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Cultural Diplomacy of the United States and France

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Cultural Diplomacy of the United States and France VYTAUTAS MAGNUS UNIVERSITY Giedr PRANAITYT CULTURAL DIPLOMACY OF THE UNITED STATES AND FRANCE Doctoral Dissertation Social Sciences, Political Sciences (02 S) Kaunas, 2014 UDK 327 Pr-22 This dissertation was prepared during the period from 2009 to 2014 at the Department of Political Science of the Faculty of Political Science and Diplomacy at Vytautas Magnus University, Lithuania. Academic Supervisor: Prof. dr. Regina Jasiuleviien (Vytautas Magnus University, social sciences, political sciences, 02S). ISBN 978-609-467-024-4 2 VYTAUTO DIDŽIOJO UNIVERSITETAS Giedr PRANAITYT JAV IR PRANCZIJOS KULTRIN DIPLOMATIJA Daktaro disertacija Socialiniai mokslai, politikos mokslai (02 S) Kaunas, 2014 3 Daktaro disertacija rengta 2009 - 2014 metais Vytauto Didžiojo universiteto Politikos moksl ir diplomatijos fakulteto Politologijos katedroje. Mokslinio darbo vadovas: Prof. dr. Regina Jasiuleviien (Vytauto Didžiojo universitetas, socialiniai mokslai, politikos mokslai, 02S). 4 Table of Contents Introduction ................................................................................................................................... 9 Defining the Research Problem and its Relevance ....................................................................... 9 The Aim and Objectives of the Thesis ......................................................................................... 18 Methodological Approaches and Research Questions ............................................................... 20 The Overview of Literature and Theoretical Background ......................................................... 24 The Structure of the Thesis .......................................................................................................... 29 1.The Theoretical Context of Cultural Diplomacy .................................................................. 31 1.1. The Emergence and Development of the Concept of Cultural Diplomacy .................... 36 1.2. Four Types of Power in Relation to Cultural Diplomacy ............................................... 44 1.2.1. Limitations of Hard Power and the Necessity for Cultural Diplomacy .................. 47 1.2.2. Manifestations of Soft and Smart Powers in the Context of Cultural Diplomacy ... 48 1.2.3. The Growth of Cyberpower as a Means to Affect Cultural Diplomacy .................. 53 1.3. Alternative Visions of Power ............................................................................................ 57 1.3.1. Sweet Power as a Tool to Spread Cultural Values of Contemporary States .......... 58 1.3.2. Hegemonic Power as a Factor to Intensify the Inter-State Dialogue ..................... 60 1.4. Social Power as an Additional Element of the Model of Cultural Diplomacy .............. 63 1.5. Possibilities to Develop an Innovative Model of Cultural Diplomacy ............................ 69 2. French Cultural Diplomacy: Basic Tendencies and Priorities ........................................... 73 2.1. The Model of French Cultural Diplomacy ...................................................................... 73 2.1.1. French Cultural Diplomacy as an Expression of the Empowerment through Non- Governmental Entities and Private Initiatives ......................................................... 88 2.1.2. French Cultural Diplomacy and its Implementation by the Ministry of Culture and Communication of France ....................................................................................... 92 2.1.3. The Spread of French Culture and the Establishment of the Institut Français ...... 94 2.2. French Cultural Diplomacy as an Instrument to Promote French Cultural Values ...................................................................................................................... 107 2.2.1. French Cultural Diplomacy on the Level of Embassies ........................................ 107 2.2.2. The Promotion of the French Language and the Movement of the Francophonie ............................................................................................... 110 3. American Cultural Diplomacy: Basic Tendencies and Priorities ..................................... 120 3.1. The Model of American Cultural Diplomacy ................................................................ 121 3.2. Manifestations of American Power and Transformations of Cultural Diplomacy ..... 135 5 3.3. Contemporary American Cultural Diplomacy in Lithuania: Inspiring Instances of Success ............................................................................................................................ 142 Conclusions ................................................................................................................................ 148 List of References ...................................................................................................................... 154 Appendix I: Table of Interviews .............................................................................................. 174 Appendix II: The Questionnaire for Informants ................................................................... 176 6 Abbreviations, Charts and Tables List of Abbreviations No. 1. EU – European Union (liet. Europos Sjunga) NATO – North Atlantic Treaty Organisation (liet. Šiaurs Atlanto Sutarties 2. Organizacija) 3. U.N. – United Nations (liet. Jungtins Tautos) 4. U.S. – United States (liet. Jungtins Valstijos) 5. USA - United States of America (liet. Jungtins Amerikos Valstijos) USSR – Union of Soviet Socialist Republics (liet. Soviet Socialistini 6. Respublik Sjunga) List of Charts Pages Chart No. 1. Types of Diplomacy 33 Chart No. 2. Development of the Concept of Cultural Diplomacy 43 Chart No. 3. Model of Cultural Diplomacy 70 Chart No. 4. The Number of Students at L’école française Montesquieu de 82 Vilnius Chart No. 5. The Scheme of Collaboration Among Institutions Involved in 86 the Realm of French Cultural Diplomacy in Lithuania Chart No. 6. French Books Published in Lithuanian with the Assistance of 98 the Oscar Milosz Publication Support Program from 2009 to 2012 Chart No. 7. The Statistical Data of the Project “Dance Motion USA” (2010 134 and 2012) List of Tables Pages Table No. 1. Stages of the Research 23 Table No. 2. Four Essential Principles of French Cultural Diplomacy 74 in the Context of Contemporary International Relations Table No. 3. Numbers of Spectators of Ecrans d’hiver (2009 – 2013) 101 Table No. 4. Five Basic Principles of the New American Approach to 121 International Relations and Cultural Diplomacy 7 ACKNOWLEDGEMENTS This thesis is dedicated to the Most Precious Blood of Jesus and the Immaculate Heart of Mary. I humbly place all my trust in their heavenly protection. I would like to express the deepest gratitude to my supportive and loving parents Salvinija and Antanas Pranaiiai who have always been a source of strength and inspiration even under the most difficult circumstances. I am also especially thankful to the supervisor of this thesis, Professor Regina Jasiuleviien, who offered many insightful pieces of advice in the process of writing. Her cordial assistance, patience and insightful remarks have truly been of crucial importance to the current thesis. I would also like to say thank you to the U.S. Ambassador to Lithuania Anne E. Derse who served in our country from 2009 to 2012, the Public Affairs Officer Jonathan M. Berger and his aide specializing in Cultural Affairs Jrat Butkut. Thanks also to the former Director of the Institut Français in Lithuania Pascal Hanse, the first Ambassador of France to Lithuania Philippe de Suremain, the Professor of French Language and Culture Birut Strakšien, the Cultural Attaché of Lithuania to France Rasa Balikonyt and the President of the Lithuanian Community in France Linas Maknaviius for their sincere support. 8 INTRODUCTION In effect, as long as a culture is truly alive, it need have no fear of being displaced. And no law could keep it alive if it were already dead in people's hearts. In the dialogue between cultures, no side can be prevented from proposing to the other the values in which it believes, as long as this is done in way that is respectful of people's freedom and conscience.1 Pope John Paul II, Message for the Celebration of the World Day of Peace, 2001. Defining the Research Problem and its Relevance Cultural diplomacy as a phenomenon of international relations has clearly been regarded as one of the most stimulating and inspiring domains of the diplomatic action since the end of World War II and up to the present day. Practitioners of cultural diplomacy have also enjoyed some possibilities to merge political ambitions and artistic creativity together by means of various cultural initiatives in order to develop a positive cooperation among countries and achieve concrete objectives on the international arena at the same time. In one of her articles Helena K. Finn, an American analyst, nicely indicated that “a diplomat should know the language, culture, and history of the country to which he or she is posted” because without these abilities it has never been possible to discern any common goals that might catch and captivate the attention of the foreign populace or make the local political elite more willing to solve a number of problematic issues2. Cultural diplomacy has always remained such a sensitive sphere that it is an absolute necessity for ambassadors or cultural attachés to go through an adequate process of preparation in advance if they aspire for efficiency and success
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