A New Era in Cultural Diplomacy: Rising Soft Power in Emerging Markets

USC Center on Public Diplomacy at the Annenberg School

A New Era in Cultural Diplomacy: Rising Soft Power in Emerging Markets CPD Annual Research Conference 2014 Conference Report In an increasingly multipolar global system, emerging-economy countries are now paying greater attention to culture and communication as part of the symbolic domain of their national power in global affairs.

But their efforts remain little understood, a gap that the CPD Conference on Cultural Diplomacy held at the University of Southern California on February 28, 2014 aimed to address.

The following is a summary of the proceedings of the conference, followed by observations and recommendations for new approaches to cultural diplomacy in emerging markets derived from the event.

It is the latest contribution to the CPD Rising Soft Power research initiative which seeks to understand how emerging economies are using culture and ideas to advance national interests.

1 The USC Center on Public Diplomacy’s Panel One – Cultural Diplomacy: 2014 conference “A New Era in Cultural Continuity and Disjuncture Diplomacy: Rising Soft Power in Emerging Markets” opened with introductory remarks In the first panel, cultural diplomacy scholars 1 by Professor Jay Wang , Director of the USC presented their analyses of international Center on Public Diplomacy. He expressed cultural initiatives in Turkey, Indonesia, hope that the conference would reveal Russia, and India. “how emerging markets are exploring and pursuing public diplomacy” as they rise to Senem Cevik3 preeminence. is Assistant Professor at Ankara 2 Ernest J. Wilson III , Dean of the USC University and was Annenberg School for Communication and previously a CPD Journalism, welcomed participants and visiting researcher. guests, expressing pride in CPD’s work on In her presentation, public diplomacy at the global level. “Public she examined diplomacy can do anything it wants to do, the role of Turkish even the improbable,” he stated. The Dean soap operas as went on to point to the large budgets that instruments of cultural diplomacy, seeking to emerging economies are dedicating to answer the question, “What are the effects public diplomacy, for example, $6.6 billion of soap operas for the broader Middle East?” in China, as an indicator of the importance She explained that this non-governmental and timeliness of the conference’s topic. He example of cultural diplomacy is especially concluded with the announcement of a new important given what she considered the USC academic minor in public diplomacy. disorganized approach to public and cultural diplomacy by the Turkish government. Turkey boasts a formidable cultural diplomacy infrastructure, comparable to the British Council or Goethe Institute, and anchored Before Turkey can understand in the Yunus Emre Institute. The Directorate whether these shows help of Overseas Turks manages international foreign publics to understand exchange and diaspora engagement, but its initiatives are constrained by the absence Turkey, Turkey must first of a grand strategy. Cevik explained that understand itself. tangible and intangible assets must be incorporated into such a strategy, and that Turkey does not know which intangible Senem Cevik values it wants to champion abroad. In the meantime, Turkey is explaining itself to the world through its soap operas, which are rampantly popular throughout the Middle

2 East. Cevik attributed their success to the critical in representing continuity between inclusion of Muslim as well as Western Tsarist, Soviet, and Federal Russia. This traditions, thereby making the shows both was further reinforced by the inclusion in familiar and exciting to audiences in more both the Opening and Closing ceremonies conservative states such as Saudi Arabia of the crying bear that featured in the 1980 and the United Arab Emirates. Accordingly, Moscow Olympics. Furthermore, Russian Turkey’s soap stars have become symbols of ballet, Russian authors, space exploration, both “Middle Eastern unity” as well as the and Cyrillic characters were emphasized “Western lifestyle,” bridging a cultural divide in both ceremonies to tie these three that might otherwise have been intractable. eras together. However, Tsetsura warned Furthermore, the soaps’ popularity has had that this continuous messaging may be a positive economic impact upon Turkey, denigrating Russia’s international reputation. which now benefits from “the country of While Russian origin effect” across the Middle East. “Made literature in Turkey” now connotes a quality product. was likely Cevik concluded with an evaluation of soap featured in the opera’s impact, ultimately determining ceremonies as that the extent of the programs’ cultural an example of diplomacy success depends on how Turkey Slavic cultural wants to be identified. While the programs prowess, do represent “a part of the society,” before because of the country can understand whether these Soviet linguistic shows help foreign publics to understand it, uniformity, it must first understand itself. Russian is known as a “language of oppression” in the Commonwealth of Independent Visit CPD’s YouTube channel to see States (CIS). This impression is reinforced excerpts from Senem Cevik’s presentation today as Russia continues a softer form at the conference. of linguistic imperialism through cultural centers and language schools in the CIS region. Additionally, Tsetsura highlighted the KaterinaTsetsura 4, Gaylord Family Professor importance of Russian religious diplomacy, of Strategic Communication and Public as conducted through the Russian Orthodox Relations at the University of Oklahoma, Church. Because “the unity of Russia came went on to evaluate Russian cultural with the arrival of the Russian Orthodox diplomacy. She began with a discussion of Church,” religion is critical to Russian gastrodiplomacy, highlighting the soft power identity, and the Church continues to be of blini, pancakes that are made for the pre- heavily involved in diaspora outreach and Easter holiday of Maslenitsa. Blini represent cultural diplomacy in the far and near abroad. “the Russian soul,” and were presented This, too, was represented in the closing to the world at the Opening Ceremony of ceremonies at Sochi, during which the the 2014 Sochi Olympics. The blini were Church literally “stood above the people,”

3 as cathedrals flew overhead. Tsetsura arts practice in Indonesia because to do concluded by highlighting three key issues so would put one culture over another.” within Russian cultural diplomacy. Firstly, Therefore, there is no single image of cultural programming is highly centralized, Indonesia that can be presented to the world. In contrast to the centralized Russian Developing countries must approach, Indonesian cultural diplomacy is largely conducted through bottom-up transcend Western-imposed programs. Local artists tour foreign cities narratives of victimhood. and towns, often without the support of the Indonesian government. Since America too is “not a monolithic cultural entity,” the Judy Mitoma two countries are natural cultural partners. Indonesia-United States arts exchanges are with all initiatives controlled by the Ministry often couched in “face-to-face residency,” in of Foreign Affairs and “very little opportunity which artists travel between small towns and to change ideas.” Secondly, “Russia still villages, personally meeting and performing thinks of itself as an empire,” and this with many of their inhabitants. In November hierarchical approach to cultural diplomacy 2013, the Indonesian Institute of the Arts can easily offend target populations who sent a delegation to Los Angeles, which cherish the independence of the last two Mitoma recognized as a significant step decades. Finally, Russian cultural diplomacy towards mutual understanding between the is constructed “top-down.” Most cultural two countries. Mitoma expressed hopes that centers are placed in major international in the future, Indonesian cultural diplomats cities, and very little effort is made to reach would find funds within Indonesia, thereby past national elites. becoming freer to express Indonesian culture without the constraints of foreign Judy Mitoma5, influence. Professor Emerita of World Arts Daya Kishan Thussu6, Professor of and Cultures at International Communication and Co- UCLA, discussed Director of India cultural exchanges Media Centre at between Indonesia the University and the United of Westminster, States, focusing on considered how the role of the arts the growth of in this relationship. Indian media is Mitoma began by enhancing its soft emphasizing the diversity of Indonesian power, as well culture. The country is home to 580 as its sovereign language groups, 13 of which have over independence. a million speakers, and “there is no single He began by

4 discussing India’s inherent soft power, studying the “cultural consequences of the which stems from the “perception of India rise of India,” emphasizing that India must not as a nonthreatening, spiritual, other-worldly only be perceived as a rising economy, but kind of place.” The Indian government, as a growing society, with all the intricacies alternatively, emphasizes high culture in its of a multi-lingual, multi-religious, 1.2 billion- public diplomacy programming, despite the strong civilization. small global audience for traditional Indian music, dance, and art. Indian pop culture, The panel was moderated by Nicholas however, has earned a huge international J. Cull7, Director of the Master of Public following. Bollywood has become the Diplomacy Program at USC. After highlighting world’s largest film hub and earns $29 billion the importance of “relevance” and “moral annually. Thussu explained the importance of leadership” to cultural diplomacy in emerging the large Indian diaspora to the international economies, he asked the panelists why it take up of Bollywood and Indian pop culture, is important for people to think about the reminding the audience that while Bollywood BRICS and other developing states from a has only been a significant cultural force cultural perspective. Tsetsura highlighted the in the United States for several decades, it was extremely popular in the U.S.S.R. and China as early as the 1950s. The diaspora itself also acts as a strong cultural diplomat. Because many important figures of the Western knowledge “dichotomy” between the Russian state and economy such as Bobby Ghosh and Satya people. Because “Russian culture is about Nadella hail from India, many Westerners resistance,” cultural diplomacy allows global now associate India with “intellectual publics to identify with Russia regardless power.” Thussu then discussed Indian media of the actions of its government. Cevik proliferation. The lack of a national television suggested that nations should not seek channel has led to a uniquely vibrant media to “touch everyone globally,” and should landscape, but its potential for exportation instead establish relevance within regions as an instrument of cultural diplomacy of interest. Thussu expressed hope that a has, until now, remained largely untapped. stronger cultural discourse from emerging Finally, Thussu recommended that scholars economies would break the hegemony of “de-Americanize the soft power discourse,” the Anglo-dominated global media scene. as Joseph Nye does not account for the Mitoma emphasized the importance of “complex cultural history of other countries.” “bottom-up stories” to the relevance of Thussu also pointed to the importance of emerging nations, arguing that developing

5 countries must transcend Western-imposed “network weaving.” Secondly, Confucius narratives of victimhood. Institutes create “network synergy” by connecting online and offline activities, in Panel Two – Confucius Institutes: recognition of the fact that “interpersonal The Globalization of Chinese Soft relations must solidify online resources.” For example, the annual Confucius Institute Power Conference allows Institute Directors to build on virtual collaborations through in person In the second panel, scholars and practitioners interactions. Finally, Confucius Institutes reflected on the structural idiosyncrasies, employ “network strategy,” by persuading implementation challenges, and soft power foreigners to be involved through task-, achievements of Confucius Institutes and social-, and identity-based narratives. While Classrooms in the United States and South most cultural exchanges involve a “static Africa. entity,” participants in Confucius programs “generate knowledge and innovation,” and 8 R.S. Zaharna ¸ become far more engaged than participants Associate Professor at involved in counterparts’ cultural programs. American University, Zaharna concluded by recommending that began the second other countries’ cultural institutes pay closer panel by examining attention to the “relational structures” Confucius Institutes of the Confucius Institutes and focus on through a “network collaboration, stakeholders, and long-term communication investment. approach.” She noted that Confucius Jennifer Hubbert9, Institutes are spreading Assistant Professor faster than any of of Anthropology at the Western cultural institutes, and that Lewis & Clark College, Confucius Institutes are expanding most added to the panel by rapidly in liberal democracies. The Hanban answering the question, – the centralized body that manages the “Does soft power Institutes – attributes this success to really work?” To reach “longevity, culture and relations,” and this answer, Hubbert Zaharna’s research has shown that relational drew on her experience structures are indeed a major advantage for as a chaperone of a Confucius Institutes. Firstly, the Institutes Summer Bridge Program, a Confucius have a strong “network structure.” This is Institute initiative that invites high school guaranteed by the dual hubs of Hanban and students to China for 17 days to learn about the program’s website. Additionally, all foreign Chinese language and culture. This program universities that host a Confucius Institute employs two policy mechanisms to achieve also have a Chinese partner university, and soft power: “witnessing the modern” and these two relational layers result in complex “the embodied performance of tradition.”

6 Furthermore, it seeks to portray a “non- multinational organizations are merely contentious” and “exceptionalist” Chinese conveying culture, and the overt geopolitical narrative. However, these “pre-figuredpurpose of African Confucius Institutes notions of authenticity” did not resonate therefore represents a notable anomaly. with students, who felt that tour guides’ African Confucius Institutes do conduct “controlled” narratives of traditional and similar cultural activities to their European modern China were dull and unconvincing. counterparts, with an additional emphasis The students saw “particularity, not on the pragmatic, including vocational universality,” and assumed that the textile training. But these activities sometimes and aerospace factories they saw during the suffer in quality and scope because of program were not “real China.” However, Africa’s shortage of foreign and domestic outside of the program’s confines, the Chinese language and cultural instructors. students experienced a night market, where This skill gap is caused by a perception they did participate in genuine mimetic among Chinese teachers of “hard living cultural performance by trying Chinese conditions” in Africa, and because there are foods and sending pictures of this process back to the United States. While an exit African-Chinese cultural study revealed that the students are not interested in returning to China, they did cooperation does appear to want to continue learning Mandarin, which be a “win-win discourse,” was understood as an economic advantage. as Confucius Institutes are Therefore, Hubbert concluded that China’s clearly addressing a very real Summer Bridge Program failed to increase Chinese soft power, but did manage to need in African education. reinforce the pragmatic importance of Mandarin in the globalized economy. Students did not necessarily want to learn Falk Hartig Mandarin, but many did feel that they had to. very few indigenous Chinese language or Falk Hartig10, Post-doctoral Researcher at the cultural studies programs. Furthermore, the Frankfurt Inter-Centre-Programme on New Confucius Institute teaching materials are African-Asian Interactions, examined the role designed for Western students, and are not of Confucius Institutes in Africa, focusing on always appropriate for the African cultural and the four institutes in South linguistic context. Overall, Africa. There, Confucius African-Chinese cultural Institutes are explicitly linked cooperation does appear to to the Chinese foreign policy be a “win-win discourse,” agenda to an extent that is not as Confucius Institutes are seen in other regions or other clearly addressing a very real nations’ Institutes. In the need in African education. cultural space, it is the norm However, Hartig ponders, to claim that state-funded “who is winning what?”

7 John Layton11 serves intentions are mutually beneficial, with the as the Assistant program’s key purpose being the promotion Superintendent of of “peace and prosperity between the two Lafayette School nations.” He also pointed to the fact that Corporation. He Chinese teachers who work in America as was instrumental in Confucius Classroom guest teachers return bringing Confucius to China with a more accurate and positive Classrooms – the high perception of the United States, and that school iteration of the soft power is never a one-way street. Confucius Institute – to his district. While This panel was moderated by Clayton establishing this Dube12, Executive Director of the USC U.S.- program, Layton faced China Institute at the Annenberg School three key concerns from stakeholders: (1) for Communication and Journalism. He exposing children to communist propaganda, emphasized that the panelists’ experiences (2) sacrificing romance language instruction, demonstrate that it is “impossible to and (3) employing qualified teachers. Layton generalize” the intentions, experiences, explained that the Confucius Classroom and outcomes of a Confucius program. program is well designed to answer each Additionally, he reminded the audience concern, as the curriculum focuses primarily that China’s globalization has lacked a on traditional culture and language exercises, “coherent agenda,” and that even when rather than contemporary China. Additionally, a straightforward message is put forward external funding allows schools to continue by Chinese policymakers, “the message current programs while adding Mandarin intended is not necessarily the message instruction, and guest teachers from China received.” Building on these considerations, fill skills gaps to ensure a high quality of he asked panelists, “What do they want, instruction. Layton also emphasized the are they getting it, and how would we strength that institutional relationships know?” Falk responded that it is impossible add to the Confucius Classroom program. for Western observers to discern Chinese By collaborating with the High School of intentions, but that it is likely that there is Shanghai, Jiaotong University, and Purdue no “real master plan in mind.” Additionally, University, Lafayette students had access he doubted the soft power impact of to a wealth of educational and cultural Confucius Institutes, as those who attend resources that would otherwise not have the Institutes already feel positively been available. Through these partnerships, towards China. Zaharna discussed the deep Lafayette has hosted Chinese delegations, networks that the Confucius Institutes viewed live performances of the Monkey have established as a marker of success, King, and participated in a workshop with the while Hubbert felt that “China has a very, Hangzhou Conservatory of Performing Arts. very long term perspective” concerning its Though he was “aware from the beginning power projection. Finally, Layton suggested that there was an agenda on behalf of the that the local control of school boards has Chinese,” Layton believes that Chinese slowed the expansion of Chinese programs

8 at the high school level. the United Arab Emirates and emerging Europe. Pike emphasized the importance Lunch Conversation – GREAT Britain of assuming nothing about the audiences in in Emerging Markets these markets, and basing all programming on audience research. For example, although Over lunch, Andrew Pike13 discussed the the campaign seeks to present Britain GREAT Campaign, the United Kingdom’s as an innovative country, in Brazil, many flagship nation branding program, and its people are interested in the traditional and presence in emerging economies. Pike has aristocratic side of served as Deputy Director for the GREAT the U.K. Therefore, Campaign since the initiative was launched Pike ensured that the in coordination with the Queen’s Diamond old was presented Jubilee. Originally designed to increase along with the new interest in the 2012 London Olympics, the at events in Brazil. campaign’s mandate was expanded following In each of these the Games to “drive jobs and growth to markets, the GREAT campaign depends on celebrity involvement. We don’t change perceptions 150 celebrities have donated time to the for no reason. We change campaign, including David Beckham, Andy perceptions to create impact. Murray, and the royals, who Pike described as “our soft power superstars.” The campaign also engages local “partners and credible Andrew Pike witnesses” to ensure its messaging is perceived as legitimate. Pike went on to Britain.” After conducting extensive formative clarify that he does not consider the GREAT research, Pike had determined that “luckily, campaign to be a nation branding initiative, most of the world quite liked us.” However, but instead a marketing campaign that is the GREAT campaign sought to reach beyond designed to provide measurable financial this vague favorability to “position the U.K. returns: “We don’t change perceptions for as the most creative country in the world.” no reason. We change perceptions to create Because of the project’s relatively small impact.” Thus far, Pike estimates that GREAT budget of $48 million, it targeted 13 focus has achieved a 600 million pound return on markets from 2013 to 2015, the majority of investment. which are in developing economies: China, Indonesia, Turkey, Mexico, Brazil, India, Pike’s presentation was moderated by Jay Wang who emphasized the “versatility” of the GREAT campaign. Pike expanded on this Visit CPD’s YouTube channel to see assessment, claiming that “the simplicity of excerpts from Andrew Pike’s presentation it” was the key factor that has allowed the at the conference. campaign to become so successful. When

9 questioned about the campaign’s evaluation hopes that Nollywood and EIFF will become strategy, Pike explained that each campaign emblematic of free speech – represented by category – trade/investment, tourism and the screening of an Indian movie that was education – is evaluated differently, with banned in its own country – and human number of business leads, click through rights – as portrayed by several powerful to plane bookings, and close cooperation anti-female genital mutilation films. Opara with universities, leveraged to assess the campaign’s impact. Finally, Wang asked what Pike considered to be the biggest lesson Nollywood is helping to brand that he has learned from the campaign, to Nigeria internationally. which he responded: “It really is just about defining your messages. Having one voice.” Hope Obioma Opara Panel Three – Dialogues through Film also pointed to the importance of artistic quality in cultural diplomacy, recognizing that In the third panel, film festival directors and the production quality of Nollywood films organizers from Nigeria, Poland, Turkey and will have to increase significantly before they Mexico shared their unique approaches to become popular beyond Africa. Now that the film diplomacy and intercultural dialogue. government has realized that “Nollywood is Hope Obioma Opara14, President of helping to brand Nigeria internationally,” it Nigeria’s Eko International Film Festival has begun to step in with funding to make (EIFF), opened the panel with a discussion these higher quality films a reality. of Nollywood – 15 the Nigerian film Vladek Juszkiewicz is the Executive industry – as a Director of the Polish Film Festival in tool of cultural Los Angeles (PFFLA), which features diplomacy. documentaries, animation, shorts and While Nollywood feature films that are “made in Poland, made produces a higher by a Pole, or about a Polish subject.” The volume of filmsevent targets the diaspora community in Los than any other Angeles, including those of Polish descent film center, itswho do not speak Polish, and therefore all of international PFFLA’s films are subtitled. Juszkiewicz was presence has been fairly weak, as its very conscious of PFFLA as a tool of cultural filmmakers are not well organized on an diplomacy, clarifying that “it was not only international scale. This has been partially about introducing Polish cinema, but more remedied through EIFF, which not only about introducing Poland.” Furthermore, gave Nollywood producers an international platform for their art, but also welcomed Visit CPD’s YouTube channel to see entrants from 15 other countries. Opara excerpts from Hope Obioma Opara’s presentation at the conference.

10 PFFLA was network, a bridge” and that the organizers designed “to were “looking for interaction between bring people cultures.” Similarly to PFFLA, LATFF together, not actively collaborates with other international divide them.” festivals such as the Sarajevo Film Festival. Therefore, LATFF is also closely associated with USC. films are only Six USC student films were included in this screened if year’s festival, and several young Turkish they refrain directors will be selected for mentorship by from overtly judging a particular group of USC faculty through LATFF competitions. people. This principle is idealistic as well as Despite its youth, LATFF is rapidly expanding pragmatic, as the festival’s most polarizing and has recently launched the Dream Export films, such as a controversial North Korean program, a screenwriting competition and piece, tend to be the least attended. In cultural exchange that will be offered at 20 of addition to the U.S.-Poland dimension of the top film schools in the United States and the festival, it also strengthens diplomatic in Turkey. Couched in a belief that a foreign ties with China, India, and Mexico, whose culture can be understood only through consulates collaborate to bring PFFLA to personal experience, the winners will be life. For example, when a Pole screened a given $15,000 to produce a film in their non- film about Siberians immigrating to Mexico, native country. multiple third countries became stakeholders in the event. Visit CPD’s YouTube channel to see excerpts from Yasemin Yilmaz’s 16 Yasemin Yilmaz , co-founder of the Los presentation at the conference. Angeles Turkish Film Festival (LATFF), discussed the growing community of Turkish filmmakers and filmgoers in Los Angeles. Samuel Douek17 is founder and Director LATFF was launched at Grauman’s Egyptian of the HOLA Mexico Film Festival, which Theater in 2012 by a group of Turkish film began in Australia and has since expanded students who realized that Turkey was one to Los Angeles. Under the motto “Mexico es of the very few countries that did not host a mucho más que clichés,” the festival seeks to national film festival in Hollywood. With the bring a genuine Mexican cultural experience support of the Turkish Los Angeles Consulate to international publics. To this end, HOLA and Ministry of Culture, the students sought Mexico features Mexican food and music, to “bring Turkish narratives […] to both a as well as film. The festival has a natural Turkish and American audience.” Notably, audience among the Mexican and Latin the viewer’s experience “begins as soon American diaspora, as Hispanics represent as you get to the theater,” as attendees are a disproportionately large percentage of greeted by Turkish students offering Turkish frequent moviegoers in the United States. delight and discussions of Turkish culture Concerning content selection, Douek echoed and lifestyles. Yilmaz emphasized that the priorities of the previous panelists while “we believe it’s very important to make a outlining the need to choose a “diverse”

11 array of films that present pieces, ultimately concluding that “we all Mexico in a genuine, pretty much tell similar stories,” and that relatable way, but that the major differences between countries’ also have a “good story” films lie in approach, and not in substance. and are “well-produced.” Opara pointed to the high production quality Douek underscored the of American films, while Douek suggested importance of sponsorship that Israeli films “really bring the sentiment to cultural diplomacy of being there.” He also noted that the body initiatives, especially of Israeli films have been culturally enriched for big-budget events by the Israeli Film Board’s practice of funding such as film festivals.Palestinians to craft critical narratives. Finally, This year the festival is Juszkiewicz lauded French films for their designed to “generate ability to examine serious social issues in a a social movement” to combat Mexico’s light, accessible manner. deeply negative portrayal in the United States. Pointing to a cartoon stereotype Five Key Observations for Cultural of a Mexican luchador-narco, Douek Diplomacy Best Practices asserted that “anything cultural will help the During the course of the 2014 conference, Visit CPD’s YouTube channel to see the following themes emerged concerning excerpts from Samuel Douek’s best practices in cultural diplomacy: presentation at the conference. (1) PRECISELY DEFINED IDENTITY: Prior to constructing a cultural diplomacy initiative, everyday Mexican decrease this Mexican a government, organization, or artist must in a fight.” Building on this concept, HOLA fully understand the cultural identity of the Mexico has been given the promotional nation to be represented. It is impossible for hashtag #HolaMexicoLucha. The Festival a state to evaluate the success of a cultural is encouraging supporters to use this tag campaign or branding initiative unless not only in relation to the event, but also to perceptive goals are clearly articulated. individually correct misconceptions about Furthermore, as internet penetration Mexico. Douek thereby hopes to link HOLA increases, it is likely that publics already Mexico with overarching Mexican nation have access to information about a given branding priorities. country. It is therefore important that cultural diplomacy not only conveys information, but The panel was moderated by Nicholas that it does so in a way that is compelling, J. Cull, who reminded the audience that unique, and emblematic of the country’s film is a “very important medium despite cultural priorities. our iPhones.” When asked to note a third country’s films that act as strong (2) BOTTOM-UP FORMULATION: It is instruments of public diplomacy, Yilmaz equally important to understand the culture mentioned Spanish, Canadian and Bosnian

12 of the target audience. Cultural diplomacy (5) DIASPORA ENGAGEMENT: Nationals must listen to its potential audience, living abroad are an important soft power and this can be operationalized as open- resource, and they should be empowered to minded formative research. In the absence share their home nation’s culture with their of this practice, cultural diplomacy can current community. This practice is generally be misinterpreted by its target as cultural low-cost, with high potential impact. imperialism, as seen in Russia and the CIS. Diaspora community members are often seen as a non-propagandistic representation (3) TACTILITY: The strongest cultural of their country of origin and also enjoy diplomacy initiatives convey cultural narratives credibility in the foreign country due to their as tactile experiences. This physicality can local relationships and reputation. be achieved through international exchange programs and active participation in cultural Conclusion traditions, as promoted through Confucius programs, LATFF and HOLA Mexico, but If cultural diplomacy is to retain its place also more abstractly through well-crafted of strategic importance as a tool of public films and events that capture the essence engagement, it must fill the gaps in of a country’s culture, such as the GREAT contemporary communications. While the campaign’s Brazil launch, which brought Internet sometimes encourages learning to British physicality to Rio through models be an isolated and observational act, cultural of Buckingham Palace and other culturally diplomacy can inform foreign audiences resonant landmarks. Technology allows through lasting relationships and active anyone to learn about another nation’s participation. Domestic communications culture independently, but the added value often convey international relations as a zero- of cultural diplomacy helps to transform this sum game where foreign nations are merely information into a tangible and transformative one-dimensional caricatures, but cultural experience. diplomacy can offer a counter-narrative in which diverse peoples and their traditions (4) RELATIONSHIP-BUILDING: The most can co-exist, strengthening each other successful cultural diplomacy programs through mutual understanding, and building prioritize relationship-building between new traditions together. These are not easy the acting and target nations, and also tasks, but they are of critical importance within each nation individually. This is best as public diplomacy seeks to maintain its epitomized by the multilayered institutional relevance in the 21st century. and personal relationships of the Confucius Institutes and Classrooms, but relationships also contribute to the success of Indonesian arts diplomacy, as well as that of many film festivals. Relationships make culture feel human, and therefore more credible and compelling than an isolated cultural experience.

13 Arts and Cultures, UCLA Acknowledgements • Katerina Tsetsura, Gaylord Family Professor of Strategic Communication & Public In organizing this year’s annual Relations, University of Oklahoma • Daya Kishan Thussu, Professor of conference, CPD would like to International Communication and Co- acknowledge the invaluable support Director of India Media Centre, University of of Stacy Ingber and Naomi Leight- Westminster Give’on and that of Henrietta Levin for assembling this report. We are Panel #2: Confucius Institutes: The also grateful to the USC Center Globalization of Chinese Soft Power • Clayton Dube, Executive Director, USC for International Studies for their U.S.-China Institute at the Annenberg School erstwhile support of our activities. for Communication and Journalism (chair) • Falk Hartig, Post-doctoral Researcher, Frankfurt Inter-Centre-Programme on new Appendix African-Asian Interactions AFRASO at Frankfurt University, Germany Conference Agenda • Jennifer Hubbert, Assistant Professor of Friday, February 28, 2014 Anthropology, Lewis & Clark College USC Annenberg School for Communication • John Layton, Assistant Superintendent, and Journalism Lafayette School Corporation • R.S. Zaharna, Associate Professor, School Welcome & Opening Remarks of Communication and Affiliate Associate • Ernest J. Wilson, III, Walter Annenberg Professor, School of International Service, Chair in Communication and Dean of USC American University Annenberg School for Communication and Journalism Lunch and Conversation: GREAT Britain • Jay Wang, Director, USC Center on Public in Emerging Markets Diplomacy and Associate Professor, USC • Andrew Pike, Deputy Director, Prime Annenberg School for Communication and Minister’s Director of Strategic Partnership Journalism for the GREAT campaign • Jay Wang, Director, USC Center on Public Panel #1: Cultural Diplomacy: Continuity Diplomacy and Associate Professor, USC and Disjuncture Annenberg School for Communication and • Nicholas J. Cull, Director, Master of Public Journalism (chair) Diplomacy Program, USC Annenberg School for Communication and Journalism (chair) Panel #3: Dialogue Through Film • Senem Cevik, Assistant Professor, Ankara • Nicholas J. Cull, Director, Master of Public University, Turkey Diplomacy Program, USC Annenberg School • Judy Mitoma, Professor (Emerita) of World for Communication and Journalism (chair) • Samuel Douek, Director, HOLA Mexico

14 Film Festival 3. Senem Çevik holds a B.A and M.B.A from California • Vladek Juszkiewicz, Executive Director, State University, San Bernardino, and a PhD in Polish Film Festival Los Angeles political communication from Gazi University, Ankara, Turkey. Her public diplomacy research interests are in • Hope Obioma Opara, President and identity, cultural, aid diplomacy, branding approaches Founder, EKO International Film Festival. focusing on Turkish public diplomacy through media • Yasemin Yilmaz, Co-Founder, L.A. Turkish exports, humanitarian relief and diaspora diplomacy. Film Festival She is currently an assistant professor at Ankara University Center for the Study and Research of Political Psychology. This conference was co-sponsored by the USC Center for International Studies. 4. Katerina Tsetsura is a Gaylord Family professor of strategic communication/public relations in the Gaylord College of Journalism and Mass Communication at the University of Oklahoma. Her research interests List of Speakers include media transparency, international and global strategic communication, global media and public 1. Jay Wang, CPD Director, and a scholar and relations ethics, social construction and gender consultant in the field of strategic communication issues in strategic communication, and public and public diplomacy, is an associate professor at affairs and issues management in countries with USC Annenberg School for Communication and transitional economies. An active professional, Dr. Journalism. His research and writing address the Tsetsura continues to provide strategic counseling role of communication in the contemporary process to agencies, companies, and organizations in the of globalization, with an area focus on China. His areas of strategic planning, environmental and public books include Shaping China’s Global Imagination: scanning, issue monitoring, and crisis management. Soft Power and Nation Branding at the World Expo, Soft Power in China: Public Diplomacy through 5. Judy Mitoma is founder and Director of the UCLA Communication (editor), Foreign Advertising in China: Center for Intercultural Performance and Professor of Becoming Global, Becoming Local, and China’s Dance in the Department of World Arts & Cultures. Window on the World: TV News, Social Knowledge As the founding chair of the Department of World and International Spectacles (co-author). He previously Arts and Cultures, in 1995 she established the worked for the international consulting firm McKinsey only arts department in the United States based & Company, where he advised clients on matters of on interdisciplinary, international and intercultural communication strategy and implementation across research with a performance agenda. She specializes a variety of industries and sectors. in dance, East Asia, Indonesia, Japan, and Southeast Asia. 2. Dean Ernest J. Wilson III is Walter Annenberg Chair in Communication and Dean of the Annenberg School 6. Daya Kishan Thussu is Professor of International for Communication and Journalism at the University Communication and Co-Director of India Media of Southern California. He is also a professor of Centre, the world’s first academic center dedicated political science, a University Fellow at the USC to the study of media in India and its globalizing Center on Public Diplomacy at the Annenberg tendencies. Daya teaches mainly on transnational School, a member of the board of the Pacific Council aspects of media and communications, including on International Policy and the National Academies’ leading on an M.A. program in Global Media. His Computer Science and Telecommunications Board, research interests include globalization and its impact and a member of the American Academy of Arts and on media cultures, political economy of international Sciences. He served on the board of the Corporation communication, global news flow, and media and for Public Broadcasting from 2000 to 2010, the last mediated culture among the South Asian diaspora. He year as chairman. is the founder and Managing Editor of the Sage journal Global Media and Communication, and an elected

15 member of the International Council of International Association for Media and Communication Research, 9. Jennifer Hubbert’s research lies at the intersection of among many other distinguished affiliations. His contemporary cultural politics, state-society relations, publications include Communicating India’s Soft late-socialist transitions and identity formation in Power: Buddha to Bollywood (2013); De-Americanizing contemporary China. She is particularly interested in media studies and the rise of ‘Chindia’ (2012); News public representations of the nation-state. Over the as Entertainment: The Rise of Global Infotainment years, her research has addressed historical theme (2008) and Media on the Move: Global Flow and parks, Mao badge collectors, generational differences Contra-Flow (2007). among intellectuals and Cultural Revolution theme restaurants. She has spent the years from 2006 7. Nicholas J. Cull is Professor of Public Diplomacy and to the present studying the 2008 Beijing Olympics director of the Masters Program in Public Diplomacy and the 2010 World’s Expo in Shanghai. Hubbert is at USC. He took both his BA and PhD at the University particularly interested in understanding how urban, of Leeds. His research and teaching interests are educated young adults experience these mega- broad and interdisciplinary, and focus on the role of events and how these experiences reflect upon both culture, information, news, and propaganda in foreign their own identities and on their constructions of the policy. He is the author of The Decline and Fall of nation-state. the United States Information Agency (Palgrave Macmillan, 2012); The Cold War and the United 10. Falk Hartig is a CPD Contributing Scholar and States Information Agency: American Propaganda post-doctoral researcher at the Frankfurt Inter-Centre- and public Diplomacy; 1945-1989 (Cambridge 2008); Programme on new African-Asian Interactions Selling War (UOP, New York, 1995); the co-editor AFRASO at Frankfurt University, Germany. His (with David Culbert and David Welch) of Propaganda research focuses on public and cultural diplomacy, and Mass Persuasion: A Historical Encyclopedia, political communication and issues of external 1500-present (2003), co-editor with David Carrasco of perception. He received his PhD from Queensland Alambrista and the U.S. Mexico Border: Film, Music, University of Technology in Brisbane, Australia. He and Stories of Undocumented Immigrants (University holds an M.A. in Sinology and Journalism from the of New Mexico Press, Albuquerque, 2004), and co- University of Leipzig, Germany. From 2007 to 2009 author with James Chapman of Projecting Empire: he was deputy chief editor of “Cultural Exchange”, Imperialism in Popular Cinema (IB Tauris, London, Germany’s leading magazine for international relations 2009). He is president of the International Association and cultural exchange. Before coming to QUT he was for Media and History, a member of the Public a visiting fellow at Xinhua News Agency in Beijing and Diplomacy Council, and has worked closely with the a research assistant at the GIGA Institute of Asian British Council’s Counterpoint think tank. Studies in Hamburg. He writes for German journals and magazines and is the author of a book about the 8. Rhonda Zaharna is a full-time professor of Public Communist Party of China. As a CPD Contributing Communication and a 2011-13 CPD Fellow. She Scholar in Reshaping Cultural Diplomacy in a New specializes in intercultural and international strategic Era, Dr. Hartig is focusing his research on how China communication, with an emphasis on culture and is presenting itself in Africa by means of cultural communication in the Arab and Islamic regions. In diplomacy with a focus on Confucius Institutes on addition to teaching strategic communication for the continent. nearly 20 years, she has advised on communication projects for multinational corporations, NGOs. 11. John Layton has spent 29 years in public education, She has repeatedly testified before the U.S. and is currently the Assistant Superintendent of Congress and has addressed diplomatic audiences Lafayette School Corporation in Lafayette, Indiana and military personnel in the United States and Area. He spearheaded the process of establishing Europe on cross-cultural communication and public Confucius Classrooms in his district. diplomacy. She is author of Battles to Bridges: U.S. Strategic Communication and Public Diplomacy after 12. Clayton Dube is the Director of the USC U.S.- 9/11(Palgrave-Macmillan, 2010). China Institute, which aims to enhance understanding

16 of the 21st century’s definitive and multidimensional the United States he was introduced to producer, relationship through cutting-edge social science writer and director Paul Leder. He worked on 11 films research, innovative graduate and undergraduate with the late Mr. Leder. In 1999 he founded the training, extensive and influential public events, and Polish Film Festival Los Angeles and is serving as the professional development efforts. He was previously Festival’s Director. In 2007 the President of Poland the UCLA Asia Institute’s Assistant Director. His awarded him the Officer’s Cross of the Order of Merit research has focused on how economic and political of the Republic of Poland for promoting Polish culture change in China since 1900 affected the lives of abroad. The City of Glogow has awarded him the title people in small towns. of Honorary Citizen of Glogow.

13. Andrew Pike OBE is Deputy Director of the GREAT 16. Yasemin Yilmaz is a co-founder of the Los Britain campaign and Head of Strategic Partnerships Angeles Turkish Film Festival and responsible for the in the Prime Minister’s Office at Number 10 Downing international relations of the event. She is a graduate Street. He has been in post since October 2012. He of UCLA. is a senior member of the campaign leadership team and heads engagement with over 300 companies, 17. Samuel Douek is Director of the HOLA Mexico celebrities and high profile supporters of the Film Festival, which began in Australia and has since campaign who have helped to bring around one billion expanded to Los Angeles. Previously, he worked as pounds back to the UK economy through promoting a Marketing Coordinator with Nike. Douek received the strengths, and particularly the creativity of the a Bachelor’s in Marketing from Universidad Anáhuac UK overseas. A career diplomat by background, his and a Master’s in Event Management from the last overseas assignment was as Counsellor/Deputy University of Technology, Sydney. Head of Mission at the British Embassy Brasilia. Before that he was Head of External Engagement at the Foreign & Commonwealth Office. His portfolio put him in charge of the FCO’s ‘See Britain’ campaign to showcase the Olympic Games worldwide, and he oversaw relationships with some of the FCO’s key ‘soft power’ partners such as the BBC World Service, British Council, British government scholarships programme and Wilton Park. Before this, he worked for almost six years at the British Consulate General in New York as Consul with special responsibility for Northern Ireland. He was deeply immersed in the final stages of the Peace Process and was awarded an OBE in 2009 by Her Majesty the Queen for services to peace and reconciliation in Northern Ireland. Previous Diplomatic Service postings have included Poland, Ireland and Yemen. Andrew expects to remain in his post until at least late 2015.

14. Hope Obioma Opara has owned Supple Communications Limited, the organizer of the Eko International Film Festival, since 2008 when the festival was founded. The company also publishes Supple Magazine, a leading African film journal.

15. Vladek Juszkiewicz was born in Glogow, Poland. He graduated from the Szczecin Technical University with a degree in Engineering. After immigrating to

17 18 USCPublicDiplomacy.org @PublicDiplomacy