomacy took shape as part of diplomatic and international public information activities. The model at that time consisted of special departments within the Ministry of Foreign Affairs, an information and propaganda bureau, and specialized units attached to diplomatic missions abroad. The first nationwide or official legal documents were drafted, which defined the orientation toward international informational and cultural activities as well as the specific tasks of state institutions in these areas. Concert tours by artistic ensembles were organized, and the state sought to establish book publishing, exhibition activities, and film and photographic propaganda. Even under difficult financial and material conditions, information and cultural assistance was provided to the best of its ability to Ukrainians abroad or in ethnic territories occupied by foreign states. A positive track record was established in engaging Ukrainians abroad in spreading knowledge about Ukraine\u2019s cultural and civilizational heritage. These efforts were defined as a focus on international informational and cultural activities and as specific tasks for state agencies in these spheres. Concert tours by artistic ensembles were organized, and the state sought to establish book publishing, exhibition activities, and film and photographic propaganda. Even under difficult financial and material conditions, all possible informational and cultural assistance was provided to Ukrainians abroad or in ethnic territories occupied by foreign states. A positive track record was established in engaging Ukrainians abroad in spreading knowledge about Ukraine\u2019s cultural and civilizational heritage. These efforts were defined as a focus on international informational and cultural activities and as specific tasks for government agencies in these areas. Concert tours by artistic ensembles were organized, and the state sought to establish book publishing, exhibition activities, and film and photographic outreach. Even under difficult financial and material conditions, every possible effort was made to provide informational and cultural assistance to Ukrainians abroad or in ethnic territories occupied by foreign states. A positive track record was established in engaging Ukrainians abroad in spreading knowledge about Ukraine\u2019s cultural and civilizational heritage. Concert tours by artistic groups were organized, and the state sought to establish book publishing, exhibitions, and film and photographic propaganda. Even under difficult financial and material conditions, information and cultural assistance was provided to the best of its ability to Ukrainians abroad or in ethnic territories occupied by foreign states. A positive track record was established in engaging Ukrainians abroad in spreading knowledge about Ukraine\u2019s cultural and civilizational heritage. Concert tours by artistic ensembles were organized, and the state sought to establish book publishing, exhibitions, and film and photographic propaganda. Even under difficult financial and material conditions, informational and cultural assistance was provided to the best of its ability to Ukrainians abroad or in ethnic territories occupied by foreign states. A positive model was established for engaging Ukrainians abroad in spreading knowledge about Ukraine\u2019s cultural and civilizational heritage.<\/p>\n

It is also worth noting that research into the origins of cultural diplomacy is based on a forward-looking documentary and publishing project by the Ukrainian Center for Cultural Studies titled \u201cSource Studies on the History of Cultural Diplomacy,\u201d within the framework of which documents from the history of the world tour of O. Koshyts\u2019 Ukrainian Republican Choir in 1919\u20131924 are being published and analyzed.<\/p>\n

Overall, even under difficult financial and material conditions, every effort was made to provide informational and cultural assistance to Ukrainians in the diaspora or in ethnic territories occupied by foreign states. Positive experience was gained in engaging Ukrainians abroad in disseminating information about the cultural and civilizational achievements of the Ukrainian people.<\/p>\n

The global Ukrainian community often acts as a key player in the field of public diplomacy without state support, achieving its goals through the activities of civil society organizations that advocate for the state\u2019s interests, and\u2014in the absence of the state or in cases of its inaction\u2014for the interests of the ethnic group or nation (including during its formative stage). Therefore, an equally important issue in this context is the development of a historical model\u2014or models\u2014of public and cultural diplomacy, when the diaspora (primarily in the West) acted to familiarize the global public and the establishment of host countries with Ukraine during the Soviet era.<\/p>\n

In this regard, Ukrainians are similar to other nations whose history of statehood has included periods when the use of public and cultural diplomacy tools lacked state support. During the Soviet period, state or diplomatic representatives generally did not seek to create an independent image of Ukraine\u2014separate from that of the USSR\u2014that differed from the general, denationalized Soviet image. The image created during the Soviet era by diplomats, dance troupes, and choral ensembles often had an ethnic, folkloric character, and it is entirely logical that, under such conditions, representatives of the global Ukrainian diaspora frequently took on the role of presenting Ukraine, its history, culture, and art. On the other hand, such activities were undoubtedly necessary to preserve the Ukrainian community\u2019s own identity and prevent assimilation in a foreign-language and foreign-cultural environment.<\/p>\n

Consequently, the activities of Ukrainians abroad during the Soviet era laid the groundwork, to a certain extent, for how Ukraine would be perceived upon gaining independence, although it is clear that without the state\u2019s efforts and the significance of the events unfolding within it, such activities could not fully represent the Soviet republic of that time. With the emergence of independent Ukraine, Ukrainians abroad\u2014particularly in the United States, Canada, and other countries\u2014continued for a long time to serve as agents of public and cultural diplomacy, introducing Ukraine to the public in their host countries. In addition, leaders of major Ukrainian diaspora organizations abroad sought to help independent Ukraine gain international support in its struggle to defend its independence.<\/p>\n

2. The Current State and Prospects of Cultural Diplomacy.<\/em><\/strong><\/p>\n

The modern concept of cultural diplomacy reflects certain national cultural characteristics of countries. For example, in France, this term is used as a synonym for the state\u2019s foreign cultural policy; in the United States, cultural diplomacy is equated with the international exchange of cultural values and the achievements of contemporary American popular culture; in Japan, cultural diplomacy is used to denote the principles and norms of international agreements; in Austria, Sweden, and the Netherlands, the term \u201cinternational cultural policy\u201d is used to denote a targeted foreign policy doctrine. Furthermore, in Austria, Canada, Singapore, and England, the term \u201cinternational cultural relations\u201d symbolizes intercultural interaction.<\/p>\n

It is worth noting that cultural diplomacy is currently viewed as an effective tool for creating a positive image of a country abroad. Some foreign researchers believe that culture is the fourth dimension of foreign policy and is on par with political, economic, and military dimensions.<\/p>\n

It should be noted that, in the context of the crisis, Ukraine\u2019s cultural diplomacy has taken on strategic importance, as the country is fighting against Russian aggression. Despite the inexhaustible cultural diversity and appeal of Ukraine, our country has found itself in the international spotlight primarily due to political and economic problems, war, or natural disasters.<\/p>\n

Russia\u2019s hybrid aggression, the war in eastern Ukraine, the economic crisis, the lack of funding for the cultural sector, and the absence of a coordinated state policy to promote Ukrainian culture abroad pose significant challenges for cultural managers.<\/p>\n

Political scientist J. Nye noted that in order to achieve peace, one should apply just as much soft power as is needed in hard power to win a war. Ukrainian policymakers lack an understanding of the importance of cultural policy in the context of achieving both foreign policy interests and domestic stability. The government largely uses culture superficially, with the aim of achieving short-term political priorities, emphasizing Ukraine\u2019s \u201csacrifice.\u201d Domestic and foreign policies that ignore public demands and contemporary trends and are based on a narrow approach to national interests can undermine soft power.<\/p>\n

In the context of Russian hybrid aggression, such neglect of culture leads to Ukraine being identified abroad primarily as a \u201cvictim\u201d nation, one that can bring only a host of socioeconomic and political problems to Europe. At the same time, representatives of the non-governmental sector are emerging who are shaping facets of contemporary Ukrainian culture with a positive message and thereby gaining attention and popularity abroad. However, their efforts are more often based on their own enthusiasm rather than adequate state support<\/p>\n

Cultural diplomacy in Ukraine is only at the beginning of the process of institutionalization and the search for effective models of cooperation between various state and civil society institutions, the business sector, and the creative industries. At the same time, cultural policy in EU countries, although identified as a priority, is currently undergoing modernization and the search for a new common strategy that would address contemporary global political challenges. Ukraine must be responsive to these transformations and actively participate in them, offering its own best practices and concepts. The intellectual role of expert communities in this strategic planning process is fundamental.<\/p>\n

The cultural diplomacy initiative was launched by the Ministry of Foreign Affairs of Ukraine in 2015 and formalized in June\u2013July 2016 as a new department. Within the structure of the Ministry of Foreign Affairs of Ukraine, it reports to the Public Diplomacy Directorate, which is part of the Political Department.<\/p>\n

The importance of developing cultural diplomacy lies in the fact that society plays a leading role alongside government agencies in fostering international cooperation and establishing communication networks among representatives of various cultural, educational, and artistic fields in different countries. Cultural diplomacy primarily helps shape public opinion regarding a particular country, lays the foundation for further cooperation, fosters a positive attitude toward other nations, and helps overcome negative stereotypes. The audience for public diplomacy is very broad, encompassing various segments of society. The main actors in Ukrainian cultural diplomacy are government institutions, nongovernmental organizations, civic activists, Ukrainian artists, journalists, scholars, students, and politicians.<\/p>\n

Among the key tasks of modern cultural diplomacy, most researchers highlight the following: shaping the country\u2019s image; developing foreign policy; and reforming, modernizing, and updating the country\u2019s domestic cultural policy. These tasks also reflect the main objective of cultural diplomacy policy in modern Ukraine. It is important to ensure the systematic implementation of Ukrainian cultural initiatives abroad, to foster a positive image of Ukraine and its citizens, and to establish and develop new international cultural exchanges. Practice shows that for many modern states, cultural diplomacy is a top priority; in particular, it remains a particularly important area of foreign policy for modern European states such as France, Germany, the United Kingdom, and Poland. For example, Germany has developed a robust cultural diplomacy strategy to change perceptions of the state and its people; in particular, cultural diplomacy played a significant role in Polish-German reconciliation, as dialogue and shared values are essential for such reconciliation. The United Kingdom has succeeded in developing a model of public diplomacy that now serves as an example for other countries. Most modern, developed European countries have established networks of cultural institutions operating abroad that play a vital role in the development of international relations. In particular, organizations such as the British Council, the French Institute, the Polish Institute, and the Goethe-Institut in Ukraine are an important component of diplomatic activities. They are recognized as leaders in cultural diplomacy worldwide; in particular, they implement major international cultural projects, bring together large international communities, and serve as a platform for communication and the exchange of experiences at the international level. Their key tasks include advocating for the state\u2019s foreign policy interests, facilitating intercultural communication, and promoting values in various sociocultural contexts. At the same time, the experience of successful European cultural diplomacy institutions shows that government support plays a crucial role in their functioning; their activities are often overseen by ministries of foreign affairs, they have a networked structure and are guided by state strategy, and the promotion of the national language, support for literary projects and book publishing, and support for contemporary culture and the arts also play an important role. Practice shows that European international cultural institutions actively combine both diplomatic activities (most of them are subordinate to ministries of foreign affairs and operate within diplomatic missions) and cultural activities.<\/p>\n

A separate area of cultural diplomacy involves the study and dissemination of the national language.<\/p>\n

Support for book publishing as a powerful means of cultural influence is extremely common among international cultural projects. Translation projects are no less important, as translation itself fosters dialogue between different cultures.<\/p>\n

In Ukraine, cultural diplomacy at the national level is carried out by the Ministry of Culture and Tourism, the Ministry of Foreign Affairs, the Ministry of Education and Science, the State Committee for Television and Radio Broadcasting of Ukraine, non-governmental organizations, and private individuals. In 2015, the First Forum on Cultural Diplomacy of Ukraine was launched, initiated by the Ministry of Foreign Affairs of Ukraine. The Ministry of Foreign Affairs of Ukraine also established the Department of Public Diplomacy, which comprises three divisions: cultural diplomacy, image-building projects, and media relations. Today, the main focus is on promoting Ukrainian cinema, organizing photo exhibitions, and hosting meetings with Ukrainian writers, scholars, and others. The EU, the United States, and Canada have been identified as priority areas for Ukrainian cultural diplomacy. Representatives of the Ukrainian diaspora play an important role in the development of Ukrainian cultural diplomacy, particularly through the scientific, educational, academic, youth, religious, and cultural organizations they have established. Ukrainians abroad exert cultural, informational, and political influence and contribute to shaping a positive image of the Ukrainian state. In many countries, Ukrainian centers have been established at the initiative of the Ukrainian diaspora to promote the development of interstate cooperation; examples include the Ukrainian National and Cultural Center (Prague) and the Ukrainian Institute in Sweden. It is also necessary to adopt a State Program for the Development of Cultural Ties with Ukrainians Abroad, which has been under discussion for many years. Of particular importance is the development of the domestic dimension of cultural diplomacy (\u201cdomestic public diplomacy\u201d), which aims to foster domestic political dialogue through cultural means. This is especially relevant in the current context of the conflict in eastern Ukraine. Practice shows that joint cultural initiatives help resolve conflicts and bring together artists, cultural figures, and intellectuals from different regions of Ukraine. Since the start of the war in eastern Ukraine, Ukrainian artists, educators, and civic leaders have organized numerous cultural events in communities affected by the armed conflict. Cultural diplomacy fosters cooperation, transforms individual cultural diplomacy initiatives into systematic work within communities, engages a broad audience in these initiatives, and develops public and civic spaces that can serve as platforms for both artistic initiatives and societal dialogue. Cultural integration and cooperation among Ukraine\u2019s regions are key priorities of the country\u2019s current policy.<\/p>\n

The emergence of projects such as \u201cCultural Diplomacy Among Ukraine\u2019s Regions\u201d (an initiative of the Ukrainian Crisis Media Center) is quite significant for the development of the domestic dimension of cultural diplomacy. Of course, the creation and development of a state institution for cultural diplomacy is a rather complex and lengthy process that requires the concerted efforts of both government agencies and civil society. Cultural diplomacy has both domestic and international dimensions, and one of its key tasks is to respond swiftly to society\u2019s cultural needs and to promote Ukraine\u2019s image globally through cultural cooperation. The experience of EU member states shows that it is important today to develop new avenues for cultural dialogue and cooperation both within the European Union and at the international level, and that both governmental and nongovernmental programs should be promoted. Practice shows that the development of cultural diplomacy by EU countries significantly enhances the effectiveness of foreign policy, adds prestige to states and national governments, reduces the impact of negative stereotypes, and strengthens a state\u2019s authority. The successful development of Ukrainian cultural diplomacy is possible provided there is a comprehensive and systematic approach by the Ministry of Foreign Affairs of Ukraine and the Ministry of Culture of Ukraine, the expert community, volunteers, and representatives of the Ukrainian diaspora.<\/p>\n

As Foreign Minister D. Kuleba noted in his speech, the first International Forum on Cultural Diplomacy, organized by the Ukrainian Institute in cooperation with the Ministry of Foreign Affairs of Ukraine, began on November 10, 2020.<\/p>\n

The event brought together leading experts from Ukraine, the United States, the United Kingdom, Austria, the Czech Republic, Lithuania, and Turkey to exchange best practices and seek inclusive solutions for cultural diplomacy in times of global crises and threats. Key topics included: best practices in cultural diplomacy; perceptions of Ukraine abroad; the country\u2019s image and national security; and Ukraine\u2019s ranking in global soft power indices.<\/p>\n

Opening the forum, Foreign Minister Dmytro Kuleba noted that Ukraine has established an institutional framework for cultural diplomacy centered on the Ministry of Foreign Affairs and the Ukrainian Institute.<\/p>\n

The minister noted that a whole generation of Ukrainian artists and arts managers has already emerged in Ukraine who are ready to engage in cultural diplomacy and are already implementing successful artistic collaborations abroad.<\/p>\n

\u201cThere are two key priorities in cultural diplomacy. First, creating new meanings and narratives that we promote about Ukraine around the world. Second, implementing new, striking projects that surprise the world and use the soft power of culture to influence attitudes toward Ukraine in various countries,\u201d he noted.<\/p>\n

The Minister also emphasized that each country has its own specific understanding of Ukraine and its own attitude toward it: \u201cThe art of cultural diplomacy lies in targeting individual countries as distinct audiences with their own perceptions of our country, within the framework of Ukraine\u2019s overall promotion.\u201d<\/p>\n

According to him, effective cultural diplomacy, like foreign policy, requires adequate funding, and this involves not only budgetary resources but also mutually beneficial partnerships with patrons: \u201cWe need to develop formats for cooperation with businesses and exporters who are interested in trading in the markets of specific countries. We are the best allies.\u201d<\/p>\n

Representatives of executive authorities, cultural institutions, educational institutions, think tanks, foreign embassies, international organizations, and others are also participating in the forum.<\/p>\n

The non-governmental organization \u201cScientific Society of Diplomacy and International Relations\u201d was established in accordance with the decision of the Founders\u2019 Constituent Assembly on September 9, 2016, and is an independent, non-governmental, non-profit public organization that brings together Ukrainian citizens, foreign nationals, and stateless persons engaged in the study of the history of diplomacy and international relations, based on the principles of voluntarism, equality among its members, self-governance, legality, and transparency, for the joint implementation of the goals and objectives set forth in its Charter, as approved by the Founding Assembly.<\/p>\n

The Association\u2019s activities are of a public nature, which does not preclude its interaction with government agencies or its close contact with other civic organizations, movements, foundations, and individual citizens.<\/p>\n

The purpose of its activities is to promote a comprehensive study of the history of Ukrainian and world diplomacy, the activities of Ukrainian diplomatic and consular missions and foreign missions in Ukraine, the formation and development of international relations, the preservation and promotion of the traditions of the Ukrainian diplomatic and consular service, its interaction with foreign missions in Ukraine, to help foster a positive image of Ukraine in the world, to ensure proper recognition of the personal contributions of outstanding Ukrainian diplomats and consular service employees, as well as foreign diplomats and consular representatives who have served in Ukraine, and to meet the research and informational needs of scholars studying the history of diplomacy and international relations.<\/p>\n

It is worth noting that cultural diplomacy is recognized as an effective tool for shaping a country\u2019s positive image in the world, addressing national security issues, stimulating demand for national products abroad, and ensuring the development of many sectors of society, including the social and cultural spheres. However, today the state lacks a consistent approach to implementing a cultural diplomacy policy; it lacks the necessary tools, strategies, and institutional foundations. This presents the state with corresponding challenges. At the same time, it can be noted that the demand for a cultural diplomacy policy has already taken shape, as has the framework for its implementation (Global Ukrainians, the state-funded network of cultural and information centers, individual artists, and participants in collaborative projects). The key stakeholders have essentially been identified; what is lacking is the political will on the part of the state to establish the foundations for this policy. Therefore, in the near future, it is important to bring all initiatives together under a single coordinating body to develop a document that will outline the foundations of cultural diplomacy policy. A cultural diplomacy strategy\u2014as a document that should define the goals, objectives, and key areas of activity in this field for the medium term, ensuring synergy between diplomatic and cultural policies\u2014should be developed within the context of Ukraine\u2019s Foreign Policy Concept and reflect its main provisions.<\/p>\n

Thus, the development of cultural diplomacy depends, first and foremost, on how a country\u2019s cultural policy is formulated. It should stimulate the development of the cultural sector by promoting the creation of high-quality and competitive cultural products.<\/p>\n

Cultural policy must also include a policy for promoting culture, which, on the one hand, will introduce cultural products to new markets and, on the other, will encourage high quality. It is clear that the quality of cultural content depends on its target audience. Therefore, among the priority areas for the development and institutionalization of cultural diplomacy is the systematic implementation of monitoring and analytical studies on the perception of Ukraine around the world and the demand for Ukrainian cultural products in specific countries. This is a thorough undertaking that involves tracking Ukrainian cultural events abroad for further analysis and forecasting.<\/p>\n

An increase in the number of cultural projects, programs, Ukrainian Culture Days abroad, print and electronic publications, and television programs will prove effective in raising the international public\u2019s interest in Ukrainian culture.<\/p>\n

The role of direct ties between cultural institutions and educational institutions is growing. The business sector\u2019s active participation in cultural exchanges is a fully underappreciated element. Its representatives are developing multifaceted contacts with foreign partners, including the implementation of large-scale projects. However, at present, Ukraine is significantly lagging behind its foreign partners\u2019 active efforts. Leading world powers view this aspect as one of the key strategic priorities of their foreign policy.<\/p>\n

Ukraine\u2019s new international cultural policy should involve government agencies, businesses, nongovernmental organizations, and educational institutions; while individual artists and cultural figures may be scattered, they must join forces and establish cooperation. An effective strategy in the cultural sector will serve as a guide for successfully addressing the challenges we face today. A foreign cultural policy that takes into account the role of culture will help inject new momentum into bilateral relations with foreign countries in this area, eliminate inconsistencies at the national level, enhance the country\u2019s appeal to tourists, and strengthen Ukraine\u2019s ability to advance its interests on the international stage.<\/p>\n

<\/p>\n

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  13. Shemaeva, G. V. \u201cCultural Diplomacy in International Relations\u201d \/\/ file:\/\/\/C:\/Users\/Ihor\/Downloads\/haksk_2018_52_7.pdf, pp. 76\u201377)<\/li>\n
  14. Schneider, C. P. Diplomacy That Works: \u201cBest Practices\u201d in Cultural Diplomacy \/\/ http:\/\/www.culturalpolicy.org.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    CULTURAL DIPLOMACY: HISTORICAL PERSPECTIVES AND THE PRESENT 1. The Emergence and Development of a Country\u2019s Cultural Diplomacy. Cultural diplomacy is an important part of public diplomacy\u2014the image-building aspect of a state\u2019s foreign policy\u2014aimed at strengthening its positive perception in the world through culture and the arts. It is a joint contribution made by state and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1928","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/pages\/1928","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.uaace.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1928"}],"version-history":[{"count":2,"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/pages\/1928\/revisions"}],"predecessor-version":[{"id":1933,"href":"https:\/\/www.uaace.org\/index.php?rest_route=\/wp\/v2\/pages\/1928\/revisions\/1933"}],"wp:attachment":[{"href":"https:\/\/www.uaace.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1928"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}