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

Load more