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Cultural Diplomacy the Icelandic Way

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Cultural Diplomacy the Icelandic Way DEPARTMENT OF SOCIAL SCIENCE Cultural Diplomacy The Icelandic Way The current state of Iceland’s cultural diplomacy practices Master Thesis in Cultural Management Student: Bergþóra Laxdal Advisor: Dr. Gregory Payne Fall – 2016 ABSTRACT This 30 ECT credit MA thesis is a case study that discusses the role of the Government of Iceland and the creative centers in Iceland when publicly funding cultural projects that take place internationally. The objective is to examine the current state of how the Government of Iceland conducts its cultural diplomacy practices. In examining the Government practices on this topic, the following three questions are pursued; is there an informal cultural diplomacy policy in place; what principles drive that policy and what strategic approach is in place to fulfill the policy? The participants were selected due to their expertise in the cultural affairs of Iceland, and were divided into two groups. The first group, the Expert Committee on Art and Culture Expert Committee on Art and Culture headed by Promote Iceland, was selected to identify the Government agencies from which the creative centers receive their public funding and to gain insight into how projects that receive public funding are selected to represent Iceland abroad. This group delivered their answers in a written open ended questionnaire. The second group, Government cultural representatives with responsibilities in distributing public funding, was selected to get an overview of how the distribution of funds takes place and delivered their answers through an interview. The results were analyzed according to theories about policy and policy streams and strategy processes. The results support the view of an informal cultural policy being in place. The creative centers are responsible for deciding what cultural projects receive public funding with the Government trusting in the center’s professional abilities, and handling the financial transactions through the creative centers. Thesis advisor was Dr. Gregory Payne, Associate Professor and Chair, Department of Communication Studies at Emerson College in Boston, MA. Keywords: Cultural diplomacy; Cultural Management; Cultural Policy; Culture; Iceland. ii PREFACE The thesis idea manifested itself as I was preparing for a panel discussion on the subject “How do the Nordic Countries implement their cultural diplomacy policies and how they can inspire and enhance the value of the arts in society and international relations?” The Origin Theater Company in New York hosted the panel. It became apparent as I researched the topic that no literature existed on Iceland’s cultural diplomacy practices, so I undertook the challenge of mapping out Iceland’s current cultural diplomacy landscape. The process from thesis conception to delivery was an arduous one, requiring all the self-discipline I could muster. I would like to thank all the participants for their time and patience, as without their effort this thesis would never have seen the light of day. I would like to thank my thesis advisor, Dr. Gregory Payne for not only guiding me through the thesis process but also for jumping on board at a time in the process when I thought I had seen the end of it. I would like to thank Hlynur Guðjónsson and my coworkers at the Icelandic Consulate/Mission in New York for their support and for enduring my scattered brain for months on end. I would like to thank my friends Henný Gylfadóttir, Angela Baglivo-Michaels and Brian Michaels for making not only my life easier but also my son’s life fun filled during the time it took to assemble the thesis. There wouldn’t be a hair left on my head without them. I would like to thank Arndís Dögg Arnardóttir from the bottom of my heart for being my star cheerleader in addition to proof reader, crisis manager and so on. Special thanks go to Linda Lea Bogadóttir for hiking alongside me through this thesis journey as well as through the valleys of Iceland. I’m forever thankful for that first day of classes when I found a friend in her. Above everyone, I want to thank my little guy, my best buddy, my son Alex Laxdal for enduring this time with me. His understanding, independence and compassion far surpass his 12 years of age. Lastly I want to thank Nike for providing an endless source of motivation. JUST DO IT! __________________________ Bergþóra Laxdal iii TABLE OF CONTENT Abstract .................................................................................................................................................................... ii Preface ..................................................................................................................................................................... iii Table of content .................................................................................................................................................... v Pictures .................................................................................................................................................................. vii 1. Introduction ..................................................................................................................................................... 1 1.1. Goals, aims and research question ......................................................................................... 2 1.2. Theoretical background and key works .............................................................................. 2 1.3. Concepts and terminologies ...................................................................................................... 3 1.4. Scientific value ................................................................................................................................ 4 1.5. Construction of the thesis .......................................................................................................... 4 1.6. Timeline ............................................................................................................................................. 5 2. Definitions ........................................................................................................................................................ 7 2.1. Culture ................................................................................................................................................ 7 2.2. Power .................................................................................................................................................. 9 2.3. Soft power ......................................................................................................................................... 9 2.4. Diplomacy ...................................................................................................................................... 10 2.5. Public diplomacy ......................................................................................................................... 10 2.6. Cultural diplomacy ..................................................................................................................... 11 2.7. National Cultural Policy of Iceland ...................................................................................... 11 2.8. Government of Iceland ............................................................................................................. 14 2.9. Ministry of Education, Science and Culture ..................................................................... 14 2.10. Ministry for Foreign Affairs .................................................................................................... 16 2.11. Promote Iceland .......................................................................................................................... 18 2.12. The Expert Committee on Arts and Creative Industries ............................................ 19 2.13. Iceland Naturally ......................................................................................................................... 25 2.14. Ministry of Industries and Innovation ............................................................................... 27 3. Theories and literature review ............................................................................................................. 29 3.1. Policy ................................................................................................................................................ 29 3.1.1. Cultural Policy .................................................................................................................... 29 3.1.2. Instrumental Cultural Policy ....................................................................................... 31 3.1.3. Arm’s length principle .................................................................................................... 32 3.1.4. OrganiZed anarchy: A garbage can model ............................................................. 33 3.1.5. Kingdon’s Policy Window Model ............................................................................... 36 3.2. Strategy ........................................................................................................................................... 37 3.2.1. Strategy as a plan or a pattern .................................................................................... 37 4. Methodology ................................................................................................................................................
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