CULTURE REPORT EUNIC YEARBOOK 2011 REPORT EUNIC YEARBOOK 2011

Cultural relations are the glue that holds alliances together. The geopolitics of the 21st century mean we need to see a revival of cultural . China and are already expanding their external cultural policies. Despite ‘s huge , the EU has still not developed an adequate cultural strategy for its foreign policy. The establishment of the European External Action Service (EEAS) provides an opportunity to tighten up and co-ordinate the EU‘s existing cultural foreign policy. In this edition of the Culture Report, 30 authors from 20 different countries examine what this all means.

Foreword: Crisis and new awakenings by Sebastian Körber 4

CHAPTER 1: EXTERNAL PERSPECTIVES

A Brave New World - Globalisation as Europe’s touchstone by Yang Lian 8 All talk and no action by Mai’a K. Davis Cross 20 Art at the heart of mainstream entertainment – an interview by Regis Debray with Frédéric Martel 28 Seizing the day by André Azoulay 38 The cultural revolution by Reem Kassem 45 A gateway to two worlds by Julie Chénot 48 Welcome to the real world by André Lemos 54 A union of double standards by Mahir Namur 60

2 Contents

Moving the chairs in the global boardroom by Rajeef Balasubramanyam 64 Europe‘s forgotten fringes by Jurko Prochasko 70 Peeking through the open window by Hela Kamarou 78

CHAPTER 2: EUROPE IN THE WORLD THE WORLD IN EUROPE

Now is the time by Robert Palmer 86 Common spaces by Gerhard Sabathil 96 A necessity, not a luxury by Marietje Schaake 110 Daring the impossible by Gottfried Wagner 116 More than just image by Steffen Bay Rasmussen 121 Less hysteria, more listening by Joseph Muscat 128 It‘s good to be different by Mike Hardy 136 Reconciling the irreconcilable by Katherine Watson 146 Seeing the world in a new light by Mary Ann DeVlieg 150 Europe‘s dowry by Farid Tabarki and Rindert de Groot 153

CHAPTER 3: A NEW BEGINNING FOR EUROPE THE EUNIC NETWORK

Singing in harmony with others by Horia-Roman Patapievici 160 No panacea by Berthold Franke 170 Focusing on its strengths by Delphine Borione 180 Softly, softly towards a green revolution by Finn Andersen and Olaf Gerlach-Hansen 184 Trust: why it matters A contribution by the 190 EUNIC Annual Report 2010-11 194

3 tion Service has therefore come at exactly the right for some kind of panacea. “Culture is the bearer time to analyse just what Europe really has to offer of great humanitarianism, while at the same time in face of these global challenges. “Europe’s position bearing the stigma of colonial oppression”, is how in the world is not only defined in terms of national Berthold Franke of the Goethe Institute sums up security or economics”, claims Robert Palmer from the ambivalent role of culture in foreign relations. the Council of Europe in Strasburg. The geopolitical The EUNIC Yearbook is the successor to the situation in the 21st century demands that cultural “Culture Report Progress Europe“, which was first diplomacy be revitalised, using a multilateral ap- published in 2007 by the Institute for Foreign Cul- proach. Just what role culture can play in European tural Relations and the Robert Bosch Foundation. external affairs is the subject of the second chapter. The help of European partner institutions has made The third and final chapter of the EUNIC Year- it possible for the Report not only to continue to of- book 2011 is dedicated to the EUNIC network itself, fer an overview of the state of cultural relations in founded in 2006. In his contribution, Horia-Roman Europe, but also to be published in several langu- Patapievici, doctor, essayist, head of the Romani- ages. I am delighted that the fourth edition of the an Cultural Institute and President of EUNIC for Culture Report is now being published within the 2010-2011, recalls the founding ideal behind EU- framework of EUNIC. This can be seen as a sign NIC, the European network of national institutes of progress by all involved, as the Culture Report is for culture. It was as simple as it was convincing. It now likely to have even greater impact than before. was based on the belief that good things can happen The EUNIC network is also gaining an ideal plat- if people decide to work together. If the national in- form from which to address fundamental issues and stitutes for culture could work together they would allow a two-way expression of thoughts and ideas. I become more than just the sum of their parts, like would like to thank all those involved for their sup- the individual instruments in a concerto grosso. In port, especially the authors, but also the translators this respect, the founding of EUNIC in 2006 can and editors, whose work is mostly done behind the be seen as a new beginning for international cultu- scenes. I would also like to thank the Robert Bosch ral relations. What has been achieved so far? How Foundation, the Calouste Gulbenkian Foundation, can the network develop from a somewhat random the British Council and . This publi- partnership into a more strategic one? And finally, cation would not have been possible without their what can EUNIC, with its 2,000 branches around generous financial assistance. the world, contribute towards building a common Sebastian Körber external ? These are the questions addressed by the authors in this chapter, amongst them Delphine Borione from the French Foreign Ministry, who will be the next President of EU- NIC. They also risk a look ahead to the future, but without falling into the trap of mistaking culture

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A brave new world – globalisation as Europe’s touch- stone The latest developments in the Middle East just seem to provide further proof that the world is tur- ning towards the European model. Europe remains the centre of the universe and history continues to unfold around the axis of its system. The future still lies in the hands of the old continent. This is a comforting picture, but writer Yang Lian reminds us that the Chinese have held this same view of history for the last two thousand years. By Yang Lian

dictators on the other side of the Medi- terranean have disappeared into thin air. Global politics and the economic lands- cape are changing as quickly as the scenes in a play. Could it be that the Chinese or the Arabs, who have experienced these changes at first hand, now find themselves waking up with a start during the night and wondering “Where am I?” On the other hand, the Europeans who are caught up in all this turbulent history are probably asking themselves “What’s happening to the world? Where is all this rapid change taking us?” Or, in he earth is spinning like crazy - other words, how will Europe react when and sometimes it flies off in to- the world looks totally different? Does Eu- tally unexpected directions. Who ropean culture need to be repositioned? Twould have thought that communist Chi- What does our culture amount to today na, a country in which millions of peo- and what are our values? ple starved to death under Mao, would It seems to me that these are very pres- end up acting as creditor and “favourite sing questions, particularly in light of two uncle” to the capitalist world, and that experiences that might at first glance ap- Western countries flailing around in the pear to be contradictory. The first of these maelstrom of the financial crisis would be was the 2009 Frankfurt Book Fair. China eagerly waiting for China to come to their was invited to attend as guest of honour, rescue and help out with their national which on the face of it seemed like a good debt? The same is true of the Arab states. opportunity to use the diversity of per- Not so long ago Europe more or less open- spectives and forums on offer to give the ly viewed them as the enemy with whom world an insight into this ancient country, they were going head-to-head in a battle take a peek behind the red curtain of the of . But now Tunisia, Egypt and Libya have changed their colours almost overnight and suddenly the antiquated

8 External perspectives

Communist Party and find out what has conceived notion of “China”. been going on in China over recent years. The second experience arose from the It would have been interesting to see how 2010 International Festival in China has managed to break away from . The title of the discussion – the traditional thinking of other commu- which I took part in – was as striking as nist countries during the and it was misleading: Present-Day Masterpi- has steered a dictatorship to economic eces. The very title poses a major dilem- success. If all powers are equally greedy ma for the modern world: in a world of and corrupt, why haven’t other places had so many diverse cultural traditions, who their own economic miracle like China? sets the criteria for measuring what is a What seems like a contradiction in contemporary masterpiece? terms is in fact the result of a range of The debate revolved around how to complex cultural factors which deser- construct a ranking system for measu- ve to be looked at more closely. The or- ring excellence, and German, European ganisers of the Book Fair should have and international ranking systems were thought about this and then drawn up set up. My hope was that the cream of a more appropriate programme. But un- European thinkers would turn their at- fortunately they wanted to “ask the tiger tention to what I believed was the real for its skin” as they say in China (thin- challenge posed by this topic, but I was king they could get Party bureaucrats and to be disappointed. Even knowledgea- dissidents to sit down at the same table), ble speakers such as Umberto Eco failed but they just ended up “dancing with the to really address the dubious nature of wolf” (and cancelling the invitations to the assessment criteria. Our discussion the dissidents because the Party changed forum did little more than underline the its mind). The outcome was inevitable: the tendency amongst European intellectuals whole Fair became a battlefield littered towards schematising when dealing with with nothing more meaningful than ide- foreign cultures. China was simply equat- ological slogans. “China” just came across ed with communist ideology and the Arab as a second-hand shop where all the re- world with ethnic and religious conflict cycled clichés of the East-West conflict (at that point nobody could have anticipa- have never gone out of fashion. But what ted the drastic changes which have since is China really like today? What food for taken place). thought can it offer the rest of the world? This tendency towards over-simpli- Unfortunately these questions were de- fication even continued during deli- stined to sink without trace. berations on Europe. Incredibly, when considering European masterpieces the discussion kept returning to whether or A damp squib not they were commercially successful. This is a very dubious criterion. After all, We had hoped to get out the big guns how many masterpieces of literature, art but instead we just set off a damp squib. Real life China was totally ignored in the midst of all the kerfuffle about the pre-

9 External perspectives

or philosophy have ever been instant best- are presently weighing so heavily on so sellers? If a masterpiece is to be measured many people. in terms of its commercial success then should we be downgrading the works of Kafka and Joyce? Every minute plays out In my talk, I tried to argue in favour between two cultures of making the artistic and intellectual maturity of a work the only criterion for As a poet who lives in Europe, but who assessing what makes a masterpiece. Ir- still uses the Chinese language, every mi- respective of how many different cultural nute of my life plays out between these two systems are involved in the assessment, a very different cultures. My reflections on masterpiece has to demonstrate that it is Chinese as a literary language and my ex- quite unique in every respect. My argu- plorations of Chinese poetry have taken ments were based on classical Chinese po- me on a journey through its ideas and etry. It is often suggested that the dazzling technical forms. The connection between tradition of these poems is based solely on my work and China’s reality and its mea- the fact that they are “classics” of Chinese ning for the modern transformation of the culture. But this is nonsense, for surely Chinese tradition could be said to have their beauty arises from the profoundness been a “nightmare inspiration” and has of their art and their thinking. led to a fundamental conflict with Eu- As examples, I looked towards the poet rope. By this I mean that I cannot get a Qu Yuan, who lived and wrote 2,300 ye- handle on a culture which does not look ars ago in the state of Chu, and the great to find its way forward from the inside poet of the Tang Dynasty, Du Fu, who out. We have to explore our own depths lived 1,200 years ago. I explained how before we can start to chart the depths the experience of exile which I share with of others. And this should, of course, be both these poets has acted as an inspira- the way that Europeans try to understand tion for the content and form of artistic other cultures. works throughout the ages, and how the The two negative experiences which I aesthetic realm of poetry can engender mentioned earlier have left me with the great profundity of thought. As exiles, impression that European culture still has we really belong nowhere in the world, some catching up to do in this respect and the degree of reflection provided by before it can begin to react to a globali- poetry allows us to consciously become sed world with that great sense of caution “active others” and highlights our sense that is typical of its tradition of thought. of distance - not only from other cultures Europe has still not seriously attempted but also from our “own” culture, which to overturn its own ways of thinking in is ours in name only. By calling upon all order to gain new perspectives and widen available cultural resources, we may fi- its horizons. First of all, Europeans have nally find an answer to the troubles that to assimilate the realities and cultures

10 External perspectives

from “elsewhere” into their own ways of serves to throw them into just as poor a thinking, which in turn will give them a light as the Party, which is merely sticking greater understanding of their own diffi- to its principles. culties. My use of quotation marks is deli- Whichever way you look at it, an abili- berate here, because in reality there is no ty to understand and react appropriately “elsewhere” in today’s world. Apparently to other countries relies on a capacity for “distant places” are in fact to be found self-analysis. First of all, this means loo- within ourselves. In terms of mind and king at oneself in a self-critical way. Does matter, every human being is a hybrid. Europe have any concept of the awkward “China” is very close to us - as close as position it is in? I’m sorry, but if you lack the trainers on your feet, which were pro- consciousness there is a danger that you bably made by the modern slave labour of will be led by the unconscious. The “brave the 21st century. The miraculous trans- new world” is perhaps just as outmoded formation effected by global conglome- as the one described by Aldous Huxley. rates means that they can turn in almost People are finding themselves the slaves unimaginable profits thanks to the gap of industrial processes and apathetically between the wages of Chinese peasants living lives governed by inhumanity. and European prices. Global binds us together like Siamese twins. Today’s bizarre world is reflected in Insular thinking the way Western politicians visit China and feel obliged to utter a few platitudes Lack of understanding of other cul- about human rights and democracy, not tures of course stems from lack of know- so much because they really think it will ledge, but the reason for this knowledge bring about any change in China, but be- gap may quite simply be due to excessively cause they are obliged to pander to the insular thinking. There is no sense of nee- media and their voters at home. Once ding to open up and understand some- this hot air has been got out of the way, thing “different”. After all, all the trouble they can get down to business. These em- stems from out there, whether it’s China, barrassing contortions just provoke a wry Iran, Afghanistan or Iraq. Compared to smile from the Chinese government. As these trouble spots, Europe seems to be long as the orders continue to add up, Eu- as comfortable as it has always been, or ropean countries are happy to swallow the at least it seems to be peaceful and intact, bitter pill of the Chinese state’s oppression which is enough to satisfy the prevailing of dissidents. This kind of inconsistent feeling of cultural superiority. And hi- behaviour on the part of the Europeans story itself seems to support this feeling, which has dominated Europe since the . “European intellectuals have a The idea of the universal validity of tendency towards schematising European thought has its roots in the En- when dealing with foreign cul- tures.”

11 External perspectives

lightenment, and the same is true of the spring until the Chinese suddenly found political system of democracy and its ef- themselves catapulted out of their positi- fects on legislation and freedom of speech. on of self-confidence into a condition of The poverty of the socialist states during extreme self-doubt. They allowed their the time of East-West conflict served to emotions to run away with them, shouted bolster the West’s feeling of superiority, nihilistic slogans demanding total wester- and of course the end of the Cold War nisation, forged their own kind of revo- was hailed as a victory for Western civi- lution and fell head-over-heels into the lisation. The tragedy of the 9/11 attacks darkest dictatorship of their history. was turned into a comedy by the annihi- lation of Saddam Hussein and Bin Laden. And all the recent changes in the Stimuli and challenges Middle East just seem to provide further proof that the world is turning towards Meanwhile, in European history, or the European model. Europe remains more precisely Mediterranean history, the centre of the universe, history conti- cultures were constantly converging and nues to unfold around the axis of its va- separating: from ancient Egypt to the lue system and hence the future still lies Greek, Roman, Byzantine and Ottoman in the hands of the old continent. This Empires, from Napoleon to the Russian is a comforting picture, but I would like tsars and foreign conquerors such as At- to remind you that the Chinese have held tila or Genghis Khan. Each clash forced this same view of history for the last two Europe to redefine and reconsolidate its thousand years. own position. The only constants in the The biggest difference between Chi- European tradition was provided by the nese history and Mediterranean history constant stimuli and challenges coming is the fact that Chinese culture has had from outside. But then the Renaissance to face far fewer challenges. Unlike the came along, bringing with it individual situation in the “First World”, before the thinkers who asked the question “What opium wars Chinese culture was allo- is Europe?” Europe’s diverging cultures wed to blossom largely undisturbed and sought and found a common denomina- without outside influences (apart from tor; Europe was a success. But my que- a few attempts at conquest made by no- stion is: will this success story continue madic peoples, which always ended up to unfold? with them being assimilated into Chinese More and more cultures are inviting culture). This resulted in a “Middle King- Europe to dance with them on the stage dom” which became increasingly com- of the ‘brave new world’. Based on their placent and conservative. The Chinese own cultural experiences, these distant became a rusty spring cultures all expect Europe to be ready and which had lost its ability to bounce back willing to read from the same book and in the face of new challenges from the establish opportunities for meaningful outside world. Then the Europeans came along with their own culture (and mi- litary might) and pushed down on the

12 External perspectives

“More and more cultures are strange forms which bring these layers inviting Europe to dance with together, like a Chinese character which cannot be conjugated. And this takes them on the stage of the ‘brave us back to the synchronicity which is so new world’” peculiar to Chinese thought. It is some- thing much more despairing than “the pain of the times”; it is nothing less than dialogue. “timeless pain”. We can certainly say that China, for It is this kind of profundity that makes example, has changed more over the last contemporary Chinese literature so ama- thirty years than in the previous three zing. This has nothing to do with the exo- thousand. A culture where the same lan- ticism of the Far East but with the depths guage had been spoken for more than of human existence, with experiencing three thousand years and where the same the greatest possible “impossibility”. Wri- thought patterns and systems of ideas ting – that is the will to live which proc- had reigned supreme has now in a short laims: “Start with the impossible”. space of time battled its way through what After a gap of thirty years I once again should have been centuries of change and visited the famous thatched hut of Tang emerged looking brand new. In my poem Dynasty poet Du Fu in Chengdu and “In Symmetry with Death”, which is at quietly read to myself the well-known heart a poem about history, I wrote “Being lines which he penned in exile “In ten reborn in the form of death is really being thousand miles often a guest of melan- born for the first time”. choly”. This has made me realise that my It is difficult for outsiders to imagine own works are not part of the Chinese this process. Change has a far greater im- tradition but instead are an attempt to re- pact on ideology than on external reality. vive it. Du Fu’s exile, Dante’s exile, and my Politics is just a wave blown by the wind own, comparatively modest, exile are all across the deep ocean of culture. Even part of the same syntax: using a poem to the term “Communist Party” is a cultu- convey extreme human suffering through ral monstrosity, a mask borrowed from extreme creative beauty. the West so that the emperors could hide The people of modern-day China need the true face of their absolute rule. I once to learn from the relics of their past cul- coined the phrase “nightmare inspirati- ture. If they are to breathe fresh life into on” to describe modern China from the Chinese culture they have to learn to push Cultural Revolution to the present day. the boundaries, as this is where the oppor- The kind of pain which tears the flesh tunities and fountains of rebirth will be and pierces the heart allows our questio- found. And it is to be hoped that the high ning and searching to become a symbol price that China has paid will be worth for life itself. Disasters do not simply wash it in the end. over us without leaving a trace. They open In the ‘brave new world’ it is no longer up layer upon layer of reflection on rea- lity, history, culture, language, mindsets and the subconscious until we come upon

13 External perspectives

enough for cultures to simply stretch as bol of the crisis in international thinking far as their historical and geographical which is much more serious than the eco- conditions permit. Today it is necessary to nomic crisis. Nowadays, everyone feels have an active capacity for understanding they are simply at its mercy. We stand and another culture. I believe the driving force watch the decline without being able to behind this understanding should not be do anything about it. It is not hard to re- curiosity, but the knowledge of one’s own cognise the extent of the problem, and one needs in times of crisis. thing we can be sure of is that it is neither If it is true that China has still not superficial nor temporary. emerged from the bloody shadows of Mao It breeds anger and hate, as has been Zedong and the ineptitude of its nouveau shown all too clearly in the shootings car- riche has inevitably led to the country ried out by Andres Brevik on the Norwe- acting like a clown on the international gian island of Ytteroy and in the Molotov stage, then it would be an absolute tragedy cocktails thrown by black children in the if Europe were to be pressurised by mo- Tottenham area of . If lies and ney to give up its own ways of thinking profits mean that everything else is mere and get embroiled in this egotistical and window-dressing (including most of what cynical competition. As long as all the is considered to be art), then what is the talk of human rights and democracy is point of our existence? And is there any nothing more than political correctness point to literature? and is totally divorced from concrete ac- tions, then we are facing a very sad reali- ty. These empty phrases hide a yawning A clown on the international stage chasm which represents perhaps the big- gest crisis of human civilisation. Europe has allowed itself be driven Of course history has always also been into a dead end by its own theory of the a history of lies, but I have the impressi- linearity of history. Some people may be on that the liars have become even more familiar with a few lines from the poem cynical in their desire for profits and a written by Tang-dynasty poet Wang Wei: fast buck. They not only feel no remorse “To be at the place where the waters stop about lying, they actually think it’s quite and wait for the rainclouds to form”. They normal. Their logic is simple – if I don’t are an example of a kind of synchronici- make a profit then someone else will. If ty which will never disappear – seeing we take the example of foreign firms who the movement of the earth at the end of have invested in China, it is clear that they the world. Time cannot change anything. are profiting from the fact that China has It is a steady drip of water which seeps cheap labour with no social security be- inside us and forms the sediment of our nefits, no union representation and no thoughts. Every human being is always right to strike. It would be something of starting out afresh and finding his way an exaggeration to talk about double stan- forward, hand-in-hand with the cosmos. dards here, because in truth there is only one standard – ruthless competition. In this respect, China has become a sym-

14 External perspectives

But we should not forget that there is I believe that, as writers, we would have more than one Europe. Eastern and Cen- been unable to have this kind of profound tral Europe were once nothing more than cross-cultural dialogue without our expe- “black holes”. Before the end of the Cold riences of present-day crises. War suddenly catapulted them back into In a much wider context, I had a simi- the public’s consciousness, they had long lar experience in 2002 when I led a series been removed from the centres of politics of discussions with the Arab poet Ado- and business, drinking without memory nis. The result was quite fascinating. We or speech from the bitter cup of history. were amazed to discover that the fate of Perhaps it is this special situation that has creative people and thinkers was basically provided ’s intellectuals one and the same within both the Arab with their sharp insight and level-headed and Chinese cultures, despite the geogra- powers of reasoning. phical distance between the two. On the In early January 2011 I visited inside, these countries are going through and met up with colleagues from the Po- a complex process of cultural transfor- lish Writers’ Association to discuss their mation, while on the outside their poli- various experiences under communism. tics is becoming increasingly schematic. As part of these discussions, there was Whether in China’s ideological battles also an exchange of views on history and or the Palestinian conflict, moral con- traditions, such as the role of national cepts are being constantly reduced to consciousness or the Church during the mere slogans. My reflections on China Cold War and their influence on the pre- are mingled with the hope that a crea- sent day. We agreed that the idea that the tive vigour will once again come to the Cold War ended on a particular date is fore, rather than the old combative, de- totally absurd, as I had already argued in structive mindset. Adonis criticised the my essay “Was uns der Kalte Krieg heu- dogmatism of Islam because he is hoping te noch sagt“ ( “What the Cold War still for a revival of Arab culture. Above all, has to teach us today”). Its significance our literature is personal literature. Our goes way beyond just being a label for a poetic self is willing to ask the questions, historical era. in strong contrast to the emotional and It stands for a situation which changes agitated noises of the masses. It was quite human character, so the fall of the com- wonderful for me to have the opportunity munist parties does not automatically to talk directly to an Arab poet. Adonis mean an end to this situation. Today’s glo- was of the opinion that our two worlds bal cynicism is also character-changing did not need to be mediated by a third and we, as intellectuals, should not over- party (such as the West). Thanks to in- look the ideological consequences of this. dependence of thought, beautiful art will always find its allies, regardless of where they come from, and provide the perfect “Drinking without memory or way to create a broad-based dialogue. speech from the bitter cup of hi- story.”

15

External perspectives

While the rapidly changing “brave new “Ideas are only of benefit to the world” of the 21st century seems to be whole of humanity if they are re- falling apart outwardly, it is somehow co- ming together again inwardly. Faced with moved from the self-adulation of the uncertainties of an ever-changing their own culture.” world, each culture is thinking first and foremost about how to redefine its own position. Indeed, it is right and proper that they should be aware of their own li- is that only an “active other” can generate mitations when taking part in meaningful fruitful dialogue, while remaining passive intercultural dialogue and should become will achieve nothing. The brave new world an “active other” amongst the countless is a super-sized reality and evokes a new others. For me, active simply means being tradition made up of all-encompassing sensitive and aware. and independent thought. I have learned from personal expe- Literature would call it the “revolt of rience that I have not inherited anything individual aesthetics”. It has to be indi- from old China in a historically linear vidual because there are no groups. On way. I can only create my idea of a living a political level there are no longer rigid Chinese cultural tradition by developing social models as was the case during the my own thinking from a synthesis of dif- Cold War. And on a cultural level there ferent times and places and reinventing is no longer one, universal culture. Here them in a creative way. This invisible some people might talk of an unpreceden- “Chinese other” is certainly the biggest ted impoverishment of thought, but I per- challenge that I face. In this respect, Eu- sonally believe that it is actually very rich! rope should also be aware that the times No-one needs to give up their own bench- of one culture having a claim to univer- marks for making judgements and deci- sality are long gone. The vocabulary of sions; they just have to test them against Europe and America which dominates their knowledge and understanding of the world is now little more than a spec- other cultures and then either revise or tre consisting of empty phrases that are expand them. Our ideas are our conver- often misused. gence. They represent the lowest common denominator of various traditions, levels of culture and methods of expression. Little more than a spectre It is not important what kind of art, politics or philosophy forms the object Today the problems of the world are of our reflections or whether it is a que- also Europe’s problems; global reality is stion of accepting a particular religion. the very flesh and blood of its thinking. Ideas are only of benefit to the whole of One could even say that the world has pe- humanity if they are removed from the netrated Europe and quietly gone about self-adulation of their own culture and replacing Europe’s identity with its own. This hybridisation is going to continue, whether we like it or not. The difference

18 External perspectives

dare to go out and put their validity to the Difficulty is a synonym for ability. I test. When I talk about individualism in have often referred to poetry as the “only thought I probably sound very “Europe- native language”; poetic thought provi- an”, but this could just as easily refer to des a formula for transcending languages one of the wonderful characteristics of which goes beyond translation. It is the the golden age of Chinese philosophy: of perfect way to bring people’s “active” ele- Laozi, Confuscius and Qu Yuan, who all ment to the fore by delving deep into a lived long before the unification of Chi- problem in order to gain new insights in na. Their ideas fascinate me just as much a kind of aesthetic transcendency. Every as the many great thinkers from a wide completed line of a poem is an “impossi- range of disciplines who emerged in Eu- bility” yet at the same time a “beginning”. rope in the period before the First World The more impossible it is, the more po- War, a time of great intellectual creativity. werful the beginning. Together, they make up our intellectual Will this “brave new world” finally wealth. I much prefer to think of history bestow upon us Goethe’s Weltliteratur? as not being tied to time and place but as I take Weltliteratur to mean individual being a concentric circle, rather than a literature which has withstood all the tests linear development. The creativity which thrown at it by the world. It is no longer an is inherent in international dialogues can illusion, but indeed has long been a reality. only be brought about by mutual stimu- lation of the creative potential that every Yang Lian is a Chinese poet who lives in Lon- culture possesses. don. The son of , he was born in Switzerland in 1995 and grew up in . The brave new world has to break out In 1979 he joined a group of poets who pu- of the old patterns of dialogue and open blished the “Jintian” magazine. It was here itself up to questions and inspiration from that he developed a modern, experimental all sides. I would like to take as an exa- style of writing. At the time of the Tiananmen mple another event which I was involved Square massacre he was in New Zealand and took part in the protests against the actions in a few years ago. It was a meeting on of the Chinese government. Shortly after- the subject of “dialect literature” in the wards, his works were blacklisted in China tiny country of Slovenia and it inspired and his Chinese citizenship was revoked. me – a Chinese poet from a country of 1.3 billion people – to revise my totalitarian linguistic tendencies stemming from two thousand years of Chinese literature. The two-way translation project of an English- speaking poet and a Chinese poet resulted in a wonderful dialogue which touched the very core of both cultures. The best thing was how an African poet writing in English with his tradition of oral story- telling was so easily able to enter into a musical dialogue with the tonality of the classical Chinese tradition.

19 All talk and no action Unfortunately, Euro-pessimism is on the rise in the . Large numbers of Americans think that the political, economic, and cultural foundations of Europe are crumbling, and there is widespread talk, even amongst “experts”, of how the adoption of the common currency was a mi- stake. Why we have so little faith in Europe? Can an external cultural policy help? By Mai’a K. Davis Cross

effective partners in tackling 21st century challenges. They see a Europe of declining defence budgets, a lack of willingness to use military force, and a perceived inabi- lity to speak with one voice in the face of international crises. In particular, they note Europe’s inabi- lity to act with solidarity during the 2003 Iraq war, and the failure of the Constituti- onal Treaty (most are unaware of the sub- sequent, successful Lisbon Treaty). They focus on the continent’s occasional divi- sions, such as in dealing with sometime adversaries like or China, or on seemingly endless string of news the tensions during the recent Eurozone reports, opinion pieces, and crisis (especially stressing the elements books in the USA predicts the in that were resistant to bai- Adownfall of Europe. This reinforces the ling out ). Overall, they see an EU Euro-pessimism of many Americans and of vastly different identities, languages, has now become something of an article cultures, foreign policies, and economies, of faith amongst many on the American and are sceptical that a common thread political right. The combined impact of holds all of this together in any kind of this persistent negative media coverage meaningful way. has coloured mainstream conventional Of course, American perceptions of wisdom, influencing the way Europe is Europe are not monolithic. For those on discussed in almost every context. Con- the left, who generally align with Presi- sequently, difficulties are highlighted and dent Obama’s party, Europe may someday successes ignored. Even the best informed rise up to fulfil its potential, but for now and most pro-European of Americans of- even these observers see it as an unin- ten refer to events on the other side of the spiring partner. After the 2010 US-EU Atlantic in a surprisingly pessimistic and sceptical way. Many Americans do not have any real hope that Europeans can be

20 External perspectives

, much anticipated on the Euro- the majority of Americans have actually pean side, Obama actually told the press never even heard of the EU. that the meeting was “boring” because the Many Americans are unaware of two sides basically agreed on everything. Europe’s achievements. They tend not to Why wasn’t this summit instead used as know that the process of EU integration an opportunity to outline new possibi- and enlargement has been the most suc- lities in the transatlantic partnership in cessful experiment in international co- light of the Lisbon Treaty? operation, democratisation, and peace There is a perception that European that has existed in modern times. They decision makers just talk, and do not act. are generally unaware that the EU’s eco- Just recently, Obama has remarked that nomy, population, and combined troop the 21st century will be shaped by the US numbers are all larger than those of the and China. He rarely mentions Europe United States. They are unaware of the in any of his speeches and travels there fact that the financial crisis has caused infrequently. Indeed, American media less damage in Europe than in the USA, of gives far more credence to the rise of Chi- Europe’s high level of innovation (Europe na, despite the fact that it lags far behind is second only to the US and ), and of Europe on nearly every measure of po- the strength of the Euro as a major global wer – with the only exception of popu- currency (second only to the US dollar). lation size. For American conservatives, Most are unaware that the Lisbon Treaty Europe is essentially a non-entity in the has introduced a much stronger foreign international system, and a place where policy structure. citizens languish on long vacations, take Most Americans would be shocked to early retirement, and are burdened by a learn that combined EU defence spending bloated welfare state. They believe that is larger than the next six powers put toge- Europeans can only maintain this lifestyle ther – Russia, China, India, , because the US pays for their security. Saudi Arabia, and Japan – and that the A good proportion of conservatives EU has engaged in 24 civilian and mili- even believe that the ongoing growth of tary peace-keeping and relief operations Muslim populations in Europe means across three continents in just eight years. that Europe will soon be culturally un- recognisable: they think it will be “taken over.” And to put all of these perspec- Soft Power Image tives into context, a recent survey shows that, whatever their opinions about the Americans are somewhat more aware continent, its countries, and its peoples, of Europe’s status as a soft power. The EU’s support for multilateralism as well as the example it sets in this regard give “Americans believe that Euro- it a great deal of international legitimacy. peans can only maintain this Its strong tradition of support for human lifestyle because the US pays for their security.”

21 External perspectives

rights, the rule of law, development, envi- “External messages tend to be ronmental protection, and international national in origin, and rarely cooperation is attractive to many foreign audiences, including at least liberals in convey the fact that each mem- America. ber state is embedded in the EU.” Some regions of the world are still much more interested in Europe: Asia, Africa, and America conscious- ing through with this idea by means of ly model themselves on the EU. And of literally thousands of policy initiatives. course the EU’s biggest soft power im- But this reality is not promoted enough pact has been in its own neighbourhood, to outsiders. through enlargement to include the Cen- External messages tend to be national tral and Eastern European countries, as in origin, and rarely convey the fact that well as ongoing efforts to form partner- each member state is embedded in the ship, cooperation, and association agree- EU. This image of “united in diversity” ments with those not (yet) part of the EU. should also include a stronger message Europe is not a “perfect power”. It is that Europe’s diversity often emanates still a work-in-progress in terms of inte- from its sub-national societies – the re- gration. Many of the EU’s member states gions, localities, and cities within member are only recent democracies, including states. And these cultures, identities, and older member states like , Greece, traditions are not just those of the past, and Portugal. Nonetheless, as Princeton but are forward-looking. Professor Andrew Moravcsik argues, by Europeans tend to be too critical of all major measures of power, Europe qua- themselves and cynical about the inte- lifies as the second superpower, after the gration project, and this contributes to US. The challenge is how to maximise its misperceptions among foreign publics. image vis-à-vis the United States and to The second image Europe needs to begin to overcome serious misperceptions project is that it doesn‘t just talk, but it and a lack of understanding. acts. The EU should promote the areas How should Europe present itself in where its values and actions coincide, and this age of smart power and public di- where it has an autonomous impact: such plomacy? I suggest three images that Eu- as humanitarianism, environmentalism, rope could strive to promote to foreign democratisation, crisis management, and audiences, especially the US. Firstly, fol- development. lowing on from the EU motto, Europe’s More people in the world should be image should be “united in diversity”. Eu- readily aware of the fact that the EU is the rope is undoubtedly diverse, but its unity biggest donor of by some under the EU is under-appreciated and far measure, and has a robust and growing too often is not a part of Common Security and Defence Policy. efforts. For several decades now, Europe- For every achievement in these areas, a an leaders have acknowledged that Euro- pe is stronger when it works together, and they have made real progress in follow-

22 External perspectives

strong public diplomacy message is re- through a different approach. There are at quired. Otherwise, such influence goes least two major strategies of public diplo- unnoticed. In this multipolar world, it macy: hierarchical and network-based. A is important for Europe to make known hierarchical approach conveys messages its values so that it can contribute to the that are centrally generated and typically strengthening of an international system informational in nature. A network-based that values cooperation, transparency, approach is one that involves mutuali- multinational institutions, stability, and ty, or two-way communications and is the rule of law. based on the formation of transnational Thirdly, Europe’s image should be networks that promote all of the actors one of a smart power. It effectively com- involved. Although it has become more bines both hard and soft power through popular in recent years to adopt networ- its comprehensive approach to crisis ma- ked approaches to public diplomacy, both nagement, access to its single market, and strategies are necessary for Europe. In processes of enlargement, among other particular, the EEAS can engage in a top- things. down or a hierarchical approach to pro- Military power matters less than it moting Europe, and EUNIC can capitalise once did, and Europe has a wide range on a more network-oriented approach. of means to exercise power and influence. Hierarchical messages are necessary to These stem from a host of diplomatic, eco- rectify the existing knowledge deficit. A nomic, normative, military, and civilian significant percentage of foreign publics policy instruments. As a result, Europe is do not understand the European project far better positioned to play a leading role of enlargement and integration, and many in the 21st century than any other actor are not even aware that it exists. in the international system. But American sociologist and advisor to governments and European bodies, Je- Supranational remy Rifkin, argues that Europe’s leaders do not yet recognize this. Through pro- Yet there is so much about Europe that moting a smart power image externally, is attractive to foreign publics as a result of Europe’s role and responsibility in the the EU – its multilateralism, democratic world will become ever more apparent. values, emphasis on international coope- This, of course, promises substantive di- ration, and devotion to peaceful conflict vidends in respect of the global challen- resolution, to name a few. ges of the present era, but also an elevated The EEAS is particularly well-suited internal sense of purpose. to “explain Europe” to foreign publics What role can the European External through its 136 European embassies Action Service (EEAS) play to bring per- around the world. Informational pro- ceptions more closely in line with reality? grammes can target civil society organi- What role can cultural networks like EU- sations, as well as academic, policy-ma- NIC play? I would suggest that the EEAS and EUNIC can have a significant impact in enhancing mutual understanding, each

23 External perspectives

king, and business communities. cle published in the Huffington Post that But, at the same time, the EEAS has works best when it is to listen. The new, twenty-first century, independent and maintains a certain di- supranational diplomats need to empha- stance from governments. He argues that size such skills as cross-cultural inter- cultural strategies can include: pretation, two-way education, and out- ward orientation. The ideal European 1. A “prestige gift” that showcases the will have the ability best artistic talent and products of a to empathize, to share interpretations of society the world through history, language, or 2. “Cultural information” that high- culture, and to recognise their diplomatic lights under-recognized elements of counterparts as equals. Thus, although a society’s culture, there must be a hierarchical component 3. “Dialogue and collaboration” that to messaging aimed at communication, involves international artists in the information dissemination, and enhan- co-creation of art, such as through cing understanding, there should still be participatory international music fe- a two-way dialogue that goes well beyond stivals, and traditional diplomacy. 4. “Capacity building” that builds cul- At the same time, EUNIC can enga- tural skills, like language, in a parti- ge in a network-based public diplomacy cular target audience. with the aim of promoting Europe’s di- verse cultures, languages, identities, and Cultural diplomacy may seem to be traditions. Cultural diplomacy through far removed from the high politics of al- a networked approach does not have to liances, international law, rising powers, convey a particular message, as it is based and new security challenges, but it is a on engaging with others in the network central part of all international relation- through person-to-person contact in or- ships. It provides the glue that holds al- der to promote mutual understanding. liances together, the credibility that sup- Common goals can evolve organically as ports international law, the values that needed. Europe’s cultural institutes are convince rising powers to be more trans- ideally positioned to complement more parent, and the trust that enables societies hierarchical approaches to public diplo- to cooperate in solving the most “pressing macy. issues in today’s world”. Identity, poli- Since Europe is one of the world‘s top cies, and image all stem from a society’s destinations for visitors, cultural diplo- culture. And this is particularly true in macy can actually happen at home, even democracies where public opinion mat- while it is directed at foreigners. When vi- ters and cultures are enduringly diverse. sitors come to Europe, they should percei- This two-pronged approach invol- ve a society rich with culture that is shared ving both hierarchical and network-ba- and appreciated across nations. Historian sed public diplomacy is necessary going and Director of the of Southern California’s Centre for Public Diplomacy, Nick Cull, has recently argued in an arti-

24 External perspectives

“Cultural diplomacy is the glue orities must certainly not be neglected. that holds alliances together, so However, a renewed level of cultural exchange with the United States is an im- that they can cooperate in sol- portant and indispensible part of closing ving the most pressing issues in the gap between perception and reality today’s world.” within the world’s most important stra- tegic and economic alliance. Americans can only support Europe as they should if they can learn to understand Europeans forward, so that a fruitful balance bet- better. After all, as former Commission ween unity and diversity can be achie- President Romano Prodi recently said, ved. Europe’s strength and attractiveness “Promoting Europe is promoting also the come from its diversity and values but, for American interests.” But for its part, Eu- it to have real influence on the internatio- rope can take the lead in promoting itself, nal system, it must also project a credible, and mutuality is then likely to follow. In- coherent image. deed, Europeans must realise that they are The choice of the United States as a not only capable of leading the 21st centu- target audience may not be in line with ry, but they have a responsibility to do so. current European priorities, but it should be. As I have already described, there are Mai’a K. Davis Cross is Assistant Professor wide-ranging and serious misperceptions of International Relations at the Universi- ty of Southern California where she teaches that need to be corrected. courses on European diplomacy, public diplo- There is no doubt that it is in the in- macy, and security. She is the author of two terests of the countries on both sides of the books: The European (2007) Atlantic if Americans have a better un- and Security Integration in Europe (2011). derstanding of Europeans, and vice versa. The transatlantic relationship is the most important and enduring alliance in the international system today. And in this multipolar world, with rising and often unpredictable powers, Europe and the US must now work together to have a global impact and promote their shared values. “Strategic interest” and “power” should not be regarded as negative terms. When put in context, they lead to stronger ties among friends and to making the world more transparent, democratic, peaceful, and stable. It may seem to be more in line with Eu- ropean values for the EU to engage in pu- blic diplomacy in its own neighbourhood, and with developing countries. These pri-

25

Art at the heart of mainstream entertainment “I don’t believe in America’s cultural decline” says French sociologist and media expert Frédéric Martel. In his latest book, he investigates global mass culture, con- cluding that the culture which binds Europe together is in fact American culture, and that Europe is clearly losing ground in the global competition for informa- tion and ideas. In order to do something about this, the Old World needs to become more mainstream. French philosopher Régis Debray caught up with him.

and mainstream culture, which domi- nates because of its sheer volume (Dis- ney, The Lion King, Avatar and Lady Gaga), but also includes avant-garde dance, the visual arts, the countercul- ture of experimental theatre, ethnic culture and digital culture. Broadly speaking, there is actually no dichoto- my between art in and enter- tainment in the USA, between cul- ture ministries here and the market in America: the two countries are much more similar than previously thought. They just use different methods – here Régis Debray: Mr Martel, you belie- culture is centralised and subsidised, ve that nowadays everyone lives in two while in America it is decentralised different cultures: their own national and tax-exempt. Then there is also the culture and American culture with its non-profit sector – the and global, universal mandate. How does ethnic communities which are at the this American cultural dominance ac- heart of the American cultural system. tually work? Or, to put it another way, They make innovation possible and what is it about American culture that they love to experiment and take risks. accords the United States a “universal” If you don’t recognise the role played cultural mandate? by the universities in American culture Frédéric Martel: Culture in the it is impossible to begin to understand United States is a complex issue which Hollywood or Broadway; and unless has not been given enough attention you look at the ethnic communities in Europe. I don’t believe in America’s and the USA’s cultural diversity you cultural decline. The USA has a unique will never understand the American and extremely original cultural eco- music industry or the internet. system which works simultaneously on different levels. American cultural im- perialism is not only based on popular

28 External perspectives

At the end of the day, the commerci- The United States does exactly the alisation of the creative industries, the opposite. It fights against diversity laws of the market and the homogeni- on an international level but at home sing powers of the mainstream are ba- sets great store by its ethnic and racial lanced out by the revitalising effect of differences. It has a very pragmatic the non-profit sector, the universities approach, for the simple reason that and the country’s cultural diversity. its territory is home to 45 million Hi- spanics (15 percent of the population), Régis Debray: So the whole world 37 million African Americans and 13 can be seen as a microcosm in this do- million Asians. The USA is not just a mestic diversity that is such an intrinsic country or a continent; it is the world part of the USA? in miniature. Which writers have Frédéric Martel: Absolutely. We Eu- turned out to be the most interesting ropeans rightly defend cultural diver- on Broadway, America’s commercial sity at the World Trade Organisation mainstream theatre, in recent years? (WTO) and UNESCO, while the Ame- The African American August Wilson, ricans destroy this diversity whenever the Chinese American David Hwang, they try to do away with film quotas in the Latin American Nilo Cruz and the Mexico or Korea or stand up for their gay American Jew Tony Kushner. And Anglo-Saxon music industry. But if there are more than 800 African Ame- you are going to advocate diversity at rican theatres in the United States, an international level you also have to while here in France we don’t even take do the same at home, otherwise you’re our one “Arab” theatre seriously. So it going to come under fire. Domesti- is sheer hypocrisy for France to stand cally, France has a tendency to igno- up for cultural diversity at an interna- re its own minorities, to work against tional level – while the USA is trying regional dialects and local cultures and to fight it – but to then do nothing to often fails to value its diversity. We can promote it at a domestic level – whi- see a real paradox here: on the interna- le the Americans both recognise and tional stage, France likes to plead for celebrate it. diversity, presenting itself as its ideo- logical champion, but at home it plays Régis Debray: We have been tal- by a different set of rules. Without king about the dominance of the Uni- wanting to make it a political issue, I ted States, so now let’s turn to France’s would go as far as to say that defending weakness. Your book has forced us to the “national identity” is clearly the look at the little-valued “entertain- opposite of cultural diversity. ment” category in a more positive way and has shifted the boundaries between art and entertainment. It is typical of “Defending the ‘national identi- French culture that we try to make art ty᾿ is clearly the opposite of cul- tural diversity”.

29 External perspectives

into a protected category that has its signed using surveys, focus groups and own special place in culture. We live marketing tools. Basically, you could with an elevated and hallowed vision say they are created back-to-front. of art, and we stand on its lofty heights Frédéric Martel: If entertainment looking down our noses at its supposed were simply marketing it would quic- opposite. In the USA there is none of kly fail. The important word in “cre- this kind of condescension, and leftist ative industries” is “creative”. I don’t intellectuals have themselves changed believe that Avatar just came out of course, spurred on by writers such as focus groups or that it was tailored to the film critic Pauline Kael who lauds suit audience expectations. Marketing “entertainment”. alone didn’t create Star Wars, The Ma- Frédéric Martel: I wanted to get trix or Spiderman, or even Batman The away from this very French quarrel Dark Knight. If the creative industries between art and entertainment, so this were only about marketing they would is why I consciously chose to use the produce Coca-Cola or tinned peas, word “mainstream”. Here, the bounda- but American TV series, video games, ry between art and entertainment is blockbusters and mangas are really less rigid; there is often a mixture of very creative. genres and sometimes crossovers are So art can exist at the heart of very desirable. Culture can’t just be mainstream entertainment. Just like used by the elite as a kind of art-house a work of art, entertainment can ulti- tool, like a crusade, or a punishment, mately be universal and timeless. This or a means of defending one’s own turns our whole Eurocentric concept of social status against the masses. Cul- culture on its head. ture can also just be great entertain- ment which can be enjoyed, as young Régis Debray: What you’re saying people say, “without it doing your relates more to the visual arts and mu- head in”. Cultural habits show that the sic rather than to literature, which relies French really are capable of enjoying on an author’s personal creativity. both Avatar and an experimental no- Frédéric Martel: In my book, Main- vel, watching Finding Nemo while still stream, I look at , the being interested in what the French industry, the quantitative aspect of a film critic Serge Daney has to say. But culture which can be reproduced and this means getting away from a cul- copied on the internet. I can’t apply tural doctrine that amounts to little the same arguments to the area of live more than the type of cultural control theatre, dance or unique avant-garde which culture critics are still keen to artworks, which per se are the opposite exercise. of mainstream. But as I said, I still be-

Régis Debray: One of the enduring differences is that mainstream enter- tainment is based on trusting its au- diences, as its cultural products are de-

30 External perspectives

“If the creative industries were culture, with everything descending only about marketing they into community-oriented or factiona- lised niche cultures. I have carried out would produce Coca-Cola or surveys on this and discovered that tinned peas.” globalisation and the digital revoluti- on produce both of these effects, and so they tend to cancel each other out. lieve that the boundaries are less rigid Indeed, both phenomena can be obser- now and that the barriers can be much ved simultaneously. And globalisation more easily broken down, particularly has not resulted in the disappearance in these days of globalisation and the of national or local cultures, which in digital revolution. fact are thriving. The internet makes it possible for people to watch a Lady Régis Debray: To what extent does Gaga video in Iran while still suppor- digital technology aid and abet the ac- ting their own regional culture. celerations and shifts which are taking Domestic music still makes up more place around the globe? By demateria- than half of all music sales around lising and hybridising graphics, sounds the world and television still retains and text, the internet is a major con- its national or local focus, despite the tributor to this phenomenon and also presence of international broadcasters promotes ‚“disintermediation” - the such as CNN or Al-Jazeera, which in removal of certain steps in the value fact only exert a very limited influence. chain - which has the effect of margina- More than 50 percent of box-office lising the importance of the originator takings at cinemas in France and the or author. Fewer genres, fewer formats are for domestic films, – for some people this is very worrying, while in India and Japan the figure is while others are quite happy about it. over 80 percent. The publishing indus- You have shown that the internet – on try still has a very domestic focus, just the contrary – has not broken down the like the news or the advertising mar- barriers between the various main- ket. Despite the success of American streams which have their own spheres of TV series, most shows have very local circulation and exchange. You specifi- content: the telenovelas in Latin Ame- cally talk about the revenge of geogra- rica, the Ramadan shows in the Arab phy and fierce resistance to cultural world and the Korean and Japane- homogeneity. So what role does the in- se “dramas” dominate their domestic ternet actually play? markets. It’s just not true when people Frédéric Martel: In France, you say that culture is becoming more and often hear it said that the internet, in more global. combination with globalisation, will result in culture becoming fatally ho- mogenised, while others are afraid that there will just be endless fragmenta- tion, heralding the end of a common

31 External perspectives

But what is true is that we have culture makes you strong: we need fewer and fewer cultural products both. - things which in the past were still Once again, I want to stress that I exported on ships – and more and enjoy the plays of Bernard-Marie Kol- more services, data streams and data tès as much as Alaa al-Aswany’s no- formats. And even though national vel The Yacoubian Building or Vikas and local cultures are thriving, they Swarup’s Q & A. This latter was are still faced with a globalised, very turned into the film Slumdog Milli- American culture which has crowded onnaire, providing the quintessenti- out other non-national cultures. This al example of localism, in that Vikas is what I call the “mainstream”. This is Swarup is Indian, the film was shot in where Europe’s main problem lies: alt- Mumbai and the cast was predomi- hough everywhere has a stable national nantly made up of Indian actors, while culture and a globalised mainstream at the same time it was directed by culture, there is no longer a European Englishman Danny Boyle, financed by culture. We are simultaneously beco- Pathé UK, the UK arm of the French ming more local and more globalised – company Pathé, and distributed by Eu- but as a result less and less European. ropeans and Americans. But above all it is a film which is based on a world Régis Debray: In Europe we have famous quiz show: Who Wants to be national cultures plus American cul- a Millionaire? I have seen this film on ture, but we don’t have the European screens all over the world – in favelas culture which is supposed to build a in Rio, smart cafés in or gay bridge between the two. bars in Jakarta. It’s both a global box- Frédéric Martel: Exactly. But I’m office hit and a seemingly authentic still very European, perhaps becau- domestic product. se I’m always optimistic. As the son of a farmer from south-west France I Régis Debray: The idea of “home” am only too aware of the resentment is an imaginary entity. How is Europe that has been stirred up by Europe in meant to become a single entity if this our villages, districts and cultures. imaginary element is lacking? Parado- That said, I also mistrust nationalis- tic, unnecessary scaremongering about identity. The truth is that these local “Young people have Europe- cultures are very much alive today in an values – freedom of thought, the midst of globalisation. It is not a question of pitting local against global. freedom of the press, deep-se- Global culture is enriching and local ated opposition to the death penalty, protecting a certain de- gree of social security, tolerance towards homosexuals, etc. – and that’s not bad.”

32 External perspectives

xically, it was more pronounced in the cultural diversity into America’s new 1930s. breeding ground. Jimmy Carter’s 1980 Frédéric Martel I don’t really know laws on culture and education turned the answer to that. Has there ever re- this diversity into the norm. In Miami ally been a feeling of having a Europe- you see how Cubans, African Ameri- an culture? Clearly, there is a classical cans, gays and Mexicans split up into European culture based on the ancient their own communities but are all uni- worlds of Greece and , on Chris- ted by one symbol: the American flag. tianity, on a particular concept of art, Europe is still a young concept. The on the Enlightenment and human Americans needed 100 years to achie- rights. But do young people today have ve this kind of integration. Just wait a sense of a European culture? I think and see – one day we’ll all be gathered they have European values – freedom around the European flag. of thought, freedom of the press, deep- seated opposition to the death penalty, Régis Debray: The USA’s great a desire to maintain a certain degree of strength lies in the fact that it is an old- social security, tolerance towards ho- style nation, with its flag and its religi- mosexuals, etc. – and that’s not bad. on, but also a thoroughly postmodern I think I’m more optimistic than nation which might have been dreamed you when it comes to Europe. up by Foucault or Derrida. Frédéric Martel: Absolutely. But Régis Debray: The lack of the idea I’ve no intention of joining the cultural of “home” means that Europe has no pessimists by painting a bleak picture. diplomatic service, no army, no unified We need to roll up our sleeves and voice. You have ascertained this, but we press on. However, at European level now have to look for the reasons behind there is a need for new regulation, for it. example in the cultural industries and Frédéric Martel: It all comes down in the use of new technologies. I’m also to history. In the United States peo- a firm believer in the Erasmus pro- ple have a real feeling of togetherness. gramme, which has changed the lives Whether you’re Latino, black or gay, at of hundreds of thousands of young the end of the day you’re also Ame- Europeans. You know, I’m the per- rican. American society is no longer son that I am today because in March characterised by being a melting pot, 1990, immediately after the Romanian rather it is distinguished by its cultu- revolution, I was sent to for ral diversity. This idea was invented 16 months to help with development in North America, and in 1978 the Su- work as part of my military service. preme Court’s Bakke Decision turned I founded and headed up the litera- ture office of our embassy in . That is when I really started to under- stand what it means to be a Europe- an. A form of civilian national service could help to restore this feeling of to-

33 External perspectives

getherness, and we could come up with course these groups focus primarily thousands of other projects. on their own domestic markets, where Recently I went to Iran to do some they particularly have to cater to the research. When I got on the plane to demands of young people because of leave – an Airbus belonging to a Eu- their particular country’s demogra- ropean airline – I was greeted by un- phics, and apparently in places like veiled stewardesses offering me The China, India and Brazil a new multi- Economist and an espresso. It might plex cinema opens its doors every day sound trivial, but after two weeks on of the week. But they are also homing my own in Iran, that moment made me in on regional markets. feel like a real European. A good example is provided by the two Al Jazeera channels, one in Arabic Régis Debray: We haven’t yet talked and one in English, which play such an about China as an alternative model. important role in news broadcasting, This is a country which doesn’t fit into as we saw recently during the uprisings the landscape you have described, be- in Tunisia and Egypt. But the compa- cause China is not particularly good ny has also recently bought up around when it comes to wielding ‘soft power’. ten sports channels and with them Frédéric Martel: The second main the rights to matches from all the top line of argument in Mainstream is that leagues in Morocco, Algeria, Tunisia, Americans are no longer on their own Egypt and Jordan. In future, French when it comes to media campaigns immigrants from these countries will and globalised entertainment. It’s true be watching all the games from their that they still produce 50 percent of all home countries on these channels. So international content, far ahead of the by mixing news and entertainment, Al 27 percent produced by Europe. But Jazeera is going to have a much wider nowadays emerging nations such as influence. This can really be called India, China, Brazil, Indonesia, South ‘soft power’. Africa and Mexico and, in its own way, To turn to your question about Russia, are entering the market with China’s soft power, the Chinese are huge media conglomerates and globali- determined to increase their influence sed cultural content. by whatever means available. They Groups such as Reliance and Saha- ra in India, Rotana and MBC in Saudi Arabia, Al-Jazeera in Qatar, Televi- “Emerging nations such as India, sa in Mexico, TVGlobo in Brazil and Naspers in South Africa are regional, China, Brazil, Indonesia, Sou- and sometimes also global, giants. Of th Africa and Mexico and, in its own way, Russia, are entering the market with huge media conglo- merates and globalised cultural content.”

34 External perspectives

have introduced archaic film and mu- mainstream which reinvents itself and sic quotas and unlimited censorship thrives on artistic creative freedom, which is almost Victorian in its attitu- the freedom of women and homosexu- des towards sex, takes a very family- als, counter-culture, the right of mino- orientated approach to values and rities to have a voice, innovation and promotes an old-fashioned commu- an appetite for risk. nist view of the world. Not to mention As things stand, the Chinese seem its great hostility towards American to be incapable of doing any of these culture, which it sees as a dangerous things. The Taiwanese filmmaker Ang competitor: Avatar was only allowed Lee made Brokeback Mountain in the to play in Chinese cinemas for one United States, then returned to China month, then it was banned so as not to to shoot Lust, Caution. But then he left compete with a local blockbuster. But again because of the harassment and this system of policing culture is not censorship which he was subjected to working. Although Hollywood is only by the authorities. The return of the allowed to show ten films per year, it country’s prodigy became something still accounts for 50 percent of China’s of a cultural Tiananmen Square, and box-office takings, showing that quo- Chinese cinema once again became tas and censorship are irrelevant. And stultified. As a result it has produced this doesn’t even take into account the no more global box office hits to date. black market. And as for Kung Fu Panda – based on The opposite is perfectly demons- the twin symbols of the China’s mascot trated in Japan and India. These two and its national sport – this was made countries have no censorship, no by the Hollywood studio Dreamworks! quotas, and American films can be shown without restriction. But they Régis Debray: So far we have only only make up 10 to 15 percent of local touched on the question of the internet box-office takings. The explanation is and its effects. There is no doubt that, simple: India and Japan produce films because of the internet, many traditi- which are strongly linked to their na- onal stages in the production and distri- tional identity, so people are keen to bution chain are now being skipped. watch home-produced films. China, on Frédéric Martel: We’re in the the other hand, is failing in its attemp- middle of a revolution, perhaps even ts to wield soft power because it is not at a turning point for civilisation. Just in a position to produce sufficiently like the beginning of any revolution, interesting films to capture or conquer we still don’t know what the future is its home market. The Chinese have not going to look like and are wrapped up understood the American model of a in worrying about what we have lost. We are hunkering down in the ruins of a lost world and can’t imagine the fu- ture. This is both terrifying but at the same time incredibly exciting. Many of the people I have inter-

35 External perspectives

viewed in thirty different countries Régis Debray, born in in 1940, is a phi- think that YouTube, Wikipedia, Flickr, losopher, writer and journalist. In the 1980s he was a foreign policy advisor to French Facebook, Twitter, iPod, iTunes, the President Fran ois Mitterand. Under Jacques iPhone and their countless successors Chirac he was a member of the commis- are inventing new forms of culture and sion that investigated the use of religious media which will fundamentally chan- symbols in educational establishments and ge the essence of culture, art, informa- that lobbied for a ban on wearing the veil in schools. In the 1990s Debray coined the tion and entertainment and one day new term “mediology” and he has been de- may even blend together. It’s hard to veloping this concept ever since. It focuses say whether we are at the beginning of on the processes of transmission, including a process or just at a crossroads. pre-electronic methods. Since 2011, Régis Whatever happens, the internet Debray has been a member of the Academie Goncourt. has brought about developments and critical processes which will endure: peer-to-peer applications, Web 2.0 and Frédéric Martel, born in Southern France in user-generated content such as Wiki- 1967, is a sociologist, author and journalist. From 2001 to 2005 he was cultural attaché pedia, the new sociality engendered by to the French Embassy in Washington D.C. the social networks, content aggrega- Every Sunday he presents “Masse critique”, tion, the culture of mobility, hyper- a programme about the creative industries text, disintermediatio and the death and media, on France Culture. He runs the of traditional critics, hybridising, website nonfiction.fr which is dedicated to literary criticism and ideas. He has written Google’s contextual targeting. We will several books and his work has been publis- have to learn how to live with these hed in a range of international newspapers. huge changes, changes which I believe 2011 saw the publication of his book Main- are positive. Two years ago no-one had stream, On Mass Culture (Flammarion, 2010). even heard of Twitter, yet today I spend more than an hour a day on it; five ye- ars ago no-one knew Facebook or You- Tube, yet today they are central to our everyday lives; ten years ago I didn’t know Google, yet today I use it dozens of times every day. The speed of chan- ge is of course somewhat alarming, but I find it fascinating. And we are just at the start of this turning point for civi- lisation. Interview by Régis Debray.

36

Seizing the day The pictures of the Arab spring and the demonstrations in Tahrir Square in and on the streets of Tunis have all served to present us with a new image of the Arab people. They have stood up for their basic rights, without cloaking them in religion or aggression – and in this way they have succeeded in removing their old despots from power. Now the awa- kening of civil society in the Arab world is presenting new opportunities for dialogue with Europe. But how should we conduct this dialogue? By André Azoulay

cant political changes in some countries and constitutional reforms in others, will lead to sustainable democratic changes. We know there are many different factors which will have an impact on the success of these transitions, including economic, social and political reforms and invest- ment in education. The level and type of cooperation which can be developed bet- ween the countries on both sides of the Mediterranean will also be critical to this process of reform. Now, more than ever before, it is clear that people of all the Mediterranean coun- ix months after so many countries tries share similar goals and that the aim of were ignited by the spark of the Arab a real partnership between these countries spring, we are all living in a different can become a reality. Sworld. It is a world that is moving towards a new Arab Renaissance, a world in which people living in the countries bordering Shared basic values the southern edge of the Mediterranean are standing up for their basic rights and The report published by the Anna calling for freedom, pluralism, social ju- Lindh Foundation in 2010 on EuroMed stice and participation. Since January 2011, Intercultural Trends has already shown the words democracy, dignity and freedom how there is a convergence of values and as- have been written in Arabic and now con- pirations among people in the region. The stitute the manifesto of young Arabs who study asked 13,000 people in 13 countries believe they can build their own destiny of the Euro-Mediterranean region about and make their countries a better place their values and how they perceived other for them and for the generations to come. We have all been caught up in the exci- tement and are hoping that the Arab upri- sings, which have brought about signifi-

38 Aussenblicke

countries. One of the most interesting re- want to work, communicate, travel and sults of this study was the fact that all the start a family. And just like young people participants afforded similar importance all over Europe, they want to be self-reliant. to values such as dignity, freedom and ju- The results of the study have now been stice, regardless of whether they were Mus- borne out by the millions of people who lims, Christians or . are all demanding these rights and chan- But values such as family solidarity, ting slogans which show their desire for hospitality and the desire for the younger peace and respect. Never before have we generation to benefit from new opportuni- seen such a wave of mutual inspiration and ties were considered equally important by support amongst the youth of North Afri- people on both sides of the Mediterranean. ca, the Middle East and Europe. Looking towards the future, they ex- This dialogue is first and foremost being pressed their support for a common futu- carried out via the social media, which are re for the Euro-Mediterranean countries playing a hugely important role in helping and the hope that reciprocity and bene- young people from the Arab world to com- fiting from shared opportunities could municate and interact with their peers in bring concrete improvements to their lives. Europe. This was also the result of a survey This might involve better opportunities carried out by the Anna Lindh Foundation, for young people, social justice, an appre- which clearly demonstrated the central im- ciation of and respect for other cultures, portance of social media in the daily lives a desire for innovation, and entrepreneu- of young people and in helping them learn rial thinking as the basis for future deve- about other people. lopment. In this way, social media have played The study also came to the conclusion the role of an intermediary that encourages that the people of this region now have a the active participation of young people in new attitude to life, characterized by their society and helps them to take ownership common experiences of interaction and of their future rather than being led by di- mutual influence. This could become a stant political bodies. model for other regions of the world. The tight civil society provided by the The trend towards a greater conver- Anna Lindh Foundation in the forty-three gence of basic values in the societies of countries of the Union for the Mediter- the northern and southern Mediterranean ranean has also been a powerful tool to should be viewed as being the result of cul- measure the pulse of the situation in the tural rapprochement in the areas of educa- region and assess the needs of the people tion, family policies and a generally more living on the southern shores of the Me- open mindset. The improved level of edu- diterranean. cation among young people and the drop Following the recent historical events, in the birth rate on the southern side of in particular those in Tunisia and in Egypt, the Mediterranean is also worthy of note. the Anna Lindh Foundation launched the The people of these countries now have new needs and goals – particularly young people. They are no longer prepared to to- lerate autocratic, repressive regimes. They

39 External perspectives

campaign “Believe in Dialogue. Act for Ci- form process sends a strong signal to the tizenship”. This campaign lays the foun- international community by the way it dations for a process that will open up a draws on the deep and rich diversity of new stage for the Foundation in terms of the Moroccan nation and its people as a its work on citizenship, democracy, partici- result of the country’s Berber, Jewish and pation and intercultural dialogue. It came Arab Muslim and cultures. about from the conviction that dialogue is now more necessary than ever within societies that are opening up to pluralism A signal to the international com- and democracy. munity To this end, the Anna Lindh Founda- tion is focusing on creating opportunities From this perspective, the process is for stakeholders to meet at local level, so very encouraging, both in relation to the that they can work towards better local pluralistic and participatory approach ta- governance and community development. ken when drafting the changes to the con- One of these initiatives was “Dardasha Is- stitution, as well as to the high turnout at kandrani”, a three-day platform for young the polling stations, including a significant activists from Alexandria who came toge- percentage of young voters. The political ther to exchange ideas and information on leadership also displayed a sense of open- their current activities aimed at increasing ness and understanding towards people’s social participation and political aware- demands which is also an optimistic sign ness among people in their neighborhood. for the future. The aim of the initiative was to improve In light of these developments and its coordination of their efforts in this respect mission of promoting intercultural dia- and hence maximize their impact. logue and social participation, the Anna At regional level, in June 2011 the Anna Lindh Foundation is concentrating its ef- Lindh Foundation organized the “Tunis forts on supporting the role of citizens in Forum Exchange”, where over 200 civil the wake of the events of January 2011. society representatives from Arab and Eu- People are now conscious of their power ropean countries gathered to discuss how to change society. They have learnt how to best to promote active and democratic ci- be active participants and improve the po- tizenship in the region. The Forum was an litical situation of their countries. Day and opportunity to explore various approaches night, they have grappled with the political for social participation which were tailored and social systems of this world in order to the Arab region and participants could to make their contribution to shaping a benefit from the experiences of people who democratic system. They now have a new had already lived through periods of social sense of pride stemming from the reali- upheaval in Europe. sation that they have torn down the walls A few days after the Forum, the positive of fear and refused to be governed by an outcome of the Moroccan constitutional referendum provided a concrete example of a country striving for democracy and change. The Moroccan constitutional re-

40 External perspectives

authoritarian regime with its culture of ob- must be taken to halt the manipulation of edience and submission. The Foundation religion by radical groups in both Euro- will continue working to strengthen civil pe and the other southern Mediterranean society at a national level while furthering countries. It is a question of communica- international debate on how to promote ting to people that religious differences do social inclusion, pluralism, and dialogue not necessarily have to affect the openness between citizens and governments. with which we deal with each other. They Another important point which also do not necessarily have to have a ne- was highlighted in the Anna Lindh gative impact on the way opportunities are Foundation‘s report is the significance of created for believers and non-believers to the role played by religion. North African come together to discuss how new and la- and Middle Eastern societies are domina- sting changes can be brought about. ted by religion and 62% of young people There is no doubt that the peaceful Arab asked in the survey believed that religi- freedom movements have initiated a pro- ous conviction was playing an increasingly cess of transformation in how the West, central role. This should be placed against and Europe in particular, perceives Arab the way in which many Europeans are now Muslim people. These perceptions had moving away from traditional forms of re- certainly deteriorated after the attacks of ligion. The central place that religion oc- September 11th because of the automatic cupies in people’s lives must be taken into associations made with Islamist terrorist consideration when setting up projects to organisations. promote dialogue. However, it is also im- The demonstrations in Tahrir Square portant to remember that individual re- and on the streets of Tunis have conveyed ligious belief does not necessarily equate a different image of Arab men and women to a conservative view of society or social who have stood up for their basic rights wi- mobility. The Arab spring is a very clear thout cloaking them in religion or aggres- illustration of this. sion. This new image ushers in new oppor- In this context it seems to be a real chal- tunities for dialogue and must continue to lenge to prevent religion being used as a be encouraged by providing more chances convenient alibi to dodge the issue of fin- for people from the different countries of ding the necessary political answers to po- the Euromed region to come together. The litical questions. At the same time, steps use of social media must come of age and be used responsibly as a powerful tool for exchange, while still bearing in mind it “Citizens now have a new sense can also simply spread clichés and stere- otypes. Educational programmes need to of pride stemming from the rea- be set up to give young people a thorough lisation that they have torn down understanding of the real social, religious, the walls of fear and refused to cultural and political trends within the so- be governed by an authoritarian regime with its culture of obe- dience and submission.”

41

External perspectives

cieties of the Euro-Mediterranean region. At the same time, we are in a position to work with media professionals to show them how they can communicate infor- mation, and in this way take into account the complexity of Mediterranean societies which are in a state of constant flux. The- re is a real need for shared knowledge and explanations for the current historic events that are bringing together the Mediterra- nean peoples, and it is necessary to break down the stereotyped preconceptions that have grown up over the years. And finally, we should recognise that the Arab upri- sings have generated a new sense of identity among the people of these countries. If this is nursed and developed, this 21st- centu- ry paradigm could strengthen coordina- tion with these countries and support the processes of change which are leading to pluralism. It could also have an impact on relations with their European neighbours. In the coming years we will all be watching how these revitalized Euro-Mediterranean relations evolve, an evolution which will benefit from the new wave of participati- on and engagement within society which could not have been imagined at the time the Barcelona Process was launched.

André Azoulay, born in 1941 in Essaouira, Mo- rocco, is Director of the Anna Lindh foundati- on and is an advisor to the King of Morocco, Mohammed VI. The Foundation was set up in 2005 with the aim of promoting intercultural dialogue in the framework of Euro-Mediterra- nean cooperation, i.e. between the countries of the and the other non- EU Mediterranean countries. The Foundati- on is a network which brings together over 1,000 members in 39 member organizations worldwide, giving them the opportunity to exchange experiences and conduct joint pro- jects.

44 The cultural revolution Culture played a quite asto- nishing role in the Egyptian revolution. In the space of just a few short days, songs, poems, short films, pictures and Facebook campaigns appeared, all with the same message of “unity” amongst Egyptians. The current phase of political transition is a time for par- ticipation and social change, and Europe’s cultural institutes in Egypt should be taking the same line. By Reem Kassem

Art and culture hold communities toge- ther. They can even be king-makers. When the Greek King Ptolemy the First wanted to proclaim himself King of Egypt after the death of Alexander the Great, he was not sure whether the ancient Egyptians would accept him. So in order to persuade them, he organized a cultural exchange pro- gramme between Greek philosophers and writers and Egyptian priests. He thought if the Egyptian priests (representing the highest level in Egyptian society) could exchange with Greek philosophers and re- ach a point when both could adapt to and n Egypt it has always seemed that the accept each other, then the Egyptian public only thing capable of bringing people would accept him as king. together is football. Whenever the na- Over recent years there have not been Itional team is in action, everyone feels the enough cultural centres in Egypt and the same way. Young people gather in coffee activities they offer have failed to meet the shops, others get together at home, and needs of Egyptian society. Inevitably, cul- others just set up screens outside so that tural activities are very much centred on people can watch the game on the street. Cairo, while Alexandria is largely neglected Change only happens when people cry and the other governorates totally ignored. out for it and when there is a collective need On top of this, traditional forms of cultural for this change. The Egyptian people were activities held in concert halls or conference looking for other ways of gathering toge- centres are failing to attract new audiences ther, for new tools with which to express – it’s always the same old faces. themselves and to engage in meaningful When cultural centres started using dialogue. This is where the cultural sector Facebook in 2007, there was a noticeable came into its own, by providing cultural and artistic activities for the general public, and many of Egypt’s cultural centres have produced excellent work.

45 External perspectives

growth of interest in cultural life, but this mances in non-governmental cultural cen- gradually died off. This increased interest tres or through the social media, they have was a result of cultural centres approaching gained a large number of fans who believe their audiences using new communication in alternative arts. For example, the band channels. People responded and for a whi- “Massar Egbari”, (meaning “compulsory le they went out to see what was going on, road”), plays songs about social problems but the cultural activities weren’t what they such as unemployment, traffic chaos and were looking for, so they soon lost interest. bad living conditions. On the other hand, initiatives and art pro- This band and others with the same jects inspired by community topics were mission engage with the public, not just well-supported and spread rapidly. in an artist-audience relationship, but in a kind of connection where the audience can use the band to discharge its negative The fight to get permits energy and recharge with hope. The au- dience feels comfortable communicating In 2009, artists and cultural operators its problems through the band‘s songs noticed the growing community desire for and music. This is how the cultural sec- public events and street art. Cultural ma- tor started influencing the country’s youth; nagers started their fight with the govern- mainly through the underground scene. It ment to get permits. There are two layers in has therefore become an urgent priority the Egyptian cultural sector; the Ministry to meet the need for more and more cul- of Culture and the underground scene. The tural events, theatres, venues and projects Ministry of Culture is represented by the to meet the growing needs of the people. major arts centres, houses, national So who should meet this need and by cultural centres and the Ministry’s official what means? This was a question that dance and music groups. The underground could not be answered until the revoluti- scene, which grew rapidly from 2009 to on came along. This question has now been 2011, is represented by young emerging partially answered. The people themselves and young professional artists in all disci- were prepared to go out into public spaces plines who are not financed by the Mini- and squares to communicate and express stry of Culture and are therefore not con- their opinions. They were ready to do this trolled by the government. They perform because underground artists had, without mainly in private or in foreign cultural realising it, already begun to smooth the centres and to some extent are a counter- part to the NGOs and non-governmental initiatives in Egypt. Because underground artists were suc- “To date, the role cessful in providing what official artists of European cultural institutes could not, either through their perfor- has mainly entailed presenting cultural activities to the public, rather than engaging them in these activities.”

46 External perspectives

way. The process ended with what has be- a place was referred to as an “Agora”. The come known as the “Cultural Revolution”. Agora in ancient Greek city-states was a When the protests started on 25th Janu- place where people could meet and express ary, a new window on Egypt was open- themselves. This was the origin of the idea ed, giving artists a sign that they should of “urban open spaces”in modern urban take the lead. In less than five days, songs planning. were composed, poetry was written, the- Gatherings in urban open spaces serve atre productions were initiated, photogra- to strengthen a community’s sense of be- phy exhibitions were prepared, and short longing and create ties between its mem- films were made. Stages were built in Tah- bers. The former government was well rir Square for artists to give revolutiona- aware of the effect that such gatherings ry artistic performances. As a result, the could have, which is why for a long time underground scene officially became the it prevented assemblies of any kind. In ideal representation of contemporary cul- 2011, it planned the bombing of the Coptic ture and, in a way, served to shape the new Saints Church in Alexandria. The govern- cultural policies. ment was constantly playing the religion There are some European cultural insti- card in order to divert people’s attention tutions such as the Anna Lindh Foundation and create division. However, despite all (head office in Alexandria), the Egyptian the divisions in Egyptian society, every- Delegation of the European Commission one came together in their opposition to (Cairo) and the foreign national cultural violence and aggression. What the govern- institutes (Goethe Institute, British Coun- ment did not anticipate was that this brutal cil, Institute Francais, Cervantes etc.) that action would in fact unite the community are closely involved in local cultural life in and serve to light the fires of revolution. Egypt. But to date, their role has mainly The cultural sector also played a decisive entailed presenting cultural activities to role, with songs, poems, short films, pain- the public, rather than engaging them in tings and Facebook campaigns appearing these activities. The last thing we need at within days; all with the same message: the moment is to treat the public as mere “Unity”. spectators. The current phase of political transition is a time for participation and Reem Kassem, 26, manages the cultural pro- gramme at the Bibliotheca Alexandrina, which social change, and the European cultural was opened in Alexandria in 2002, close to the institutions should be taking the same line. city’s historic library. The new library complex The Arab uprisings have once again also houses a cultural centre with museums, highlighted the importance of public galleries, academic research institutes and spaces in Arab society. Places of assembly a conference centre. In February 2011, one month after the violent confrontations bet- have always served as cradles for the great ween police and protesters, Reem Kassem or- civilisations. In the ancient world, parti- ganised an open-air festival with dance, music cularly in the Greco-Roman period, such and workshops for children

47 A gateway to two worlds European Capitals of Culture are more than just showcases for Europe. They have to show how they are contributing to Europe’s artistic and cultural life. For the last 2,600 years, the Marseil- le-Provence region has been involved in economic, political and social exchanges. In its role as European Capital of Culture for 2013, it will be extending a hand across the Mediterranean towards North Africa. How are things going to play out in light of the volatile si- tuation in these countries? By Julie Chénot

the way Europe perceives the Arab world. Throughout its entire history, Marseil- le has been shaped by its port and the at- tendant circulation of people and goods. Marseille is home both to people who were born here and also to people who have settled in the region: , Ar- menians, Algerians, Comorians, to name but a few. So the city acts as a gateway to two worlds: Europe and North Africa. It’s hard to think of any other city that is more ideally suited to bringing together Europe and the southern Mediterranean countries. t the beginning of this year, the The Mediterranean was the birthplace situation changed radically in the of Europe, so in its role as European City Arab world. A new reality has of Culture, Marseille is focusing on cre- Aemerged as a result of an extraordinary ating a hub for dialogue and creativity people’s movement that has revolutioni- that is open to cultures from the whole sed Tunisia, Egypt and Libya. This is so- Mediterranean region. There is a pres- mething that would never have been pre- sing need to create a space where artists dicted a year ago. Shockwaves from this from all disciplines and European and movement have affected the region and Mediterranean audiences can meet and the rest of the globe. These revolutions exchange ideas. are already influencing artistic practices According to European legislation, the and intellectual processes in the entire decision to name a city as European Capi- Arab world, and opening up new perspec- tal of Culture is not based solely on what it tives for relations between Europe and the has to offer, but more particularly on the Mediterranean. Above all, it is changing special plans that it has for the year in que-

48 External perspectives

stion. The twelve-month programme has Marseille-Provence 2013 and the local to meet two main criteria. Firstly, there authorities are encouraging mobility by must be a European dimension: the cities supporting the development of projects should present the role they have played and providing specific tools. This inclu- in European culture, their links with Eu- des a special mobility fund organised by rope, and their European identity. They the Roberto Cimetta Fund. must also demonstrate their current in- volvement in European artistic and cul- tural life, along with their own specific Increased mobility among artists features. Secondly, the cities have to pre- sent a programme that anticipates large- Various themes have shaped Mar- scale public involvement at both local and seille-Provence 2013’s international pro- European levels. gramme. The project is multi-disciplina- Since the 2008 decision to select the ry, covering different artistic fields such as Marseille-Provence as the European Ca- visual arts, dance, theatre, music, circus, pital of Culture for 2013, a programme has film and less-common disciplines such been developed in partnership with local, as art in public spaces and cuisine. Refe- national and international cultural orga- rences to heritage and traditions will be nisations. Marseille already had links to present in the programme’s exhibitions, the art scenes on the south and east coasts which provide a historical view of the Me- of the Mediterranean, but in the last few diterranean and cross-Mediterranean re- years, cooperation with these countries lations. The main focus of Marseille-Pro- has increased still further. vence 2013 is contemporary creation, in The Mediterranean focus of the Mar- particular the contemporary art scenes seille-Provence 2013 programme is en- on the southern and eastern coasts of the couraging local organizations to concent- Mediterranean and in the Arab world. rate on cross-Mediterranean projects and Euro-Mediterranean Ateliers is one cooperation in the run-up to 2013. The of the key projects that has been set up need to hold meetings in order to discuss to support contemporary creation by in- the planning and execution of such pro- viting local, national and, above all, in- jects has led to increased mobility among ternational artists to take part in artist artists and cultural operators from both residency programmes in the Marseille- the Marseille-Provence region and the Provence region. southern Mediterranean countries. Partnerships and co-productions with foreign cultural organisations have been established to design and implement joint projects. An important focus is to provide “There is a pressing need to cre- artists with commissions or to give them ate a space where artists from all ‘carte blanche’. This includes artwork for disciplines and European and Mediterranean audiences can meet and exchange ideas.”

49 External perspectives

contemporary art exhibitions such as Ici, gne for a six-month residency to develop Ailleurs (Here, Elsewhere), music by com- his new project, the second episode of posers such as Zad Moultaka (Lebanon) Cabaret Crusades, a film featuring cera- and theatrical pieces by directors like mic puppets inspired by Amin Maalouf’s Fadhel Jaibi (Tunisia). book The Crusades through Arab eyes. To Projects are also being developed that make these puppets, he will take part in will involve the whole Mediterranean a four-month residency at a clay training region. This includes work by photogra- centre where he will work with professi- phers such as Joseph Koudelka and André onals in the clay figurine industry and Mérian, visual arts projects such as Cada- Santon (clay nativity figures) makers. The vre Exquis (Exquisite Corpse), and French film will then be shot with SATIS, a uni- author François Beaune’s literary project versity department specializing in sound True Tales of the Mediterranean. One of and image. The final product will be pre- the key objectives is to provide the widest sented at the Kunstfestival in in possible audience for artistic works. 2012, then at Documenta in Kassel and These Euro-Mediterranean ateliers are finally shown as part of Marseille-Pro- central to Marseille-Provence 2013’s Eu- vence 2013. ropean Capital of Culture project. They These changes came at a time when the are designed to support contemporary main aspects of the Marseille-Provence artistic creation in the Euro-Mediterra- 2013 programme had already been deci- nean area, build a creative hub involving ded (the programme outline was presen- businesses, public institutions and asso- ted at a press conference on 28 February ciations, and incorporate all artistic dis- 2011). However, the content had not yet ciplines. been finalized. The Arab spring allowed us to reflect on these revolutions and que- stion the relevance of our programme. We Euro-Mediterranean ateliers have spent and are still spending a lot of time talking to Arab artists and cultural The ateliers are tailor-made artist’s operators about the changing situation residencies with a view to encouraging and about what is relevant for Marseille- production and dialogue in all creative Provence 2013. fields. Around 60 ateliers will be set up By focusing on contemporary creati- in businesses and public bodies between on, Marseille-Provence 2013 has develo- 2010 and 2013. The initiative is designed ped a programme in direct partnership to become permanent, thus making a la- with contemporary artists and cultural sting contribution to contemporary ar- operators in the Arab world. We have not tistic creation. dealt directly with official bodies. This is As part of this project, Wael Shawky, an Egyptian artist, is currently in Auba- “There are enormous possibi- lities for renewed engagement with Arab artists.”

50 External perspectives

because the Arab world’s contemporary period when it comes to organising such a art scenes are largely made up of inde- large event. However, it is a very long peri- pendent venues and artists. Most of these od when we consider all that might change art scenes have been, and are still, invol- in the next twelve months. Consequent- ved in the uprisings. These changes will ly, it is essential for Marseille-Provence be reflected in the artwork and projects 2013 to be present in the Arab world by they are preparing for 2013. In addition, exchanging with artists, intellectuals, and although we plan to announce the pre- organisations, by listening to their needs programme on 12 January 2012, we also and providing flexible solutions for con- plan to maintain some flexibility in or- temporary artistic creation. der to be able to incorporate new projects and themes. Conference programmes and Julie Chénot is International Projects Mana- discussions will be another opportunity ger for the European City of Culture Mar- seille-Provence 2013. From 1995 to 2002 she to reflect on the latest changes. worked as a cultural manager in Beijing and These questions were raised with par- was appointed Director of the Chinese cul- ticipants at the Informal Meeting held in ture agency “Yi Ren”. In 2002 she worked for October 2011. This was a meeting for in- the UNESCO office in Phnom Penh, before dependent art and culture venues from moving to the “John F. Kennedy Center for the Performing Arts/Vilar Institute for Arts the Arab world, organised in partnership Management” in Washington D.C. During her with the Young Arab Theatre Fund. At time there she was involved in organising the this meeting, some participants were cri- “US Festival of China”. tical of the fact that European engagement with the Arab spring topic has a tendency to be a flash-in-the-pan. In other words, cultural organizations tend to plan one- off events with Arab operators, rather than working on long-term partnerships. In the meantime, many Arab organi- sations feel that it is too soon to draw ge- neralised conclusions from this period because of the ever-changing and unpre- dictable nature of the Arab spring move- ments. While there are enormous possibi- lities for renewed engagement with Arab artists, they fear the focus will simply shift from one set of clichés and expectations to another. Marseille-Provence 2013 will begin in little more than a year. This is a very short

51

Welcome to the real world Crises were mostly things that happened somewhere else, like or Asia. But now Europe has also found itself being sha- ken by the financial crisis, a crisis that has now become political. People are taking to the streets, just like in the Middle East, the USA and elsewhere in the world. These protests are being supported by new forms of media and communication. Has the old continent sud- denly arrived in the real world? By André Lemos

So if this is the case, we have to ask: just what sort of crisis is this? It is predomi- nantly an economic crisis but it must also be seen as a crisis of politics, of the environ- ment and of our communication models. Today young people are going out onto the streets of North Africa, the Middle East, the USA and Europe to protest against the situation with the clear message: “enough is enough”, and these protests are being supported by new media and communi- cation formats. However, this new digital culture is not only a means of building so- cial networks for the purposes of political he world is apparently in crisis, agitation. It is also clearly an expression thanks to global warming, social of a new form of being and thinking and inequality, lack of political legi- shows us new ways of embracing the mo- Ttimacy, widespread dissatisfaction with dern world. So it is no surprise that re- financial geopolitics and so on. But then presentatives from over 100 countries are again I have never known a life without getting together in Nairobi right now, in periods of crisis. I was born and raised autumn 2011, to discuss the subject of in- in Brazil, in Rio de Janeiro, and spent the ternet governance. The main topic is: “The first half of the 1990s in Paris. During 2007 internet as a catalyst for change.” and 2008 I was in Edmonton and Mon- treal in Canada, and currently I am once again living in Brazil, in Salvador da Bahia. Controlled by conglomerates Wherever I live, I always have the impres- sion that we are living through some sort The current crisis is a crisis of commu- of crisis. Sometimes this feeling is stronger, nication models. And this kind of crisis lasts longer or is more global. But there is always some sort of crisis going on! And since 2008 we find ourselves in the middle of a North American and European crisis.

54 External perspectives

inevitably brings about political changes, transformation of global communication because the switch from a stable, unifying models. culture, controlled by media conglome- The development of new ways of com- rates, to a more informal culture that thre- municating, producing, distributing and atens the authority of intellectual property consuming information not only makes it and authorship, the centralisation and con- possible for people to enjoy greater infor- trol of broadcasting, knowledge monopo- mation autonomy (access to global infor- lies and hierarchical but not particularly mation in real time), but also gives them a creative ways of working is seldom without certain emancipation when it comes to ha- consequences.. Young people want to get ving a voice (free distribution of informa- out of the crisis, not by adapting to existing tion in various formats) and larger social systems of mass information production, networks (publishing, sharing, political but by starting something new. Manuel networking). The consequence of this is Castells quotes a placard being carried by that prevailing mass media and industrial the “Indignants” in Spain: “We don’t have strategies that have been in place since the a crisis. I just don’t want you any more”. 18th century now have to be re-thought. Today the crisis is more than ever a crisis of communication, a crisis of culture. Europe is at stake While the crisis is, of course, an internal problem of global capitalism, the nature In Europe the crisis began with the fi- of the crisis is not economic per se, but is nancial problems in Ireland and Greece more about politics and communication. and the likelihood of similar problems There has been a breakdown in the relati- being experienced by Portugal, Spain and onship between people and their govern- . What is at stake is the very survival ments. There is a global crisis of political of the European idea of a community ba- representation. Political power, with new sed on a common constitution and a com- parties constantly appearing on the “po- mon currency. As with previous crises, this litical media-oriented market”, according crisis once again raises the ugly spectre of to Berkeley professor and media theorist nationalism, populism and xenophobia. Manuel Castells, has entered into a sort In Kosovo, out on the very edge of Euro- of pact with the culture of centralisation, pe, people are once again living under the which Harvard professor Lawrence Lessig threat of war, even if it is very much a lo- describes as a kind of “read only” popular cal problem. culture, and with a culture industry that It is therefore vital for us to understand grew up between the 18th and 20th cen- what is special about this crisis. One possi- turies. It is the culture of television (mass bility is to consider whether fighting cor- market TV), whose era as the hallmark of ruption, sticking to one’s intentions and modern society is perhaps coming to an using tax revenues responsibly depend end with the advent of a more autonomous, solely on economic necessity and politi- cal commitment. There seems to be some- thing more intangible and complex behind all this. This crisis is also a crisis of the

55 External perspectives

decentralised and participative commu- a growth in diversity and diversity of opi- nication model (post-mass market TV). nion, as well as the creation of new types Polish sociologist Zygmunt Bauman of territoriality and new copyright and so- recently suggested that the way out of a vereignty systems. The different forms of crisis (this one and previous ones) lies in repression exercised against current social “culture”; in the consolidation of the Eu- unrest and the difficulties in listening to ropean bloc and not in its dismantling. what young people have to say are the di- The French thinkers Jacques Derrida and rect consequences of the lack of adaptabi- Regis Debray suggested something simi- lity of existing institutions caused by the lar on French television a few years ago. fear of changes to information commu- Today, this consolidation is threatened by nication channels, as well as the fear of a the possible withdrawal of some countries loss of privileges and authority, which until from the eurozone. Debray saw Europe at now were a direct product of mass media that time as something boundless, unde- culture, of ownership and of control. We fined, unopposed and lacking in passion. are starting to see this lack of adaptability If it was up to Derrida, we would have to all over the world. develop new forms of sovereignty that have Everywhere, both inside and outside of heterogeneity built into them. Zygmunt Europe, political protests are being orga- Bauman believes that the old continent still nised that cannot be simply attributed to distinguishes itself from developing coun- religious, economic or territorial issues. tries like China through its creativity, its People are rising up against religious fun- humanism and its sophistication. When damentalism and against leaders who op- Bauman claims that “Europe’s future is pose creative thinking with seeming in- dependent on its culture” he’s thinking of difference, against the imprisonment of creativity, cooperation and participation, culture through laws that are enthusiasti- but unusually he makes no reference to cally supported by conglomerates and the the digital culture. But surely new values, mass media, and against the maintenance new forms of sovereignty and new types of privileges for financial institutions, and of “governmentalities”, as the French so- so on. At the same time they are calling for cial theorist Michel Foucault called them, more social inclusion and better oppor- will be communicated via this culture. Or tunities, for ecological sustainability and maybe not. recognition for different types of coopera- tion. Young people today (Iraqis, Egypti- ans, Tunisians, Filipinos, Spaniards, Bri- The imprisonment of culture tons, Israelis, Brazilians, Americans) have the impression that the state is reactionary If diversity, humanistic thinking and and run by bureaucrats for whom this cul- democratic and egalitarian ideals really do ture is either just some kind of side-issue or underpin Europe, then digital culture will actually a hindrance to freedom, creativity be able to bring about this transformation. In fact it is already happening. For some time now modern ways of working have demonstrated a reduction in inequality,

56 External perspectives

“People are rising up against become more informal and require neit- religious fundamentalism and her approval from state control or licensing authorities nor huge amounts of resources against leaders who oppose cre- to use them, (SMS, blogs, free software, ative thinking with seeming in- Flickr, Twitter, Facebook, YouTube, Wi- difference.” kis and so on). It is the underlying funda- mental principles of this digital culture, including the creation of new broadca- sting opportunities and the convergence and the necessary creation of new models. and reconfiguration of institutions and The clash is clearly one of communica- the culture industry, that provide this new tion and the digital culture has become culture with its political and social influ- its hallmark. ence. If we have freedom of opinion and We are very familiar with mass culture: expression, supported by various media a centralised flow of information, editori- formats (broadcasting), and the possibility al control from central broadcasters, ho- of joining with others to take action (net- mogenised content for the masses, users working) then we have the prerequisites considered as little more than recipients of for effective change (reconfiguration). A news, and large media companies reaping crisis is what results when people are in a the benefits from state concessions and po- position to use creative means to produce, litical networks. There is no doubt that free participate and change. mass media have been of fundamental im- The beginning of the 21st century has portance in building an audience and de- been marked by revolutions that are typi- veloping public opinion in the modern age. cal of the new digital culture. The Arab But Frankfurt School theorists quickly saw spring, the 15th of May in Spain, rioting through their streamlined, market-orien- on the streets of many British cities, social ted nature which reduced everything to the upheaval in , the occupation of Wall same level. Scheduling and classification Street – they all have the use of social me- were and remain important political tools dia in common and serve to highlight the for managing and controlling the masses. incompatibility of mass media models with However, this model as the only mode of contemporary needs. public communication is now becoming Young people are demanding an end obsolete. to authoritarian regimes in the name of The new digital culture, the “post-mass freedom and a better life, but without using ”, is growing because of te- anti-imperialist slogans or religious ban- lematic networks that allow anybody to ners. By using mobile phones, Twitter, Fa- produce and disseminate information and cebook, YouTube and blogs they have been which render central broadcasters super- able to overthrow dictators who have been fluous. Distribution is not limited to a in power for years, as has happened in Tu- particular geographical region but can be accessed by virtually the whole planet. Be- cause of the myriad communication tools available, communication streams have

57 External perspectives

nisia and Egypt. In Israel many people are depends on the feasibility of networking protesting about social justice and living and building viable networks. The challen- conditions without getting involved in ge facing Europe and the rest of the world pro-war or religious dialogues. In Britain is how to guarantee the libertarian oppor- the police are confronting social inequa- tunities presented by post-mass media cul- lity with a show of force, in Spain people ture, so that politically significant alliances are demanding a new form of democracy, can be formed. while in New York the financial logic of In this respect, there is some justifica- Wall Street is being called into question. tion for a feeling of fear or pessimism, but We are also starting to see new forms there are also grounds for hope. The digital of investigative journalism being used, culture makes it possible to open up black with a blend of hacking and teamwork. boxes, like Pandora’s, and to make the evils The first examples of “citizen journalism” of the world become more visible. But hope were seen as early as autumn 1990. Today is still hanging by a thread and lies in the we have the hacker group Anonymous and new forms of communication that link the the Wikileaks website. They use hacking, world in new ways. It is not the networking network teamwork (wikis) and informati- of McLuhan’s global villages, or of televisi- on leaking to create information and have on or newspapers. It is the networking of established themselves as the latest facet plurality, of diversity and worldwide social of global cyber activism. Their goal is to interaction. If this is the case, and conti- reveal governmental and business secrets nues to be so, then there are and will be and, in so doing, they promise to put in- opportunities to come through this crisis formation that is of global importance un- and create something better. der the microscope of history and to usher There will always be crises, but maybe in a new era of information transparency. new types of crises with different causes. It is not a question of saying that these Nothing is certain, and the building of new new technologies are now bringing about alliances requires a huge amount of effort. necessary changes or will do so in the fu- Perhaps it is time to redefine our concept of ture (the optimistic view), or that they are crises. The new forms of expression availa- not bringing them about and will not in ble within the digital culture illustrate that the future (the pessimistic view). These young people no longer want to find a so- technologies are merely agents of change, lution to this crisis. It is no longer about and then only in combination with other human and or non-human agents. In this respect there is no revolutionary core to the “This is the challenge that new media. The kind of unity of purpo- se that makes a social movement possible faces Europe and the rest of the requires a lot of time and effort. What we world: how to guarantee the have witnessed in Egypt, Tunisia, Spain, libertarian opportunities pre- Iraq and in the Philippines cannot necessa- sented by the post-mass media rily be reproduced in a similar way in other places. There are no guarantees. The dice culture, so that politically signi- have to be rolled every time. Everything ficant alliances can be formed.”

58 External perspectives

reversing out of a dead end in order to get free development of the potential of the the train back on the right track. Now the- digital age, instead of restricting, repres- re are no more trains and no more tracks. sing, and controlling it in order to protect anachronistic associations or bankrupt institutions. Old Europe must either use Multiple sovereignties the potential of the new digital age to save the best of what can be described as “tra- It is a question of finding more complex ditional” concepts (humanism, freedom, solutions to multiple sovereignties and ter- participation, social justice, etc.) or suc- ritorialities. If nowadays we can publish in- cumb to the sclerosis of its institutions, formation without needing a permit (free- in which case the crisis will become more dom from central broadcasters, in contrast global than ever before. to the classic communications model), and if through this publication we can network with others, and indeed virtually the whole André Lemos is Professor in the Faculty of planet (the difference between the princi- Communication at the Federal University of Bahia (UFBA), Brazil, and a research fellow at ple of networking and mass media broad- the National Council for Scientific and Techno- casting), then we can create new forms of logical Development (CNPq) of the Brazilian social and political life (transformation of Ministry of Science, Technology and Innovati- social, professional, legal, sexual practices on (MCTI). He holds a doctorate in sociology etc.). This is not some kind of utopia; it is from the Université René Descartes, Sorbon- ne (1995) and between 2007 and 2008 was a already happening. visiting professor at the University of Alberta in We need to create a framework for free Edmonton and McGill University in Montreal, and democratic change that will free us Canada. from the usual channels of communica- tion. We need to let the European humani- stic ideal have free rein. The challenge lies in ensuring that future generations have a free and global digital culture. We should support some form of digital “responsibi- lity principle”, to borrow a phrase from the German philosopher Hans Jonas. The Ber- keley professor and media theorist Manuel Castells suggests that we should be striving for a free (in both senses of the word) inter- net, a creative economy and a sustainable lifestyle. We also need to reinvent demo- cracy based on values that are implicit in the digital culture, such as participation, cooperation, creativity and transparency. Perhaps the way out for Europe really does lie in culture, as Zygmunt Bauman suggests, but in a culture that allows the

59 A union of double standards When looked at from the Bosphorus, Europe’s image is getting weaker. The continent is losing its influence, culturally, eco- nomically and politically. Nevertheless, it is now crucial for Europe to take on a global leadership role in order to face up to the challenges of today. By Mahir Namur

munist blocs and increasing mobility have thrown up thousands of new tou- rist destinations. For Turkish tourists, Europe is no longer the only attractive holiday destination. Europe’s image has also changed in economic terms. Twenty years ago Euro- pean countries were much wealthier than other parts of the world and they wel- comed hundreds of thousands of “guest workers” from developing countries. But rising unemployment means that Europe now has problems coping with its existing immigrant populations. In n , we grew up with Europe- the Turkey of twenty years ago, “Europe- an culture: we read European lite- an” was synonymous with “high quality”. rature and learned about European Europe was the centre of the fashion and Iart history in schools. Even just 20 years design world and people would travel to ago, Europe was still a fairy-tale world , Paris or London to shop. Lots of for tourists. Everyone in Turkey wanted other countries produced cars, but they to see Rome, where Shakespeare’s Julius were not as good as Mercedes or Volvo, Caesar was stabbed; visit where and not as unique as Jaguar or Ferrari. Mozart composed his greatest sympho- This image of Europe being producers nies; and see the Paris of Victor Hugo. of “unique” products has also changed, But today people know every corner of because nowadays these brands are not the world via the internet, and the advent even manufactured in Europe. of cut-price airlines means that almost Europe is also now less of a politi- everyone can now travel to far-flung de- cal heavyweight. Twenty years ago, Eu- stinations. The opening- up of the com- rope represented the “civilised world”.

60 External perspectives

It represented universal values such as globe and everyone can collect and cre- human rights and social justice, and it ate information on every possible topic took in who needed a roof over and then publish it to the world. Now their heads and food in their stomachs. governments have to share their control Of course, it is not always possible to put of communications with individuals and these universal values into practice, and civil society. Europe has also had its share of policy The era of image-making and propa- makers who have thought only about ganda has ended. It is no longer effective short-term benefits. But after two world to build ideal images of countries, states wars, Europe has learnt from its past and and regions, because these ideal images now defends universal, common values. may collapse at any time. Nowadays even However, its image has been damaged by the deepest state secrets are being put on its unfortunate role in Yugoslavia, the public display and civil society is not as Gulf and Iraq wars, its lack of involve- naïve as before. On the internet you can ment in the Israel-Palestine problem and always find a counter-argument for every its oscillating attitudes towards Turkey’s argument and every piece of propaganda EU membership. Turkey now views Eu- immediately produces its exact counter- rope in a negative light, as a union of part. This makes it much more difficult double standards. The continent seems to build collective opinions. to have given up its unwavering support for universal values and is now long on words but short on action. A world without secrets

We cannot ignore these facts when The internet revolution talking about Europe’s external cultu- ral policy. It is essential to review and What was really so different years ago find a new approach for external cultu- – the mood or the actual situation, Euro- ral policy; it is not enough to just use it pe or its image? The internet revolution as a way of polishing up Europe’s image. has changed the world. Communication Cultural strategies must be realistic and and mobility are now so much faster. In concentrate on those aspects which are the past, governments had absolute con- really useful. The reality is that the world trol over communications by controlling is facing serious challenges and Europe the media and manipulating the dissemi- cannot isolate itself from them. nation of information. Now the internet All problems are inter-connected – has brought together every corner of the even those which seem to be local are often of a global nature. These problems will not be solved unless we treat the “Turkey now views Europe in a real causes. The economic and finan- negative light, as a union of dou- ble standards. Europe is long on words but short on action.”

61 External perspectives

cial crisis, social and cultural tensions, “Instead of just serving to en- the worldwide threat of climate change hance a country’s image, culture and the danger of losing cultural diver- sity are all problems which are linked to should strengthen communica- the reckless consumption of the world’s tion and cooperation between resources. The majority are consumed individuals, sectors and societies by just a small proportion of the global in order to create new visions, population without sharing them with the rest of the world. And yet it is the reach consensus and push for whole world which has to bear the con- action.” sequences of this reckless consumption. This means that the real problems stem from over-consumption and social in- universal values now has to take the lead justice. in finding solutions to global problems. This unfair distribution of resources Europe has a lot to offer; the Europe- is being increasingly brought into focus an people have always been prepared to by the media. Poor people watch televi- stand up for social justice within their sion and see how the rich live, so then own borders. Now it is time to do the they feel they want some of the same and same on the global stage. move to these rich countries in search It is crucial that politics, business and of a better quality of life. This has led to civil society should work closely toge- Europe’s asylum problems, social pola- ther. Political decisions are not enough, rization and cultural tensions. As long because power no longer lies solely in as the causes go untreated, the problems the hands of the state. The bottom-up will just get worse. This is why there is approach of citizen participation should no point in building walls and fences to complement, and to a large extent re- keep out illegal immigrants. And this is place, the top-down approach. This why it is also often equally pointless to needs joint action, and this is where cul- get two parties in a conflict to sit down ture can play a new and significant role. together and try to work out their dif- As local, national and international ferences. cultural relations are all inter-connected, Europe has to take on a leading role in it is unrealistic to try to separate them at the battle to solve the worlds’ problems. these levels. Modern methods of commu- Even though its image is getting weaker, nication mean that every decision has an Europe is still the world’s most powerful effect at national and global level. This region. European society is enlightened makes it even more important to develop and educated, so it has to take on this a common vision for Europe, so that eve- responsibility. Who else could do this ry decision that is made, whether local, but Europe? The previous champion of national or international, is influenced by this vision. Decisions made in par- allel will then be in harmony and flow into the same river. If they are not in harmony they will block their own path

62 External perspectives

and the river will dry out. This is the why the job of civil society to take on respon- the values adopted by a city or country sibility for the future of Europe in order also have to apply to the rest of the world. to create better lives for people, not just in Europe but also in other parts of the world. This should be based on citizen A new role for culture participation. All Europeans should ask themselves: How can I improve life in my Therefore, the new role of culture in city, my country, Europe, the world? And politics consists of helping to guide the how can I contribute? answers to world issues. Instead of just serving to enhance a country’s image, Mahir Namur is President of Avrupa Kültür culture should strengthen communi- Derne i (European cultural organization) in and founder of Europist, a pan-Eu- cation and cooperation between indi- ropean platform for viduals, sectors and societies in order and cooperation based in Istanbul. He is a to create new visions, reach consensus member of the A Soul for Europe initiative and push for action. Europe should have and took part in the project “Istanbul 2010: a common external cultural policy. Not European City of Culture”. He teaches project management and international culture ma- a cultural policy which projects a uni- nagement at several Turkish universities. . form image of Europe, but one which highlights a common vision and diver- sity of action within the framework of this vision. EU policy and foreign policy should coincide. Europe should develop a common vision in view of the global challenges it faces, in harmony with its external cultural policy. But what vision should Europe pur- sue? At the A Soul for Europe forum held in Istanbul in October 2010 on the theme of “Global Challenges, Cultural Visions”, leading experts in the fields of culture, business and politics came together to seek answers to this question. (See report at:www.europist.net/asfe). One of the forum’s messages was that European cultural policy must take a concrete approach to global challenges. This will rely on a close cooperation bet- ween culture, business and politics. It is

63 Moving the chairs in the global boardroom Ameri- ca has its Superman, Asia its Kung Fu. Both embody cultural viewpoints. Could Europe create similar film icons? These would of course need to be multilingual and display some form of sexual and martial superi- ority over the Americans, Chinese or even Indians. By Rajeev Balasubramanyam

United States, represented by Holly- wood, has a pre-eminent role. This do- minance is reflected not only in the near- global proliferation of Hollywood films, but by the narrative content of the movies themselves. These mainly consist of plots where the American – yet global – hero saves the world by perfectly putting into practice ‘American values’. Probably the clearest purveyor of American export values is Superman, the angel-like extra-terrestrial who stands between man and God and represents the ‘American Way’, or, by implication, n the late 18th and 19th centuries, no- God’s way. Others examples include vels and newspapers played a key role Flash Gordon, Watchmen, Armageddon, in assisting people’s consciousness to Independence Day, Mars Attacks, Twel- Imove away from transnational religious ve Monkeys, and Mission Impossible II. and dynastic affiliations in favour of nas- All these films present global scenarios cent national identification. Literature − threats to humanity from within or and media still have their place in soci- outside − that are thwarted by Ameri- ety today. But today, cinema has a wider, can heroes. more trans-national appeal. We could After the United States, we have other see the proliferation of trans-national key, though lesser, boardroom players. cinemas as expressions of national power The most important of these, arguably, in the international world: as a desire by are the rapidly growing, newly liberali- nations to acquire greater power inside sed, or liberalising, economies of China the global boardroom. and India, both with huge populations Within this global boardroom, the and with cinema industries of great nati-

64 External perspectives

onal, transnational and diasporic reach. By 2000, beginning with Ang Lee’s The Sinophone cinema of China, Hong Crouching Tiger, Hidden Dragon, Chi- Kong and Taiwan, through kung fu and nese and Taiwanese wuxia films took wuxia films, has created a marketable, over the trans-national mantle. These essentialised representation of the Chi- ‘export strength’ wuxia films tended to nese nation. be essentialist national fictions, targeted, In the case of kung fu films, their na- like Hollywood films, at both Chinese tionalistic function in both domestic and diasporic and non-Chinese audiences. export-orientated terms is clearly appa- The most evidently nationalist of all rent; in fact, we could argue that kung fu is Hero, which celebrates the individuals is inherently nationalist. In these films who brought about the birth of a unified we frequently encounter symbolic board- China. However, all export-strength wu- room tussles with Americans, ranging xia films share the quality of presenting from the subtle, as in the case of Enter universal values cloaked in an arguably the Dragon, in which Americans fight exaggerated Chinese aesthetic. As James both alongside and against Bruce Lee, to Schamus, the American co-writer and the more direct, as in Way of the Dragon, associate producer of Crouching Tiger in which Bruce Lee fights and kills the put it: “At the end of the day, Ang and American Chuck Norris in the grounds I do indeed want everyone in the world of the Roman Coliseum. to be, in a non-trivial sense of the word, Alongside such narratives, we have Chinese.” American counter-attempts at coloni- sing the kung fu genre. An important precursor to this trend was the television Indian backpackers in Europe series Kung Fu, in which Bruce Lee was originally supposed to star, but was re- While Hindi cinema has always had placed by David Carradine. By the 1980s a transnational appeal, particularly in we saw films like Karate Kid, Bloodsport, Eastern Europe, where Hollywood films and Lethal Weapon, starring white Ame- used to be banned, and in the Middle rican kung fu fighters. In more recent East, where traditional Hindi films were times, we could point to films with a preferable to more sexually explicit Hol- ‘pan-Asian aesthetic’, like The Matrix, lywood ones, in recent years we have seen Kill Bill, Reservoir Dogs, and Broken Ar- more narratives framed in terms of an row. East-West encounter. Such films inclu- de Kaafila, Namaste London, and Karan Johar’s Dilwale Duhania le Jayenge, in “Probably the clearest purve- which a group of middle-class Indians go yor of American export values is backpacking through Europe, and Kab- Superman, the angel-like extra- hi Kushi Kabhi Gham, in which a small terrestrial who stands between man and God and represents the ‘American Way.’”

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boy causes a nationalist ‘revolution’ in “All nationalisms his English boarding school, with the are divisive; by necessity, they entire school singing the Indian natio- nal anthem. exclude more than they include, Disney and Warner Brothers have al- and by definition ready begun to finance their own Bol- they falsify and distort both lywood productions, and Disney has al- past and present.“ ready co-produced a movie with Yash Raj Productions, Roadside Romeo. As in Sinophone cinema, we have also seen the production of Hollywood films with a in order to invent distinctly European ‘(South) Asian aesthetic’. These include values in contrast to values commonly Moulin Rouge, The Love Guru, Shanta- associated with the cultures of indivi- ram, in which Amitabh Bachchan will dual European nation states. These na- play a supporting role beside Johnny tional cultures, of course, are already Depp, and Bride and Prejudice. well-entrenched and have been subject Sandwiched, then, between India and to advanced processes of nation-building China in the east, and the United States since the eighteenth century. European in the west, we have the countries of Eu- fictions must supersede, or rise above rope, economically united under the Eu- these national fictions, embodying eit- ropean Union, the European super, or her new values, or aggregating those that supra, state. If Hindi cinema has created cannot be accused of national bias. a national focal point for such a diverse Simultaneously, this supra-national country, could a pan-European cinema identity must also distinguish itself do the same for the linguistically and from the American values propagated culturally diverse countries of Europe? by Hollywood’s heroes and heroines with If Sinophone wuxia and kung fu movies whom they will nonetheless have more could ideationally ‘unite’ different coun- in common in terms of ‘race’ and cul- tries via an imagined, heroic Chinese hi- ture than with their Asian counterparts. story, could European cinema invent an Can we imagine then a pan-nationa- equivalent? If Hollywood can create a list European icon along the lines of a global-nationalist hero like Superman, Amitabh Bachchan or Bruce Lee? He or couldn‘t Europe create a similar icon? she would have to be, of course, multi- lingual, and would probably need to de- monstrate some sort of sexual or martial A supra-national identity superiority over the Americans, Chine- se and Indians. Perhaps he or she will Such supra-nationalist icons will, of patrol Europe’s borders, driving illegal course, need to be created from scratch immigrants back to Turkey or Moroc- co or, like the chef in Ratatouille, deci- mate plans to transform gourmet French restaurants into burrito and chop suey joints. Or perhaps, like Bruce Willis in

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Die Hard 4.0, he or she will eliminate habiting a planet as opposed to being a Chinese female terrorists with the words, collection of nations. ‘Asian bitch’, though it is hard to say what The idea of a pan-European cinema is, language s/he would communicate these of course, conceivable, if not achievable. sentiments in. Or maybe a sports film And if this is the case, then logically a could be a viable vehicle for pan-Europe- global or world cinema should be too. But an nation-building, perhaps, in the style in terms of economic and political feasi- of Escape to Victory or Chak De! India . bility, it is of course hard to imagine how A European football team could take on a global cinema could come into being. an America or pan-Asian team. And yet it is the job of filmmakers to Alternatively, our hero might be an create dreams, and it seems more pro- ancient European figure, hailing back to gressive, more meaningful, to dream of the days before distinct European states. a united planet than a united Europe. A A rash of modern Roman (or Greek) genuine world cinema, Wollywood, we films could emerge, positing a homo- could call it, could nurture the already genous, essentialised European origin nascent realisation that we humans exist and history. Of course, such films alrea- simultaneously in a shared environment dy exist, Gladiator and Troy being exa- alongside all other earthlings, and that mples, but these are Hollywood movies, our well-being is intertwined with every- filmed in American English. Instead, we one else’s. If a genuine planetary con- would need a Latin or ancient Greek ci- sciousness is possible, then cinema might nema, a Lattywood, or Grollywood, (or just be the vehicle to deliver it. Eurowood, if the moniker is to be geo- graphical rather than linguistic). Rajeev Balasubramanyam was born in 1974 But we must always be wary of such in Lancashire and studied at the universities of Oxford and Cambridge. He has published proto-historical nationalism, particular- various short stories and anthologies. His ly in the European context, where empire first novel (‚In Beautiful Disguise‘, Blooms- and glory have always been accompanied bury 2000) is set in India and narrated by a by notions of white supremacy. More to 17-year old. He won the Betty Trask Prize for the point, all nationalisms are divisive; first , awarded by the British Society of Authors to young authors from Common- by necessity, they exclude more than they wealth countries. include, and by definition they falsify and distort both “past and present”. Eu- ropean supra-nationalist cinema would almost certainly create new, or deepen existing, divides at exactly the moment in history when the human species is becoming aware of itself as a species as opposed to a group of ‘races’, and as in-

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Europe’s forgotten fringes Ukrainian essayist Yurko Prochasko has described the countries and regions on Europe’s eastern fringes, which are not members of the European Union, as “living deconstructivists”. They are a constant reminder of how Europe is not really Europe and of how history provides proof that they should belong to Europe. To treat them as some kind of special zone in order to keep them at a di- stance would be tantamount to unforgiveable short- sightedness.. By Jurko Prochasko

and are always a challenge. But they are not a risk to Europe, they simply make it more exciting. But it would by no means be easy to simply integrate these regions into today’s Europe, into what passes these days for the “European scene”. Things would have to be changed, there would have to be spe- cial exceptions and special admissions, special cases and special conditions. But confessions go hand in hand with reserva- tions, successions with concessions. They would lead to differentiation and make people aware of the somewhat uncom- here are some places in Europe, fortable fact that an end to unambiguity whole swathes, strips and regions, may be on the horizon. They would bring a good half dozen countries, which ambiguity, because they are themselves Tare just that bit different. They make it the embodiment of ambiguity. much harder to get a clear picture of what Dealing with them can be tough and Europe once was and what it actually is tedious; trying to understand them is al- today, because they make the whole thing ways an effort, often unrewarding and much more ambiguous. But, with luck certainly not conducive to feeling happy. and real perseverance, they can provide And yet all these efforts are worthwhile people with more insight, because they because these regions have a great deal make the concept of Europe not only more to do with Europe in a variety of more complicated they actually bring ways than is perhaps comfortable for the whole concept itself into question. For other parts of the continent, which wron- many people they distress and distort, for gly imagine they are less ambiguous and others they shift, dilute and blur. They are more unequivocal. Confrontation with a distraction from what is actually going these other European regions that are or on in Europe and are spoiling the game. They are a risk to Europe. But as far as I am concerned, they enrich and expand

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have become somewhat different may in- Its spiritual and, in many places, legiti- deed often be very complicated, but in mate judicial centre and its values, around the end they may at least offer a certain which this partial cosmos tries to orbit, amount of insight. are all too often exposed as little more I sometimes feel that the most impor- than a vacuum, and that it is impossible tant job for these regions, regions like my to talk of and assert “eternal values”. And own, is to actually complicate the concept it is a reminder that without all this hard and idea of a Europe that is constantly work and effort Europe doesn’t actually striving for simplicity and apparent cla- make any sense as a valid and common rity. Their main function is to illustrate entity. and highlight the fact that Europe is so- mething made, not something given, so- mething evolving, not something com- Reminders and warnings plete, an ongoing production process, for ‘best Europe’ not a finished product. It is of course an idea and an ideal, but not a substance or Those European countries and regions an essence. It is a constant desire that is that have a poorer record when it comes very difficult, if not impossible, to satisfy to democracy and human rights, envi- but never an unconditional possession. ronment and agitation, the morals of its Europe is, and never will be, a foregone citizens and those of its civil servants, the conclusion. And above all Europe is not justice and rightness of the arguments something definitive, neither in terms of and excuses as to why things are the way being complete nor of being permanent. they are, as well as countless other issues, These regions are living deconstructi- all serve as both a reminder and a warning vists (on the assumption that people are to ‘best Europe’. And they therefore have aware of them or know something of their a lot of relevance to Europe and tend to existence). They are a constant reminder cast doubt on the crass differentiations that Europe is not truly Europe. The Euro- between genuinely different European pe of today, that is. And, if you are willing regions. These parts of Europe serve to to go further back in history, of the fact remind those European countries that are that Europe has never been a constant, currently in a better situation not only of but has always been subject to doubt and their past, but also of the fact that there the constant desperate search for self-af- is the potential, and in some places the firmation, tests and temptations, designs likelihood, that things in Europe might and distortions, corrections and changes. not actually be so permanent. These regions remind Europe of the existence of the rest of the world becau- “To integrate these regions there se there is nowhere else where such se- would have to be special excep- rious, globally important changes hap- tions and special admissions, pen as quickly, as consequentially and as special cases and special condi- tions.”

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prominently as here. It may well be that cern for the situation of these excluded, those European countries that are not in forgotten and undesirable areas of Euro- such a good state are simply already going pe. The idea of Europe today is much more through things that other countries may aligned with the identity of the European themselves have to go through one day. Union. The terms EU and Europe have Good things and bad. To treat them as become not just metonyms, but synonyms some kind of special zone in order to keep for each other. If somebody wants to de- them at a distance would be tantamount fine Europe in a different way they gene- to unforgiveable short-sightedness. It is rally have to put “Europe” in apostrophes. far more satisfying to share good things However, redefining Europe is something and to work together to resolve obvious- that non-EU European countries need to ly bad things than it is to simply classify constantly endeavour to do, for the sake of things into good and bad, which on this others, but above all for their own sakes. earth can never be so clearly defined any- way. It may also be the case that these areas are given so little attention becau- Neither wanted nor welcome se other countries see in them both un- pleasant ghosts of their own history and The effort needed to do this is not the the kind of potential future scenario that same everywhere. It is particularly hard they would simply rather not think about. for those non-EU European countries, Today some European countries – and which, in contrast to, say, Switzerland or my country, the , is certainly one Norway, are excluded from Europe not of them – are struggling to justify mem- because they want to be or because they bership of Europe to both to themselves have chosen to be, but because they are and to others in any other way than in neither wanted nor welcome in Europe. terms of a common history. Everything Not being wanted or welcome is not a par- else, the reality of their situations today, ticularly nice feeling. Wanting to belong, just seems to conspire against their ever but not being allowed to, is just as bad. It being able to prove their Europeanness. can have a serious effect on a country’s self Everything today, be it their politics, cul- confidence. This is true of other parts of ture or development strategies, their ove- the world too, but it is particularly true rall priorities, the values they espouse, in Europe. their general lifestyles, aesthetics and ar- The conviction that they are part of chitecture, their environment and tech- Europe is nowhere weaker than here in nology and their sexual mores just seems these countries. Nowhere is this con- to be designed to prove the opposite in- viction disappearing faster than here. sofar as they all seem to accept there is a Nowhere are European feelings of inferi- contradiction in what being “European” ority as pronounced as they are here. And really means or what “Europe” actually is. nowhere are they as widespread as here. On the other hand, those who are cur- European self-doubt has reached despe- rently generally considered to be “Euro- pean” seem to have gone down a totally different route and have little or no con-

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rate proportions and European self-loa- would be considered a joke in other places thing is so strong that people are convin- are celebrated here with an unparalleled, ced that they have brought all this upon almost existential seriousness. People may themselves and deserve to be punished by well find this strange or a something of a not being allowed to join Europe. joke or dismiss the whole thing as obscure This is why people are clinging on to or old-fashioned. But this kind of thing history out of the belief that it is somehow gives me hope. Firstly because it shows a history that is significant and meaning- that there is a genuine desire to belong, to ful to Europe as a whole, which of course use all available means to prove that they it is to a great extent. But it is the passion really do have a legitimate claim to being with which people use this history for self- European. And secondly because it is far affirmation or with which they cherish better and much more productive to take and nurture it that may appear somewhat this kind of approach than trying to use strange amongst those whom it is assu- a second and much more dubious way of med do not belong and who could share proving their European provenance: the a common history and culture with those fact that they are white. who do belong. History is our favourite This obsession with history is a form excuse and our main – and apparently of regression. Too little of it can lead to only – argument. The obvious is often rigidity, stagnation and schematism. But staring us in the face, but unfortunately it if there is too much history you risk drow- is of little use because we generally don’t ning in it, disappearing from sight and recognise it. losing your place in the here and now. You will rarely find as many weird coll- Psychological regression is the same, it ectors and guardians of historical tradi- is like water where you can swim and en- tions that point to a one-time common joy the sensation of buoyancy, but where European past than we have here. You will you can also drown or lose yourself in its rarely hear stories that are as inextricab- dark depths forever. You can become an ly bound up with a perceived past and a amphibian. hoped-for and coveted future. Facts that There should only be as much history as a given community needs at a given time. But then again, who decides how much is enough? Perhaps there is some “It is particularly hard for tho- kind of social intuition that decides these se non-EU European countries, things. A healthy person should be able which, in contrast to, say, Swit- to decide when and to what extent he will indulge in regression and should know zerland or Norway, are excluded how to regulate it or even sometimes how from Europe not because they to provoke it and so confirm its value. A want to be or because they have healthy person will use regression to re- chosen to be, but because they juvenate himself, to gain inspiration and are neither wanted nor welcome in Europe”

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to change. The bottom line is that a heal- a part of. This does not mean that there thy person will enjoy regression and reap would be some kind of ‘end to history.’ the benefits. It would actually mean something much The same is true for societies and their worse. History, as opposed to time, would histories. History can be a fertile bree- cease to be equally spread across all parts ding ground for change and turning to of Europe. Historical time would be split history can be inspiring. It is not possible from physical time. Physical time would to change existing structures that socie- continue, but historical time would slow ty no longer wants to keep for one rea- down in some regions and even come to son or another without first delving into a complete halt or head off in a different the past, without exploring the concepts direction. Historical time would be divi- of sociology, without turning to histori- ded into different regions, different zones cal debate. Every brave and productive of history. This would only be the case in change is the result of looking to histo- areas where people live together in com- ry, of invoking the past in retrospective munities, not in nature reserves, primeval or historical debate. Courage lies not in forests, wastes or steppes. This would not breaking with history but in affirming be a Europe of different speeds, but one it. This is what the word “reform” really of different times. means. Every break with history, every intentional break, requires a reasonably good or even excessively good knowledge Historical reserves of history. This is because you can only really break with something if you belie- True reserves are to be found in histo- ve you know it so well that you no longer ry, not in nature. There are time capsules, want anything to do with it. little islands of time, in which historical In our part of Europe, awareness of hi- time does not simply start to slow down, story is also important for another reason. but slowly develops a character of its own, Sometimes it is the only factor that con- a special, isolated logic. A logic of isola- firms that we actually belong to Europe at tion. How much history can people tole- all. If this factor were to become weaker rate? How many differences of history can or disappear altogether then it is not only they tolerate? Sometimes time stops being likely that we would face long and difficu- about creativity and becomes the start of lt crises, but it is almost inevitable. This a period of total decay by accepting the is far more likely to happen if historical muse of disintegration. Decay then beco- factors cease to be the key determinants mes the most important and only expres- of whether we belong to Europe or not sion of historicity. and current circumstances become the History does not mean “the past”, or deciding factors instead. at least not only that. This is only one di- Then a whole area of common history mension of history. More than anything would start to exist to which we no lon- else history is about a yearning for the ger belong and which we could not sha- re in. It would be common to others, but not to us, a commonality that we are not

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historical, the desire for it to continue, vision is so powerful and we need it so the ability and willingness to tell stories. much that we are prepared to discover a History is about the meaning and context common past and to put it above all dif- of memory, a comprehensible continuity ferences and disputes. Because this is how and a tradition as well as the ability to we want it, because we want Europe, with carry on the story and to accept its le- us in it. We are prepared to allow those gacy, rather than running away from it. who we want and desire to share a com- For this legacy to be accepted readily it mon history with us and even to assume has to be understandable and have some it. We are prepared to follow our desires contemporary relevance. It must make because we have a goal that we all desire. sense today. This is why we need to love and want each Only then can regressions into the hi- other. It is our love for each other that will storical past be truly therapeutic. If hi- guarantee that we reach our goal. So Eu- story is seen as something foreign, fri- rope basically boils down to our mutual ghtening and incomprehensible then desires. We love our vision and our tasks regressions can become pathogenic. The and we love each other for being the ones risk of retraumatisation is particularly who embody this vision and who will car- high, the risk that the only parts of histo- ry out these tasks. ry that will be relived are those parts that It will be very interesting to see just are the most pathogenic and destructive. how far our lust for Europe will stretch When this happens history is no longer and at what point it will stop and why. something that you can learn from but Then we will learn that “we” all have dif- becomes something that is condemned to ferent and somewhat differing ideas and be repeated forever. The more traumatic preferences. Not only in terms of our com- this history, the higher the risk of retrau- mon goals, but also in terms of each other. matisation. One of life’s ironies is that, And we will have to learn to tolerate these while we seem unable to avoid looking differences, on the assumption that we re- back in history, we still don’t know how ally do desire each other and are prepared to use this process in a therapeutic way. to pay a concrete price for what we value. Without history we lose the last vestiges There is the desire to be closer, but also of belonging to Europe. With history such the love of remaining apart. The temp- belonging would be hard to bear. tation of being as one, but also attempts What are “we” as far as Europe is con- to love oneself. These contradictions are cerned? Why do we, or don’t we, want often in play, a kind of ambivalence bet- each other? “We” are the “Europeans”. ween symbiosis and autonomy. We are part of a grand and great vision Europe is not so united, or even clo- that is concerned with the future and the se enough to being so, that it can afford present just as much as with the past. This to do without a common cultural poli- cy. A common cultural policy first has “There is the desire to be closer, to be just that, and there can never real- but also the love of remaining apart”

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ly be enough of such a policy. We have a “A common European cultural rare opportunity here to make the words policy is not about unification, “common” and “European” a reality for once. In contrast to the wider areas of but about integration.” economic, financial, defence and educa- tional policies, cultural policy is now so- mething that could be applied not just to tive clichés are no substitute for reality, EU Europe, which is increasingly seen as but simply stand in the way of more ex- being Europe per se both rhetorically and citing, more surprising and more sophi- emotionally, but to Europe as an area of sticated experiences. common . We call anything different that we are A common European cultural policy afraid of or that we think is threatening is not the same as a common European ‘weird’, yet anything different that is cu- culture. And nor is it the sum of indivi- rious or fascinating, we call ‘exotic’. In dual national or regional European cul- walking this fine line we need to over- tures. That is something else. Also it is not come this sense of exoticism as something a substitute for an individual European weird, without losing our sense of the exo- culture (and never can be), nor should tic. We need to convert the negative exo- it completely replace individual cultural tic into something positive, to transmute policies. But it should also not be seen as it, to let it evolve. A common European a simple expansion of these policies eit- cultural policy is not about unification, her, but should become a new reality. A but about integration. Integration in the reality in which, and out of which, much sense of the ability (or even the desire) to is possible. Much of this was not only not allow or accept something different, and really possible before, but simply was not to allow it to become a part of you. So it there as a reality. is about constant self-expansion. This concept of a cultural policy has a key role to play in integrating parts of A test bed for the present Europe and creating a sense of expansion in those areas where it is needed, and in A common European cultural policy maintaining a sense of European com- should help to create a sense of awareness monality in those places where other and feeling for European commonality in measures have so far failed. It also has an that it will show where these commona- important role in creating transitional op- lities exist, historically, currently and as portunities in order to preserve European a challenge for the future. This culture self-perception during difficult times. In could actually be the starting point for a this respect it is a sign of understanding, truly common European era – a European of wanting to understand, an ever-pre- cultural epoch. sent avowal of solidarity. Exoticism can The real emotionality of something be both obvious and subtle. A common truly common starts when prejudices are put to one side, even positive ones, with the conviction that even the most attrac-

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European cultural policy should questi- been collectively experienced or what lies on the supposedly familiar and help to in our collective past. A common cultural revitalise what has inadvertently become policy needs to be oriented towards crea- dull and faded. Local cultures should not ting cultural visions or a common future. be ignored but revealed and protected in History should be the one foundation of order to create a new layer of culture. this policy. To constantly remind oursel- At the moment there is not necessarily ves of how close we are despite all our a common European culture, or at least differences (history can give us enough not obviously. If there is one, then it is examples of this) will be a fascinating new minimal, insubstantial and not the result experience. of some kind of consensus. The second big challenge will be to But there could be a common Europe- identify all the tensions, conflicts, va- an cultural policy. This could come about rying interpretations and versions of what if we genuinely want a common Europe. has happened and is happening, as well as This is because it isn’t so much a product all of our different interests, without fal- of history or some kind of organic extract; ling into the temptation of simply resor- it is the result of deliberate efforts aimed ting to superficial harmonising, placatory at achieving more unity in Europe and and well-meaning gestures. from Europe. And that means basically Only then will Europe be capable of having more Europe, something which becoming a test bed for the present. comes down to desire, to wanting each other and being interested in each other. Jurko Prochasko was born in Western Ukra- But first it has to arise. In order for this ine in 1970. He is an essayist, commentator, literary scholar and translator. He teaches at to happen, a common European cultural the Institute of Literature at the Academy of policy needs to fulfil a number of requi- Sciences in Lemberg (Ukraine). In 2008 he rements. It mustn’t try to pass itself off as received the Friedrich-Gundolf-Prize for the “”. It mustn’t become a form intermediation of German culture in foreign of “cultural apparatus”. It mustn’t allow countries. He has also translated several works including “The Man without Qualities” itself to be led by some “dominant cul- by Robert Musil, two novels by Joseph Roth, ture”. Its key function would be to raise prose by Gottfried Benn and lyric poetry by the profile of things that already exist; Günter Eich in addition to texts by Martin Hei- to reveal those things that deserve to be degger and Jürgen Habermas. revealed; to clarify things that are (or have become) unclear. It mustn’t negate, but reanimate those things that have be- come negated. It mustn’t make excuses or try to justify; gloss over or trivialise. It should simply create the sense that Europe is based on two key principles: unboun- ded diversity that should be respected and amazing prospects for cooperation and commonality both now and in future. If mustn’t be based on what has already

77 Peeking through the open window When young Arab activists manned the barricades during the Arab spring with the help of social networks like Twitter and Facebook, they were demanding the same rights and freedoms as their European counterparts. Now it is time for Europe to turn its attention to its immi- grant population and find ways to help them become more integrated into society. By Hela Khamarou

we believe culture to be a positive pheno- menon. But it can also work to underscore differences and act as a kind of centrifugal force. Xenophobia is nourished, at least in part, by fear and cultural differences. Ignorance often goes hand-in-glove with an incomplete or erroneous sense of one’s cultural self. One needn’t go very far back in time to find that worst-case scenarios are rather more common than the name suggests. Our shared culture is steeped in a shared history that just shows us what not to do. At best it can serve as a signpost for the future. ulture can be a facilitator, a me- History is what glues Europeans toge- ans of projecting a new, positive ther, for better or worse. From Greek phi- image of Europe. But the question losophy, Roman savoir-faire, Christianity, Cmust be asked: what is this image exact- Renaissance, colonial expansion, indus- ly? When looking at Europe as a whole it trialization and wars –more than we care is clear that there is a lack of a common to remember, we are identified, admired, culture that unites all Europeans. Europe and feared by others on the basis of our is an artificial construct that is first and past. Over the centuries, European cul- foremost economically-driven. Europe is ture developed into a patchwork of over- not America. There is no such thing as the lapping influences that were at times com- United States of Europe, no matter how plementary but also at times conflicting. much we like the sound of it. We are sim- European thought is based on diffe- ply not there yet. But in that case, where rent religious and secular philosophical are we? How does this very complex con- currents. Traditions such as the Enligh- tinent perceive itself? tenment, Naturalism, Romanticism and. We tend to believe that “culture” is a more importantly. democracy have all tool that brings people together, smooths helped to shape how Europe perceives its- out differences, and builds bridges to en- elf today. While disagreeing about many courage dialogue and unity. In this sense, issues, all 27-member states of the Eu-

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ropean Union today agree on the notion mes to implementing their own demo- of democracy as a central pillar of their cratic ideals. shared political life, including freedom of The unprecedented revolutions in speech, freedom of movement and free- Arab countries have left many European dom of representation. policy makers scrambling for an apt re- sponse. When young Arab activists man- ned the barricades with the help of social An alternative to the New World networks like Twitter and Facebook, they were demanding the same rights and free- Culture can be defined as the rela- doms as their European counterparts. A tions that people have with one another, recent article by Bernard Lewis in the Je- which includes both contrasts and simi- rusalem Post cited growing sexual fru- larities. In this respect, Europe portrays stration as a key factor in these uphea- itself as being different, more authentic, vals. In this respect, the deciding factor and grounded in a long history, unlike might well have been the ideas, cultural its cousin across the Atlantic. The “Old values, and perhaps the material accom- Continent” is presented as an alternative plishments of . More and to the “New World”. more people were taking a peek through Yet talk of a common culture as such the open window afforded by satellite TV, represents a dilemma. It is a myth – how the internet and cheap telecommunica- much of it is real, and how much of it is tions, and at the same time it served to merely the product of how we like to per- reinforce Europe’s sense of self. ceive ourselves? And if this idea of Europe Attitudes towards the United States is merely an aspiration, what can be done also contribute towards finding a sense to translate its moral and cultural values of identity. Europe tends to compare its- into reality? elf favourably to the USA, a view rein- In this respect we have more questions forced by American behaviour. Visiting than clear answers. And what should we Europe is seen as a sophisticated thing to use as a benchmark for defining an entity do and has become almost a rite of pas- such as the European Union as an alterna- sage for many (well-heeled) American tive to the political practices of others? Is students. The US produces blockbuster it better to compare Europe’s democratic movies, to be watched while ingesting achievements with those of its contem- copious amounts of popcorn; Europe porary peers or with those of earlier, less produces ‘films’, to be discussed over a accomplished versions of itself? A case glass of wine. Americans eat McDonalds, in point might be the neighbouring Arab whereas, in 2011, French gastronomy was world, where European nations have not included in UNESCO’s Intangible Cultu- always been willing to help when it co- ral Heritage programme. But globalisati- on has cast a shadow over this European “Our shared culture is stee- uniqueness. Economic imperatives trump , which seems increasin- ped in a shared history that just gly at risk of becoming more uniform and shows us what not to do.” standardised across the world.

79 External perspectives

Despite remaining a cultural attrac- their adopted land. Immigrants were as- tion, in economic terms Europe is con- ked to shed their past and embrace a new sidered less appealing than the USA or culture. This was the underlying idea of emerging countries such as India, China the policy of “assimilation”. and Brazil. The ‘old’ ways of doing things It should be remembered that, in prac- involving intricate social legislation, wor- tice, European policies have not served to ker protection, and indeed, Europe’s pre- extend across national borders in social occupation with safeguarding its distinc- terms, despite the insistence that multiple tive , tends to be viewed cultures and bi-national citizens would negatively in the world’s boardrooms. The enrich our continent. When it comes to recent financial and economic crises have accepting ethnic pluralism, there is a huge highlighted these issues. The cover of the gap between word and deed. Countries August edition of Time magazine proclai- such as France fear they will lose their med: “The Decline and Fall of Europe”. own culture because of the arrival of mi- The continent does seem to be at a pivotal grants with totally different beliefs and moment in its history. With the monetary customs. I am of course referring to Is- union under pressure, young Euroscep- lam, which is seen as the biggest threat to tics protesting in Spain, Greece, and Por- Europe as an entity. Even though Muslims tugal, and the rise of populist politicians follow a different religion with different who are either sceptical or downright ho- traditions and customs, I do not believe stile towards Europe, is it time for us to they present a risk to European identity. say goodbye to the old order? The notion of identity in itself is not set in stone. I also believe we should not speak of “an identity” but of “identities”. A European Eldorado We have multiple identities. Cultural crossovers should not be seen as a danger One of the biggest challenges facing to a nation’s stability but rather as a way Europe today is how to integrate its many to strengthen it. It is a phenomenon that immigrant cultures. New population is based on the notion of constructivism groups with different cultures, customs as a theory of international relations. Of and traditions have arrived in Europe, course, some types of “baggage” can be hoping to find an Eldorado. But reality more bulky and troublesome than others. tells a different story. The waves of mi- But identities adapt and continue to grow. grants have engendered a sense of fear Any “baggage” brought along from the among native inhabitants, who are not “other world” does not have to conflict willing to see their own cultural founda- with what is already in place. Immigrant tions altered by people with different re- populations are not hatching subversive ligions and customs. Here culture is not plans; instead the reality is much simpler serving to connect but to divide. Politi- and less dramatic – they are just seeking cians have tried for decades to deal with a better life. this issue, but with no great success. Eu- Of course it takes time for immigrants rope is not Canada, where the policy was to adapt to the culture of their adopted to assimilate migrants into the culture of country. Imagine you are fleeing a war

80 External perspectives

zone as a and trying to find a In 2010 France held a countrywide de- peaceful land that will provide a better bate on what constituted “French culture”, future for your children, while having spurred on by fear that their culture could to cope with a foreign language, strange be shattered by one specific community: customs and different ways of dressing. the Muslims living in France. I should All this takes a huge amount of time. I stress that those Muslims who were tar- remember members of my family telling geted by people of a particular political me how shocked they were when they leaning (the right and far right) were first went into a supermarket in France in fact French citizens. This made it all after arriving from Iraq, and saw the vast the more shocking when it was claimed range of products on offer. It was some- that they did not adequately conform to thing they were totally unused to, and French culture. they needed time to adapt. It’s like a child As a result, immigrants tend to expe- going into the Harrods toy department rience discrimination and rejection in at Christmas for the very first time and their “Promised Land” and become alie- staring wide-eyed, caught between temp- nated both from their own and their host tation and the fear of being punished for culture. This alienation can then develop touching a toy. The child is just flabber- into a very real threat. Other cultures – gasted. This may be a trivial example, but which were originally considered as so- it shows the importance of details when mething positive – start to break down sketching out the bigger picture. into ever smaller units and this has a di- rect effect on the social cohesion which is the foundation of whole societies. A real lose-lose situation Our world seems more and more in- terconnected and interdependent in all But it is more difficult to adapt to a new domains of human activity, but internati- culture, (and here I don’t mean in any way onal relations and inter-cultural dialogue to suggest that migrants should abandon do not seem to have been strengthened their native culture), if the country they to the same extent, or at least inadequa- are settling in rejects them out of fear. tely. Ever since the terror attacks of 11 Then it becomes a real lose-lose situation. September 2001 and the ensuing wars Our refusal to accept other cultures just in Afghanistan and Iraq, misunderstan- makes the situation more difficult than dings and mistrust have increased on both it already is. sides. America’s war on Islamic terrorism has infected public discourse in Europe. Populists have risen to the challenges of “Immigrant populations cultural diversity by sowing division and are not hatching subversive reinforcing stereotypes. Instead of dia- plans; instead the reality is much logue they have espoused confrontation. simpler and less dramatic – And their message is being heard all over the world. they are just seeking We are facing a multitude of challen- a better life.” ges, but Europe is still seen as a place

81 External perspectives

where it is possible to have a good life. Every year it attracts tens of thousands of migrants. Instead of imposing assimi- lation on the new arrivals, we should fa- vour the notion of integration without obliterating the immigrants’ own culture. It should be viewed as enrichment when Europe’s identity – whatever that may be – is enhanced by a greater variety of cultural expression and cultural identities, not as an obstacle to social cohesion. Our current challenge is to tackle ob- stacles through the promotion of mutual understanding. It has always been the case that ethnic, linguistic, religious and cul- tural diversity constitutes the very iden- tity of Europe. This does not obviate the need to build on common values and, if necessary, investigate and redefine what constitutes these values. Education plays a key role and should be used to build bridges between cultures. Europe’s values and ideals are exactly that: values and ideals. We still have a long road ahead when it comes to putting them into practice. By presenting these ideals to ourselves and to the outside world we should not delude ourselves into thinking we have already achieved them. However, this should also not prevent Europe from continuing to promote these values and ideals. Europe is now just one world power among many and it should lead by exam- ple, not by imposing restrictive measures.

Hela Khamarou was born in Paris of Iraqi parents, and she still lives and works in the French capital as a freelance journalist and author.

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Now is the Time Europe’s place in the world is not solely decided by the military or the economy. The geopolitical situation in the 21st century requires a renewal of cultural diplomacy with a multilateral approach. With the development of a strategy for a European cultural diplomacy, the focus should not be on communication messages or symbolic actions, but on building trust and reciprocity. By Robert Palmer

chiefly military, economic and politi- cal—cannot. And there are powerful arguments for the inclusion of cultural action in the external action of the Eu- ropean Union. Because the EU has the legal obligati- on to “assert its identity on the interna- tional scene,” (Treaty on the EU, Title 1, article B) it has been developing external action. Debates on the international role of Europe from the very beginning have included the role of norms and values, and the cultural dimension of foreign policy, initially described as “civilian e are witnessing dynamic power” was first used in the EU presi- change in the management dencies or in the treaties of Maastricht, and implementation of fo- Amsterdam or Nice. More recently, the Wreign policy. A vital component in this term “soft power”, coined by the Ame- shift has been a renewed interest in pu- rican political scientist Joseph Nye, has blic diplomacy as being more than an become established. interaction between appointed officials. There is increasing emphasis on the pu- blic dimension of diplomacy. When “Normative power Europe” speaking about the role of culture in this shift, there is a risk that culture is consi- Political scientist Ian Manner’s notion dered as more of a tool than a component of “normative power Europe” also gained of foreign policy. temporary significance as a reaction to Culture represents and connects peo- the requests which have been ongoing ple in ways that certain state measures— since the 1980s for the EU to have a rein-

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forced military and security role. Instead vour of developing a clear framework for of exercising military power in the world, cultural action within the EEAS. They Manners believes Europe should rethink combine the notion of the EU as an eco- traditional concepts and new routes for nomic project (trade and monetary poli- foreign engagement. cy), a political project (common foreign The recent establishment of a Euro- and security policy) and a social project pean External Action Service (EEAS) (the Charter of Fundamental Rights), as now offers an operational framework well as a cultural project. An understan- that can go beyond symbolic instituti- ding of a common European political onal measures by enhancing its cultu- space could be extended to include an ral capabilities. There are many reasons open concept of a common European why European governments should col- cultural space. A political space is bound laborate in realising not only economic by regulations, migration policies and and political objectives, but also cultu- legitimacy linked to territory. A cultural ral ones. space is decentralized and unbounded, This can happen through a heighte- with multiple dimensions that help bind ned understanding of the function of people together. cultural diplomacy and cultural rela- tions in stimulating greater mutual re- spect, trust and understanding. It can Culture as part of development help dispel hatred and intolerance within Europe and between Europe and third A further argument centres around the countries. These positive effects are also importance of cultural processes in re- highlighted in the White Paper on Inter- inforcing positive economic and social cultural Dialogue, which was published transformation through their influence by the Council of Europe in 2010, and in on identity, the coordination of collective the rationale behind the European Year action and symbolic exchange. Culture of Intercultural Dialogue in 2008. is a constitutive element of development, Cultural components must become and certain traditional development mo- an intrinsic part of European external dels have not succeeded because they action. Although there appears to be a have not addressed underlying que- theoretical and rhetorical acceptance of stions of education and culture, which this notion, little attention has been paid are essential elements of reconstruction. to its practical realisation. Now is an opportunity to reconsider the There is a variety of arguments in fa- foundations of development assistance within external action policy. There ap- pears to be growing acceptance that mul- “There are many reasons why tilateral cultural cooperation makes an European governments should important contribution to EU external collaborate in not only realising economic and political objec- tives, but also cultural ones.”

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action, in particular, actions in relation encing governmental and statutory legal to third countries. Additional cultural bodies. Future European diplomatic ac- instruments should be created by the EU tion would be well-served by prioritising to address ignorance and prejudice and cultural diplomacy as a central strategy build mutual trust between EU member designed to demonstrate that Europe is states and non-EU countries. a power that promotes the principles of The role of culture in the security international law, human rights, global sector should certainly not be ignored. development and European unity. In the Strategies for conflict prevention and formulation of a strategy for European the management of post-conflict issues cultural diplomacy, the focus should not and peace-building have strong cultu- be on the delivery of messages and sym- ral components. The rationale for such bolic actions, but on the building of trust work and the appropriate tools and re- and the principles of mutuality through sources have been either overlooked or very specific programmes and activities. remain substantially under-developed. Actions need to be measured against Political conflicts are the result of the their impact on achieving specific ends. convergence of many factors. However, The European diplomatic service should the cultural dimension of conflicts is of- no longer be focused on bilateral agree- ten instrumentalised and heightens po- ments and projects linked to national litical differences. Actions that promote goals and priorities. A European cultural the appreciation of diversity, recognition diplomatic strategy should be an inte- of equality and encourage dialogue as gral element of the EU Common Foreign an alternative to violence are all valid and Security Policy; work on such an ap- external action measures. proach will necessitate new frameworks and pilot projects to test ideas, new mo- dels and structures in action. New tools for foreign policy Proposed developments of EU cul- tural cooperation policy are sometimes The geopolitics of the 21st century hindered by an extreme interpretation are calling for a reinvigorated and mul- of the subsidiarity principle by member tilateral cultural diplomacy. Achieving states. They believe that anything cul- this will require the development of new tural is a national prerogative. This re- tools for relationship building and the presents a gross misunderstanding and creation of new linkages, in particular short-sighted vision of the notion of cul- with civil society, networks and NGOs. ture, because culture is not purely a na- This goes far beyond the understanding of cultural diplomacy as simply a means of promoting national or pan-European interests, or focusing primarily on influ-

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“New frameworks and pilot pro- jects need to be developed to test ideas, new models and structures in action.” experience that needs to be brought into play. This will take time to achieve. tional or local phenomenon. Tied to a overly-narrow interpretation of subsidia- No common diplomatic culture rity, policies and actions concerning cul- ture in the EU often in the past have been At present there is no common EU restricted to “harmless areas” such as co- diplomatic culture. This will be a major operation and exchange. These bounda- challenge as the EEAS moves through a ries have already been transgressed in process of blending different foreign po- relation to many EU programmes, and licy traditions of member states and the a much wider scope for cultural action very different administrative cultures of should be advocated as part of the EEAS. the European Council and the Commis- If the EEAS begins to focus on cultu- sion. The EEAS will need specialism in ral diplomacy as a major strategic thrust, cultural diplomacy, which does not exist it will need to ensure coherence and links at this stage. This expertise is clearly dif- across all EU institutions and admini- ferent from that connected with the har- strative units in order to eliminate turf- der elements of peace-keeping and civi- fighting and bureaucratic competition lian protection, for example. within, or adding to the existing layers However, the primary task will be to of administration when introducing any bring together the various EU entities new institutional mechanisms related to working on culture and those who are cultural action. not reflecting but who should reflect on Conceptual coherence and clarity the cultural implications and actions about principles are required in order that may be highly relevant to achieving to combat inter-pillar and inter-profes- their objectives. These bodies must be sional fragmentation that may render EU linked to growing European networks external relations ineffective. Such co- of civil society organisations that have herence should help increase the public experience of cultural action. impact of the EU missions in countries This strategic task must also involve and underpin a common set of norms other international organisations ope- and values. A simple merger between re- rating in the cultural and foreign poli- levant desks from different services or cy domains, most notably the Council improved ‘coordination’ will not achie- of Europe, OSCE, OECD and the UN. ve such coherence. It needs to be under- The EEAS should resist any lazy propo- pinned by the development of a shared understanding and a common vision, as well as a recognition of the importance of different but complementary skills and

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sal to simply create a ‘cultural desk’ in nance; or as a tool for peacekeeping. each mission staffed by relatively inex- If the cultural action of the EU is perienced people without the understan- merely a combination of various indivi- ding of the necessity for connectivity and dual actions by individual member states without the appropriate training, expe- that are packaged up and branded with rience and capacity. the EU label, they will only have margi- The operational dilemma will be how nal impact. Genuinely effective Europe- to incorporate cultural responsibilities an actions are not of this construction, into the EEAS from an organisational and the promotion of European cultural point of view, bearing in mind the trans- products or Europe’s image in the world versal role of culture and its contribution will have limited force if they are not de- to several of the EEAS objectives. fined in terms that can distinguish them- Culture should not be the objective selves from a mere collection of national itself. A bureaucracy that historically initiatives. has a preoccupation with specific pro- Unfortunately, many of the existing grammes, with performance manage- European cultural initiatives are of this ment and control systems, with audits variety – a simple combination of indivi- and hierarchichal authorities with diffe- dual contributions from many countries. rent responsibilities often does not ma- Even the aim of promoting a powerful nage cross-cutting issues effectively. If ‘cultural image’ of Europe to capture a culture is simply embedded in a service larger tourism market, or to foster incre- that views culture primarily as a limi- ased trade in European cultural goods ted tool for promoting EU foreign policy and services should no longer be concei- interests, this is likely to marginalize a ved in this manner. Consolidating per- range of other equally or more impor- ceptions about an entire continent and tant roles for culture and cultural action. the use of cultural action as a component of the more ‘serious’ elements of foreign policy related to issues of security deser- A collection of national initiatives

This hold true for the formation of “The EEAS should not cre- multiple identities in Europe, for examp- le; or for the managing of social cohesion; ate a service or agency to deli- or as a means of creating relationships ver and implement operational across many different levels of gover- programmes, but should instead build a strong coalition of local and national actors and opera- tors.”

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ve the greatest strategic attention. A further consideration for the EEAS will be to make clear distinctions bet- ween the “policy instruments” of EU external action in relation to culture of culture in external action. It is not the and the “implementers” of policy. The cultural sector itself that needs convin- EU’s role should be confined to strategy, cing, nor a minority of policy-makers priority setting and finance. The EEAS in the Council, Commission and Parlia- should not create a service or agency ment, nor those who are active in such to deliver and implement operational work on the ground in many thousands programmes, but should instead build of communities across the European a strong coalition of local and national continent. actors and operators. This should com- Rather, the challenge lies in convin- prise not only the main institutions and cing countless others, many of whom are organisational structures in the cultural political leaders, policy advisers and de- sector, but a much wider platform of in- cision-makers, and who remain cynical terests that reflect diverse interests and or unconvinced about the need to focus skills, including representation of mino- on cultural instruments to achieve fo- rities and the marginalised. reign policy objectives. The key argu- The backbone of such a coalition ments have been put forward many times should not be a traditional representa- in numerous conferences and seminars tion of arts or cultural providers, but a and in various reports and publications. much more extensive configuration of However, there still appears to be an ab- actors that represent different compon- sence of compelling ‘evidence’ of effec- ents of a “rights-based” approach to cul- tive practice. tural relations. Economic interests (for The EEAS should now itself invest example, related to cultural industries) in an extended and informed debate. It should not be the dominant force behind should embark on solid evidence-based such a construction, but rather institu- research, related to significant mapping tions, organisations and individuals that and analysis of existing instruments and embody the broader cultural ecosystem an evaluation of their effectiveness in re- of Europe. sponding to needs, linked in particular to the complex strategies for security, conflict-prevention, and the manage- Convincing non-believers ment of European integration. Clear guidelines and appropriate tools The biggest challenge of all remains that take into account the various diffe- the persuasion of ‘non-believers’ who rent approaches also need to be develo- have not recognised the important role ped. Work related to external cultural action must be professional, targeted and placed within the broader agendas of both the EU and the EEAS. Any future action must go beyond

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supporting more cultural cooperation projects or the straightforward sharing of models of good practice. Such an am- bition certainly should not be related to the expectant aspiration of a number of interest groups to create some form of common European cultural strategy. This is neither desirable nor achievable in any meaningful way if one examines the processes of European decision-ma- king and the nature of consensual com- promises that result. Cultural policy and strategy should not be subjected to this form of reductive, contained and insti- tutionalised practice. The overriding motive for action might be the growing realisation that Europe is a declining global force eco- nomically, militarily and in relation to other multipolar influences. Adding a cultural pillar that is strongly rooted in common European values, as expressed in the Conventions of the Council of Europe and the Preamble of the Lisbon Treaty, and realised in part through the EEAS, should now become a priority. Now is the time to act.

Robert Palmer is the Director of Democra- tic Governance, Culture and Diversity of the Council of Europe in Strasbourg, and has been for many years a cultural expert and consultant working across many disciplines, including international cultural relations and processes linked to culture and development at local, regional. national and international levels.

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Common spaces Although the EU is undeniably the greatest example of voluntary international coope- ration among states in modern times, it is still not fully on many people’s radar. With Smart Power – a combination of value-based diplomacy, generous de- velopment and assistance, and existing defence ca- pacity - the three Ds – it has now added an effective instrument to its international relations toolkit. By Gerhard Sabathil

has since become a symbol of peaceful protest for freedom. In Spain, ’s emblematic Puerta del Sol has become a similarly symbolic square for disenchan- ted youth. Here, protesters calling them- selves the “Indignants” set up a month- long mini-village from where they railed not just against political corruption and Spain’s system of proportional represen- tation but against the establishment in general. Similarly, in Portugal and Gree- ce demonstrators have been out on the streets protesting against the austerity measures imposed – as they see it – by e are currently living through IMF and EU bailouts. Even in Germany, challenging and exciting the protests of the so-called “Wutbür- times, with uprisings brea- ger” – or “angry citizens” – against the Wking out not only in our southern Medi- massive reconstruction of the terranean neighbourhood but also in the train station have stirred up emotions Western world. But it still remains for us all around the country. to try and interpret these events and their Although the context is very diffe- potential consequences. In North Afri- rent, these European grassroots move- ca, the masses have swept away authori- ments resemble the Arab uprisings in tarian regimes in the space of just a few terms of the way they have been organi- weeks, and despite the military might sed. In both cases, social networks and and police forces of Libya and Syria, pro- smart phones have played a key role in testers continue to fight against the bru- organizing spontaneous demonstrations, tality of the state. Tahrir Square in Cairo passing millions of messages in fractions

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of seconds to like-minded friends and vidual opponents. strangers. As a result, it was possible for We are now dealing with a new form news to spread in an instant and gathe- of political and social participation and rings could take place before the police a different kind of “virtual” mobility. It were able to deploy their forces. The so- is unconventional; it challenges the tra- cial networks provide the means for in- ditional modes of participation and it is dividual opinions to very rapidly become about more than just grassroots move- mass truths, in particular when they ments which in the past have come and seem to be supported by video uploads. gone. Mark Zuckerberg has provided The “Like” button increases this impact, Ortega y Gasset’s “Revolt of the Masses” even in the minds of those who generally with a contemporary tool. prefer playing web games over active po- litical participation. All you have to do is press the “Like” button and an opinion The wisdom of the many can spread and become the “most liked” within an instant. The events of the past months clear- So what does all this have to tell us? ly indicate that the information age is It means that through the web. and in turning into a “cyber revolution” that is particular through social network com- having a particular impact on those who munities, users have changed from being are computer-literate – the “Facebook just recipients of news and information generation” - with far-reaching politi- to being “active” participants who are cal, economic, social, and even consti- easy to mobilise at a virtual, and to some tutional consequences for societies and extent, a physical level. In chat rooms governments alike. Will “swarm intelli- and the social web - still only used by a gence” develop a digital volunté général minority of computer owners but stea- similar to that described in 1772 by Jean dily growing in popularity – opinions Jacques Rousseau in “Du contract social are being shaped, used, and sometimes ou principes du droit politique”? In 2004, misused. The anonymity provided by the James Surowiecki expressed this pheno- use of nicknames in cyber space means menon in positive terms in his book en- that people feel they can express their titled “The Wisdom of Crowds” explai- opinions freely – sometimes too freely – ning why the many are smarter than the without any fear of repression. And even few and how collective wisdom shapes in repressive regimes, it has now become business, economies, societies and na- extremely difficult to track down indi- tions. One thing is clear: “communication is the fundamental basis of human exi- „Communication is the stence and a fundamental tool in the fundamental basis of human existence and a fundamental tool in the process of social change“

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“The cost of internet access, mo- bile phones and, increasingly, process of social change”. But commu- smartphones is falling in Africa. nication can either be a tool for building Combined with better educatio- bridges between communities and socie- nal opportunities, this means ties or a channel to fuel hate and mistrust that young Arabs are not only and ignite violence. The use and abuse of information and communication tech- able to discover what the rest of nology (ICT), which has heavily changed the world has to offer, but what our ways of communicating over the past they have been deprived of in decade, plays a key role in shaping atti- their own countries.” tudes and behaviors. In countries where the circulation of information is restricted, these kinds freedom reached the Arab world and, in of tools can make a major contribution particular, young Arabs; a demographic to the democratisation of societies and factor which has to be taken seriously in the creation of public opinion because light of the region’s high birth rates. The they encourage freedom of expression. cost of internet access, mobile phones Yet in itself, ICT is nothing more than a and, increasingly, smart phones, is fal- tool. More important are the messages ling in Africa. Combined with better ed- of freedom, human rights, good gover- ucational opportunities, this means that nance and tolerance which are transmit- young Arabs are not only able to discover ted via these communication tools, in what the rest of the world has to offer, particular the internet and satellite tele- but what they have been deprived of in vision. ICT transcends borders, despite their own countries. Most importantly, it the efforts of repressive regimes to cut has become affordable to talk to the out- off channels of communication. In the side world and, crucially, to each other. case of Mubarak’s Egypt, the network These small steps towards freedom of was completely shut down. But the re- opinion have long been underestimated gime “is just buying time”, according to by authoritarian regimes – clearly with a report entitled “Digital Africa” in a re- major consequences. cent edition of the British magazine “In- The transition to democracy in the telligent Life”. “Within hours, tech-savvy Arab world is being closely observed by Egyptians were turning to ham radio and Western democracies with a mixture of finding ways to access the internet using hope and fear. Certainly, this is a chal- proxy sites abroad”. lenge and there is much to lose if we, the There is no doubt that the message of European Union and its member states,

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miss this window of opportunity. But communications.” The Center finds that where there is much to lose, there is al- “Public diplomacy is becoming more im- ways much to gain. The EU acted quickly portant as the conditions of international by publishing its strategy paper, “Part- relations, particularly the telecommu- nership for Democracy and Shared Pro- nications revolution, have changed so sperity with the Southern Mediterrane- radically. Today a ‘new conception’ of an” in early March. The idea behind this public diplomacy is developing which Partnership is to help the countries of the shifts the focus from indirectly influ- Southern Mediterranean in their tran- encing the policies and actions of other sition process and bring a new dynamic governments to shaping the attitudes of into the EU’s relations with our Medi- other societies.” This new kind of public terranean neighbours. This is currently diplomacy requires, of course, increa- in the implementation phase. sed and in-depth knowledge of cultural It has also become clear that the EU diversity. must cooperate at all levels to foster in- tercultural dialogue. It is therefore most important that we continue with, and Digital culture increase, our public and cultural diplo- macy. The recognition of diversity among Public diplomacy is generally under- cultures, as an integral part of their iden- stood to mean communication with fo- tity and the very element that promotes reign publics to establish a dialogue desi- intercultural communication and coo- gned to inform and influence. According peration, is a phenomenon of our time. to the Murrow Center at Tufts University Globalization processes, characterized in Boston, a leading research institute particularly by market expansion, new on public diplomacy, “Public diploma- and more dynamic ways of moving peo- cy … deals with the influence of public ple and goods, and ICT innovations, have attitudes on the formation and execu- opened up new ways for individuals, in- tion of foreign policies. It encompasses stitutions, communities and regions to dimensions of international relations be brought into intercultural and in- beyond traditional diplomacy; the cul- ternational communication. The new tivation by governments of public opi- possibilities opened up by ICT – global nion in other countries; the interaction connectivity and the rise of networks - of private groups and interests in one challenge our traditional ways of under- country with those of another; the re- standing culture by now also spreading porting of foreign affairs and its impact on policy; communication between tho- se whose job is communication, as bet- ween diplomats and foreign correspon- dents; and the processes of inter-cultural

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play a key role in transforming a terri- tory into a shared public space. The me- dia, and new media in particular, play to digital culture. Digital culture is a new a major role in the development of our and complex notion: digital trends are vision of the world. The way different increasingly penetrating the world of cultural backgrounds are presented and culture and arts by involving different explained in the media has a great influ- aspects of cultural rapprochement, so- ence on individual ideas by either rein- cial media and information technologies, forcing or deconstructing stereotypes. and influencing new forms of commu- Public information should make every nication and dialogue. effort to present multiple views, to pre- In a broad sense, cultural diplomacy serve, research and communicate the can be seen as a means of transforming cultural phenomena they are creating traditional prejudices into objective in- and to engage people in participatory formation, enlightenment, understan- dialogue and make sure that different ding and a desire to cooperate. It offers views are represented to create a balan- the potential for minimising tensi- ced perspective. ons and managing difficult situations, The European Union is a unique eco- wherever they occur, through the pro- nomic and political partnership among cess of introduction, interpretation and, 27 diverse democracies united in their hopefully, sharing experiences. In its cri- commitment to peace, democracy, the tical approach, as seen during the recent rule of law and respect for human rights. events in the Middle East and Northern The EU seeks to uphold these values in Africa, cultural diplomacy can make a Europe and beyond, to build and sha- special contribution when societies are re prosperity, and to exert collective in- pressing for political, social and econo- fluence by acting together on the world mic reforms. stage. As a major economic and commer- cial power and the world’s biggest donor of official development assistance, the Shared spaces EU’s influence stretches far beyond its physical borders. Working together with Intercultural dialogue takes place its global partners the EU seeks to achie- in shared spaces – physical, situational ve a more secure and peaceful world and and communicational. We need oppor- to tackle global challenges ranging from tunities to engage in dialogue. We need poverty to disease to terrorism. spaces that expose us to new understan- Therefore the nature of the Europe- ding about ‘us’ and ‘others’. an Union, with its state and non-state Public and cultural diplomacy can characteristics, makes it a unique player

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when it comes to public and cultural di- tional action. The “soft power” of public plomacy, as it does not fit into the nor- and cultural diplomacy plays a crucial mative structures of hard or soft power. role in the external relations of the Eu- So how does the EU exert power today ropean Union, and is closely integrated and how does it try to communicate with with EU policy both at home and abroad. the world and influence public opinion? Addressing today’s global challenges — There are numerous historical, idea- climate change, security and terrorism, tional, political, and material variables the global economy, and poverty, hun- that impact on how Europeans commu- ger and disease in the developing world nicate and project themselves to outsi- — requires not only collaboration with ders. In practice, the EU is striving to partner countries and multilateral or- make its presence known on the interna- ganizations, but also a broad measure tional stage as one of the global players in of global support, both official and po- world politics. Although the EU is unde- pular, to succeed. niably the greatest example of voluntary Once again it is clear that diplomacy international cooperation among states – like statesmanship – is not a science; in modern times, it is still not fully on rather it has to be considered an art. many people’s radar. On a theoretical The EU – in an effort to exercise its level, EU public and cultural diploma- power intelligently - is committed to cy provides an acid test for the spread achieving its foreign policy goals prima- of norms. It sheds light on why certain rily through diplomatic channels. It is norms are chosen over others, and what fundamental to EU relations with mem- makes them strong or weak. ber states and other countries to enga- Soft power — the combination of po- ge, inform and influence specific target licies, values, political ideals, and culture groups. Extensive educational exchange — is a powerful instrument in the inter- programmes among member states con- national relations toolbox. Whether fra- tribute to a broader understanding of med as a “war of ideas,” “winning hearts other European cultures and the EU as and minds,” or “population-centric fo- a whole, and their success has led to the reign affairs,” engaging with the broa- launch of similar programmes between der public as well as with governments the EU and non-EU nations. In non-EU is essential to building the mutual un- countries, some 140 EU Delegations in- derstanding and long-term relation- crease awareness of the EU; ensure broad ships that sustain cooperative interna- understanding of EU policies, initiatives and messages; and build relationships

“Diplomacy is not and has never been a science; rather it has to be considered an art.”

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Response Media Mechanism (RRMM) for the Euromed region launched by the European Commission, UNAOC and the with state and local officials, communi- Anna Lindh Foundation, mobilizes the ty and business leaders, the media, stu- power of the media in order to prevent or dents, and civil society. EU Delegations defuse intercultural tensions and coun- collaborate closely with EU member state ter prejudices and misperceptions. We diplomatic missions to ensure that nati- believe that the media, including social onal initiatives which focus on the rela- media and the new ICT, is part of the so- tionships between the host country and lution, not part of the problem! Impor- individual member states complement tant media networks have been establis- and are coherent with actions to enhan- hed under our regional information and ce understanding of the EU as a whole. communication programmes that allow Let’s look at one important example the EU and media professionals to dis- where the EU and its 27 member states cuss together common problems such as are actively engaged in an intercultural xenophobic and racist media, terrorism, dialogue at a multilateral level. I am re- freedom of expression and the safety and ferring to the United Nations Alliance security of journalists. The success of of Civilizations (UNAOC), an initiative the RRMM is a testament to what can be proposed by the Spanish government and achieved through a spirit of cooperation co-sponsored by the Turkish government and the pooling of resources. in 2005. This initiative seeks to galvanize international action against extremism through the forging of international, in- Engaging the tercultural and interreligious dialogue new decision-makers and cooperation. The Alliance places a particular emphasis on defusing tensions With the rise of the internet, social between the Western and Islamic worlds. networking, and virtual worlds, the tra- The 2011-12 Action Plan between the ditional concept of “key decision-ma- EU and the Alliance covers areas such as kers” has shifted. Recognizing that key exchange of experience in integration decision-makers on some of the most ur- policies, understanding factors leading gent global issues like climate change, to radicalisation, intercultural exchange democracy and human rights, and eco- programmes, the promotion of freedom nomic development are no longer elites of religion and freedom of expression in smoke-filled rooms, and that credible and sexual equality. public and cultural diplomacy now de- This cooperation is already bearing pends on the activities of a range of well- fruit in the media domain. The Rapid informed intermediaries, the EU’s public

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and cultural diplomacy programmes en- states and several of the large European gage with a much wider and more wide- political foundations that are already ac- ly-dispersed network of individual and tive in this field. groups than ever before. A thriving civil society empowers Civil society plays a pivotal role in ad- citizens to express their concerns, con- vancing women’s rights, greater social tribute to policy-making and hold go- justice and respect for minorities as well vernments to account. It can also help as environmental protection and resour- ensure that economic growth becomes ce efficiency. The EU will support this more inclusive. Key to making any of greater political role for non-state actors this happen is the guarantee of the free- through a partnership with societies, doms of expression, association and as- helping CSOs to develop their advocacy sembly. Another challenge is to facilitate capacity, their ability to monitor reform the emergence of democratic political and their role in implementing and eva- parties that represent the broad spec- luating EU programmes. In-country EU trum of the views and approaches present Delegations will seek to bring partner in society so that they can compete for countries’ governments and civil society power and popular support. together in a structured dialogue on key In order to address this situation and areas of our cooperation. EU funding for support political actors striving for de- such actions could be delivered through mocratic change in their countries (es- the establishment of a dedicated Civil pecially political parties and non-regi- Society Facility for the region. stered NGOs or trade unions and other There is, however, no doubt that in- social partners), the High Representative tercultural dialogue must be a central and the Commission support the esta- aspect of public diplomacy and cultural blishment of a European Endowment for diplomacy. Culture is the key to enri- Democracy. This Endowment will seek ching inter-generational and intercul- to bring greater influence and consisten- tural dialogue and for community buil- cy to the efforts of the EU, its member ding. By working on perceptions, by deepening awareness and sensibilities, it can be a “soft” driver on “hard” issues. “Culture is the key to enriching But at the same time we cannot deny that cultural diversity may also be a cause inter-generational and intercul- of tension and social conflict, especially tural dialogue and for commu- in the context of socio-economic diffi- nity building. By working on perceptions, by deepening awa- reness and sensibilities, it can be a “soft” driver on “hard” issues.”

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“Intercultural dialogue is, in fact, at the heart of the process culties. This has become very evident in of European integration en route recent years. The issues of integration, to a comprehensive migration and interreligious dialogue community of values.” have been driving the political agenda in many countries. The aftermath of 11th September and the current economic cri- one of the long-term priorities of EU po- sis have exacerbated the difficulties of licy. In 2008, the European Year of In- conciliation and have often led to the tercultural Dialogue aimed to raise the rejection of the so-called „other“. awareness of all those living in the EU, Creating platforms for exchange and in particular young people, of the im- mutual learning on how to deal with con- portance of developing an active Euro- flict, on how to negotiate differences and pean citizenship open to the world, re- possible difficulties while at the same specting cultural diversity based on EU time grasping the benefits of diversity, is common values. The European Year of a contribution that the European institu- Creativity and Innovation in 2009 follo- tions can make in order to make progress wed as a natural evolution of this idea, as on this issue. it emphasized the importance of open- Intercultural dialogue is, in fact, at ness to change and cultural diversity. the heart of the process of European in- Creativity is very much about unlocking tegration en route to a comprehensive potential, giving shape to ideas that so far community of values. After the Second have been there in mute mode. An open World War, Europeans found reconcili- dialogue with the “other” may help to ation through dialogue. Dialogue resto- deepen self-awareness, and thus unlock red people‘s confidence at a time when the personal potential within each of us. they still lived in fear of war and of the In 2010, the Commission celebrated “other”. The European project exists the European Year for Combating Pover- thanks to dialogue – the effort that citi- ty and Social Exclusion. The year focused zens of all member states made to under- on solidarity, giving voice to the con- stand others. If it was possible then for cerns and the needs of people experien- Europeans to overcome their fears and cing exclusion, and helping deconstruct hatred after such terrible wars, then there stereotypes and stigmas attached to po- is no reason why it should not be possi- verty. In that context, the integration of ble today to enter into the same kind of migrants and minorities was a central dialogue with other cultures. theme for debate. Intercultural dialogue This is why intercultural dialogue is represents a permanent priority in many Community programmes. The educa- tion of young people in the spirit of tole- rance, comprehension and respect for the other is the basis for any future dialogue among cultures.

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Public and Cultural Diplomacy in the EEAS

Working in close cooperation with EU Commission services, the EU We are well aware, in fact, that the Delegations in third countries and the European Parliament, the highest stakes of intercultural dialogue role of the EEAS instrument for “Public and Cultural Diplomacy” is are played out at local level, in the world’s two-fold: cities and towns – it is there that the chal- 1. By contributing to the realization and implementation of EU lenge takes on its full dimension. It is in public diplomacy the EEAS aims to: cities that people can meet and decide • enhance the effectiveness of public diplomacy, especially by on talking or confrontation; whether to developing tools and instruments to promote the EU model of get together and create something new peace, freedom, human rights, the rule of law and democracy; • cooperate with institutions at bilateral and multilateral level to or to close up and perpetuate traditions promote EU values in third countries; in parallel communities. It is in cities • contribute to the coherence and impact of EU public diplomacy, that conflict and violence often arise. notably by supporting concerted action by EEAS and Commis- It is hence the – very complex – task of sion services and promoting constructive and forward-looking local policymakers to shape policies and EU/EC common positions; • further develop public diplomacy strategies and design efficient public spaces in ways which enable peo- tools and instruments for EU Delegations in third countries; ple from different cultural backgrounds • participate in specialist conferences and think-tanks, contribute to mix, exchange and interact. Freedom, regularly to specialist periodicals, and address special audiences a flourishing economy and openness to within the youth, educational, civil society, and media communi- “the other” appear very closely inter- ties in third countries; related. It is clear that openness to the 2. By promoting intercultural and interreligious dialogue, “other” is much easier in times of peace the instrument the EEAS aims to: and economic growth. But at the same • establish it as part of EU external policies, including dialogues time a strong dialogue with the “other”is with third countries, country and regional strategies under the necessary to build peace and growth. external relations policies, but also into policies towards third countries, which reflect EU internal policies, such as youth, edu- Creating a shared space, where all ge- cation, media, anti-terrorism or migration policy; nerations and all groups can express • carry forward a policy of outreach and dedicated intercultural themselves and can participate actively and interreligious dialogues and consultations with third coun- in the life of the societies in which they tries and multilateral organizations such as UNESCO and UNAOC, live, is very much what good government with a view to fostering intercultural and interreligious under- standing and cooperation at both bilateral and multilateral level; is about. • develop and support EU thematic strategies through analyses in Trust is the fundamental factor which the field of intercultural and interreligious dialogue, with a view increases the chances of successful com- to promoting specific issues, such as relations with Islam; munication in order to build a better so- • maintain close relations with civil society and non-governmen- ciety. But trust is also the foundation for tal organizations, from both the EU and third countries, that are working in the field of intercultural and interreligious dialogue, institutions in our societies; institutions in close cooperation with the European Commission and the that are able to become the trustees of in- European Parliament, with a view to strengthening the tissue of civil society engagement in this respect; • help raise public awareness of the EU role within public and cul- tural diplomacy and achieve greater visibility for its partnership with UNAOC and other organizations.

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dividual aspirations. The EU – the Com- growth, stimulate trade and investment mission, EEAS and European Parliament and act as a catalyst for the development – should, in the context of a coherent, of stable countries with open societies. effective and visible public and cultural Democratic government is therefore the diplomacy, make use of the opportuni- ultimate benchmark against which the ties provided by “networked communi- EU can measure its public and cultural cation” to build trust in the “other” on a diplomacy. The digital age will facilitate global scale. Without trust and the abi- and accelerate these processes. lity to communicate trust through free communication, future societies will al- Gerhard Sabathil is Director for Foreign ways by characterised by deficiencies and Policy Strategy and Coordination at the Eu- ropean Commission. This article is an edited fears and consequently lack the ability translation of the speech “Public and Cul- to achieve real social transformations tural Diplomacy in the Digital Age” given at and bridge gaps in mutual perceptions. the conference “European Approaches to In order to increase the influence of Culture in External Relations” held on 22-24 the EU at a global level, the EEAS is in June 2011 in Pecs, , during the Hun- garian EU presidency, for high-level cultural the process of drawing up roles for pu- and foreign relations officials. blic and cultural diplomacy (see box). These combine elements of the Europe- an communications strategy, traditional diplomatic methods and international relations. A functioning democracy, respect for human rights and the rule of law are fun- damental pillars of the EU partnership with its neighbours and global partners. There is no set model or a ready-made re- cipe for political reform. While reforms take place differently from one country to another, only a deep and sustainable democracy will help to create the con- ditions necessary for lasting economic

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A necessity, not a luxury China and India are incre- asing their public diplomacy efforts. Even though Europe is among the culturally most diverse and at- tractive regions in the world, it has still not built an adequate cultural strategy for its foreign policy activi- ties. The development of the External Action Service is an ideal opportunity to tighten and coordinate the EU’s existing cultural strategy. By Marietje Schaake

me they were setting up a politically inde- pendent cultural centre in the heart of Sa- rajevo for people to meet and discuss films. More than a decade after the Balkan war, ethnic and religious divisions are sad- ly still present in Bosnian society, but the students of Kriterion Sarajevo are deter- mined that the focus should no longer be on a divided past, but instead on a shared future. Kriterion Sarajevo is an example of peo- ple-to-people diplomacy. The project was established with the help of Dutch studen- ts working at Kriterion Amsterdam. This “Without music, life would be a mi- film centre and cafe has been a cultural stake, a tiring obligation, an exile.” Frie- meeting point for more than half a century. dich Nietzsche‘s quote hits the nail on the Arising from the rubble after the devasta- head: culture is what makes life beautiful. tion of World War II, Amsterdam‘s young A good book, a moving song, an impressive generation wanted to rebuild the city cul- piece of art or architecture, an excellent turally at a time when the focus was main- glass of wine – these are the things that ly on economic recovery. The narrative of enrich our lives. Kriterion Amsterdam inspired Kriterion Culture and education constitute the Sarajevo and has led to lasting contacts pillars of open societies. With its intrin- between the Bosnian and Dutch people. sic value, culture can be a vehicle to shape Throughout the years, nations have values and goals. Culture may contribute been using their country’s culture to achie- to a nation’s economic and social develop- ve international ambitions and interests. ment, foster democratisation and heal or Well-known examples from around the prevent conflicts between people. In Fe- world include the Alliance Francaise, the bruary 2011, I witnessed once more how Goethe Institute and the cultural diplo- culture can help reconcile differences. I visited Kriterion Sarajevo, a foundation of young and ambitious students, who told

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macy and information programmes of the tertwined with culture. Values are repre- US State Department. Emerging powers sented by cultural expression, and the va- such as China and India are increasingly lues of a society that enables or hampers engaging in cultural diplomacy. While the freedom of expression are implicitly stated European Union is among the most cultu- in its cultural products. This is why ex- rally diverse and attractive regions in the changes are so fruitful for artists. A chan- world, it does not have an adequate EU ge of scenery leads to different paintings, strategy for its external cultural relations. different theatre performances, different My report for the EU Parliament on “the literature. Iranian students in Europe are cultural dimensions of the EU‘s external part of a ‘ European ’ lifestyle and automa- actions” seeks to change this. Without tically learn about the democratic values wishing to blend or change the diversity and fundamental freedoms which form of cultural heritage and content, the frag- the essence of the EU. Such people-to- mentation of policies should be rethought people contact is increasingly taking over in order for the EU to be more efficient. In the traditional role of diplomacy between the report, the European Parliament urges governments. Cultural diplomacy can of- the European Commission and the Euro- ten find ways through and build bridges pean External Action Service to set up a when political relations are strained. Ar- policy framework for the EU to act as a tists, students, journalists and entrepre- global player. A coherent, coordinated EU neurs may well be the best for strategy on the role of culture in the EU’s a country. Governments should not get in external actions is needed. the way but rather should encourage civil society, the cultural sector and people-to- people contact. A glue called rock‘n‘roll Access to culture can open doors unex- pectedly. Andras Simonyi, Hungary‘s for- Whenever people spontaneously share mer to the United States- said: ideas about literature, film, music or he- “Rock and roll, culturally speaking, was a ritage, doors of understanding are opened decisive element in loosening up commu- and bridges between people are built. In- nist societies and bringing them closer to formal cultural dialogue builds trust and a world of freedom”. facilitates conversation. In some countries, However, radio and rock ‘n roll were it is even considered rude to go straight to not the only factors involved in tearing the point in a conversation. In Japan, busi- down the walls and bringing people into nessmen will ask their future trade part- the free world. Many EU member states ners about their favourite singer or football actively work on their country‘s reputati- team in order to connect and set a tone on and influence abroad. France, for ex- of trust before getting down to business. ample, through the Alliance Française, Identity, values and freedoms are in- is among the highest spenders per capita when it comes to positioning itself and its “Culture and education are the pillars of open societies.”

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language in the rest of the world. The Uni- “A common EU-wide approach ted Kingdom has chosen a model where towards culture in its external the British Council takes quite an inde- pendent role from government in deve- actions can perfectly co-exist loping cultural, educational and science- next to member states‘ individu- related policies. EU member states have al cultural diplomacy policies.” traditionally adopted a bilateral approach to cultural diplomacy. At EU level there has been considerably less engagement in cultural diplomacy because of an unjusti- ber states are represented by their national fied fear that such an EU-wide diplomacy representations and some also have cultu- could lead to a watering-down of the EU‘s ral institutes such as the Alliance Française cultural diversity. and the Goethe Institute. All these embas- A common EU-wide approach towards sies and institutes organise separate cultu- culture in its external actions can perfectly ral events to promote their own country‘s co-exist next to member states‘ individual cultural products and characteristics. Coo- cultural diplomacy policies. Member states peration would allow them to save on bud- often focus on promoting specific cultu- gets and expand their audience. ral characteristics, whereas an EU-wide The report for the European Parliament cultural diplomacy is about Europe’s rich contains a plea for coordination through cultural diversity and the EU‘s shared set the European External Action Service of values. (EEAS), which was created with the ad- In times of global competition for ta- option of the Lisbon Treaty. The EEAS lent, tourists and audiences, a common should take a stand on cultural activity strategy is a necessity, not a luxury. For by designating one focal point for each EU their international relations, many third representation overseas for the coordina- countries explicitly seek to address the tion of cultural relations and interactions European Union and not only the diffe- between the EU and third countries. Rat- rent member states. A common approach her than reinventing the wheel, the EU is also desirable, as coordinating cultural could then build on the best practice of diplomacy, programmes and strategies will member states. The European network of ensure a more effective and efficient use National Institutes for Culture (EUNIC) is of limited resources, something which is expected to support the EEAS in facilita- most welcome in times of public budget ting this coordination. The current set-up cuts. EU member states and their national and development of the EEAS make this cultural representations must first of all the perfect opportunity to streamline and improve their cooperation. Secondly, the coordinate the existing external cultural EU must open up Europe‘s cultural wealth policy of the EU. The present fragmenta- to the whole world. tion between trade, development, culture In cities such as New York, all EU mem- and education as well as external relations directorates should be replaced by coordi- nated mainstreaming of culture in the EU’s external actions.

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The EU must remove all barriers to learn more about European culture. mobility, irrespective of whether they are After all, in today’s day and age, people of a bureaucratic or financial nature. The no longer have to be in the same place to be introduction of cultural visas for third connected, to share and to interact. New country nationals for example, would fa- media and the internet have opened up a cilitate collaboration and exchange bet- world of opportunities for creating, preser- ween cultural actors. Additionally, incre- ving and sharing culture. And while new ased involvement of third countries in EU technologies offer endless opportunities, mobility, youth, education and training it is access to these opportunities which is programmes will stimulate this type of the key. Therefore, internet freedom, ac- cultural diplomacy. Initiatives such as cess to information and ending censorship Erasmus Mundus (to promote mobility are essential parts of the report on the role among students and researchers), Media of culture in the EU’s external actions. Mundus (to strengthen cultural and eco- During the revolt against the Muba- nomic relations between European and rak government in Egypt earlier this year, third country filmmakers) and many other black flags bearing the emblem of a white small-scale initiatives such as Euromed fist were carried around the streets of Cai- Audiovisual III (to support intercultural ro. In the 1990s this flag was the symbol dialogue by providing cinematographic of the OTPOR, the peaceful Serbian resi- and audiovisual capacity in Mediterranean stance movement that ousted the Milo- partner countries) must be broadened and sevic government. Most Egyptians have deepened, and there should be improved never been outside their country, but ac- communication about these initiatives. tivists learned the tricks of nonviolent Along with increased access to Europe- struggle for democracy from Serbs over an culture, the report calls for the inclusion the internet. of in the EU‘s cultural diplomacy. And, in the meantime, work should be done to reform legislation rela- A means of control ting to intellectual property and introduce the digital single market into the EU. At On the downside, technology is used present there are four times as many music by governments as a means to control in- downloads in the US compared with the formation flows and oppress their people. EU because of the fragmented EU licence In Egypt, Mubarak shut down the internet markets, which make legal content online to stop people from communicating and very expensive. The EU should also use and mobilising, from accessing information, expand existing tools such as Europeana and from sharing videos of human rights – the online digital library of millions of abuses. Information and communication digitised items from European museums, technologies are important for cultural re- libraries, archives and multi-media colle- lations, but also for people’s fundamental ctions – to help people all over the world rights and freedoms. Cultural diversity is what makes Europe rich and attractive. Furthermore, culture can be a vehicle to promote democracy,

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human rights, trade, development and innovation. But the current fragmentati- on of EU policies is hampering the stra- tegic mainstreaming and effective use of resources. Instead, the EU should act as a global player and develop strategies to foster cul- ture. They should provide the best possi- ble means of connecting to cultural offers and enable the necessary access to these offers. People-to-people diplomacy needs to be facilitated, as it is increasingly taking over the traditional role of government- to-government diplomacy. A fantastic op- portunity is presented by the effective use of new media to open up access to cultu- ral content. In a broader context, internet freedom should be an essential part of EU policy, as it allows freedom of expression, press freedom and access to information. These values are increasingly important in guaranteeing people’s fundamental rights and freedoms, as well as in allowing people all over the world to access Europe’s rich and diverse culture.

Marietje Schaake was born in 1978. Since 2009 she been a Member of the European Parliament for the Dutch party Democrats 66. She belongs to the Alliance of Liberals and De- mocrats for Europe. She is a founding member of the British Council’s Transatlantic Network 2020 and has been involved in the Transatlan- tic Forum on Migration and Integration set up by the German Marshall Fund. In 2008-2009 she was also a board member of the Martin Lu- ther King Award Europe.

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Daring the impossible Europe is not short of intelle- ctuals and artists who reflect European complexity. We export architects to China, designers to Singapore, art house films to Brazil. We are successful at marke- ting our cities, regions and nations. But we still lack a common understanding and vision of the shared political and cultural project that is Europe. This is a task for the EUNIC network and the EU’s External Action Service. By Gottfried Wagner

of optimism, as Voltaire did in his “Can- dide”. We have to cultivate our gardens – the gardens of national cultural diplo- macy – if only because (to make a free interpretation of Leibniz), “this world, the world of the European Union, has to be the best of all possible worlds”. We still have one or two opportuni- ties to prove that we can avoid Candide’s fate. We all know about global cultural diplomacy and European cultural policy. And so far we have no reason to share the pessimism of Jonathan Swift, the author of Gulliver’s Travels. Have we ever, like t is my personal view that the new spi- Gulliver, found ourselves washed ashore rit of inter-cultural cooperation, that after a shipwreck of our national cultu- essential aqua vitae of global affairs, ral institutes? Have we ever woken up to Ican be brewed up in a transnational Eu- find ourselves prisoners of a race of tiny ropean distillery – but not without ad- people, less than six inches high, the ad- ding a few herbs and spices. So here I am ministrators of the republic of Lilliput? throwing a few provocations into the pot Have we ever supported the crude Lilli- in order to stir up a good debate. putian cultural strategies or the Lilliput First of all, I would like to mention populists who just want to oppress their “Maitre” Voltaire, but unfortunately his Blefuscidian neighbours? “Candide, ou l‘Optimisme” (1759) doesn’t On the contrary, we have been peace- help in this case. Candide was living a fully sailing along on the oceans of cul- sheltered life in paradise before his slow tural exchange, increasingly in listening and painful disillusionment. We all have mode, emphasising reciprocity and mu- probably witnessed and experienced great tuality, intercultural dialogue and respect hardships in our diverse Europe and its institutions, let alone in the bureaucracy of the member states. Yet it is too early to give up on all sense

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for cultural diversity and local empower- Let us refer to this “unique” box as a ment. Swiftian rotating network box; a paradox But sadly our ship “Adventure” has designed to help us cope with the magni- been thrown off course by the storms of tude of the challenge. But it is still some- financial crises, competitive ideologies, what naïve and tiny in terms of its central and the lack of transnational stewardship. structures. This explains some of the ad- Right now, we are being forced to take re- ventures which we, like Gulliver, are ha- fuge in the lands of Ashtonia and Barro- ving, such as the fight against the giant sistan for want of fresh resources, just to wasps, probably coming from the Com- find ourselves, like Gulliver, confronted mission. Gulliver also discussed the state by giants. The giants of our times are not of Europe with the King, but the King was only the markets, but also countries’ core not impressed by Gulliver‘s stories. He agendas, real life diplomacy and hard po- especially disliked the discussions about wer in the form of military force. hard and soft power, about guns and can- Struggling for survival, we are fighting nons (but of course all this happened way against the notion of a purely representa- back in the 18th century...) tive culture and the instrumentalisation of culture. But we, and the cultural sec- tor, cannot always avoid Gulliver’s fate of Stranded being treated as a curiosity and exhibited for money; or indeed exhibiting ourselves, Gulliver had lots of bad luck. His “tra- and branding’ our nations for the sake of velling box“ was seized by a giant eagle; money, glory and pride. his ship was attacked by pirates; and he Nowadays we are even hoping that our was marooned. But he also had some good message of European cultural diplomacy luck and in the end was rescued by the fly- penetrates the public consciousness and ing island of Laputa. Laputa is a kingdom that the Queen of Brobdingnag wants to devoted to the arts and music (and admit- see our show. We hope she loves us (like tedly also to mathematics and accounta- Gulliver), but not too much, because she bility). This play on the rescuing qualities bought him and kept him at court as her of art and culture, and their home on a favourite. flying island, could indeed provide the Like Gulliver, we are probably still too key to the success of European cultural di- small to use the huge chairs, beds, knives plomacy, despite all of Swift’s pessimism, and forks of the External Action Service; (though it should not be forgotten that we hope the Queen will build us a small Gulliver was able to use these qualities house in which we can be carried around for his own ends.) from Directorate-General to Directorate- What a wonderful metaphor this is – General, from EU Delegation to EU De- an island of the arts which is able to fly , not just as individuals, nor as off at any time. In our sector it is not just a national versions of Gulliver’s “travelling box”, nor as cultural institutes, but as a flexible European platform, a “unique” (EUNIC) box among boxes.

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question of national cultural exports and “Swift, Voltaire and Heinrich cultural representation, but also of trans- Heine would have loved to work national routes rather than just transnati- onal roots. with Ai Weiwei in a European- Islands can be prisons. Robinson Cru- Chinese project on Liu Xiaobo.” soe was one of the most famous European prisoners, despite his rather more opti- mistic outlook. But do we want to build In his words, Crusoe‘s experiences on the Europe’s new intercultural optimism on island represent the economic value of the basis of Daniel Defoe‘s famous no- labour over capital. vel? I suspect the Irish would not be too But isn’t it true that Robinson Crusoe keen on this. doesn’t really fit into the 21st century? For the Irish author James Joyce, Ro- This and many other novels and their he- binson Crusoe was the true symbol of Bri- roes who entranced us as children have a tish domination: “He is the true prototype lot to do those European principles which of the British colonist. … The whole An- we have in the end proudly left behind us. glo-Saxon spirit is in Crusoe: the manly But at the same time they also provide independence, the unconscious cruelty, the content of many narratives and ideas the persistence, the slow yet efficient in- which we have lost, and we now have very telligence, the sexual apathy, the calcula- little to replace them in their simplicity. ting taciturnity.” China has opened over 300 Confucius However, if we leave national prejudi- institutes and will open another 700 by ces out of the equation, who among Euro- 2020. Is Confucius the new hero of Chi- pean elites did not grow up with Crusoe, nese, or even global, narratives? Have you with a belief in the individual, and how read Confucius? To be honest, he provides this is reflected in European technolo- a rather ambivalent reading experience. gy, agriculture and political hierarchies? Of course this ancient text should still be Crusoe refers to himself as the ‘king’ of subject to critique and interpretation, but the island, which is his ‘colony’. The ide- the poor man shares the fate of Moham- alised master-servant relationship bet- med and the Qur‘an in being instrumen- ween Crusoe and Friday can still be found talised. Deep-frozen texts have been de- in today’s cultural imperialism: Crusoe frosted for political purposes; something represents the ‘enlightened’ European that we have also experienced in Europe. whilst Friday is the ‘savage’ who can only But now we can be proud of the fact that be redeemed from his barbarous way of we have honed our critical faculties. life through assimilation into Crusoe‘s Debating contemporary ambivalence culture. towards shared narratives has now be- In Jean-Jacques Rousseau‘s treatise on come a global business which involves education, Emile, or: On Education, the both Hollywood and : Mi- protagonist Emile is only allowed to read one book before the age of twelve – Ro- binson Crusoe. And it was Karl Marx who made an analysis of Crusoe in his Capital.

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ckey Mouse, Alain Delon, James Bond Yet we are still lacking a common and and hundreds of today’s stars. “Face va- understandable concept of our shared po- lue” has turned into Zuckerberg’s Face- litical and cultural project, Europe. This book; the biblical apple has been turned is a job for EUNIC and the European Ex- into Macs and iPads by Steve Jobs. Fasci- ternal Action Service (EEAS) and goes nating stories can be “googled” wherever beyond national or nationalistic agendas we are, thanks to Larry Page, the Robin- and the battlefields of language policies. son of today. Perhaps it helps here to quote Johann What does this mean for Europe’s cul- Nepumuk Nestroy, one of the greatest tural and digital industries? For its diplo- Austrian writers and critics of the Met- macy, whatever its size, and for European ternich era, an era which was characteri- cultural diplomacy and the unique EU- sed by the green shoots of nationalism in NIC? Don’t we need new, powerful Euro- Europe: “The noblest among the nations pean strategies, and new European basic is resignation”. But perhaps I shouldn’t principles, which are both compressed quote this when I am trying to argue in and complex, along with strong messages favour of cross-border European cultural about these European principles? diplomacy. The Nobel Peace Prize 2010 awarded to Liu Xiaobo, and the empty chair in Oslo during the ceremony, has probably con- The tough business of soft power tributed more to cultural and political de- bate than many official and often purely Let us return to the tasks of the orga- representative cultural events. nisers – the menu for transnational Eu- One thing is certain – Swift. Voltaire ropean cultural diplomacy and the role and Heinrich Heine would have loved to of its caterer, Eunic. work with Ai Weiwei in a European-Chi- I suspect that off-the-record we could nese project on Liu Xiaobo. all tacitly agree on a few assumptions On the topic of European narratives, and proposals. Let’s start with a few of today’s Europe may be a little short of lite- the more unpleasant details. rary heroes, but we still have Harry Potter Pecunia non olet (money doesn’t and the like. We are not short of intelle- stink). If the Commission would allocate ctuals and artists who reflect Europe’s more resources for joint European cul- complexity. Europe has a whole raft of tural actions we would use them wisely, extraordinary cultural icons and provo- wouldn’t we? cateurs such as Vaclav Havel, Mikis The- Render unto Caesar the things that are odorakis, Orhan Pamuk, Eco, Bourdieu, Caesar’s. But keep him at arm’s length Habermas and Houellebeq. And we have from art and culture. In other words, yes, become ever more successful at branding we need a strategy and resources for Eu- and marketing our cities, regions, and na- ropean cultural diplomacy, but in practice tions. is a growing mar- ket; we export architects to China, de- signers to Singapore, art house films to Brazil and blockbusters globally.

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let us work on it together, in collaborati- ment (not replace!) competition with co- on with non-governmental organisations. operation. There are more problems that Independent cultural institutes know how can only be addressed together than be- this works and have developed their own nefits to be gained by working alone. This diplomatic skills. They have learned the is not only true if we are to survive in the art of getting others to do what they want world, but also applies to the nations of them to do. Europe and their own specific cultural Diplomats can always make them- strategies. selves misunderstood. This is why cul- Build soft power politics on conscious tural diplomacy needs experts, regardless European scepticism. Trust European hi- of whether it is ministries of culture or the story and its enlightened mistakes and Directorate-General for Culture and Ed- learn from the past. And do it vigorous- ucation working together with the EEAS. ly and persistently in face of all forms of Paradoxical intervention – encoura- short-sighted populism. ging bad behaviour in the hope of ending Dare the impossible. Don’t give up it. At the moment, it is a tough business trying to create new European princip- to try to establish EU soft power and cul- les in favour of the common good and tural strength amongst the tough guys. European culture. It would seem like a EUNIC has to play hardball, but so far miracle if this year the EEAS created the there is little sign of this. The EEAS needs opportunity to break down the barriers proper structures and mechanisms for co- of the past. Laputa, the flying island, has ordination with the DG for Culture and landed right here in Europe, so let’s use Education. it to our advantage. Small is beautiful. This could be an ex- A lot is at stake, and the main addres- cuse for slow progress. Could this be the see is no secret. To quote Swift’s Gulliver case with the central structure of EUNIC? for the last time: “This made me reflect It’s time to raise the bar. upon the fair skins of our English ladies, I began with some down-to-earth que- who appear so beautiful to us, only be- stions and now would like to raise a few cause they are of our own size.” fundamental issues: Spes contra spem (Hope against all Gottfried Wagner is an advisor to the Aus- hope, Thomas Aquinas): trian Ministry of Culture and Education. For many years, he was Director of the European More than anyone else, cultural me- Cultural Foundation, Europe’s only indepen- diators know how much this crazy Euro- dent, supranational and pan-European cultu- pean Union of differences and diversity ral foundation, and of KulturKontakt , a needs a clear, powerful, internal and ex- European centre of excellence and resources ternal cultural strategy. It is time for us for education, culture and the arts in Vienna. to come together to build the structures we need. Subsidiarity. We need to complement (not replace!) national objectives and in- struments with credible European ones. The famous paradigm shift. Comple-

120 More than just image The diplomacy of the Europe- an Union has evolved continuously since its modest beginnings in the 1950s. With the establishment of the European External Action Service (EEAS), it has entered into a new, qualitatively different phase. What role does culture play in external relations? What is the point of it? By Steffen Bay Rasmussen

universality of its own normative foun- dation, the Union is convinced that this foundation should be adopted globally. This is an advantage if countries are stri- ving to interact on a national or regional basis. Instead of simply explaining the nature and function of the EU or follow- ing specific policies, the communicative challenge of the Union’s public diploma- cy consists above all in how to impart EU values and communicate its role as a model of peaceful coexistence among countries. An often-voiced criticism of EU di- he European Union’s basic nar- plomacy is its lack of coherence, caused rative has its origins in the ear- by the multitude of actors involved in liest days of European integration it, and by the complex distribution of Tfollowing the destruction of Europe- authority and legitimacy among them. an states in the Second World War. It The call for the EU to speak with one portrays the European Union as being voice in international relations has been primarily a model for structural peace particularly persistent, something that among states, a model which is successful once again raises the question of better because it is based on interdependence strategic planning and coordination of and integration and not on principles of EU foreign policy in general, and EU pu- territorial sovereignty and balance of po- blic diplomacy in particular. wer politics. Instead of territorial sove- The Lisbon Treaty and the establish- reignty, the EU is based on the universal ment of the EEAS can be interpreted as values of democracy, human rights, mul- the EU’s response to these criticisms. tilateralism and international solidarity. Although it is too early to evaluate the This identity as a model for peace is still the primary message of the European Union’s external communications. Through its belief in the value and

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implications in practice, the Lisbon Tre- particular debates in third states, sin- aty and the EEAS have the potential to ce the EU representatives will no longer increase the coherence of the EU in inter- be restricted to limited policy domains national relations, and particularly with (although they will still be restricted to respect to its public diplomacy, for which represent opinions where there is more a dedicated department of the EEAS is or less consensus within the EU). envisioned. However, apart from the challenge of Nevertheless, with respect to the for- communicating the new institutional se- mulation of the core messages of EU pu- tup of the EU to the foreign general pu- blic diplomacy related to its normative blic, the increased visibility and coherent foundation, the impact will probably not actions of the EU also bring new chal- be great, since there is ample agreement lenges to EU public diplomacy, related to within the Unión about these messages. existing tensions within EU diplomacy Indeed, it is difficult not to agree with in general, and their manifestation in the part of EU public diplomacy that is EU public diplomacy in particular. To dedicated to the promotion of EU va- increasingly speak with one voice and lues and Europe as a model for peace and increase the visibility of the Union in functioning diversity. international relations means running the risk of augmenting the aversion of foreign publics towards what is at times Visibility of the EU as perceived not as the spread of universal an international player values by a benign actor but rather as an imposition of pernicious principles by a Along with improved coordination foreign power acting in its own narrow in EU public diplomacy, the fact of ha- self-interest. ving a common diplomatic service re- One of the tensions in EU public di- presenting the Union, headed by a single plomacy that will probably increase with person, should have a marked effect on a fully functional EEAS is that which the visibility of the EU as an internatio- exists between the visibility and cohe- nal player. Particularly the representative rent action of the EU on one hand and unification of the pillars of the EU in the ambition to spread its values and ex- the High Representative and the Union port its model for structural peace on the Delegations in third countries will boost other. The problem is that the projection the image of the EU as an important pla- of the EU’s identity requires it to present yer on the international stage. It is still a more unified image abroad, but at the too early to estimate the impact of this same time this increased international increased visibility on the EU’s identity, visibility will lead to a reduction in the but it seems likely that the EU will find normative foundation for the projection it easier to communicate its existence, of EU values. nature and main policy views to foreign publics. In this sense, the EEAS will pro- bably make it easier for the EU to influ- ence global political debates, as well as

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The argument is simple: if an NGO And the fact that EU Delegations in non- working in the area of democracy and Member States now represent the EU in human rights in a non-EU country dis- all policy areas should have a similarly plays EU symbols in its communications positive effect. and acknowledges the financial contri- bution of the Union, as set out in EU guidelines, then this may water down Laws of the jungle the positive message of the NGO by ma- king it seem like just a reflection of EU The EU’s new role as a diplomatic interests. It could give the impression actor in the wake of the Lisbon Treaty that the EU is trying to impose some- and the EEAS can be interpreted as an thing and lead to the EU being percei- attempt to shift the previous network- ved as a traditional power-based player based structure of the EU towards the that defends its own narrow geopoliti- traditional ideal of acting as a coherent cal and economic interests, rather than unit. The EU will be increasingly ca- as a benign player acting on the basis pable of defending its material interests of universal values and in possession of via concerted action through established enough experience to be able to share diplomatic (and military) practices in a them with others. competitive international environment. On top of this there are tensions wi- This corresponds to a vision of the thin European diplomacy, and it is like- EU as a community of values that is, ho- ly that these will only increase once the wever, still prepared, if necessary, to fol- EEAS becomes fully operational. In the low the laws of the jungle, as it has been EEAS headquarters in Brussels, a strong aptly described by Robert Cooper, a re- new institution has emerged that should cently- appointed EEAS Counsellor and contribute to resolving political pro- long-time foreign policy strategist within blems. It should also help to simplify the EU. Undoubtedly, it will initially be communication between the various easier to spread this vision of the EU and Directorate-Generals of the Commissi- its role in the world than to gain general on and between these and the Council. acceptance of EU values and integration models in other parts of the world. However, this same vision brings “Instead of simply explaining the with it the risk of undermining the long- nature and function of the EU term objectives of achieving a structural or following specific policies, the transformation of third countries and the international system through the communicative challenge of the spread of EU values. As Martin Ortega Union’s public diplomacy con- of the European National Institute for sists above all in how to impart Security Studies has argued, the EU de- EU values and communicate its role as a model of peaceful coexi- stence among countries.”

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pends on the global transformation of “In its foreign relations with the international system into a global North Africa, its geopolitical community for it to be able to prosper as a value-based actor. Therefore, the EU interest lies in having political needs to choose between a paradigm of stability in neighbouring states, interests and a paradigm of values as the and a working cooperation to basis for its diplomacy. The EEAS seems regulate flows from to indicate a preference for the former, an interpretation underlined by the po- these countries.” litical prioritisation in EU foreign policy in recent years. A good example is the policy towards North Africa. Here, the economic and geopolitical interests in a geopolitical interest of having political climate of global competition between stability in neighbouring states, and a potential enemies. working cooperation to regulate immi- This tension is a general problem wi- gration flows from these countries, has thin EU diplomacy. The establishment clearly outweighed the promotion of de- of the EEAS indicates that geopolitical mocracy and human rights. viewpoints are coming to the fore. This A further paradox, and one which is constitutes a serious communicative bound grow as a result of the EEAS, is challenge to EU public diplomacy. On the tension between a public diplomacy the one hand, the EEAS contributes to a seeking to disseminate values and pro- stronger Us vs. Them dynamic between ject the EU as a peace project, and the the EU and other countries, but on the ‘traditional’ foreign policy practices of other hand, the EU is seeking to com- the EU. Its roots can be found in the fact municate a model for structural peace that the EU seeks to gain influence in the among states who have overcome this world in the following two ways that are dynamic, and thus portrays itself as an to some degree incompatible: altruistic actor which is upholding the universal values of democracy, human 1. The EU as a model worth emulating rights and multilateralism. (EU soft power), and The general development of the EU, 2. The EU as a decisive actor (EU hard as symbolised by the EEAS, means that power). the EU will increasingly be forced to have an opinion on controversial issues and The logic is that it will be difficult for hence take up political positions that the EU to construct a value-based global others may disagree with. The traditi- community based on its own experience onal image of the EU as a qualitatively of the friendship of former enemies if different kind of international actor – an at the same time it is defending its own image which in the past has played a ma- jor role in public diplomacy – will now be more difficult to sustain. One way to prevent any potentially negative effects caused by the EEAS on

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the EU’s core message in both the short may bring, the active involvement of the and long-term is to more actively promo- member states will be pivotal. There is a te European culture around the world. lot to be gained by gradually introducing This would mean putting some flesh on a common European dimension into the the bones of the rather abstract EU slo- work of the national cultural institutes gan of “unity in diversity,” in order to in countries outside of the EU, just as make the essence of EU identity more is happening in other aspects of mem- tangible. ber state diplomacy. The network of EU The promotion of culture in interna- National Institutes of Culture (EUNIC) tional relations does not identify oppo- seems to be an obvious key player in this nents of interaction. So the EU identity respect, not only due to the already exi- could be strengthened in this way wi- sting and continuously developing pat- thout at the same time strengthening terns of cooperation, but also due to its the exclusive Us vs. Them type of EU ample experience and presence on the diplomacy. ground in third countries. One could also argue that the com- municative value of culture is greater Steffen Bay Rasmussen is an academic at than any number of glossy brochures the Institute for International Relations at the University of the Basque Country in Bil- explaining EU policies. If the EU wis- bao. He specialist areas are EU integration hes to communicate about human rights and public diplomacy, along with questions and conflict, why not complement the of security policy relating to the Union’s eas- references to international treaties with tern expansion. a display of Picasso’s “Guernica”? But would the EU generally dare to appeal to the emotions of foreigners rather than to their rationality? Whereas the existence of an EU cul- ture is doubtful, the combined cultural richness of its Member States is not. If the EU could use its external communica- tions to actively associate itself with this cultural richness, this would be a great asset for EU public diplomacy. At the mo- ment it is still unclear whether the EEAS will give cultural relations a special role, as the word “culture” seems to be largely absent from official documents and po- litical debates. But whatever the future

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unprecedented political scope and cul- “a special area of human hope” is what tural ambition, was in itself a noteworthy gives the ultimately abandoned Europe- gesture, indicating an awareness that the an Constitution of 2004 its humanistic Europe of the time was not the best it cutting edge as well as its idealistic – and could be and that there was the potential ultimately its fatal – weakness. for a better Europe beyond the present- This is not, of course, to suggest that day continent. the Constitutional Treaty was killed off It is true that ‘hope’ can take on a va- because it dared to hope for a better Eu- riety of meanings, ranging from mut- rope. It failed because it was not able to ed expectation without any concrete as- adequately address the fears and pro- surance of its fulfilment to a belief that blems of ordinary citizens who, already one’s expectations will be met; a belief as frustrated by national governments per- unshakeable as the faith that people have ceived as too distant from their everyday in God, who is after all the “God of hope” concerns, were now being presented with (Romans 15:13). However, both the latter the prospect of an even more distant and absolute idea of ‘hope’, an idea that from insensitive mega-government in a pos- a post-modernist perspective appears sibly even bigger Union. archaic and which seems to belong to a We should not forget that the world view that, at least since the time Constitution’s ratification process took of the French philosopher and literary place in the shadow of an often hyste- theorist Jean-Francois Lyotard, has been rical debate about the pros and cons of classified under metanarratives, and the Turkey’s membership. Referring to Eu- former weak use of the word – a use that rope as “a special area of human hope” many consider as more consonant with in those circumstances – and even more the predominant mood of contempora- so if it were to be used again in today’s ry Europe – do have a common feature. circumstances – simply rubbed salt in the wounds of frustrated and angry or- dinary citizens, especially in the Union’s Idealistic weakness, older member states. humanistic strength The word ‘hope’ somehow got lost in all the reflections and did not survive the Apart from implying a certain pro- so-called ‘period of reflection’ that began found dissatisfaction with the world as it after the abandonment of the process of is, (otherwise there would be no point in ratification of the Constitution follow- hoping for a better one), underlying both ing its rejection by voters in France and the absolute and the weak variants is the the in 2005. The fact that conviction that (under the right circum- the document was thrown out by the stances, in the weaker version, and under very people it was purporting to address any circumstances, in the absolute one) should have ensured that the authors of change for the better is possible, and in- deed that a better, fairer, more socially just, world is possible. This is why, in my view, the description of Europe as

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thousands of individuals outside Eu- rope from continuing to hope that in Europe they will find what is denied to them in their homelands. For these peo- ple, Europe continues to be a special area the Treaty of Lisbon avoided hyperbole of human hope. It seems that no matter when drafting the new version. In fact how hard the magician tries to make the they went even further and avoided pre- white rabbit disappear back into the top senting a new text altogether. So the first hat, for these desperate hopefuls from official version of the new treaty (repla- some of the world’s special areas of hu- cing the Constitutional Treaty) consisted man hopelessness, the rabbit simply re- of a series of amendments to the existing fuses to vanish. treaties (namely, the Maastricht Treaty Twenty-first century Europeans are a.k.a. Treaty on European Union, and probably sceptical about Europe’s qua- the Treaty of Rome a.k.a. Treaty on the lifications as “a special area of human Functioning of the European Union) that hope”, particularly today, when the effectively brought them into line with economic foundations of the Union are the abandoned text (namely, the Con- being shaken by the sovereign debt cri- stitution) without reproducing the text ses of some countries at the continent’s it purported to replace. geographical margins, notably but not A comprehensive grasp of the whole exclusively in the south. One expects was thus rendered very difficult for non- this scepticism to be more pronounced specialists. Former Italian Prime Mini- precisely where the present crisis has ster, Giuliano Amato, has even suggested erupted, in those countries that, with that the new Treaty was purposely made the wisdom of hindsight, may be regar- unreadable and invisible. The European ded as the weakest links in the Europe- Commission actually published the offi- an financial and monetary system. The cial consolidated versions of the Treaty draconian corrective measures deman- on European Union and the Treaty on ded by the European Commission, the the Functioning of the European Union International Monetary Fund and the in 2010, so after they had come into force European Central Bank, measures which (2009). The short-lived “constitutional” passage describing Europe as “a special area of human hope” was removed from “It seems that no matter how these “consolidated” texts. So the refe- hard the magician tries to make rence to Europe as an oasis of hope was turned into nothing more but a regrett- the white rabbit disappear back able and momentary lapse. into the top hat, for these despe- However, this has not prevented rate hopefuls from some of the world’s special areas of human hopelessness, the rabbit simply refuses to vanish”.

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um, , Cyprus, Estonia, Finland, Germany, Hungary, Latvia, Lithuania, Luxembourg, Malta, Romania, , and Slovenia. Portugal and Ireland were also in favour of the text of the Consti- are life even more difficult for tution but opted to freeze preparations the working and middle classes who have for a referendum after the French and already been squeezed by the slow reco- Dutch ‘no’. very from economic recession, have ex- acerbated this resentment – a resentment that in some countries has often escala- The South’s endorsement ted to involve protests and dangerous street battles with the police. The trend was for the states that And yet in 2005 Greece, Spain and joined the Union in the 2004 enlarge- Italy were amongst the most enthusias- ment or later (Romania and Bulgaria tic supporters of the constitutional text were accepted in 2007) to be enthusi- that hailed Europe as “a special area of astic about the Constitution. In fact, of human hope”. The reader will recall that these only the Czech Republic and Po- when the Greek parliament ratified the land are not in the Friends of the Con- European Constitution on April 19, stitution group. Out of 18 members of 2005, it did so by 268 votes to 17. The the “Friends” group, 10, so the majority, Italian lower house ratified it on Janu- joined in 2004 and after. The older mem- ary 25, 2005, with 436 votes in favour bers were split 50/50: 8 were Friends of to 28 against and 5 abstentions; the Ita- the Constitution, and the other 8 varied lian Senate (upper house) ratified it on in their attitude from wait-and-see to April 6, 2005, with 217 votes in favour downright hostile. and 16 against. On April 28, 2005, Spain’s In the non-enthusiastic countries, it lower house voted for it with 311 in fa- was the voters who opposed the Consti- vour to 19 against; in the Spanish upper tution, even when the political classes house, on May 18, a majority of 225 sena- were not against it. All Mediterranean tors voted in favour, with only 6 against member states except France – to the and 1 abstention. This was preceded by extent that one can classify France as a a consultative referendum on February Mediterranean country – supported the 20, 2005, when 77% of Spanish citizens EU Constitution, irrespective of the year have the green light and only 17% voted they joined the EU: Spain, Italy, Malta, against (although the turnout was only Cyprus, Greece and Slovenia. We have 42%). Greece, Italy and Spain belong to already given the results of the vote in the 18-strong Friends of the Constituti- Spain, Italy and Greece. In the Sloveni- on group, together with Austria, Belgi- an parliament, on February 1, 2005, 70 deputies voted for the Constitution with 4 against. In Cyprus, parliament ratified it with 30 votes in favour, 19 against and 1 abstention. In my country, Malta, par-

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liament ratified the Constitution unani- mously on July 6, 2005. But how would ordinary Greeks, Spa- niards and Italians – to mention only those that are now confronting severe growth and development. For now we debt crises – react today if they were as- will leave to one side the critical issue ked whether they agree that Greece is of the infrastructural capacity of Mal- part of “a special area of human hope”? ta – an Island state of just 321 sq km It would seem that it had to take a crisis – when we are looking at the relatively such as the present one to dampen the large numbers of illegal migrants, most enthusiasm of the countries at Europe’s of whom see the Island as a transit point Mediterranean edge. on their way to mainland Europe. Cynics would say that if we are to per- Admittedly, the Maltese are culturally ceive Europe as “a special area of human ill-equipped to cope with African mi- hope”, we would have to look at it from gration, although it must be noted that a very long way away. In fact, if we cross this is beginning to change, albeit slowly the Mediterranean, and look at Europe and not thanks to any significant initi- from North Africa or, even better, from ative by the state. What initiatives there sub-Saharan Africa, Europe is still sy- are come from civil society, NGOs and nonymous with hope. For hundreds of religious organisations. Outstanding for thousands in Africa – not to mention in its attempt to understand the cultural parts of Asia and Latin America – Euro- roots of our unpreparedness – specifi- pe is still sufficiently attractive for them cally the “relation between institutiona- to risk everything, even their life, to get lised education and ethnic minorities”, there. For them Europe is still “a special is a study by C. Calleja, B. Cauchi and area of human hope”. The position of M. Grech, ‘Education And Ethnic Mi- Malta, right on the periphery of Europe norities In Malta’, commissioned by the and midway between North Africa and Maltese partner of e-Spices (Social Pro- the European continent, makes it ideal- motion of Intercultural Communication ly placed to watch at close quarters the Expertise and Skills), a European project drama of south to north migration. It is a involving partners from , Ger- veritable human river, driven by conflict many, Greece, Malta, and Tur- and famine in the migrants’ countries of key. The authors argue convincingly that origin and by the difference in popula- at the roots of our difficulties in coping tion growth rates in the rich North (low with African immigration is the myth of growth rates), which urgently needs la- bour and the poor South (high growth rates), which is incapable of providing “Cynics would say that if we are productive employment for its inhabi- to perceive Europe as “a special tants in sufficient quantities to sustain area of human hope”, we would have to look at it from a very long way away.”

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an unchanging and homogenous Malte- se ethnic-religious identity (European and Christian) and the notion that coe- xistence with Africans (characterised as necessarily non-Christian) on our nati- The community is predominantly, but onal territory threatens the ‘essence’ of not exclusively, made up of Libyan ex- our culture. patriates, who were all understandably We should bear in mind that gene- worried about the fate of their families rations of Maltese schoolchildren have and friends in neighbouring Libya. Alt- been nurtured to define their identity hough there were a few sarcastic remarks as the Christian opposite of a cultural and a number of hysterical reactions to Other, one located in a mythical space the initiative, the event was very much over the sea to the south and to the east appreciated by the Muslim guests and of Malta, from where turbaned ‘Turks’ or was openly welcomed by most Maltese more generally Misilmin (Muslims) were Catholics and prominent Church leaders forever poised to pounce on the island. who commented on the event. This Other was, and to a considerable extent still is, conceived as the enemy and to some extent corresponds to Ger- The myth of a never-changing man philosopher Carl Schmitt’s concept identity of ‘the enemy’. It is quite possible that, in 2011, Maltese schoolchildren have a If Malta is to play a meaningful and more vivid picture of the Great Siege of valuable role within the framework of 1565 – an attempt by the Ottomans to Europe’s interest in promoting economic take Malta from the Knights of St. John development, democracy and stability in – than of Malta’s role in the Mediterra- the Mediterranean region and specifical- nean theatre of operations in the Second ly in North Africa – an interest that, in World War. my view, needs to be revisited and rede- Although this mindset will be slow fined in the light of the Arab Spring – to change, it is not unchangeable. The then it must free itself from the cultural opposition Malta Labour Party is a si- straitjacket that limits the ability of its gnificant political force with 34 out of 69 political classes, its diplomats, busines- seats in the national parliament and 4 out speople and intellectuals to understand 6 seats in the European Parliament. The what is happening on the southern shores Malta Labour Party is a secular party in of the Mediterranean and beyond, south a predominantly Christian society and of the Sahara. This is the homeland of its members are mainly Christians. This most of the immigrants who risk their year we decided to invite Malta’s Muslim lives to cross the desert and sea in search community to celebrate Iftar, the brea- of the “special area of human hope”. king of the fast at the end of Ramadan. Stanford historian Aron Rodrigue in- vestigated this issue of the periphery in the work of Turkish Noble Prize winner Orhan Pamuk. Pamuk’s novels, argues

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Rodrigue, reflect “the travails of the at- traction and repulsion, the love hate re- lationship with the West that those on the periphery, those rendered to be in the periphery, feel and act, in the face of the all mighty West, reacting, emula- ting, imitating, adapting, adopting, or rejecting, in a kaleidoscope of the que- stioning of the self and the other.” The issue “spans world history” and has be- come “the question of our age whose dif- ferent manifestations are present in the news every day.” If Europe or indeed the West, which sees the Mediterranean region as being peripheral, is to play a meaningful role in the changes unfolding in North Africa and the Middle East, then the West has to stop listening only to its own voice, which has been the case in the past. It has to listen to the voices of the so-cal- led periphery, without – as Edward Said taught us – distorting them to suit our prejudices and narrow interests. If we listen closely enough we will realise that the voices of the periphery are not at all peripheral. 440 years after the Great Siege the Turk Orhan Pamuk has open- ed a crack, allowing the light to flood in. According to Rodrigue, Orhan Pamuk has begun using his own words to write literature from his periphery. But, para- doxically and ironically, he has now been catapulted into the centre, right into the heart of the universal. Even the periphery is “a special area of human hope.”

Joseph Muscat is Leader of the Opposition in the Maltese parliament and leader of the Malta Labour Party.

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It’s good to be different The scientific method, demo- cratic politics, the concept of universal values - the- se are palpably better concepts than those that exi- sted previously. Not because Europeans as hosts and sponsors to these are a superior people, but because many of the ideas and philosophies that came out of the European Renaissance and Enlightenment are superior. To argue this today is, of course, to invite the charge of Eurocentrism. By Mike Hardy

sent as a continuous development from the past. In a traditional worldview, the present in some way repeats the forms, behaviours and events of the past. Tra- ditional cultures see themselves as re- peating a finite number of alternatives in the present; in modern cultures, the future opens up a vast field of historical and lifestyle choices. The proliferation of alternatives is a source of stress and tension for some and hence great anxiety and often results in cultural attempts to restrict alternatives in the face of this anxiety. The ‘crisis of iscussions about what we call modernity’ is the sense that modernity modernity can create a context is a problem; that traditional ways of life in which we review crisis, chan- have been replaced with uncontrollable Dge and tensions in our contemporary change and unmanageable alternatives. space. Modernity is the sense or the idea The crisis implies that the present is a that the present is discontinuous with the transitional point not focussed on a clear past; that through a process of social and goal in the future, but that change hap- cultural change life in the present is fun- pens through forces outside our control. damentally different from life in the past. Could the Arab uprisings, protests and We experience modernity as a prolife- rioting in Greece and the UK, the anti- ration of alternatives in lifestyle, of re- capitalist movements be interpreted as lationships or of historical possibilities. an expression of this crisis? This is a very different worldview, then, In contemporary Europe, we expe- from tradition, that portrays the pre- rience change as either progress or tran-

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sition. We view our historical situation yet the origin and original meaning of and our lives teleologically, deriving me- these rituals have passed out of the cul- aning and value in some unrealised futu- ture. Modern cultures still repeat ways re. Modernity has created a worldview in of thinking in the past—in fact, the bulk which we experience the world as com- of modern culture is based on traditio- posed of discrete, fragmented, and sepa- nal ways of thinking repeated relatively rable units. In addition, we form social unchanged—yet modern cultures tend groups that are largely based on abstrac- to view these ways of thinking as inno- tions, such as corporations, nations, reli- vations. gious or sexual preferences, race (which Although we base our social groups really is an abstract rather than a phy- on abstract categories, the structure and sical or biological category). As a result, content of these social groups are quite membership in social groups tends to repetitive of the structure and content of be unstable and transitory, as one can kinship groups, in other words, we base easily move between social groups. Our our abstract social groups on principles identities transit to complex multiples derived from real, biological relation- or ‘cocktails’, mixtures of a bit of this ships; we do not, however, experience and a bit of that. Abstraction is the idea these social groups as real, biological re- that areas of existence and culture can be lationships. So, this leads us to reflect separated from other areas of existence on the view that modernity—the sense and culture. that the present is discontinuous with the past, is an illusion—and this illusion creates modernity itself. An inherited “world house” What has changed is social memory; we have disconnected many of our beha- Finally, although seeing ourselves as viours, relationships and ideas from our having lost tradition, we repeat tradi- collective memory of their origins and tion in unrecognisable forms. Modern meaning. Take Martin Luther King Jr., cultures still perform traditional ritu- for example. Though best remembered als, such as sports (which are original- for his concern for colour, King showed ly religious rituals) or shaming rituals, that race was only one part of his broader concern with human relations at large. His ethos applies not only to the question “What has changed is social of race, but to faith as well. memory; we have disconnected “This is the great new problem of many of our behaviours, relati- onships and ideas from our coll- ective memory of their origins and meaning.”

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“What the colour line was to the 20th century, the faith mankind. We have inherited [...] a great line might be to the 21st.” ‘world house’ in which we have to live together — black and white, Easterner and Westerner, Gentile and Jew, Catho- sion. So, ‘It‘s good to be different’ might lic and Protestant, Muslim and Hindu ... be the motto of our times. Comfort with Because we can never again live apart, difference, respect for pluralism, avowal we must learn somehow to live with each of identity politics - these are regarded other in peace.” the hallmarks of a progressive, antiracist In the same way as the headlines of outlook. Belief in pluralism and the mul- the 20th century read of conflict bet- ticultural society is so much woven into ween races, headlines in our times are the fabric of our lives that we rarely stand full of violence between people of dif- back to question some of its assumptions. ference generally – including faith. So, The British-Russian philosopher Isai- for example, what the colour line was to ah wrote about ‘value pluralism’ the 20th century, the faith line might be saying, “Life may be seen through many to the 21st. We live at a time of conflict windows none of them necessarily clear abroad and tension at home often in the or opaque, less or more distorting than name of religion. During King‘s time, any of the others”. However, for Berlin, extremist views ranging from white su- there was no universal truth, only a va- premacy to black militancy believed that riety of conflicting versions of a story: the races were better apart. Today, the different peoples and cultures have dif- same is said of division along the lines ferent values, beliefs and truths, each of of faith. King insisted that we are always which may be regarded as valid. Many of better together. these values and truths are incompatible and incomparable, lacking a common language as the basis for comparison. In Belief in pluralism this line, value pluralism could be seen as the best defence against tyranny and In a future 2020 European context, a against ideologies, such as racism, which mono-layered European identity is less treated some human beings as less equal likely (and maybe even less desirable); so- than others. This argument for pluralism cio-economic and political crises, along is, as many have pointed out, logically with a deteriorating climate, will provo- flawed. A pluralist can never claim that ke increasing protectionism – essentially a plural society is better, since, according stronger boundaries and potential exclu- to his own argument, there is no impar-

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tial or universal viewpoint from which denies one of the critical features of hu- the claims of all particular cultures can man life and human history: our capa- be rationally assessed. Once you dispen- city for social, moral and technological se with the idea of universal norms, then progress. What distinguishes humans no argument can possess anything more from other creatures is capacity for inno- than, at best, local validity. vation and transformation, for making Many multiculturalists argue not sim- ideas and artefacts that are not simply ply that cultural values are incommen- different but also often better, than tho- surate, but also that different cultures se of a previous generation or another should be treated with equal respect. So, culture. It is no coincidence that much different and individual experiences, cul- in the modern world has been shaped ture and social contributions require pu- by the ideas and technologies that have blic affirmation and recognition so that emerged from the Renaissance and En- they can be considered socially equal. lightenment. And we at times struggle when we try, and worry about the encouragements of separatism and parallel lives when we Capacity for innovation and do. To treat different cultures with equal transformation respect we have to be able to compare one with the other. If values are incom- The scientific method, democratic po- mensurate, such comparisons are simply litics, the concept of universal values - not possible. The principle of difference these are palpably better concepts than cannot provide any standards that oblige those that existed previously. Not becau- us to respect the ‘difference’ of others. se Europeans as hosts and sponsors to At best, it invites our indifference to the these are a superior people, but becau- fate of the Other. At worst it licenses us to se many of the ideas and philosophies hate and abuse those who are different. that came out of the European Renais- The idea of the equality of cultures (as sance and Enlightenment are superior. opposed to the equality of human beings) To argue this today is, of course, to in- vite the charge of ‘Eurocentrism’. And to argue these without proper reference “The idea of the equality of cul- to the many other steps forward spon- sored by other cultural traditions is a tures (as opposed to the equality serious mistake. of human beings) denies one of We live in an age in which there is con- the critical features of human life and human history: our capacity for social, moral and technologi- cal progress.”

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siderable disillusionment with politics as instance, the distinction made by British an agency of change, and in which possi- sociologist Tariq Modood between what bilities of social transformation seem to he calls the ‘equality of individualism’ have receded. What is important about and the ‘equality encompassing public human beings, many have come to belie- ethnicity: equality as not having to hide ve, is not their political capacity but their or apologise for one‘s origins, family or cultural attachments. Does the biological community, but requiring others to show reality of a particular ancestry somehow respect for them, and adapt public atti- make a human being incapable of living tudes and arrangements so that the he- well except as a participant of that culture. ritage they represent is encouraged rat- Clearly no human can live outside of her than contemptuously expect them culture. But to say this is not to say they to wither away.’ have to live inside a particular one. To view humans as culture-bearing is to view them as social beings, and hence A truly plural society as transformative beings. It suggests that humans have the capacity for change, for A truly plural society would be one in progress, and for the creation of univer- which citizens have full freedom to pursue sal moral and political forms through their different values or practices in pri- reason and dialogue. vate, while in the public sphere all citizens The end of the Cold War, the collapse would be treated as political equals whate- of the left, the defeat of most liberation ver the differences in their private lives. movements in the third world, the de- Today, however, pluralism has come to mise of social movements in the West mean the very opposite. The right to prac- and the powerful rumblings in the Arab tice a particular religion, speak a particu- world have all transformed political con- lar language, follow a particular cultural sciousness. Campaigning for equality practice is seen as a public good rather means challenging accepted practices, than a private freedom. Different interest being willing to march against the grain groups demand to have their ‘differences’ and believing in the possibility of social institutionalised in the public sphere. transformation. Conversely, becoming Culture, faith, lifestyle, feelings - the- very comfortable with differences bet- se are all aspects of our private lives and ween peoples allows us to accept society as it is - it says little more than ‘We live in a diverse world, enjoy it’. Consider, for “Profit maximisation of traditi- onal business is replaced by pro- fit optimisation, in conjunction with social or environmental outcomes.”

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”Talk of a developed and a developing world is being replaced by the notion of of control; wherever we look we confront a multi-polar world, where the global challenges – in energy, food, fi- battleground for resources, nance, climate, demographics. Whose customers, talent and technology responsibility is it to solve these pro- blems? In a developed country context, is heating up.” citizens look to governments to take the lead on global problem-solving, lobbied into action and held to account by non- should be of no concern to the state or governmental organisations (NGOs) and other public authorities. A potential and civil society. Talk of a developed and a powerful irony of so-called multicultu- developing world is being replaced by the ralist policies is that, as a political pro- notion of a multi-polar world, where the cess, they undermine what is valuable battleground for resources, customers, about cultural diversity. Diversity is im- talent and technology is heating up. portant, not in and of itself, but because The so-called multi-polar world is cha- it allows us to expand our horizons, to racterized by increasing interdependence compare and contrast different values, across both geographies and the sectors, beliefs and lifestyles, and make judge- as society faces an increasing number of ments upon them. In other words, be- global challenges: climate change and cause it allows us to engage in political debt do not recognise arbitrary borders dialogue and debate that can help create between countries, and their impacts are more universal values and beliefs, and a indiscriminate between businesses, go- collective language of citizenship. vernments and charities. The challenges of water access and its responsible ma- nagement are as strategic to beverage Convergence: a recipe companies and food producers as they for partnerships are to the desperately poor in India. The scourge of HIV/AIDS destroys the liveli- With difference and with this com- hood of a community in the same way as plex array of ideas, living together in the it destroys the productive capacity of a public domain is a challenge; it is all the workforce. If no single or separable do- more so when we reflect on the stability main, be it a nation, a region or a local of our public domains. community, is immune to these challen- Globalisation has lost some of its shi- ges or indeed can solve them, and if the ne. Our world in 2011 appears almost out challenges themselves recognise no single

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“Leaders in all sectors – public, private and civil society, for both whole regions and local sector, the present and future is ‘conver- gence’ – a convergence of challenges, of communities – will need to re- approaches and of solutions. cognise and embrace the So to the confusions of difference, convergence trend and under- the co-existence of cultures in public stand the important role domains, we add the inability to avoid or isolate from global impacts. This feels their organisations can play more and more like a world where con- in driving change”. vergence on now has become most im- portant of all. So what exactly is convergence? In importance of markets and enterprise very practical terms, convergence is cha- approaches to poverty reduction and to racterised by where the motivations and community cohesion. And when it comes objectives of each sector align with the to trust, businesses can learn a lot from needs of society as a whole - the joining NGOs as they look to re-build battered together of private enterprise with po- reputations. sitive social, economic or environmen- tal impacts on development. It may take many forms, sometimes driven and ini- New hybrid organisations tiated by business or, in other instances, by civil society or government. Social enterprise and entrepreneur- Such convergence is characterised ship has captured a lot of media attention by contemporary drivers: markets, out- in recent years. Profit maximisation of puts, scalability, sustainability. The ‘dif- traditional business is replaced by profit ference’ between sectors in terms of in- optimisation, in conjunction with social terests (profit versus benefit etc.,) has or environmental outcomes. It is like- become less important and less a source ly that over the coming years, conver- of anxiety. gence will drive the formation of more At the same time, international NGOs new hybrid organisations or corporate are coming to terms with the notion social enterprises whose missions will re- that thinking and behaving like private flect a stronger commitment to creating enterprises may be part of the solution, shared values, than creating value per as opposed to part of the problem. And se (and then sharing!). Hopefully these governments and multi-lateral institu- new hybrids will take the opportunity of tions are waking up to the increasing building on and exemplifying the best practices in all sectors. We live in very interesting and enga- ging times. Living together in diverse communities facing common and glo- balised challenges is creating real pres-

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sure on policymakers. Scarce resources may well begin to flow toward those who can demonstrate and articulate a positive socio-economic impact on a global stage and away from those whose stories are ambiguous or whose journeys are exclu- sive. All traditional sectors must chan- ge in this modernity. It‘s likely that in a converging world, global businesses will have far greater roles to play in positively impacting social outcomes than they’ve had to date. Harnessing and re-directing the power of the private sector for posi- tive socio-economic impact is going to be one of the major challenges of deve- lopment in the 21st century. Leaders in all sectors – public, private and civil society, for both whole regions and local communities – will need to re- cognise and embrace the convergence trend and understand the important role their organisations can play in driving change. This is a challenge which cultu- ral relations organisations are beginning to recognise and gearing up to address. This is the backcloth for the transfor- mation of our discourse on difference.

Mike Hardy is Professor of and Executive Director at the In- stitute of Community Cohesion, Coventry University, Great Britain. He was appointed to frame and lead the British Council‘s global programme in intercultural dialogue, before taking up his current role.

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Reconciling the irreconcilable Artists are and always have been trailblazers – leading the way, seeking adven- tures and new horizons, sharing, exchanging, learning and wanting to use their new-found knowledge for personal growth. This spirit needs to be the fuel that drives cultural policy in European external relations. Once the internal approach is right – an understanding of Europe and a belief in Europe – then things will fall into place externally. By Katherine Watson

constantly adapt to new ways of living and working. Given this ever-changing lands- cape and the need to find a meaningful place for Europe in the world, the question of what role culture should play in Europe’s external relations is becoming increasin- gly pressing. We are also living in times that are do- minated by economic issues, and indeed these problems have become even more significant over recent weeks. Finding a response to these issues fills the heads of policy-makers and people alike, leaving little space for arts and culture. In view of ulture is a defining aspect of Eu- the pressures on the public purse and the rope and is seminal for a peaceful, state’s withdrawal from the cultural sector open and democratic union. Cul- it is now even more difficult to make the Cture (and cultural differences) is the glue case for the importance of culture and to that holds us together; culture defines us. really anchor it at the forefront of external It provides the way for us to live together as relations, both national and European. The Europeans – with a view to a shared future. fact is, culture creates connections, (but But we are still being constantly chal- unfortunately also divisions) and promotes lenged to make the case for “culture”. This better mutual understanding. This is why is not a new challenge, but it is becoming it is a non-negotiable aspect of Europe’s ever more acute in the face of the public external relations. sector’s diminishing commitment to cul- On a national level, we have often wit- ture and the resulting reduction in fun- nessed the tug-of-war between ministries ding, especially on a national level. of foreign affairs and ministries of culture And it’s not just that there is less and less money available. Europe is constant- ly changing and is a very different place to what it was 50, 20 or 10 years ago, or even last year or last month. We have to

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– a tension that increases when emphasis plomacy in a 21st century context. The is placed on the instrumental value of cul- usual cultural diplomacy that we have ture rather than its invaluable role in con- come to know on a national level cannot necting people. On a European level, we be simply transferred to a European level. have the opportunity to resist this tension There is no doubt that the rationale behind and conflict of interest and to start from cultural diplomacy – that “soft power” is a better position. We can take a fresh per- a force to be reckoned with – should be spective on the role of culture in external welcomed. However, it makes much more relations simply because Europe is not a sense to exploit the power of culture by nation state seeking to brand itself in the using it to connect people and as a medi- international marketplace. um for exchange between equals, rather than trying to sell, promote or market one culture to another. We must act according Looming instrumentalisation to the guiding principle that European ex- ternal relations cannot consist of either a Traditionally, national experiences of singular vision or a cacophony of 27 indi- culture in external relations or “cultural vidual voices, perhaps all trying to sing off diplomacy” have been closely tied to the the same song sheet. national interest and often to economic- There must be – and there can be - an ally-driven perspectives and issues. This added European value to a national per- approach is inherently at cross-purposes spective, allowing for complementary dual with the possibility of a European or pan- (and multiple) identities. The national national perspective and therefore seems identity retains its strength but is enhan- quite unsuitable. ced by the rich diversity of the community. When considering culture and its role It is critical to define and communicate the in European external relations, it is neces- role of Europe in a global context in addi- sary to reconcile some seemingly irrecon- tion to the role of each individual nation cilable differences and allow fresh oppor- (or city or region). tunities to arise from these new challenges. The shift in concept from cultural di- There needs to be a will to significantly plomacy to one of cultural exchange – a shift the paradigm. two-way flow rather than a one-way deli- Firstly, we should re-think cultural di- very – is evident on a national level. These experiences should provide models for the development of external cultural relations “We must act according to the at a European level and for internal Eu- ropean support of cultural co-operation guiding principle that European and dialogue. external relations cannot con- Our strength lies in Europe’s cultural sist of either a singular vision or a cacophony of 27 individual voices, perhaps all trying to sing off the same song sheet.”

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plurality with its myriad opportunities and culture as a key element in solving pre- for involvement that complement natio- sent and future problems. Artists are not nal external cultural relations. Surely “di- afraid to speak out about many of today’s plomacy” is most successful and most la- pressing problems. Their work and their sting when it plays out on a personal level, connections to a broad audience are raising and this is precisely what cultural dialo- the discourse to a new level, communica- gue and exchange is all about. We live in ting the urgency of the issues at hand and a world of multiple identities and it is no pointing to possible solutions. longer worthwhile to identify solely with one facet of our individual make-up. This can and should extend to Europe. The re- Cross-sectoral and international latively free-moving flow of people within Europe and the ease of staying connected Looking at Europe’s challenges in a glo- to one’s roots in other parts of Europe or bal context, the role of culture should not far beyond the continent’s geographic bor- be underestimated. We should think in a ders, via all imaginable types of media, way that is both cross-sectoral and inter- mean that it is no longer possible, or even national. desirable, to shed one identity completely It would be advisable to move away from in favour of another. the flawed concept of a “common” Euro- In any event, it is never possible to com- pean policy, which is simply the sum of its pletely shed one’s identity, so multiple iden- 27 parts and of all of the diverse elements tities should be welcomed, considered the which are part of each of the 27 member norm and viewed in a positive light. Peo- states. What are the truly European issues ple can and do identify with their fami- and questions that touch, connect and in- ly, their city or town, their region, their variably divide the 27? What are the mes- country, their familiar surroundings and sages and narratives that we share, which the continent in which they live. Artists are of course best communicated external- have always been trailblazers; leading the ly once they are understood and embraced way, seeking adventure and new horizons, internally? Once the internal approach is sharing, exchanging, learning and wanting right – an understanding of Europe and a to use their new-found knowledge for per- belief in Europe – then things will fall into sonal growth. This spirit needs to be the place externally. fuel that drives cultural policy in European We have strong European messages and external relations. goals. In this respect we should mention Once we admit to ourselves that making the Digital Agenda as part of the Europe a plea for “culture” may be a losing battle, 2020 initiative, which has the goal of pro- we should look at the role that art and cul- viding all Europeans with access to broad- ture play in a broader context. We do our- band internet by the year 2013. We have the selves and artists a disservice by staying in our familiar (although now threatened) milieu. Art and culture can play a large part in dealing with current problems. We need to make the case for the value of art

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“There is already a great deal When thinking about how to develop happening in the arts and cul- the role of culture in the EEAS, it would be a lost opportunity to only have a speciali- tural sector which can certainly sed and probably relatively small “culture” be described as external cultural department, and this is not something relations.” we should aspire to. Cultural experience should be brought into other domains and all team members involved in exter- technology to make this possible, but can nal relations will need to have intercultu- this connection be viewed on an interper- ral skills. sonal level? What will bring hundreds of More than ever before it is now time to millions of Europeans together? I believe be bold in the way we approach both cul- they will be brought together by each other ture and Europe. We need to consider pre- and the world. This is the basic premise of sent-day Europe along with the new and Europe’s external message and culture acts future Europe by being forward-thinking as the connector. and not clinging on to old ideas and models Whose minds do we need to change in that have never really worked. order to turn theory into practice, concept into reality? The European External Ac- Katherine Watson is Director of the European tion Service (EEAS) will need to take this Cultural Foundation (ECF) in Amsterdam. The ECF is an independent foundation and its work on board and communicate the idea of cul- is dedicated to the two key ideas of Europe ture as a fundament of external relations. and culture. It was founded in Geneva in 1954 There is already a great deal happening by some of Europe’s main “architects” of the in the arts and cultural sector which can post-war period, including Robert Schuman certainly be described as external cultu- and Denis de Rougemont. For these European pioneers, culture played a crucial and creative ral relations. role. The Foundation moved its base to the Ne- This is often the work of individual ar- therlands in the early 1960s. tists and cultural organisations. We should build on the experiences of artists and cultural organisations and find ways to continue to support ongoing dialogue. EUNIC, the network of European Uni- on cultural relations institutes, has recog- nised how valuable collaboration and sha- red European messages and goals can be in the area of cultural exchange. External cultural relations should take this wealth of experience to a higher level of “European added value”. But first doors will need to be opened within the EEAS and advocates found to champion this idea and represent it both internally and externally.

149 Seeing the world in a new light London, , Ma- drid, Mexico City, Tunis and Cairo – the people of many cities around the world are harbouring a sense of anger against the state and the system, against the rich and globalisation. What can Europe do? Does culture have a role to play? It can show how open de- bate and freedom of thought are vital to a dynamic and democratic society. Europe should take advan- tage of these opportunities. By Mary Ann DeVlieg

‘values’, like ideologies, are in themselves subjective. Having ‘no policy’ is policy-by- default, as a lack of policy also has con- sequences. Ideally, a policy framework should be sufficiently open and flexible to allow for new, surprising and innovative responses and methods and new ways of looking at things. So, which values do we want to use as the basis of Europe’s policies? Free market economy? Definitely. Social protection? Of course. We don’t want a hypocritical Eu- rope, but one which embodies humanistic values in its treaties, conventions and char- oliticians tend to be obsessed with ters. We want Europe to differentiate itself GDP growth and the economy, whi- from other continents by upholding its so- le often neglecting the long-term cial values. If we accept that public policy Pinterests and wellbeing of the majority of is a set of fundamental ideological choices their people. As Will Hutton, former editor that influence behaviour, then we need to of The Observer writes, “There is the sensa- create EU policies that reflect our values. tion of being impotent, of being forgotten, Or, in the words of British historian Tony to see services being taken away from us Judt, “to practice ethical politics is to show with nothing in exchange and above all, of coherence between intentions and acts.” not being listened to. It is not possible to If Europe stood for freedom of expres- treat society as a budget line.” sion, it would respect the fact that most Policy provides a framework for incen- of the latest wikileaks were already in the tives and disincentives, opportunities and public domain and none of them had been effective actions in support of the desired classified as ‘top secret’. And the six per- goals. All policies are value-based and cent classified as ‘secret’ would have been

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available under various freedom of in- an informed population who understands formation acts. So European politicians the complexity of their environment and should not (as some have) call for wikileaks the impact of their free choices. Precondi- founder Julian Assange to be “strung up”, tions such as a society which understands regardless of their thoughts about the man. the opportunities they have to approve, If Europe stood for respect for the life amend or sanction the political direction and the dignity of the individual, it would of their representatives. Would our ideal not have found seven Tunisian fishermen, Europe send election observers or would who saved 44 Africans from starvation and it focus on working with the local popu- drowning off the coast of Sicily by taking lation to create these preconditions? If it’s them to the island of Lampedusa, guilty of the latter, then the arts and culture could aiding illegal immigration. Previously, Eu- have a lot to offer. rope had not brought any charges against Imagination, empathy, critical thought, those who had beaten African migrants to creativity, curiosity, an interest in comple- death in the same region. xity and analysis are all qualities that are cultivated in the arts. They are amongst the preconditions for democracy in our Joined-up morality globally interdependent world. They help guard against the manipulation of weaker The British speak of ‘joined-up thin- members of society and against the kind king’; but how about ‘joined-up morali- of aggressive nationalism and populism ty’? Bankers’ bonuses and relaxation of the that is based on fear-mongering. They arms trade…no wonder people are angry. support the spread of thoughtful, questio- No wonder the Egyptians are saying, “We ning populations who can make demo- don’t need the West.” cratic choices. This quality of innovative Yet morality – like ‘democracy’ and thinking based on empathy can also help ‘terrorism’, ‘revolutionary hero’ and ‘ene- decision makers and politicians to com- my of the state’ – can be slippery concepts. bine economic growth policies with those They need to be looked at more closely. favouring human and social development. Morality has to be discussed, debated and However, arts and culture cannot mend tested in real life; it needs agreement and what’s broken. They cannot miraculously decisiveness. “Thou shalt not kill”, “Ah yes, build instant trust in people whose confi- but, well, you know, there are cases when...” dence has been systematically destroyed It’s the same with democracy: ‘voting’ and replaced by cynical protectionism. But is not its definition. Voting is merely the they can stimulate the mind and show that end result of a whole series of precondi- open debate, freedom of thought, concern tions such as clearly-defined and trans- for others and the acceptance of new ideas parent options, which are understood by are essential for a dynamic and democra- tic society. “No wonder people are angry. No wonder the Egyptians are sa- ying, ‘We don’t need the West.’”

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The following words still ring true today. They were written Cultural institutes and the new Euro- by an American (or more precisely, an Irish-American), and pean External Action Service (EEAS) can Europe would be well-advised to heed them today: work together to strengthen and provide a “Too much and too long, we seem to have surrendered commu- forum for the EU Charter of Fundamental nity excellence and community values in the mere accumula- Rights as recognised in the 2009 Treaty of tion of material things. Our gross national product ... counts air pollution and cigarette advertising, and ambulances to clear Lisbon and the UNESCO Convention on our highways of carnage. It counts special locks for our doors Cultural Diversity. Together, they can pro- and the jails for those who break them. It counts the destruction mote arts and culture projects that exem- of our redwoods and the loss of our natural wonder in chaotic plify the European values of unity through sprawl. It counts napalm and the cost of a nuclear warhead, and diversity, cooperation and collaboration armored cars for police who fight riots in our streets. It counts Whitman‘s rifle and Speck‘s knife, and the television programs and the added value provided by working which glorify violence in order to sell toys to our children. Yet together. These are special, though not the gross national product does not allow for the health of our unique, aspects of the European project, children, the quality of their education, or the joy of their play. It and we should be proud of them. Cultu- does not include the beauty of our poetry or the strength of our ral institutes and the EEAS can support marriages; the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our coura- the new, positive, angry movements in the ge; neither our wisdom nor our learning; neither our compassi- arts, such as the EU-funded partner project on nor our devotion to our country; it measures everything, in Sostenuto. This project introduces a para- short, except that which makes life worthwhile.....“ digm shift by uniting the arts, business, (Robert Kennedy, March 1968) sociology, climate change, human rights and city planning in a cross-sector colla- boration combined with modern manage- ment methods. Like the new International Coalition of Arts, Human Rights and Social Justice, founded in 2010, the cultural institutes and the EU can support initiatives demonstra- ting our freedom to criticise society, in or- der to, in Martha Nussbaum’s words “ask the imagination to move beyond its usual confines, to see the world in new ways.”

Mary Ann DeVlieg has been working in the cultural sector for more than 30 years. Since 1994 she has been the Secretary General of IETM (International Network for Contemporary Performing Arts). In 2010 she co-founded the International Coalition on Arts, Human Rights and Social Justice.

152 Europe’s dowryEurope was too small when the Arab spring of 2011 led to thousands of migrants from North Africa landing on Italy’s shores. The ageing continent that invented humanism battened down the hatches. But European values are not inextrica- bly linked to being physically part of the European continent. How can these values help Europe to deve- lop globally? By Farid Tabarki and Rindert de Groot

ders erected a gigantic cast-iron spike, for no other reason than to make an oversized statement to the architects of the building which stood behind it. Some sixty years later, the Centennial Hall reopened after extensive renovation. Representatives of the whole cultural spec- trum of Europe gathered together, from ex- perts to bureaucrats to “ordinary people”, providing one of the highlights of Poland’s term as EU president. Philosopher and sociologist Zygmunt Bauman left communist Poland during the government’s anti-Semitic campaign “Europe has its history to give to the in the seventies, and re-invented himself world as a dowry.” With these and other as a post-modernist thinker based in the words, Zygmunt Bauman, a philosopher UK. His idea of liquid modernity redefines and sociologist with Polish-Jewish roots identity as a fluid concept, no longer em- and a successful professional career in bedded in strong institutions and social England, shows that he is truly a Europe- structures. Each individual therefore has an. It is not surprising that he was asked to invent his or her own identity. At the to be the keynote speaker at the Europe- European Culture Congress, Bauman ap- an Culture Congress that was held at the plied his theories of liquid modernity to Centennial Hall in Wrocław, Poland from culture in a European context and marked the 8th to 11th September, 2011. the occasion by making it the subject of a This magnificent building, designed by book, (Culture in a Liquid Modern World, architect Max Berg, opened in 1913, in the Polity Press, 2011). One of the aspects he years when Wrocław (then Breslau) was covers is the cultural transition from na- part of the German Empire. Shortly after tion-building to globalisation. Migration the Second World War, when Wrocław be- came part of communist Poland, the city was quickly emptied of all Germans and in front of the Centennial Hall the new lea-

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routes which are ”‘formed and reformed harder to achieve, but tolerance is an abso- ad-hoc” and the free flow of ideas in cy- lute prerequisite in a Europe transforming berspace lead to identity and culture no into an “agglomeration of overlapping and longer being tied to a specific area. criss-crossing ethnic archipelagos”. This A modern or liquid Europe is therefore is, in fact, true for any open society. If we boundless. European culture no longer has wanted a final, clear-cut definition of what clear geographic boundaries showing who constitutes European and national iden- does or doesn’t belong. In other words, Eu- tity, we would have to re-establish a clo- rope is at the same time a political struc- sed society. That would be a very unwise ture, an artistic continent and home to a course of action, because it would destroy wide variety of people – a truly fluid con- the uniqueness of Europe. cept. Throughout Europe, governments have Some of today’s leaders see Europe as a been struggling with the concept of nati- fortress that provides protection from the onal identity to such an extent that they evil outside world and protects a rich con- have lost sight of a European identity. It tinent with its beautiful and fragile culture. was only when there was a vote on the Eu- This view is erroneous for several reasons. ropean Union that they felt it necessary to tell their citizens what Europe was all about, and in this they generally missed Overlapping ethnic archipelagos the point entirely. In The Netherlands, the presidency Europe was too small when the Arab of the EU in 2004 used the spectacularly spring of 2011 led to thousands of mi- uninspiring slogan: Europe, quite impor- grants from North Africa landing on Italy’s tant (Europa, best belangrijk). Rather than shores. Rather than being thankful for an focusing on what Europe actually meant influx of people who literally had the entre- for people, the focus was on the concrete preneurial spirit to cross borders, Europe’s actions of the European Union, a rather leaders introduced restrictive measures technical business that people know little and closed their frontiers out of fear. about and can’t influence directly. So they The same fear can be heard in the words focus on regulations saying that bananas of the xenophobic far right who argue that can no longer be curved and the fact that immigrants are driving out their traditio- they have to pay the debts of other coun- nal culture and that the migrants’ identi- tries – things which people are of course ty is incompatible with this culture. In an not going to find easy to support or iden- effort to create a pan-European ideology, tify with. Anders Breivik described in his manifesto In other words, if Europe is to create a ‘2083 – A European Declaration of Inde- notion of itself that can in some form be pendence’ how Europe needs to purify its used for the purposes of identification and society from the Islamic threat, in order culture, then it cannot sell what it does at not to be overtaken by it. Zygmunt Bauman couldn’t disagree more. He believes Europe is all about de- aling with the Other. Solidarity may be

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EU level to its citizens as being a way of placing religious wars with strong nation forging identity. Nor can we view Euro- states. These still clashed, but after World pean identity as an amalgam of hundreds War II the newly-founded European Union of millions of people who all have some- managed to keep violence out of the nati- thing in common as opposed to those peo- onalist equation and turned to economic ple who do not live in Europe. There is cooperation instead. Its recently liberated really nothing that would lend itself to this Eastern neighbours have fitted remarkably purpose. Being European can therefore ea- well into the new reality. sily become an empty notion. The formal The result of this history is a secular proceedings of the European Union seem continent with respect for the individual rather incompatible with the loosely de- and a very strong respect for freedom of fined, liquid culture that Bauman suggests opinion. Gay couples are able to get mar- is what our current global society needs, ried; women have the same rights as men and that Europe has to offer. Maybe we and religion is respected, but will never have to forget about a clear-cut definition provide a foundation for worldly power. of what Europe is, who belongs to it, and There are still a lot of stories to be told what’s in it for you and me. about our history, our differences and the current problems resulting from these, and indeed these stories are being told. Cul- Scalable Europe ture and art are flourishing as never before, uniquely linking high art with alternative We would like to introduce the idea of a and mainstream popular culture. scalable Europe. Europe is not primarily a In other words, history has forced tole- geographical area, as it has no physical bor- rance upon us, as well as a strong sense that ders. Rather, it is an ideal that changes sha- human rights and freedom of expression pe, depending on whether you are looking are a good thing, and essential for survival at it from a global or an individual per- in a open society. spective, or from something in between. This historical ‘unique selling point’ is The great variety of our scalable Europe not dependent on being physically part of has its roots in the history of the continent. the European continent, no more than our Those with a xenophobic bent may like history, to use Bauman’s terminology, is to point out that it has a ‘Judeo-Christian really a ‘dowry’ to the world, so something tradition’, but this is inaccurate. It is much that we can give away. Instead, we should more typical of Europe that after centu- understand it as a successful way of over- ries of religious strife, we succeeded in re- coming differences internally and helping us grow globally. This history also applies at a personal “Throughout Europe, govern- level – we could call it pocket-sized Europe ments have been struggling with – just as much as for Europe’s global role. the concept of national identity to such an extent that they have lost sight of a European identity.”

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This does not mean the European Union “If you go to Kazakhstan, you has to be shrunk to the size of the indi- first of all become aware of how vidual, but rather that ideas, individuali- ty and an eclectic cultural mix should be different you are, then if you combined. It’s a case of each individual bump into a Briton or a Spaniard finding out what Europe really means for you suddenly realise how Euro- them personally. pean you are.” Frequent travellers will have noticed that one of the best ways to discover who you really are is to travel far from home. we understand who we are and how we can If you go to Kazakhstan, you first of all fulfil our role. One possibility would be become aware of how different you are, to learn Mandarin, as the ability to com- then if you bump into a Briton or a Spa- municate with Chinese people can only niard you suddenly realise how European strengthen our own identity, not weaken it. you are. When you are in a strange and More urgently, however, Europeans need foreign setting you can suddenly see your to improve their skills for communicating own continent with the benefit of a little with their neighbours. Why not learn Fin- distance. nish or Serbian? English is an important So this ‘pocket-sized’ version of Europe tool, but not the Holy Grail of communi- is all about open-mindedness. This applies cation, and especially not in a European to individual citizens, but is also just as context. valid when applied to cultural organisa- It’s not easy to be European and con- tions or to companies. It lies in the diffe- stantly have to reconstruct your own in- rences between people and groups just as dividual identity and approach strange much as in the things that hold together things and people in a creative and open- a diverse culture and in the shared value minded way. But although it is far from of tolerance. easy, we need to protect this open-minded- In order to reconcile the global and in- ness. Europeans should say no to anything dividual dimensions of Europe, we could that restricts the free flow of ideas. For ex- consider some activities which would ample, net neutrality (the rule that inter- strengthen Europe’s well-earned role as net providers may not interfere with how a a secular, individualistic cultural power- user uses the internet) should be protected. house. Beautiful ideas are sometimes institu- A crucial aspect for European culture tionalised into oblivion. The current lack is communication. We should forget about of appeal that the European Union has for the physical boundaries of the continent, Europeans is a good example of this. and instead realise that by exchanging with However, the notion of a scalable Euro- others – inside or outside the continent – pe necessitates the bringing together of all the many instances of Europe, even if they are conflicting. Although we shouldn’t view the European Union as the home of European identity, it can still strengthen the cornerstone of its open-minded atti-

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tudes and culture. We shouldn’t hesitate Farid Tabarki is the director of Studio Zeit- to invest heavily in Europe’s cultural in- geist, which develops projects on the local, national and European Zeitgeist. Themes frastructure. include transparency, (social) media, genera- Another institution worth mentioning tions, aesthetics and education. Recently Farid is the Council of Europe. Much larger than co-founded the Finishing School, an educatio- the European Union in membership, it nal institute that primarily focuses on giving concentrates on those values that Europe “high-flyers” in their twenties and thirties training in general subjects, etiquette and soft is founded on: human rights, the rule of leadership skills. law and democracy. It should be allowed Currently Farid Tabarki presents the Dutch TV to grow and become even more European programme Durf te Denken, from Socrates to in the process. Sartre. But we have to bear in mind Zygmunt Rindert de Groot develops content and con- Bauman’s lessons telling us that we need a cepts for different media, from books to do- very private, non-geographical, and non- cumentaries. He founded UNISCA, an annual institutional approach to living a European course in the form of a UN simulation which life. An example of how to reconcile ideas takes place at the University of Amsterdam. He with the institution is the ‘A Soul for Eu- was also the Dutch youth representative at the United Nations. He is the author of “Europe’s rope’ initiative. Through its lobbying acti- Smallest Travel Guide” and the “Smallest Pic- vities in Brussels, it brings together repre- ture Book of the Netherlands”. sentatives of culture, art, politics and civil society in a quest to find what binds us. A lovely example of Bauman’s liquid culture was on display in the Centennial Hall. Polish composer and director Kry- sztof Penderecki joined forces with British electronic musician Aphex Twin. It turned out to be a very loud musical experience, with surprising twists and turns. Euro- pean culture obviously doesn’t need to be hidden away in silence. It’s a perfect sign of what Europe is good at – a mixture of classical and pop which brings together old and young and uses cultural differences as a tool for beauty rather than conflict. And all this reaches a surprisingly large audience.

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Singing in harmony with others In this age of major European unification and intercultural dialogue, all cultures communicate with one another in a way that is not unlike the instruments in a classical ‘concerto grosso’. National cultural institutes should recognise that the best way for them to present their individual cultures externally is to do it in concert with all other European cultures. By Horia-Roman Patapievici

tute with 7 branches abroad, out of which only three were operational; currently we have 17 fully-operational branches. Be- fore 2005, the Institute I took charge of was at best carrying out a kind of cultu- ral diplomacy; at worst, it was engaged in propaganda for officially-sanctioned Romanian culture. In 2010, in a presentation on the cultu- ral policies of recent years, British policy advisor and analyst, Rod Fischer, refer- red to the Romanian Cultural Institute, alongside the British Council and a few other national cultural institutes, as ha- ’m writing this paper in a threefold ving undergone over recent years a true capacity: as a member of the EUNIC paradigm shift, moving from the pro- presidency team for three years, as motion of national culture as a form of Ihead of the Romanian Cultural Institute cultural diplomacy to the promotion of for two terms and as a public intellectual direct, people-to-people cultural coo- from a formerly communist country of peration between two or more cultures. the European Union. It may seems so- What I have attempted at the Romanian mewhat incongruous that I refer to my- Cultural Institute is to free Romanian ar- self in this capacity, but I am very keen tists and purveyors of culture from the to ensure that we do not lose this part of obligation of having to be the represen- our European memory and never forget tatives of official Romanian culture for the communist catastrophe that overtook Romanian institutions. the European continent. It is also impor- I have refused to continue the policy tant that we retain this memory as part in which only those artists who represent of our awareness of a common Europe- an identity. Allow me to briefly summarise my ex- periences as head of the Romanian Cultu- ral Institute: in 2005 I took over an insti-

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what the authorities consider to be “nati- pe is also made up of countries that not onal art”, “national values” and “patriotic only have different memories to those of works of art” should be promoted. I have Western Europe but that have also had a changed the Romanian Cultural Institute totally different experience of the public from being an institution that consecra- realm and public spirit. ted all things national and made artists Institutional reform developed as a re- toe the official line, into an institution sult of the intellectual, moral and value that refrains from promoting and instead clashes that were generated by this diffe- aims to support and facilitate. The Roma- rence between the East and West Euro- nian Cultural Institute has set itself the pean public realms. Through these in- aim of enabling direct contact between stitutional changes, we have transformed the Romanian cultural market and fo- the Romanian Cultural Institute from an reign cultural markets. In other words, we institution of cultural propaganda and have shifted from the promotion of values cultural diplomacy (at best) into an insti- by means of state propaganda (no matter tution answering its cultural call by har- how soft) to facilitating direct contacts monising its own voice with the voices (no matter how difficult this may be), by of others. working with a range of partners on pro- jects which involve different cultural mar- kets. The mission of the Institute is not so A clash of values much a desire to unify the different cultu- ral markets (a rather undesirable utopia), Of course, this point of view can be but as much as possible to bring them into rejected on purely national grounds. Ul- direct contact with each other. timately, the budget of a national cultu- You can easily imagine the resistance ral institution is national and it reflects such a cultural policy triggers in a former- both a particular taxation policy and the ly communist country, where everything vision of that particular nation on how it had to be “official”, “national”, “patriotic”, should spend its tax-payers’ money. The “partisan”, “in the service of the people” argument would be that it is inappropriate and so on and so forth. I only mention this to spend tax-payers’ money on benefiting to remind you that today’s united Euro- other cultures. This is a valid argument, in that cultural cooperation essentially leads to a “denationalisation” of the mo- “What I have attempted at the nies allocated by national institutions for Romanian Cultural Institute national representation abroad. However, it fails to take into account the fact that is to free Romanian artists and major cultures, or even former cultural purveyors of culture from the empires, are no longer able to go it alo- obligation of having to be the re- presentatives of official Romani- an culture for Romanian institu- tions.”

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us with a model for the relationship bet- ween cultures, but rather the interplay of individual instruments in a classical ne but must work together with others. concerto grosso. National cultural insti- The world we live in is essentially inter- tutes should recognise that the best way cultural. And in the age of unavoidable for them to present their individual cul- contacts between cultures, national repre- tures externally is to do it in concert with sentation should take other forms, even all other European cultures. if it is just to enable this national repre- sentation to continue. Prior to the great post-war European The birth of EUNIC unification, the great cultures gifted us a common culture. This situation can be This brings me to the moral, institu- compared to opera and its great arias – tional and intellectual environment that “Un bel di vedremo”, from Puccini’s “Ma- has led to the birth of the association of dama Butterfly”; “”, from national cultural institutes. What I am Puccini’s “”; “Casta Diva” from going to present will not be a historic re- Vincenzo Bellini’s “Norma”; “O mio Bab- construction but what Karl Popper would bino caro”, from “” by Gi- have called a reasonable reconstruction acomo Puccini. All these are formida- of history. ble examples of great arias that everyone The original idea of creating an as- knows and wants to listen to. And then sociation of national cultural institutes there are also the pieces in between these in Europe was mooted in 2004 and 2005 arias which just serve to lead us towards by some of the heads of national cultural them and highlight their uniqueness. institutes and a few important cultural The great cultures, which everyone activists. The basic premise is extremely knows and wants to make their own, were simple: good things can happen if people like these great arias. The rest of the mu- decide to work together. sic was just, dare I say it, a filler, and this What could be more obvious? In 2006, was the role which lesser cultures have EUNIC came into existence as a partner- played in the past. But today the relation- ship of public organisations working in ship between major and minor cultures international cultural relations and co- is no longer hierarchical, but dialogue- operation, whose members, based in Eu- oriented. In this age of major European ropean Union member states, operate at unification and intercultural dialogue, all arm’s length from their national govern- cultures communicate with one another ments. in a way that is not unlike the instruments in a concerto grosso. It is no longer the opera with its single arias that provides “Today’s societies are no longer prepared to wait for their nation to provide them with a form of international expression.”

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This basic idea, though simple, was far that meet the following criteria: they sup- from naïve. It hinged on two basic fin- port national cultural diplomacy and act dings that seem fairly obvious. The first as cultural relations organisations. They of these is that in today‘s world, multipo- are funded by the public sector and ope- larity tends to have the upper hand over rate with a degree of autonomy from go- bipolarity. The second is that today’s so- vernment. They work outside their home cieties are no longer prepared to wait for countries. EUNIC does not operate on a their nation to provide them with a form country or inter-governmental basis: it of international expression. can, and does, have more than one mem- These two factors lead directly to two ber from any country. It is a question of conclusions. The fact that bipolarity tends what they do, rather than which country to be subordinated to multipolarity has they come from. The “EU” in the EUNIC a destabilising effect on the rigid, typi- acronym is a geographic not a political cally modern opposition between cen- expression. To date, EUNIC consists of tre and periphery, north and south, de- 29 members from 25 EU member states, veloped countries and underdeveloped operating with a degree of autonomy or at or developing countries – either by an arm’s length from their governments: this easily-predictable relativisation or by an “arm’s length” varies from case to case, unpredictable but extremely interesting depending on the institutional architec- metamorphosis. ture of the country in question. And the fact that today’s societies tend to transcend the framework of their re- spective nations leads to the conclusion EUNIC: a brief description that traditional cultural democracy has become too narrow a framework for mo- EUNIC promotes European agendas dern societies to achieve their goals of cul- and values. EUNIC is an active network tural cooperation. They prefer forms of encouraging members to implement sha- direct cooperation over those mediated red projects at many levels. It is a learning by official institutions. network sharing ideas and practices bet- These two findings and their conclu- ween members. And it is also a partnering sions form the foundation of EUNIC’s network working with partners including basic concept. They provide the philoso- the European Commission, the Council phical structure that underpins both the of Europe and others around the world. It existence and the strategic principles of is an advocacy network raising the aware- the organisation. ness and effectiveness of building cultural EUNIC’s members are organisations relationships between people worldwide.

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EUNIC is active through an increasing heads of EUNIC member institutes may diversity of projects, not only cluster-ba- all have their own reasons for joining the sed but multi-cluster and multi-member, network, but all share the same desire to and advocates cultural cooperation and work together. direct cultural relations. EUNIC mem- There is a strategic and operational bers benefit from working together, for- added-value in their membership. EU- mally and informally, and partnering NIC presents itself to the outside world with the European Commission as well in everything it does, not just in joint- as with other organisations. The Euro- ly-organised activities. It is the size and pean Commission recognises EUNIC as collective expertise of our member or- a source of advice and policy. Relations ganisations that gives us our reputation with the European Commission and the and influence. One way to look at EU- European External Action Service are clo- NIC is by comparing it with the airline se and supportive. In 2007, for example, alliances, such as Star Alliance and Sky the European Commission sent a letter to Team. Each airline is independent and all its Delegations asking them to support has its own brand, but as an alliance they the work of their EUNIC clusters. come together in order to lobby as a sin- Today EUNIC has over 65 clusters gle body, code-share (similar to our joint worldwide, carrying out over 400 shared projects), learn from each other and strive activities in 2011. The most effective clu- towards similar standards (as in our tea- sters develop over 10 projects a year; in- ching centres). novative projects that go beyond the stan- dard arts festivals. The commonwealth of EUNIC consists of over 2,000 branches From the accidental in over 130 countries, with over 25,000 to the strategic staff, including over 7,000 teachers, tea- ching over 2 million students a year and The year 2010/2011 was a decisive pha- providing over 8 million language qua- se in EUNIC’s growth from the accidental lifications. It is highly revealing for the to the strategic. This phrase was coined EUNIC potential that in 2011, the 29 EU- by the General Secretary of the Goethe NIC members had a turnover of over 2.5 Institute, Hans-Georg Knopp, a former billion euros. president of EUNIC. EUNIC’s operating To sum up, how can EUNIC be de- strategy was agreed on at a meeting of scribed? EUNIC is a network, not an or- institute heads in Brussels in December ganisation. As with all networks, mem- 2010, and a budget was set. The strategy bers get out of it what they put in. The includes an office in Brussels, scheduled

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“One way to look at EUNIC is by comparing it with the airline al- liances, such as Star Alliance and EU, EUNIC members operate in over 130 Sky Team. Each airline is inde- countries. There are clusters in over 50 pendent and has its own brand, countries and the number is growing ra- but as an alliance they come to- pidly. I would like to finish off by looking gether.” at the tasks which EUNIC may be facing from a philosophical perspective. These thoughts are a result of my experiences to open in September 2011, and a think as a member of the EUNIC presidential tank designed to provide the heads with team and as head of a national cultural expert advice. institute. I would like to make two points. This strategy group has already star- Firstly, what I like to call the “double ted work and delivered its first reports at visibility” extended to a given society by the biannual heads’ meeting in Lisbon a good cultural programme or a good cul- in June 2011. At the heads’ meeting in tural strategy. Bucharest in June 2010, the question of membership was resolved. At present the- re are clear rules on the membership of Double visibility clusters: every member at head level can nominate a representative in every cluster In order to clarify what I mean, let to become a full member. Cultural insti- me start with a question: why would a tutes automatically become full members. national cultural institute invest signi- For embassies, the decision is taken cen- ficant amounts of its budget in cultural trally rather than locally (embassies can programmes? One of the reasons for this easily become associate members. This, is clear – to promote its national culture. for example, means that Switzerland and This is clearly a nationalistic strategy that Norway can be included at cluster level). can assume the form of soft cultural di- Moreover, at the heads’ meeting in plomacy or hard cultural propaganda. Brussels in December 2010, we voted in Both are legitimate objectives, though favour of Hosting EUNIC, a mechanism when it comes to ‘national culture’, the meant to “equalise” the presence of all emphasis is different in each case. Cultu- EUNIC members in the EUNIC network. ral diplomacy seeks to promote national It allows EUNIC members who do not be- culture by emphasizing ‘culture’, while nefit from an institutional presence in an cultural propaganda promotes national area of interest to be hosted with concrete culture by laying the stress on ‘national’. projects by one of the institutes already In the post-WWII and post-Holocaust present there. Despite the fact that EUNIC is limited to the EU countries and membership is restricted to organisations based in the

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sent themselves and transcend national borders with their culture of contact and direct relationships with other cultures in period, Europe went through a very unu- their main markets. We are unconsciously sual phase. Western countries decided not witnessing a paradigm shift that is gra- to behave in a Hobbesian way, involving dually being embraced by everyone who being perpetual enemies in a never-en- is engaged in the cultural sector. Nati- ding war. The result of this was the cre- onal cultural institutes are increasingly ation of the European Community. The moving away from traditional cultural desire for unity became the centre point diplomacy into direct people-to-people of joint economic cooperation. cooperation. After 1989, the collapse of the commu- National cultural institutes must be nist regimes made it possible for the whole alert to, and conscious of, these develop- of Europe to be peacefully united for the ments. A consequence of this shift is the very first time, despite the historical con- answer to the question: ‘Who and what flicts between religious, political and cul- does a cultural programme make visible?’ tural traditions which are still going on to During the days of cultural propagan- this day. The European Community beca- da, a cultural programme made visible a me a European Union, an entity that is at given cultural ideology, namely, a parti- heart a political and profound institutio- cular official’s view of the country’s na- nal cooperation among member states. A tional culture. In times of softer cultural union that was founded for the purposes diplomacy, a cultural programme makes of economic cooperation had developed visible a given cultural identity, namely, a into a institutional, political union. certain vision of institutions with regard In these circumstances, cultural di- to a given society’s or nations’ cultural plomacy tends to turn into overly-rigid identity. cultural promotion centred on the idea of Nowadays, in these times of direct cul- the nation state. Why is it “overly-rigid”? tural cooperation, a cultural programme Because the most important contact pro- makes visible cultural aspects of a given cesses within the European Union are no society from the ground up. This provi- longer based on propaganda and promoti- des us with what could be called a vision on. Rather, they are geared towards direct of ‘a society’s cultural anatomy’. And, as cooperation. It is not nation states that direct cultural cooperation is based on foster direct contact, but their societies equality, a double visibility is achieved: and cultural markets. both the source and the target society in- Post-modern societies transcend the borders of nation states that used to pre- sent the only opportunity for internatio- “A well-functioning national cul- nal representation. Now societies repre- tural institute will make sure it makes the culture it is involved with visible to the soci- ety it represents.”

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volved become visible via a good cultural telligent instruments of knowledge, both cooperation programme. Both the offer with a view to investing cognitive content and the acceptance become visible in the into today’s generalised democracy, and process of giving. Cultural cooperation to offering the double cultural visibility programmes mean that both societies be- that is in such demand in modern society. come visible to each other. Secondly, cultural institutes need to have the right attitude towards culture. As I mentioned earlier, the promotion of A society’s cultural anatomy culture by institutions has been through several stages: instrumentalisation by the From this, a well-functioning national state, cultural propaganda, cultural diplo- cultural institute will make sure it makes macy, and cultural cooperation. A possi- the culture it is involved with visible to ble future could consist of creating direct the society it represents. If I open a Ro- contacts between cultural markets. This manian Cultural Institute in South Afri- cooperation would allow for the separati- ca, it must not only represent Romanian on of the market’s value-oriented criteria, culture in South Africa, but also offer an but would not mean an aggregation of the image of South African society in Roma- markets or the value-oriented criteria. In nia. If the programmes I am working on this way there would be even more pro- do not make South African society visible found cultural contact that goes beyond to Romanians, then I have failed. I believe cultural cooperation in the same way that this is the only possible view that can be cultural cooperation goes beyond cultural held by a modern cultural institute. diplomacy. It is about creating contacts This new situation obviously repre- between cultural markets, without dis- sents an advance in our knowledge, even solving them into one single market. In if this progress is more of a possibility our specialist jargon we say that we are than an obligation. What is really relevant developing an approach with a “common though is that, at least in principle, a given theme” and “local implementation”. But society’s most hidden and deepest realms it is in fact much more than this. can become visible to another society’s EUNIC will find itself confronted by artists and cultural proponents. Cultural increasingly unified cultural markets wi- institutes can make intelligent use of this thin Europe, while outside Europe it will potential resource. Cultural programmes come up against cultural markets that are can be much more than just the presen- either indifferent or hostile to unification, tation and representation mechanisms of or tightly bound up in the centre/periphe- the arts showcase. They can be used as in- ry, developed/backward dialectics.

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“For us as Europeans, EUNIC is a laboratory where experiments EUNIC will be unable to respond in a are carried out on the moral and uniform way to these deeply diverse chal- intellectual relationships that lenges. A policy strategy is needed with no will form the foundation of the hidden agenda, no matter how progressive new European identity.” that agenda may be. Outside Europe, EU- NIC should act like an old and valuable mirror that reflects local societies. The ac- tivities of EUNIC members should make tionships. This sense of friendship can visible to Europe the irreducible specifi- spread through society in a more lasting city of non-European cultures. Of course, way than any skillss that have been passed EUNIC is going to promote European va- on. I believe building capacities should lues and topics. But if it wants to penetrate be seen as the development of friendly into local societies, it will have to put aside relationships. its know-it-all attitude that implies EU- I like to point out imponderable things NIC is on the side of progress while the because they are rarely discussed, if at others are still unknowingly trapped in all. In South Africa, where I headed up their backwardness. Through the eyes of EUNIC regional office for sub-Saharan EUNIC clusters outside Europe we should Africa, I heard philosopher and political see not nations, but their societies. scientist Achille Mbembe say that he’d had enough of Africans being treated like starving people. “We don’t want culture A policy strategy with as a compassion surrogate for our caved- no hidden agenda in stomachs.” Mbembe severely criticised the instrumentalisation of culture. What Within Europe, the task of EUNIC I mean is that, in some instances, even might be to contribute culturally to the the soft power of certain cultural pro- content of European identity. This is al- grammes is too hard. This should provi- ready happening. In Bucharest, for in- de food for thought. There are times when stance, I have noticed the emergence of a even compassion is a sign of arrogance. strong feeling of unity and solidarity. This EUNIC has the momentous opportunity is the result of something as simple as es- to build programmes outside Europe that tablishing regular meetings between the can create direct contacts between cultu- directors of all active cultural institutes in ral markets rather than between speciali- Romania’s capital. Getting to know each sed cultural institutes. other has resulted in new ideas, not the Through the nature of its activity and other way round. The founding of each its capacity to extract the tacit knowledge EUNIC cluster is based on friendship, which is perhaps not so paradoxical. It is not only knowledge, abilities and skills that are important, but also warm rela-

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of a cultural environment, EUNIC has lies buried in the cultural practices of a many keys at its disposal, most of them given society. still undiscovered. At its best, EUNIC embodies global I have a feeling that not even those of creativity born out of joining together lo- us who are directly involved in setting cal initiatives. You never know how much up and consolidating our network real- you can achieve until you join forces. ly have a clear view of the huge range of EUNIC allows the type of creativity to possibilities offered by our EUNIC pro- emerge that even creative people do not ject. We talk about cultural programmes, see before they realise by virtue of their cooperation, capacity building, unifying own work how creative they actually are. and creating contacts between cultural But this remarkable potential will not markets, but there is much more to it than be fully capitalised upon unless EUNIC that. In many ways, EUNIC is a laboratory and our national cultural institutes ob- for the future. serve a few simple, yet vital, rules which I For us as Europeans, EUNIC is a la- picked up from all corners of the globe du- boratory where experiments are carried ring my year as EUNIC president. I have out on the moral and intellectual relati- brought together ten of these rules to cre- onships that will form the foundation of ate a Ten Commandments of Good Prac- a new European identity. EUNIC is ma- tice that should be observed by every good king its own modest but direct contri- national cultural institute in Europe: bution to the shaping of a new Europe- an identity, and to testing out the moral 1 Never act alone equality of all the European actors, irre- 2 Always strive for cooperation spective of the initial inequality of their 3 Don’t be patronising resources. Today’s Europe does not look 4 Make it possible like yesterday’s, and the society created 5 Be part of it by the EU looks more like the one descri- 6 Get involved bed by Avishai Margalit in The Decent 7 Be committed Society than the one described by Marx 8 Make friends in The Communist Manifesto. EUNICS’s 9 Make yourself known by making contribution to shaping a decent society others known in Europe is a most important one. 10 Get to know others by making them For societies outside Europe, I like to known think that EUNIC is already a laboratory that is trying to achieve “double visibili- Horia-Roman Patapievici is a doctor, essa- ty”. This is what makes me so optimistic yist, publicist, TV producer and president of the Romanian Cultural Institute. He was presi- as far as EUNIC is concerned. It is not just dent of EUNIC from 2010-2011. a union of national cultural institutes. If used properly, it can be an instrument for extracting the tacit knowledge that

169 No panacea The EU thinks in terms of industries, systems and sectors. But culture is not some kind of social system or industry sector. Rather, it is the foun- dation, the modus operandi, the treble clef which sets the tone for society’s systems as a whole. What does this mean for a common European foreign cultural policy and how can such a policy benefit from this? By Berthold Franke

be talking about any industry, like agri- culture, fisheries or energy – it’s only the headings which are different. If I interpret it correctly, it seems to me that this way of talking exposes an error of categorisation: culture can never be un- derstood in terms of sectors, but has to be conceptualised in a much more fundamen- tal way. Culture is not some kind of so- cial system or sector of industry. Rather, it is the foundation, the modus operan- di, the treble clef which sets the tone for society’s systems as a whole. In his 2007 essay entitled “A Culture of Freedom. An- nyone who is new to Brussels and cient Greece and the Origins of Europe”, to the business of the European historian Christian Meier wrote: Union will have a special kind of Aexperience whenever they hear the word “Cultures provide ways for people to or- “culture”. There is barely an event, sympo- ganise their world, both in terms of their sium or congress where this word fails to environment and themselves. This not only crop up, and sometimes (though less often) means adapting to different technologies whole lectures and debates are dedicated and systems and different forms of civilised to this theme. behaviour and human development, but it But “culture” always seems to be dealt is also a question of finding one’s way in the with in the same way as a business sec- world in the right way, so that the world goes tor or industry. The arguments generally along with the assumption that things are run along the lines that something must as they should be.” be done for culture so that culture is then in a position to achieve this, that or the In this sense, culture is “always there”. other; that Europe and its culture are so- It is the process which underlies all sha- mething special and the EU should display red human existence and which provides more commitment to this area, and so on. the channels for this existence to play out, If you listen closely, you realise they could depending on the particular place, com-

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munity or nation, social class or historical political project, and certainly not as a cul- situation. When we express something tural project. This is a criticism which has we use language, and so we are of neces- been made about it often enough, so there sity bound by that language’s parameters, is no need to repeat it again here, but just but at the same time we can shape the lan- to state it as a fact. guage afresh every time we use it. In the When we look at what is happening in same way, we are always part of culture in Brussels we can make another observation: everything that we do, and of course are whenever Europe’s official representatives constantly changing that too. This is why talk about culture – usually with the best culture can never be thought of as a sector, of intentions – a strange thing seems to industry or social sub-system. happen with remarkable regularity. They A good indicator of the misguided con- all seem to claim that culture is something cept of culture which prevails in the EU wonderful and magnificent that enriches is the way the word has become fashiona- people and their lives (they seem to have ble and hugely over-used in the creative in mind a huge playground for artists and industries and how it has become such a intellectuals, for debates and events, where, major focus of attention over recent years. as we say in Germany, “das Gute, Wahre So in fact there is a sector: designers, ar- und Schöne” (the Good, the True and the chitects, fashion, etc. and their associated Beautiful) can be nurtured). They then businesses. This provides the necessary love to whole-heartedly proclaim that this degree of concreteness to give bureaucrats wonderful culture should now be applied a foot in the door, along with the longed- wherever things are not going so well. for stage on which to parade value creation, employment and other factors which can be reflected in GDP. But I think things are An ambivalent relationship different when it comes to culture. I believe it is no accident that this way So “culture” is constantly being besto- of looking at culture is so popular in EU wed with wondrous, almost supernatu- . The EU thinks in terms of indus- ral powers along the lines of: we have a tries, systems and sectors. This is how it problem here, we’re not getting along, we has been set up and this is how it views have a clash of opposites, there is social reality. This is the price to be paid for the and economic unrest and all the usual re- fact that up to now the EU has basically medies from politicians and social workers existed as a bureaucracy rather than as a have had no effect. So let’s try throwing in a bit of culture and everything will be just fine – culture will sort it all out! It seems “A good indicator of the mis- to me that “culture” is being treated as a guided concept of culture which kind of miracle cure with almost magical prevails in the EU is the way the properties. word has become fashionable Of course this kind of talk is not an EU invention; rather it is a symptom of the and hugely over-used in the crea- ambivalent relationship between politics tive industries” and culture in many modern democra-

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cies. As far as the Goethe Institute is con- treme sense of the word? But all this means cerned, this can also be said of German that we, and particularly the EU, have to foreign cultural policy. This is reflected make a fundamental shift in our political in the way our foreign office politicians understanding of culture. Anyone who regularly seem to espouse the idea – with takes European culture to countries out- the best of intentions – that “Germany still side Europe, to North Africa for example, doesn’t have enough friends around the is soon going to find out that our culture is world, but the Goethe Institute will make generally viewed in a very ambivalent way. these friends for us”. Or: “Germany wants It is seen as being a bearer of great humani- to sell its manufactured goods all over the tarianism, while at the same time bearing world – so throwing in a bit of Beethoven the stigma of colonial oppression. Culture or Habermis won’t do any harm.” Or: “We is simultaneously guilty and innocent, and need to upgrade our relations with such- we have to reflect this dichotomy by being and-such an important partner country, so particularly self-critical when we turn up let’s bundle together parts of our culture somewhere with our European culture. to show it off in some ‘Germany Weeks’”. To say the least, I think this is a funda- mental misunderstanding which has ari- New instruments and institutions sen from the mistaken categorisation of culture which was discussed earlier. If it In the meantime, the EU is changing: is true that culture should be seen as so- the reforms introduced by the Lisbon Tre- mething more radical than just a kind of aty have brought with them new tasks and social sticking plaster, then culture won’t different institutional configurations. The let itself be exploited in this way. It means European Parliament now has more po- that culture as a whole can be “applied” or wers (though it remains to be seen whether “employed” to a much lesser extent than it actually has more power), and its mem- was previously thought. It also sends the bers have developed a new sense of self- rather disturbing message that - despite so confidence. Apparently all the well-known many claims to the contrary - culture is not shortcomings in the area of foreign policy always “one of the good guys”. will now be sorted out. With the creation A more appropriate and radical idea of of the position of High Representative for culture means that culture is no longer in- Foreign Affairs and Security Policy and nocent – quite the opposite in fact. Culture the establishment of the European Exter- is not a priori good or bad, but is a part of nal Action Service, new instruments and the fabric of all social action. Unfortunate- ly it is more often part of the problem than part of the solution. Who would deny that such issues as fundamentalism, racism or “They then love to whole-hear- even the new right-wing populism which tedly proclaim that this won- is gaining ground in Europe are anything derful culture should be applied other than cultural phenomena? Let’s take this one step further – isn’t it true to say wherever things are not going so that war is in fact culture in the most ex- well”

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institutions for the EU’s external repre- Sherpas in pin-stripes sentation have been unveiled to the world. If the member states really had the po- Indeed, there are good professional re- litical will, there would now be no more asons for engaging with culture, as is ap- obstacles to prevent them speaking to parent from the paradigm change which the international business world with a has taken place in the area of diplomacy. strong and unified voice. But could they These days, the traditional functions of also speak with one voice when it comes diplomacy, such as representing interna- to culture? tional law and reporting back to the home It is stated quite clearly in the Lisbon country are fading more and more into the Treaty that culture is not part of the EU’s background (80 percent of intelligence in- remit. And first indications from the nas- formation is nowadays gleaned from the cent European External Action Service internet). And those activities which were do not suggest that it has any particular traditionally the focal point for foreign tra- plans for a European foreign cultural po- de representatives in post-war Europe have licy. But on the other hand, this does not also become less prominent. This is be- mean that these newly-established EU in- cause of an increasingly balanced multi- stitutions will keep their fingers totally out lateralism in worldwide institutions and of cultural affairs. On the contrary, I tend a new culture of direct relations between to think that the wide scope of cultural governments, as evidenced by the global issues will provide the new European di- continuum of all kinds of summit mee- plomats with a major sphere of activity. tings. Diplomats are largely left out in the Indeed, many EU delegations have already cold, or just find themselves playing the set up cultural or quasi-cultural projects role of Sherpa. in poorer countries under the banner of But otherwise they are working on new development cooperation. Unfortunately, forms of diplomacy, in the areas of com- these have generally not been organised munication, media and – culture! The ma- in a very professional manner, often just gic words are “cultural diplomacy”. Good throwing around too much money and diplomats have to strive to get results in sometimes displaying a barely-concealed the public domain of their host countries, spirit of paternalism. where they try to position themselves as We can expect to see more and more of being credible representatives of their na- these kinds of initiatives, not only in the tion and its interests. “Soft power“ is the poorer countries, and of course not just second buzzword of this new approach, because diplomats understandably love to and this is where EU diplomacy will be cut the coloured tape at exhibition ope- looking for opportunities. This is how nings, see themselves listed as patrons in Europe hopes to present an international catalogues and adorn their receptions with image of being a peaceful continent which invitations to prominent artists. is committed to human rights, develop- ment and dialogue. Its foreign diplomats will act accordingly, not just because of their personal commitment to this mis- sion but also because, for the time being,

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“hard power” will remain with national “Europe’s international cultural representatives. image and activities would be So does cultural diplomacy also form a hidden agenda for the new EU delega- more successful if they were con- tions, in particular of course in non-Eu- ceived and carried out without ropean countries? This certainly seems to diplomatic influence.” be supported by the fact that this form of diplomacy will end up being a major part of the European External Action Service’s where the argument has been made that portfolio, which is still being drawn up. Europe’s international cultural image and In principle, this would not be a problem, activities would be more successful if they if it were not for the fact that experience were conceived and carried out without has shown us that the words cultural and diplomatic influence. This point of view is diplomacy to some extent present us with supported by professional experience. The an unsolvable paradox. Diplomacy is about story of the Goethe Institute also proves politics and even if it is not part of a power that it makes sense to design international game it is at the very least a legitimate re- cultural exchange programmes without presentation of interests, if not indeed part diplomatic influence. The Institute is an of the power game. Even if its aims are to official, but independent, intermediary or- achieve understanding and cooperation ganisation which has links to foreign po- within the democratic spectrum, it is still licy contractually and within a clear set part of the paradigm of national interests of rules of engagement but which sets its and it will always be viewed as such. own quality standards and makes its own On the other hand, culture – in the decisions in terms of content. sense outlined above – needs the freedom At first this particularly German struc- and openness of a radical reflection such ture was faced with a dilemma because of as can be found in bold artistic action or the way Germany’s cultural reputation had intellectual debate free from taboos and been destroyed by the war and the politi- restrictions. This is where diplomacy re- cal and cultural catastrophe of Nazi rule. ally reaches its limits, bound as it is by its The new idea of having a Goethe Institute ineluctable professional code of conside- which was free of diplomatic influence aro- ration, and procedure (which in se from an anti-state movement (after the themselves have a high cultural value!). In disaster of National Socialism’s centralisa- isolated cases it may be possible to fill the tion of culture, which had been previously credibility gap resulting from this paradox unknown in Germany, people hearkened at the heart of cultural diplomacy – mainly back to a more traditional German feder- through charismatic individuals – but ge- alism). The new approach systematically nerally it is just a case of trying to square set out to restore the country’s destroyed the circle and has other consequences for credibility in the long-term by means of the system as a whole. In short, these con- non-governmental action which was di- sequences entail a structured removal of rectly rooted in culture, art and the mind diplomacy from Europe’s and the EU’s cul- and spirit. tural dialogue. It has even got to the point These post-war problems have now

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been resolved. The benefits which have nally, EUNIC can provide its institutional accrued from the way German foreign partners in the EU with reports, access and cultural policy has been set up are still contacts; while externally the EUNIC in- having an effect, despite the fact that the stitutes stand for credibility, sustainability world is now politically a different place. and creativity. If we now take stock on the occasion of The times of bilateral showcase events the Goethe Institute’s 60th anniversary, are long gone. Important issues for the fu- we can say with some justification that its ture now have to be dealt with in a way that greatest successes have tended to come at is both interdisciplinary and with multiple times when it has consistently acted as a perspectives. However, multilateralism is non-diplomatic organisation. not just a method; it is at the same time Despite their histories being quite dif- a hands-on way of getting to grips with ferent to that of Germany, many other the diversity that we are always hearing European countries have decided to set about. The mere fact of so many indivi- up their national cultural organisations dual players coming together under one along similar lines. EUNIC, the Europe- European banner is proof positive of how an Union National Institutes for Culture, specific EUNIC projects can reflect core provides an EU framework for all these European values. different national institutes, and it stresses As things stand, the omens for culture that its operations are not necessarily part in the EU are not particularly auspicious. of the diplomatic process. Joint, multila- “Agenda 2020” and the prospect of a sta- teral actions also offer institutes that are gnant budget over the next seven-year fi- more closely linked to diplomacy a chance nancial period send out a clear message to act more independently and keep offi- and are currently causing pessimistic noi- cial foreign policy at arm’s length (without ses to emanate from the Commission. But wishing to call into the question the right a new ally has appeared in the shape of of politicians to draw up policy guidelines). the European Parliament. Early in 2010 This is how EUNIC can make a strong con- its Culture Committee published its “Re- tribution to the EU. port on the Cultural Dimensions of the EU’s External Actions“ – to all intents and purposes with the new diplomatic service On-the-spot in mind – which called for serious efforts to be made in the area of an EU foreign The map showing the locations of the cultural policy (even though such a thing various EUNIC cultural institutes around is not officially allowed!). the world paints an impressive picture. The EUNIC presents an outstanding oppor- potential is clear, not only in the sheer tunity, not just for Europe’s national cultu- number of offices, but also in the den- ral institutes (and particularly for the insti- se network of contacts which have been tutes of smaller countries which find that built up over many years. Our institutes arenas and spheres of activity are being are on-the-spot, we know the local scene opened up to them through their partner- and wherever possible we are part of it, ship with larger institutes that they would right at the heart of civil society. Inter- never have had access to before with their

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own limited means). And it seems that Another field of activity could be the many EU bureaucrats are now starting to area of international cultural education. recognise these opportunities. They have A European scholarship and training pro- now not only grasped the fact that natio- gramme, certified by EUNIC (perhaps also nal cultural institutes now have a lobbying in collaboration with appropriate univer- umbrella organisation (just like European sities) with internships at the head offices handball players or the textile industry), of the various EUNIC member institutes but also that this organisation can poten- in various countries and a period spent tially become a uniquely-qualified partner. in Brussels would be a tempting offer for The usual methods of the EU Commis- many young people who are interested in sion which involve projects and funding pursuing a career in culture. But more im- aimed at civil society are still basically the portantly, the current challenge of quickly right approach: stimulating and encoura- delivering high-quality projects in the sou- ging projects at grass-roots level. But in thern Mediterranean region and its new countries outside of Europe these kinds developing countries is becoming some- of projects have to be set up quite diffe- thing of a stress or litmus test. Much of rently from those at home, they need to be EUNIC’s future depends on this challenge developed on the ground and realised by being successfully met. means of fair partnerships. It is precisely We do not need a crystal ball to predict here that EUNIC can find its new role, by that this new offspring of the European acting as a creative intermediary with the project, like all those which have gone be- right partners. fore it, will have to suffer the usual Euro- At the moment there is a window of op- pean birth pains and childhood illnesses. portunity open, but it may not stay open for It would be a miracle if it were otherwise. much longer. EUNIC has to act quickly if it For EUNIC, like for every other European wants to take advantage of these opportu- project, success will only be achieved by nities. This also requires some shrewd self- thinking and acting in a way that is simul- assessment, because it is clear that EUNIC taneously realistic and utopian. will never be the kind of organisation that many strategists dream of: a powerful Eu- Berthold Franke is Head of the Brussels Office ropean institution with a strong base and of the Goethe Institute and of the South West Europe region. He is also the Goethe Institute’s a dynamic and efficient network of offices representative at the EU. all over the world that enjoy the same kind of relationship as the Goethe Institute’s offices abroad have with their parent in Munich. So we have to quickly prove that we have a certain degree of flexibility and efficiency. Some quite respectable pilot projects are to be announced in the area of encouraging multilingualism. It can be assumed that this is an area which will be a priority for EUNIC’s work within Europe in the immediate future.

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Focusing on its strengths Its history, culture and the peaceful orientation of its foreign policies are all valua- ble assets that Europe should put to good use. The goal of any credible and effective cultural diplomacy should be the development of relations based on sustainable cultural exchange. In order to build trust, we need to promote a cooperative approach at institutional and civil society level. The EUNIC network is the ideal in- strument for this purpose. By Delphine Borione

fective cultural diplomacy must be the de- velopment of relations based on sustainable cultural exchange and built on a foundation of reciprocity, understanding, respect, the exchange of ideas and knowledge, as well openness towards other people and cul- tures. In order to build trust, we need to promote a cooperative approach at institu- tional and civil society level. The EUNIC network of European cultural institutes, which meets this need for dialogue between cultures and a higher degree of cultural ex- change between civil societies in Europe and the world, is the ideal instrument for t a time when economic systems, this purpose. Europe has a lot to offer the trade and production are all beco- world but it also has much to gain. Working ming increasingly globalised, it is in a spirit of partnership is therefore to the Amore important than ever before to promote advantage of all concerned. culture in order to counter the risk of incre- The development of a European foreign asing uniformity and the loss of individual cultural strategy must build on the steps identity. To meet the challenges of the mo- taken by the Union and its member states dern world we need to develop European when they adopted the 2005 UNESCO Con- foreign policies that promote cultural and vention on the Protection and Promotion of linguistic diversity and a dialogue between the Diversity of Cultural Expressions. This cultures as part of an integrative approach. strategy should be further developed by de- To do this we need to focus on common fining a framework for cultural cooperation values such as the rule of law, freedom of in which existing funding and cooperation opinion, human rights and peace. instruments are integrated. Culture should For Europe the goal of any credible, ef- also be seen as a part of economic and social

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development so that, as a key component of matters, including audio-visual media and any partnership between the EU and other film. With the help of the protocols on cul- countries, it is guaranteed sufficient fun- tural cooperation Europe needs to develop ding in the future. a global, yet at the same time tailored stra- Along with other countries and interna- tegy for dealing with other countries which tional organisations, France has endorsed will maintain the autonomy of the cultural the Convention’s project and supported a sector while guaranteeing the implementa- foreign cultural policy in which the 2005 tion of an ambitious and coherent European UNESCO Convention acts as a pillar for cultural policy. steering cultural issues worldwide. In ef- fect, the UNESCO Convention which has been ratified by the European Union and The process of reflection 25 of its member states, has established a is underway new and ambitious framework for inter- national cultural cooperation in two im- To this end, we should give priority to a portant respects. strategic, cross-functional concept of cul- Firstly, it recognises the distinctive na- ture in our external relations. The European ture of cultural activities, goods and ser- Union started a process of reflection on cul- vices that “convey identities, values and tural issues with the ratification of the 2005 meaning”, as stated in the preamble, and UNESCO Convention on the Protection secondly, it promotes the permanent esta- and Promotion of the Diversity of Cultu- blishment of more extensive and more con- ral Expressions, with the European Culture sistent cultural exchanges. The influence of Programme (2007-2013) and its resulting the UNESCO Convention on the Europe- work plans, the conclusions of the Coun- an approach to culture is clearly expressed cil under the French presidency in 2008 on in the definition of the strategic orientati- the protection and promotion of cultural on of EU external relations as one of the diversity and intercultural dialogue in EU three objectives of the European Culture foreign relations and also with the recently Programme (2007-2013) and as one of its published report on these issues from the own objectives in its work plans. As a re- European Union. sult, every future European strategy in the At present it is clear is that the common area of culture as well as at the level of regi- mechanisms are serving to deal with cul- onal, bilateral and multilateral EU relations ture in a fragmented and inconsistent way. needs to be developed with the UNESCO These mechanisms are badly suited to the Convention in mind. This will also help to needs of those involved and are insufficient provide a frame of reference for the Union’s to achieve the objectives of genuine Euro- dealings with other countries in cultural pean cultural diplomacy. The number and complexity of these intervention mecha- nisms need to be carefully reassessed wi- “Culture should also be seen as a part of economic and social de- velopment.”

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thin a strategic framework. In terms of the “The current mechanisms are Union’s budget, the low level of funding is badly suited to the needs of those evidence of the lack of interest in cultural issues at the very highest level. involved and are insufficient to Culture should be the stimulus behind achieve the objectives of genuine all current cross-functional programmes European cultural diplomacy.” and policy approaches. Culture is a key ele- ment in human, social and economic deve- lopment and the promotion of cultural and linguistic diversity can also contribute to planning and with a view to developing fi- the realisation of wider goals, such as the nancial instruments for external funding. promotion of democratic values or human Europe needs to focus on its strengths. rights, as well as playing a role in conflict The history of our nations, our cultural he- management or in sex equality issues. Cul- ritage, the cultural appeal that Europe has ture should be involved in European Uni- for people all over the world and the overri- on policies and foreign policy mechanisms ding peaceful nature of our foreign policies relating to all these aspects, especially in are all valuable assets and we should see it as key regions such as the Union’s neighbou- our duty to put these assets to profitable use. ring countries, the ACP countries and the It needs to think about new develop- emerging economies. ments at institutional level that will con- In terms of future budget planning and tribute to improving the coordination of financial instruments, the European Com- cultural cooperation and creating a better mission and member states need to consider dialogue with partner countries. how EU cultural measures can be expanded and how the coordination of activities by member states and national European cul- Involvement of EU delegations tural institutes can be improved. Funding methods should also be better adapted to Within the framework of EUNIC, the the needs to those involved, as the particular individual networks of cultural institutes in nature of cultural issues often means that the various European countries serve both although limited funding may be required, individually and together as both the ful- it needs to be provided via various different crum and interface of European cultural funding methods. Above all, European pro- diplomacy. The commitment to common grammes should give more support to the projects and the creation of effective part- structuring of the cultural sector and the nerships are vital for the success of com- mobility of artists. The current challenge is mon activities and programmes. A good to ensure that culture is given appropriate example is the Intradance Festival in Russia consideration by setting up well-defined which brings together over 100 European objectives and processes for future budget and Russian contemporary dance groups from 18 countries. This is the result of a joint initiative between the French Institute in , the Goethe-Institut, the British Council, the Camões Institute and the Ita-

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lian Cultural Institute and is supported by significant amounts of European funding. The experience of the European Com- mission also offers huge potential. In the medium term it would be a good idea to reassess the potential role of the Europe- an External Action Service in EU foreign cultural policy, of course working in close cooperation with the relevant bodies at the Commission. The EU delegations could also be involved in this, especially in terms of di- alogue with partner countries. This would require each country to nominate a contact person responsible for “culture and develop- ment”. In developing countries this would fall under the remit of the cooperation body. This new mechanism could lead to an im- provement in liaison and cooperation as well as in the complementarity of actions taken by the Commission, the European External Action Service, member states and the EUNIC network. The principle of subsidiarity clearly ap- plies here, along with the principle of the EU’s responsibility to provide support. This could therefore result in effective, pan-Eu- ropean links between the leading organisa- tions for cultural diplomacy in each indivi- dual member state as well as joint cultural diplomacy carried out at EU level with par- ticular emphasis on those measures sup- ported by the EUNIC network.

Delphine Borione is Director of Cultural and French Language Policy at the French Ministry of Foreign and European Affairs (MAEE). She is currently also Vice President of EUNIC, the net- work of European cultural institutes.

183 Softly, softly towards a green revolution Whether it’s the Slow Food movement or the designation of bio- sphere reserves as World Heritage sites, the transiti- on to an ecological age is also a question of culture. Culture can help change lifestyles and turn the earth into a sustainable planet. Can Europe become the trailblazer for a new, global ecological movement? By Olaf Gerlach-Hansen and Finn Andersen

re have been growing signs pointing to a consensus that over the next 40 years the world must make the leap from the indus- trial age to the ecological age. After such a leap, the relationship between nature and humans will be based on the recycling of natural resources. Unfortunately, it is generally not the man-in-the-street but only the experts who understand the language and goals of the ecological age: for example “lowe- ring the global carbon footprint by 50% by 2050” or “achieving a global ecologi- cal footprint of 1.4 hectares per person by ulture acts as a mediator between 2050, assuming a world population of 9 nature and man. Since the dawn billion at that time”. And finally, “signi- of humanity, culture has evolved ficantly improving the Human Develop- Cthrough various different epochs as the ment Index (HDI) of the United Nations expression of the interaction between hu- Development Programme in line with the mans and the planet they inhabit. The in- Millennium Development Goals.” dustrial age, forever linked with the idea of It would probably be more appropriate “modernisation”, was until recently seen as and easier to understand if we simply said the high-point of human cultural develop- that it is now a matter of life and death for ment. Over the last 40 years, modernisati- most people and the planet. on and the industrial age have increasingly For one thing is certain, a failure to come in for criticism, but the only result make this transition to an ecological age is that for the last 15 years we have found will have catastrophic ecological, social ourselves in the information age. However, and cultural consequences by the end of the philosophy of the industrial age based the century. According to experts on the on the belief that natural resources are in- finite still remains the principle behind production today. But there is hope. In recent times the-

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UN Climate Change Panel and indepen- still remains our biggest global challenge, dent researchers, global greenhouse emis- with major implications for all other are- sions must be reduced within this decade. as of policy. That is why reaching specific targets by The “brown” economy, like every other 2020 goals is so important. sector of the economy, has its own vested interests, and these are promoted by peo- ple whose thinking tends to be short-term A cultural challenge and whose prosperity and income are de- pendent on this sector. There is no single A successful transition to an ecological blueprint for the industrial restructuring age is not something that should simply required to make the change to a green wait until 2050, as it can offer significant economy, as different solutions and pro- cultural, social and economic opportuni- cesses may be required in different parts ties in the coming years as well. The econo- of the world. And what is also clear is that mic, technological, business and political the brown economy cannot successfully advantages of such a change have alrea- defend its interests through party politics, dy been well documented in reports and whether to the left or right, because the studies. A good example is the report by planet does not have an infinite supply of Britain’s Sir Nicholas Stern on the negative natural resources such as crude oil, gas or economic impact of climate change. His uranium. fellow countryman, Peter Head, supported In order to guarantee international en- this view from an engineering perspective ergy security, it is better to use regional, in his lecture “Entering an Ecological Age” sustainable, renewable energy sources than in 2009. In short it has been scientifically to obtain oil, gas and nuclear power from proven that there are short and medium- sources which are potentially politically term economic benefits to be had from in- unstable. vesting in climate protection. Of course, people in positions of po- However, the general public is still not wer and those who fear the loss of their really aware of the great opportunities that jobs tend to be more resistant to new ideas exist and many people don’t totally under- and change. They will need to be gently stand them. People and politicians alike steered in new directions. In his famous are often confused and unsure of which book “The structure of scientific revo- way to turn, even if the choice seems ob- lutions”, the American scientist Thomas vious and the cost of climate change con- Kuhn tries to describe the mechanisms of tinues to rise. Without pressure from civil scientific progress. He argues that old sci- society, politicians are reluctant to imple- entific paradigms only die out once the ment climate protection measures with any initial supporters of those paradigms have degree of conviction, as has been seen du- themselves died. The problem is that this ring a series of unsuccessful climate treaty process takes over 40 years – and we don’t negotiations, during which only minimal targets were agreed. As a result a successful transition from a “brown” economy (ba- sed on fossil fuels) to a “green” economy

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have that much time. dership Group (C40) has suggested that the We need a kind of global enlightenment best way to motivate people to get involved to take place in order for there to be a para- is through the use of attractive adverti- digm shift. However, it is a well-established sing campaigns with clear messages. C40 problem of the information age that more refers to the 40 largest cities in the world, information and more scientific know- which, under the leadership of New York’s ledge do not necessarily result in people Mayor Michael Bloomberg, have made a becoming more enlightened. commitment to fighting against climate Instead of waiting for the death of those change. The study concludes that in every who still believe in the brown economy, it city people were somehow getting different makes more sense to use communication messages and that this was more confusing and incentives to reach their hearts and than helpful in terms of changing people’s minds, in order to bring about a change in attitudes and behaviour. What is lacking their attitudes and behaviour. This is the is a public commitment that goes beyond cultural challenge. Cultural development single issues and is capable of stimulating can accelerate a green paradigm shift over people’s enthusiasm and passion for an the next ten years. ecologically sustainable lifestyle. We need attractive and innovative ways of commu- nicating that will provide a link between Changing attitudes culture and nature. At a workshop held in Hong Kong in Young people around the globe all want November 2010, co-organized by “Cul- a positive economic future – whether in ture | Futures” and by the then chairman China, India, the USA, or Europe. Ho- of the C40 group, David Miller, Mayor of wever this dream will not be fulfilled if the Toronto, it became clear that cities cannot transition to the ecological age goes awry. do this by themselves. They need the help Interestingly, studies show that it is young of cultural institutions and the wider cul- people in particular who have a more posi- ture industry, which is currently the fastest tive attitude towards “green” politics. growing industrial sector in the world. To help further promote this change In order to achieve what is necessary in attitudes the Danish Cultural Institute there are a number of key requirements. has developed the programme “Culture | Firstly, we need creative leadership. Story- Futures”. In addition to those institutions telling and can be used as a basis and key players within the culture sector who are in a position to promote cultu- ral development, its main target group is young people. “What is lacking is a public What is the best way to raise people’s commitment that goes beyond awareness? The Large Cities Climate Lea- single issues and is capable of stimulating people’s enthusi- asm and passion for an ecolo- gically sustainable lifestyle.”

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for winning people over to a greener life- should involve the systematic inclusion style. James Cameron’s Avatar – the world’s of cultural elements, such as partnerships most successful film – is a great example of with cultural institutions for ecological how to kindle people’s enthusiasm for an projects in cities and regions. ecological lifestyle, even if the film is set on another planet in the year 2154. Popu- lar literature, such as science fiction wri- Urban farming ter Isaac Asimov’s Foundation Series, can also offer a kind of “eco-fantasy”, and in Another great example of a creative so- this series the planet Gaia is presented as cial vision that millions of people could the future of the galaxy. This classic series take advantage of immediately is urban has still not been made into a film. farming, a concept that is rapidly gaining Global food movements, such as the in popularity and which aims to combine Slow Food movement started by the Itali- combating of carbon dioxide emissions an Carlos Petrini, have become more and and food shortages with the greening of more popular in recent years and have city landscapes. The Spanish artist Herna- helped to stimulate a desire for better ag- ni Dias has built an online laboratory for ricultural practices and ecologically su- urban farming, which is being used as a stainable, local gastronomy. Originally social network in cities such as Barcelona, considered only a grassroots movement, Beijing, New York and Buenos Aires. Ma- Slow Food has in recent years seen its in- jor cultural institutions such as the Cen- fluence extend even to the world of haute tro Cultural in Sao Paulo, Brazil are now cuisine. The restaurant NOMA in Copen- re-designing their rooftops to make urban hagen, for example, was ranked as the best gardens accessible to all levels of society. in the world in 2010 and 2011 by the re- Finally, we also need technical leader- spected magazine Restaurant. ship. Cultural institutions that promote In addition to creative leadership we ecological lifestyles will never be trusted if also need social leadership. Designers and they themselves are not technically capable architects follow the so-called “cradle to of lowering their own CO2 emissions and cradle” principle by reconciling urban ecological footprints. A good example is planning and construction with the prin- provided by the discussions held between ciple of recycling resources. The Dutch ar- the Mayor of London, Boris Johnson, and chitect Philip Vencken, who works in Rot- the city’s creative sector, in which it was terdam, Venlo and other cities, has shown agreed that the city would aim to reduce that sustainability must not necessarily be its CO2 emissions by 60 percent by the year achieved at the expense of aesthetics and 2025. This agreement has been followed up attractiveness. It cannot be repeated often by a number of activities and leaflets aimed enough that if green is to succeed it must at showing how cultural institutions can offer some kind of better alternative. This support this initiative in a concrete way. So far the music, theatre, creative arts, film and fashion sectors have all been approa- ched to see how they can help. Changes to institutional practices are

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normally driven solely by self-interest, museums, art centres, libraries and even especially during times of financial cri- sports clubs are notoriously under-funded sis. The leaders of these organisations will in many parts of the world and so are not need to be shown how ecological change in a very strong position when it comes can benefit their bottom line. Most cul- to implementing change. In some places, tural institutions will only be prepared to whole cultures and languages are even at take a leading role if they are convinced it risk of dying out and one of our biggest is their own best interests. It is not easy to challenges for the future is how to preser- accurately measure the benefits that can be ve both biological and cultural diversity. derived from technical, creative and social To do this we will require traditional po- leadership, so it is important that the fol- litical and religious leaders to work closely lowing eco-social factors and how they can together with experts who have indigenous benefit institutions and society as a whole knowledge, community leaders and many can be somehow measured: others who can contribute to the process. - Reducing an institution’s CO2 emissi- “Culture | Futures” is developing a ons and ecological footprint is achie- 4-year programme of conferences and vable and can actually reduce the events to help cultural institutions in ci- institution’s running costs. ties and regions around the world take a - Institutions need to create innovative leading role in ecological change. Yet the new products and expand their reve- main challenge still remains: how do we nue streams through sponsorship and build better global co-operation between public donations. the more and less affluent regions of the - They need to find new audiences, new world, so that they can work together to- partners and new support through wards a sustainable lifestyle by the year community outreach programmes. 2050?

“Culture | Futures” is, therefore, loo- Olaf Gerlach-Hansen is a consultant and di- rector of the “Culture I Futures” programme at king at how to establish a system of certi- the Danish Cultural Institute. fication for eco-social initiatives underta- ken by institutions in partnership with the Finn Andersen is Secretary General of the Da- American Association of Performing Arts nish Cultural Institute. Presenters and the consultancy firm Arup. This new system of certification would be similar to that used by businesses for their Corporate Social Responsibility (CSR) ini- tiatives. The benefit of certification is that it helps to highlight what cultural institu- tions really need in order to be success- ful in this area. Certification also acts as a means of measuring benefits and levels of responsibility. But certification is not the only poten- tial solution. Cultural institutions such as

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Trust: why it matters We understand the benefits of people-to-people engagement across countries and cultures; at least, we know them when we see them. It is important however, to name these outcomes ou- tright in order to understand the efficacy of our en- deavours and learn how to improve delivery in the fu- ture. What we need is an evidence-based approach to trust-building. A contribution by the British Council.

he British Council has paid par- ticular attention to the measure- ment of trust as an outcome of Tcultural relations in recent years. In 2010 it undertook research with the agency YouGov, surveying a panel group of more than 1,000 young people, with minimum secondary level education, in each of the selected countries: India, China and Po- land and nearly 500 in the Kingdom of Saudi Arabia (KSA). These young peo- ple, aged 16-34, are not representative of entire country populations but as an educated, urban, online community they do reflect their respective society’s influ- encers. Importantly, they were an inde- pendently constituted group and neither chosen because of previous involvement with the work of the British Council nor of any other cultural relations organi- zation. As a base-line exercise we asked re- spondents to self-assess their level of trust in both people and government in the UK, US, Germany and France. Figure

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By 2011, membership had increased to ideas, forming part of the learning func- 29 organisations from 25 of the EU mem- tion of the network. In 2010-11 there were ber states (listed at the end of this report). regional meetings for clusters in Europe Each member state organises its cultural (Madrid); Sub-Saharan Africa (Johannes- diplomacy in a different manner and the burg); South America (Sao Paulo) and in EUNIC membership reflects this. Rabat (North Africa). The activities of the EUNIC network A few examples can illustrate the depth fall into several categories. At its heart it and variety of EUNIC events and pro- is an active network that encourages and jects. Most clusters engage with local facilitates its members to develop shared partners for film, book and music festi- events and projects. It is a partnering net- vals. The theme is usually decided based work that works with a wide range of part- on the needs of the local partners. These ners at multilateral level, such as the Eu- events help raise awareness of the EUNIC ropean Commission and the Council of network and form the bedrock of many Europe, and with national organisations clusters’ activities. As the clusters gather around the world. It is a learning network, momentum, they are increasingly able to as its members share best practice, set up expand their horizons as more and more training programmes and explore new opportunities arise. ways of working, and finally it is an ad- In Chile, the EUNIC cluster worked vocacy network for the increasing role of with local partners to organise the Festi- cultural relations in today’s international val of Contemporary European Drama programmes. in 2010. The competition was designed to showcase Spanish translations of plays by authors from Austria, France, Germany, Worldwide clusters Italy (and also from Spain in their origi- nal version). The plays had to have been By September 2011, the EUNIC net- premiered within the previous two years. work had over 70 “clusters”, the majori- A Chilean jury of playwrights, direc- ty of them outside the European Union. tors and critics selected two plays from The cluster – a network of members in a each country, presented either as readings given city or country – lies at the heart of or staged by Chilean directors. Work- EUNIC‘s activities. An event or project shops and exchanges with the European needs the involvement of three members theatre professionals invited for the fe- in order to earn the EUNIC label. Clu- stival (Spanish playwrights José Manu- sters plan their own programmes as the el Mora and Paco Bezzera, Swiss expert circumstances and opportunities for cul- Silvie van Kaenel, German theorist Hans- tural relations vary from country to coun- Thies Lehmann and French authors Fre- try. Some clusters organise a greatmany deric Sonntag and Koffi Kwahule) helped events, while others focus on just a few. this kick-off event turn into a lively en- In 2010-11 the clusters organised over 300 counter between European and Chilean events under the EUNIC label. theatre. The clusters come together in a series of regional meetings to share plans and

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European Day of Languages onal campaign. How can you talk to au- diences who don’t come to your events? Languages are a central part of many This year we have all taken a quantum EUNIC members’ activities. Between leap in the way we were reaching our au- them, the members employ over 7,000 diences and have landed in the virtual teachers and reach over 2 million lear- world. The EDL website had over 65,000 ners each year. Perhaps surprisingly, over page views and channelled registration 80 percent of these are not learning En- for all the events. The conference was glish! EUNIC now has a specialist strate- live streamed online in cooperation with gic group devoted to its languages activity. Microsoft, and also Tweeted. The EDL The annual Day of Languages provides Facebook page was brimming with com- the trigger for many clusters to showcase petitions and facilitated interaction with language learning. The Warsaw cluster our audiences and now is full of photos has the most developed programme. It is from all the events. worth quoting this report in full because “Without our partners it wouldn’t it highlights many of the typical characte- have been the same. Nowhere near the ristics of EUNIC events: working with same” said one of the partners from the local partners and with the EU Delega- European Commission. The common tion, speaking with a single voice, and goal, the enthusiasm, the resources, the nowadays, of course, with an increased pool of talent – that’s what partnership online focus: was all about and that’s what has made The European Day of Languages 2010 the European Day of Languages success- in Warsaw = 8 days, 22 partners, €24,000 ful. Thanks to the partnership, we have budget, 13,000+ unique website visitors, managed to secure sponsors, free venues 1,200 fans on Facebook, 67 lessons and and patrons, including the patronage of workshops in 19 languages attended by the Ministry of Education and the Presi- 1,500 students, 9 experts on multilin- dent of Warsaw. How can you summari- gualism, 360 conference participants, 19 se the range of activities and the impact films in 12 languages, 100 street game they made? Mr Marczewski, Director of participants and dozens of media men- the Foundation for Development of Edu- tions. cation Systems said about the conference How can you work with all 22 partners “You’ve managed to gather the biggest on organising a venture like this? We had names in the field of multilingualism in a tight group of core organisers (the Bri- Poland in one place.” tish Council, Goethe Institut, European Commission and as the local partner, the Foundation for Development of Educa- Focus on multilingualism tion Systems). The group coordinated the work of other main partners, including Multilingualism is a central part of the University of Warsaw, Warsaw City two other major EUNIC projects. Both Hall and EUNIC members. We all had are strongly supported by the European one face and spoke with one voice, which Commission in pursuit of its multilingu- translated into a very effective promoti- alism agenda, which is a key element in

196 A new beginning for Europe – the EUNIC network

its EU2020 policy. EUNIC chairs the EC’s ment tool called the “Index of Multilingu- Civil Society Platform on Multilingua- al Policies and Practices in Europe”. This lism. The Platform brings together over Index will help visualise the role of and 30 European networks associated with all support for multilingualism in the par- aspects of languages. The Platform has ticipating European countries and high- developed its action project, Poliglotti- light good practice. 4EU, which seeks to raise awareness of It will measure how these countries language learning across Europe (http:// perform against European standards in www.poliglotti4.eu). Over the next two the following seven areas: years the project will: • Databases on language diversity - issue a paper on current issues in • Languages in (pre-) primary educa- multilingualism with recommen- tion dations at European, national, and • Languages in lower and upper secon- local level (the paper will be submit- dary education ted to the European Commission • Languages in adult vocational and which will incorporate it into their university education next Communication to European • Languages in public services and pu- Governments); blic spaces - create an on-line multilingualism • Languages in business observatory containing information • Languages in the media on the key motivators and inhibi- tors of multilingualism, a catalogue of best practice and testimonials Czech literature nights and video clips by “Ambassadors for Multilingualism” (celebrities, busi- Language and the arts are also coming ness, sportspersons, politicians, jour- together in another EUNIC project. The nalists). A database of contacts and are taking the lead with events will be a public-facing aspect; their European Literature Nights, (http:// - commission fresh research into adult www.literaturenight.eu). language learning, pre-school langu- These events focus on contemporary age learning, and social/community literature and translation, and under this language services for social inclusi- overall banner, clusters have the oppor- on. tunity to develop their own programmes with local partners. In 2011 over 20 clu- Language Rich Europe is a project led sters, from (children’s books) to by the British Council with four other EU- Moscow to Lisbon took part. In Lon- NIC partners and over 30 other partners don the clusters’ efforts over three years including the Council of Europe (http:// on this project, working in collaboration languagerichblog.eu/). with the British Library, have led to a new The project’s core activity is to carry network for British publishers, booksel- out professional research that will result lers, festivals and agents who have an in- in an innovative and interactive measure- terest in expanding the translated litera-

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A new beginning for Europe – the EUNIC network

ture market in the UK. There is a similar Architecture and town planning in focus on raising awareness of the transla- South Africa tion market in New York: “For nations in Europe, be they small The third Studio also looked at strate- or large, literature will always be one of gies to improve and renovate an inner city the keys of their cultural existence. We building. Florence House, formerly a ma- have established as a strategic objective, a ternity hospital, is now occupied by nearly long-term commitment to break through 1,000 residents living in poor conditions. the American market”, commented Co- Architecture students from South Africa rina Suteu, representative of EUNIC in and France made proposals for improving New York, USA and director of the Roma- the living spaces and shared communal nian Cultural Institute, to the New York spaces in the building. They also under- Times (8th December 2010 edition). She took urban design studies, looking at the speaks about EUNIC‘s members ’ policies local context of the building. The propo- of encouraging literary translation from sed development of Florence House will European languages into English, aiming help regenerate a part of the city which has at the US publishing industry. been in decline since the end of apartheid The New York Times reports that cur- and will provide much-needed affordable rently literary translation stands at a mere housing, along with employment oppor- 3% of the American book market. “Cul- tunities. Architects from France, Italy, tural institutes and agencies are subsi- Poland, Spain, South Africa and the UK dizing publication of books in English, worked with and mentored the students underwriting the training of translators, throughout the week. encouraging their writers to tour in the The results of the workshop were pre- United States, submitting to American sented to the general public, who were also marketing and promotional techniques invited to join the Studio participants in they may have previously shunned”, a guided tour of Johannesburg‘s archi- writes New York Times journalist, Larry tecture and to attend a presentation by Rohter, about the wide spectrum of sup- Lorenzo Romito of Stalker entitled “a la- port for translation. boratory of urban art”. A central feature of the activities of The EUNIC cluster in Brussels pla- EUNIC clusters is holding specialist con- yed a key role in the Council of Europe’s ferences where experts can share and ex- conference “Culture and the Policies of change views and experiences. In Sou- Change”, which reflected on the impact th Africa, the clusters use architecture of decreasing public sector budgets for and urban planning as their theme. In the arts. EUNIC president Horia-Roman March 2011, the EUNIC cluster in South Patapievici gave the keynote speech and Africa’s Architecture Studio investigated Steve Green, team leader of the Presiden- opportunities for improving the design of cy Support Team, acted as the conference the South African government‘s low-cost reporter. (Reports are available at: http:// housing programme, and refurbishment www.coe.int/t/dg4/cultureheritage/cwe/ opportunities in the semi-abandoned conference10_en.asp) centre of Johannesburg. Cultural relations today are increasin-

200 A new beginning for Europe – the EUNIC network

gly concerned with developing long-term den), Centre Pompidou-Metz (France), relationships and sharing and learning, Anaid Art Gallery (Romania) and Tur- as opposed to one-way promotional ac- ner Contemporary (the UK). The parti- tivities. In Russia, the cluster is building cipating institutions will take in a young on the success of its Intradance project Russian curator as an intern. in 2009-10 and now has launched a new programme, the Russian-European Cu- ratorial Exchange. Climate protection in Copenhagen A young generation of Russian cura- tors, not only from Moscow but also from CultureFutures is a programme led by numerous ambitious cultural centres in the Danish Cultural Institute. Its aim is Russia‘s regions, are now working partly to raise awareness of the need to move as freelancers and partly as curators for to a new ecological use of resources and young talents in institutions. These young of the role that culture and the cultural people will decisively shape exhibitions sector can play in that objective. Its in- and cultural life in the future; they will itial event was held alongside COP-15 quickly manage to modernise and develop 2009 in Copenhagen and in 2010-11 it exhibition centres, biennales and insti- held events in Hong Kong and Sao Pau- tutions and aim to collect experience in lo. EUNIC partners in both cities orga- other countries for their own work. nised workshops and events designed to It is a challenge and a chance for the attract attention to this topic (http://cul- cultural institutes of the European Union turefutures.org/). More events are plan- to support this young generation in their ned for 2012, starting off in New York training by offering them unique possi- and Durban. bilities to network and gain professional This report highlights just a few of the experience at European institutions and activities of the EUNIC network. In just festivals. a few years it has spread across the globe The aims of the programme are not and is now developing an ever-increasing only to improve the system of training for range of projects at cluster level and bet- young Russian curators but also to build ween different countries. wider links and shared activity in the fu- ture between Russian and European con- temporary art curators and institutions. The EUNIC members involved in the project are from Austria, France, Germa- ny, Romania, and the UK. All members have chosen institutions in their homelands that are ready to host a Russi- an curator for approximately one month and get him or her involved in a cultu- ral project. These are: Haus der Kunst (Germany), Die Springerin and Tranzit (Austria), Kalmar konstmuseum (Swe-

201 Members of EUNIC Australia Melbourne • Islamic Terrorism from a European Perspective, de- Adam Mickiewicz Institute bate at Melbourne Writers’ Festival (August 2010) Austrian Federal Ministry for European and International Affairs (Austrian Cultural Forum Australia Sydney (Hungarian Cultural Centres) • European Day of Languages British Council (September 2010): multilingual bus Bulgarian Ministry of Foreign Affairs • “Neither Old Nor Dead: Europe in the 21st Century“ Camoes Institute at Sydney Writers’ Festival (17-21 May 2011) Cervantes Institute Centre Culturel Recontre Abbaye de Neumunster Austria CultureIreland • Europa auf der Bühne theatre project – nine eve- Cyprus Ministry of Foreign Affairs nings, 27 plays from 27 countries (January-Decem- Czech Centres ber 2010) Danish Cultural Institute • Chopin and contemporary music festival (16-26 Sep- tember 2010) Finnish Cultural and Academic Institutes • “European Memory“ by cartoons project (Septem- Fondation Alliance Francaise ber – October 2010) French Ministry of Foreign Affairs (Institute Francais) • Mother and Daughter in Literature (30 September Goethe Institute 2010) Hellenic Foundation for Culture • European Poetry festival at Literaturhaus (18-20 No- Huis De Buren vember 2010) Italian Ministry of Foreign Affairs (Italian Cultural Insti- • Long Night of European Music within the Festival of tutes) European Culture in the MuseumsQuartier (21 June International Cultural Programme Centre (Lithuania) 2011) IfA Polish Ministry of Foreign Affairs (Polish Institutes) Bosnia and Herzegovina Romanian Cultural Institute • EDL in Tuzla September 2010 Slovak Ministry of Foreign Affairs (Slovak Institutes) • Mini-INPUT conference (November 2010), working Slovenia Ministry of Culture groups identity and education SICA: Stichting Internationale Culturele Activiteiten • European Film Week (May 2011) • Two Bosnian productions at annual INPUT confe- Wallonie Bruxelles International rence in (May 2011)

Brazil • Photo exhibition The European Way Brasilia (August EUNIC clusters‘ activities between July 2010 2010 – April 2011) and June 2011 • Meeting with EC Commissioner Vassiliou (April 2011) • Europe Week (May 2011) This list records the events organised under the EUNIC • EUNIC in the Americas Regional meeting (Sao Paulo, name in the last year. Several clusters missed the 26-27 May 2011) deadline and their activities will be added. There • Culture Futures conference (30 May-3 June 2011) are a number of new clusters whose first event will be in June or July. “EDL” is the “European Day of lan- Belgium Brussels guages” • “InBetween“ open air readings at EESC with 4 Euro- pean authors (May-July 2010) Argentina Buenos Aires • Conference on EU c ultural policy in partnership with • Europosgrados. Post Graduate European Education the Council of Europe, EC, Culture Action Europe Fair March 2011 and the EESC – one of the CultureWatchEurope se- • European Film Week June-July 2011 ries of events (6-7 September 2010 at EESC) • Buenos Aires, UNESCO World Book Capital. 3 events • Poliglottini event for EDL (25 September 2010) 2011-12 • “Power of Cultural Relations“ debate with ENCATC (8 October 2010) Argentina Cordoba • “Language Rich Europe“ (November 2010 – March • “Urban Chrysalis“ rehabilitation project 2013) (May - July 2010) • “Europe’s Foreign Cultural Relations“ expert seminar • Cordoba Book Fair (September 2010) (8 December 2010)

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• “Poliglotti4.eu“ (1 January 2011 – 31 December 2012) • EUNIC cocktail at Czech MFA (15 September 2010) • Routes Award Public Programme: Sejla Kameric & • EDL (September 2010) Kutlug Ataman in the picture: partnership (9 Februa- • B4 – Balkan House 2010 within the Architecture ry 2011) Week festival (October 2010) • “Waiting and watching: South African moments“ • New Waves, New Ways Film Festival (October 2010) photo exhibition (15 March – 27 May 2011) • Literature night (11 May 2011) • Participation at the 2nd edition of the Benelux Inno- • Czech TV programme dedicated to EUNIC (ongoing) vators group (21 March 2011) • Policy Paper – EC Civil Society Platform on Multilin- Denmark gualism (30 March 2011) • “The Art of Scene Changing“: international confe- • EUNIC Dance Party at the Goethe-Institut (31 March rence on arts & interculture (24-26 January 2011) 2011) • Workshop on EC co-funding (12-13 May 2011) Estonia • Culture in development network for organisations • EDL in Tartu working in Africa and Latin America – meetings in • Communication and networking seminar, Nick Verti- Paris and Brussels + brochure (2010 – ongoing) gans (November) • Chopiniana series Bulgaria • E-book seminar • EDL September 2010 Ethiopia Canada • Collaboration to study for large-scale EU-funded • “Memory Studies and the Identity problem: a Cross cultural sector programme for Ethiopia (July 2010) Reading of European and Canadian Cultural Tradi- • Arts and Ceramics exhibition (January -February tions“ at the Munk School of Global Affairs, Universi- 2011) ty of Toronto (7 September 2010) • Inauguration of EU information rooms in the four • EDL in Toronto September 2010 institutes (March 2011) • European Book Club (series) • Joint call by heads of all 4 institutions on new State • Book exchange and multilingual book reading in Minister of Culture & his team to learn more about Montreal (26 April 2011) priorities for culture under the GoE “Growth & Trans- formation Plan“ Chile • EU film festival • European Jazz Festival (September 2010) • Festival of Contemporary European Drama in Santia- Finland go (August -September 2010) • EUNIC stand at Book Fair (October 2010) • Project “Responsible design“ submission to World China Design Capital Helsinki 2012 (March 2011) • Third European-Chinese Cultural Dialogue in Shang- • EUNIC stand at Europe Day celebrations in Helsinki hai (October 2010) (May 2011) • Meeting with EC Commissioner Vassiliou • Europe-China Cultural Compass, in progress France Bordeaux • Eurocall 2010 international symposium: Languages, Croatia cultures and virtual communities (September 2010) • Mediascape multimedia (October 2010) • AEDEA annual seminar for European mobility (Octo- • Zagreb Film Festival “The big five“ (October 2010) ber 2010) • Bordeaux – exhibition at Maison de Czech Republic l’Europe (October 2010) • Educational project with Faculty of Social Sciences • Youth on the Move at Contemporary Art Museum and the Faculty of Arts from the Charles University. (October 2010) Aim: to present the historical, social and political • European meetings with writers and philosophers. realities of the participating countries through their “Berlin, Barcelona, Istanbul: Towards new cultural respective national culture. Countries: Albania, Bos- capitals“ (November 2010) nia and Herzegovina, Bulgaria, Croatia, Greece, Ro- • European languages teaching seminar (November mania, Serbia, Slovenia. 2010) • Educational project with the Faculty of Social Sci- • European Cinema Festival (March-April 2011) ences and the Film Faculty from the Academy of • Round table: Literature, a different view on Europe? Performing Arts (FAMU): Austria, Czech Republic, (April 2011) Hungary, Poland, Romania and Slovakia.

203 France Paris Festival (theatre, classical and jazz concerts: 2 April • “The Roma in Europe“ - films, debate (27-29 May 2011) 2011) • Literature Night (16/17 April 2011) • Open Night of Cultural Institutes (6/7 May 2011) Germany Berlin • Duna Party (24 June 2011) • Participation at Wassermusik Open Air Festival (July 2010) India • EDL at the European Commission Representation • Literary Lecture Series ( October-May) (27 September 2010) • Debate within the Chopin Year: George Sand as Ireland fight for women’s liberation (October 2010) • “Moving Worlds: Cinemas of Migration“ Film Festival • Participation at the 4th European Photo Month (No- in Dublin (December 2010) vember 2010) • EUNIC/UNIQUE Thoughts: Public Discussions on • “Cinema Total: Calling Neighbours“ within the European Issues: “Opposite Dimensions – European framework of International Filmfestspiele Berlin Art Practices“ at National College of Art and Design (December 2010) Dublin (13 December 2010) • “Europa Literarisch“ series of conferences (2008- • EUNIC/UNIQUE Thoughts: “Migration and Recessi- 2011) on - Implications of the Economic Crisis for Migrants • Filmreihe Don Juan at Zeughauskino (February-Mar- and Immigration in Europe“ (3 February 2011) ch 2011) • “12 points! Europe’s New Jazz Festival“ (4-7 May • “Confessions“ in the framework of F.I.N.D. 2011 - 2011) Festival Internationale Neue Dramatik (March 2011, Schaubühne) Italy Milan • “Small languages, great “ forum at Leipzig • MiTo Milano Settembre Musica in Milan and Torino Book Fair (March 2011) (3-22 September 2010) • “Twist“ – contemporary art from Eastern Europe • MilanoMusica – contemporary musical journeys (3 (April 2011) October – 7 November 2010) • Participation in “Europa ist hier!“ celebrations (11 • Milano Film Festival at Piccolo Teatro (10-19 Septem- May 2011), Pariser Platz, Berlin ber 2010) • “The Celluloid Curtain. Europe´s Cold War in Film“ • “I’ve seen films“ Festival at Cinema Gnomo and with EUNIC in London at Zeughauskino (June 2011) Centre culturel français (30 September – 9 October • Participation in “Die Migration im Rücken“ in the 2010) framework of Poesiefestival Berlin 2011 at the Art • Festival Invideo at Spazio Oberdan (11-14 Novem- Academy ber) • Filmmaker International Festival (23-30 November) Germany Stuttgart • Culture, Europe and the crisis. Studies on Europe’s • “Europe in the Media: between political discourse cultural policies at Università Cattolica - Milan and populism“, debate at the IFA (12 May 2011) • Europe in rhymes in Como (19 March 2011) • Festival of contemporary music Sentieri Selvaggi Greece (April-May 2011) • European Youth Essay Competition “Culture Past, • Public Design Festival (12-17 April 2011) Culture Future“ (March-November 2010) • “Young People and Foreign Languages: Educational Italy Rome Challenges and Career Prospects“ discussion (11 No- • Regular cluster meetings (3 in 2010, 3 in 2011), pre- vember 2010) paring “Day of Multilingualism“ for 19 October 2011

Hungary Jordan • “Performing Arts“ conference at Budapest Art Palace • Launch of EUNIC in Jordan with “Talking Book s on (24-25 September 2010) EDL (September 2010) • European Language Cocktail Bar (30 September • “Zakharef in Motion“ dance festival support (May 2010) 2011) • Cross promotion with Europa Pont, EC Information Centre (7 January 2011) Kazakhstan • Participation with a presentation at the “Identity • Classical music concert at Almaty Conservatoire – 11 and cultural diversity in the European Union“ confe- May 2011 rence (9 February 2011) • EUNIC day. Europe on stage at Budapest Spring

204 Korea • Literature Night in Warsaw (16 April 2011) with Ocho- • Euro-Asia Festival (9-16 August ty Theatre and 17 local partners 2010) • Awaking of the Summer (17/18 June) in Warsaw • Seoul Oratorio Gala Concert (February 2011) • European stand at the 6th Seoul International Book Portugal Fair (15-19 June 2011) • Europe reads: the state of literary translation in Eu- rope (November 2010 Lebanon • “Eco?Logical“ project for Europe (13 May 2011) Romania Lithuania • Fashion road: dialogue a cross borders • “Young people in dialogue with artists“ exhibition • European Comics Festival (October-November 2010) and educational workshops in Šilagaliai, Ramygala • Comic Strip Museum at National Museum of Con- and Naujamiestis (July – September 2010) temporary Art (June-October 2011) • “Film Bakery“ Short Film Festival (25-28 November • Klezmer & More Festival at Green Hours Club (16-19 2010) June 2011) • Forum on Multilingualism at Mykolo Romerio Uni- • Night of the Cultural Institutes (24 June 2011) versity, opened by Lithuanian Minister of Culture (1 December 2010 Russia • Russian – European curatorial exchange programme Netherlands (to be launched) • “Changing Europe, Changing Arts“ conferences (September – November 2010), 4 conferences • “Curriculum Vitae“: Writers’ Biographic Film Festival, Serbia Amsterdam & (March 2011) • 3rd common stand at Book Fair (25-31 Oc- • European Literature Night at the OBA Library (11 tober 2010) May 2011), Amsterdam Slovakia Norway • “Languages in my family“ poster competition (May – • Norwegian International Film Festival (18-26 August September 2010) 2010) • EDL in (September 2010) • EUNIC events at Oslo Cultural Night (24 September • Language café (ongoing every month from 2008) 2010) • “Donaudrama“: 10 countries – 1 river – 1 play by 10 • European Jazz Nights à Nasjonal Jazzscene, Victoria authors at Studio 12 Bratislava (October 2010 – June (10-12 February 2011) 2011) • “Eurodok“ (16-20 March 2011) • Literature night in Bratislava, Banská Bystrica, Žilina • “Arts and Audiences“ seminar (30 May – 1 June 2011) and Košice (11 May 2011) Peru • EuroFilmClub: Life after 1989 (March 2011, ongoing) • “Cuerpo Presente “ dance and disability experience (October 2010) South Africa • “Monstruo“ (October 2010) • EUNIC Architecture Studio in Johannesburg (22-26 • Balleto dell’Esperia (November 2010) November 2010) • “Dance of Hope“ (December 2010) • Regional meeting (13-14 April 2011) • “Communicare“ Dance Workshop (December 2010) Spain Poland Krakow • European clusters meeting (2-4 October 2010) • Krakow Science Festival (May 2011) • of Regions - Point of view of • European Contemporary Dance Festival, Bytom & Artists and Culture Operators presentation at EC de- Krakow (June-July 2011) legation Poland Warsaw • “Translating Europe“ presentation at children and • EDL in Warsaw youth book fair, Burgos (8-9 April 2011) • Poems on the Underground (September 2010) • Theatres’ Night in Madrid (26 April 2011) • Translators’ Day (30 September 2010) • European youth literature presentation about • Read in Translation meetings (October –December authors not translated into Spanish at Madrid Book 2010) Fair (9 June 2011)

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Sweden USA Washington DC • “Double double“ music festival (February – Decem- • US launch of the Migration Policy Index III: how can ber 2010) legal integration lead to societal integration? De- • REX 3rd edition of Recent Experimental Shorts (13 bate on MIPEX results (9 May 2011) April 2011) at Kulturhuset • Eurovision song contest presentation and broadcast • Europe Day at Central Station Stockholm (9-10 May (14 May 2011) 2011) • “Multilingualism and corporate life“ conference at Venezuela Stockholm School of Economics (12 May 2011) • Application project for a 3 year artist-in-residence programme in Petare, Sucre, biggest urban slum Tanzania area in Latin America • Launch of open day at the 3 members with langu- age classes, workshop for language teachers and exhibition (9 February 2011) Vietnam UK London • European Literature Days in Hanoi (27-28 May 2011) • The Virtues of European Public Diplomacy seminar • European Documentary Film Festival in Hanoi and (1 July 2011) Saigon (June 2011) • “4th Screen Green, a Season of European Documen- taries“ (4-11 November 2010) • “DancEUnion, Great Dance Talent from across Euro- Presidents of EUNIC pe “ (15-17 March 2011) 2006 Sir David Green (British Council) • “Celluloid Curtain“ Film Festival at Riverside Studios 2007 Emil Brix (Austrian Federal Ministry for European (6-9 May 2011) and International Affairs) • Euopean Literature Night III in British Library (11 May 2008 Hans-Georg Knopp (Goethe Institute) 2011) 2009 Finn Andersen (Danish Cultural Institute) • EU May Fayre @ Regent’s Park (8 May 2011) 2010 Horia-Roman Patapievici (Romanian Cultural In- • Cultural Diplomacy seminar at Europe House (30 stitute) June 2011) 2011 Professor Ana Paula Laborinho (Camões Institute)

Ukraine • Participation at the Sevastopol International War and Peace International Art Festival (May – Septem- ber 2010) • Participation at Lviv Book Forum and International Literary Festival (September 2011) • Participation at Offline contemporary art pro- ject (November 2010) • “Cinema as commitmen “ European film festival in Kiev and Donetsk (May-June 2011)

USA New York • European Book Club (all year long) • Moving sounds music festival (2-5 September 2010) • Serbia – frequently asked questions (September 2010 – January 2011) • Perpetual Peace Project (November 2010) • 16th UEUNIC in SA NY lecture series (15 November 2010) • 7th New Literature from Europe festival (16-18 November) • Disappearing Act III European Film Festival (6-13 April 2011) • Best European Fiction during PEN World Voices Fe- stival (25 April – 1 May 2011) • Visa advocacy (ongoing) and Clinic on Visas for Ar- tists (17 September 2011)

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