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Cultural Diplomacy in Europe

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Cultural Diplomacy in Europe DOCUMENT RESUME ED 102 067 SO 008 107 AUTHOR Haigh, Anthony TITLE Cultural Diplomacy in Europe. INSTITUTION Council for Cultural Cooperation, Strasbourg (France). PUB DATE 74 NOTE 223p. AVAILABLE FROM Manhattan Publishing Co., 225 Lafayette Street, New York, New York 10012 ($9.50) EDRS PRICE MF-$0.76 HC Not Available from EDRS. PLUS POSTAGE DESCRIPTORS *Cultural Exchange; Cultural Interrelationships; *Diplomatic History; European History; Exchange Programs; Foreign Countries; Foreign Policy; *Foreign Relations; *Intercultural Programs; *International Education; Political Science IDENTIFIERS *Europe; France; Germany; Italy; United Kingdom ABSTRACT The evolution of European government activities in the sphere of international cultural relations is examined. Section 1 describes the period between World War I and World War II when European governments tried to enhance their prestige and policies by means of cultural propaganda. Section 2 analyzes the period during World War II when the cohabitation of several exiled governments in the United Kingdom led to the impetus and development of both bilateral and collective forms of cultural diplomacy. The third section deals with the cultural diplomacy of specific countries including France, Italy, the Federal German Republic, and the United Kingdom. French cultural diplomacy is presented at the model, and an attempt is made to show how the other three countries vary from that model. Section 4 examines the collective experiences of three groups of countries in the field of cultural diplomacy. Attention is first given to the largely homogeneous group of five Nordic countries, which evolved a practice of collective cultural diplomacy among themselves. By way of contrast, the seven countries of the Western European Union including Belgium, the Netherlands, the United Kingdom, France, Luxembourg, the Federal German Republic, and Italy exhibit a system of collective cultural cooperation worked out to implement a clause of a treaty after World War II. The third group whose collective experience is examined is the 21 member Council for Cultural Co-operation and its Conference of European Ministers of Education established in 1961. (Author/DE) 01NEM TH. U S DEPARTMENT o. ..s, I .t Ti119 EDUCATION I WELFARE f., 1, OF 10t, Y.% ' I Ai BY 1161,CRO NAT IONAI. INSTITUTE F KM! Ot.Y1,%III EUUCATION this DUCtiMe N AS Rt3PRO MAIO E;YAC.TIY A5RFCIVCD PROM d..44.40 CotX 47(.4,111v., ListPERSONOR ORGANIZATIONORIGIN is, OR OPINIONS t:0 PAI *TING rl PO/N1S OF VIEW h .`414 u ,0% II Vi A! tt NA STATE° 00 NOT TTPCUSSARILYRePRE INSUILITLI. OF At N.,ft!, ll.1i 1.11( A Ili" SCN T QFT 111ALNATIONAL )4 OR POLICY w i,i- Puny...,I .,)tiot111..pt. VOLK At ION POSITION 1.11 \% IISilit tiMIS ,..4 nit'Hi .,VNIk.111tIVONI it CULTURAL DIPLOMACY IN EUROPE by ANTHONY HAIGH COUNCIL OF EUROPE STRASBOURG 1974 41. , z The Council for Cultural Co -operation was setup by the Committee of Ministers of the Council of Europe on 1 January 1962 to drawup proposals for the cultural policy of the Council of Europe, to co-ordinate andgive effect to the overall cultural programme of the organisation and to allocate theresources of the Cultural Fund. it is assisted by three permanent committees of senioroffi- cials: for higher education and research, for general and technicaleducation and for out-of-school education. All the member governments of the Council of Europe, together with Greece, Finland, Spain and the Holy Seeare repre- sented on these bodies.' In educational matters, the aim of the Council for Cultural Co-operation (COO) is to help to create conditions in which the righteducational opportunities are available to young Europeans whatever their backgroundor level of aca- demic accomplishment, and to facilitate their adjustment to changingpolitical and social conditions. This entails in particulara greater rationalisation of the complex educational process. Attention Is paid to alt Influences bearingon the acquisition of knowledge, from home television to advancedresearch; from the organisation of youth centres to the Improvement of teachertraining. The coun- tries concerned will thereby be able to benefit fromthe experience of their neighbours in the planning and reform of structures,curricula and methods In all branches of education. 1. For complete llst, see back cover. 0009.314 By the same author (published by George G. Harrap, London): A Ministry of Education for Europe Congress of Vienna to Common Market: an outline of British foreign policy 18154972 0000 CONTENTS Page Foreword 9 Bibliographical Note 15 Summary 19 Part I:Diplomacy finds a new technique 23 I Evolution of cultural diplomacy 25 II Response to a new challenge 39 Part II:National attitudes 63 ill France 85 IV Italy 85 V Federal German Republic 99 VI United Kingdom 117 Part ill: Collective experience 133 VII The Nordic Five 135 VIII The Brussels Treaty Five 155 IX The Seven of Western European Union 173 X Cultural mission of the Council of Europe 191 XI The Council for Cultural Co- operation 211 XII Europe twenty years ahead 231 Index 247 7 04:.: ()fit FOREWORD 00007 Shortly after its creation at the beginning of 1962, the Council for Cultural Co-operation of the Council of Europe decided to commis- sion a series of studies intended to throw lightupon a new and little- explored branch of international relations, namely cultural diplomacy in Europe. The first study thus commissioned was to deal with "developments in the United Kingdom during the second world war, leadingto the practice of collective cultural co-operation". The person invited to undertake this study was the British Council's representative in the Federal German Republic, Richard Seymour. He had joinedthe British Council early in 1940 and was soon afterwards appointed Deputy Secretary General. He acted as one of the secretaries of the Conference of Allied Ministers of Education which sat In London between 1942 and 1945. After the war he was for many yearsone of the British delegates to the Cultural Committee of the Brussels Treaty Organisation and to the Committee of Cultural Experts of the Council of Europe. After an introductory chapter which outlines theevolution of cultural diplomacy up to the outbreak of the second worldwar, Seymour's study, in a condensed version, provides the starting-point of this book, in the chapter headed "Response toa new challenge". This, and the introductory chapter, form Part I, to which I have given the description "Diplomacy finds a new technique". In the introductory chapter I have elaborated some ideas to which I originally gaveex- pression In an article called "What is cultural diplomacy?" published in the Unesco Handbook of International Exchanges, 1965. The next three studies to be commissioned dealt with cultural diplomacy as practised by the governments of three member states of the Council of Europe. Annie Angremy, whose study was entitled La diplomatic) culturelle de la France, is a conservator In the depart- ment of manuscripts of the Bibliotheque nationals in Paris, with experience of preparing research papers.Ihave been compelled ruthlessly to compress her detailed and comprehensive description of French cultural diplomacy, but hope that I have been able to leave enough of it to show how the French, who were the pioneers of cultural diplomacy, must be regarded as the masters against whose policies and techniques the efforts of other nations still need to be measured. 11 00008 Umberto Gori, whose study was devoted to La Diplomazia Cul- turale Multilaterale Dell'Italia, comes from the university world, and has contributed articles to sundry magazineson various aspects of international relations. From the chapter which I have basedon his analysis of Italian action in this field it will,I hope, be evident that Italy has a special talent for cultural projection by means of the plastic arts, and a penchant for collective cultural diplomacy which finds a congenial outlet in the opportunities provided by Unesco. Der Wiederautbau der Auswertigen Kulturbeziehungen durch die Bundesrepublik Deutschland nach dem Zweiten WeltkrieL is the title of Martinus Emge's study. Emge, who like Goricomes from the university world, worked for a period as cultural attaché in the German Embassy at Ottawa, and then in the Cultural Directorate of the Auswartiges Amt. He has published a number of studies of German cultural diplomacy. In the chapter whichI have derived from his exposition it will be seen that German cultural diplomacy has had to contend with the complications of a federal structure: this makes of the Federal Republic a potential small-scale model of the future pattern of collective cultural diplomacy among European countries. In order to round out the picture presented in Part II, which I have named "National attitudes", it has been necessary for me to add a chapter on the United Kingdom. For ten years, from 1952 to 1962, I was head of the Cultural Relations Department of the Foreign Office in London, and as such in almost daily contact with the British Council, which acts as the principal agent of the United Kingdom Government in respect of that government's cultural diplomacy. The conduct of the essentials of a government's cultural diplomacy byan agency which enjoys a !arge measure of independence of that government makes the British experience exceptional. In compiling Part II of this book I have presented Ftsnce as the model, and have tried to show how the cultural diplomacy of Italy, the Federal German Republic and the United Kingdom varies each in its own way from that model. It willI think be evident that the variations do no more than emphasise different aspects of a common theme. To Part III, the final and longest part of this book, I have given the title "Collective experience".Itis based on three further studies commissioned by the Council for Cultural Co-operation. The first of these bears the title: Twenty-five Years of Cultural Ventures A Study in Nordic Cultural Co-operation 1948-72.
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