Cultural Diplomacy of a Different Kind: A Case Study of the Global Guggenheim Natalia Grincheva A Thesis In the Department of Humanities Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada August 2015 © Natalia Grincheva, 2015 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Natalia Grincheva Entitled: Cultural Diplomacy of a Different Kind: A Case Study of the Global Guggenheim and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Humanities) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. D. Dysart-Gale External Examiner Dr. W. Straw External to Program Dr. A. Whitelaw Examiner Dr. B. Best Examiner Dr. E. Bloodgood Thesis Supervisor Dr. M. Charland Approved by: Dr. B. Freiwald , Graduate Program Director September 22, 2015 Dr. A. Roy, Dean Faculty of Arts and Science ABSTRACT Cultural Diplomacy of a Different Kind: A Case Study of the Global Guggenheim Natalia Grincheva, Ph.D. Concordia University, 2015 This thesis explores the online dimension of non-state cultural diplomacy, as a new form of contemporary cross-cultural communication in a highly globalized and multilateral environment of contemporary international politics. By looking at the Guggenheim museum, this thesis investigates how this powerful cultural institution with a world recognized global brand engages international audiences and exerts strong cultural impacts. Focusing on one of the Guggenheim’s online global communication activities, the YouTube Play project, implemented in cooperation with Google in 2010, this thesis analyzes a new form of cultural diplomacy exercised in an online environment through social media channels. Understanding the Guggenheim as a non-state actor in the international arena and its YouTube Play project as an example of digital diplomacy, the research demonstrates that the new epoch of neoliberal globalization and digital forms of human interactions have given birth to a completely new phenomenon in the field of cross-cultural communication. This type of communication, unlike governmental forms of cultural diplomacy between nation states, projects cosmopolitan messages and values, going beyond a traditional promotion of national cultures and traditions. Furthermore, this new form of cultural diplomacy has a strong economic component. On one hand, this component ensures the autonomous character of the international activity, distancing it from the direct control of the government. On the other hand, the economic component brings new corporate politics into play. However, like state forms of diplomacy, online manifestation of contemporary cultural diplomacy has two dimensions: cultural projection and public relations. On the level of cultural projection, the YouTube Play exerts a powerful influence upon international audiences, pushing forward global forces of cultural and linguistic homogenization. On the level of cultural relations, the project brings together people from different countries for productive cross-cultural exchanges with strong educational impacts leading to better understanding and respect between participants. iii Acknowledgements I take this opportunity to express my sincere gratitude to my thesis supervisors, Dr. Maurice Charland, Dr. Elizabeth Bloodgood, and Dr. Beverley Best, for their help and support for my doctoral research. Their academic expertise and knowledge in their respected fields, as well as their warm and encouraging attitudes throughout my PhD experience, helped me to move forward with my research and they were especially valuable in times of uncertainty or confusion. I am very grateful for their timely and insightful feedback on my work, their brilliant ideas and interesting suggestions that guided me in my research, and for the personal engagement and limitless patience with which they supervised my academic growth. I also thank the Humanities Doctoral Program and School of Graduate Studies at Concordia University for providing a flexible, stress-free, engaging, and supportive environment, where I could pursue my research passions and devote my time to the study of disciplines that really interested me. Their generous support of my university studies and traveling for field work and conferences significantly enriched my experience as an international graduate student and contributed to the development of my academic career. iv Table of Contents: Chapter I. Introduction .............................................................................................................. - 1 - Chapter II. Literature review .................................................................................................... - 10 - 2.1. Introduction .................................................................................................................... - 10 - 2.2. Cultural diplomacy ......................................................................................................... - 11 - 2.2.1. Definition and basic paradigms of cultural diplomacy ............................................ - 11 - 2.2.2. Messages of cultural diplomacy: National promotion versus cosmopolitan appeal - 16 - 2.2.3. Non-state actors of cultural diplomacy .................................................................... - 22 - 2.3. Museums as actors of diplomacy ................................................................................... - 38 - 2.3.1. Museum diplomacy: From national projection to transnational/global narratives .. - 38 - 2.3.2. Museums in the global economic environment: The “market-economy” model .... - 48 - 2.4. New Media diplomacy ................................................................................................... - 65 - 2.4.1 National projection and cultural relations online ..................................................... - 65 - 2.4.2. Online museum diplomacy ...................................................................................... - 72 - 2.5. Conclusion ...................................................................................................................... - 77 - Chapter III. Research questions and methodology .................................................................. - 81 - 3.1. Research questions ......................................................................................................... - 81 - 3.2. Institutional analysis of the Guggenheim museum ........................................................ - 82 - 3.3. Discursive content analysis of the YouTube Play project.............................................. - 83 - 3.4. Virtual ethnography........................................................................................................ - 86 - Chapter IV. The Guggenheim Museum: “Who Needs to Rule the American Dream When You Can Rule the World?” ............................................................................................................... - 91 - 4.1. Introduction .................................................................................................................... - 91 - 4.2. Building resources and alliances: Corporate strategies of the Guggenheim .................. - 92 - 4.3. Strengthening international reputation: The Guggenheim franchise network ............. - 109 - 4.4. Constructing a global image: Guggenheim cosmopolitan identity .............................. - 129 - 4.5. Conclusion .................................................................................................................... - 147 - Chapter V. YouTube Play: Design for engagement .............................................................. - 150 - 5.1. Introduction .................................................................................................................. - 150 - 5.2. Pop culture appeal ........................................................................................................ - 154 - 5.3. Participatory design ...................................................................................................... - 165 - 5.4. Global outreach ............................................................................................................ - 179 - 5.5. Conclusion .................................................................................................................... - 186 - Chapter VI. Promotional dimension: Interacting with global brands .................................... - 190 - 6.1. Introduction .................................................................................................................. - 190 - 6.2. YouTube as a public channel of creativity and sharing ............................................... - 193 - 6.3. The Guggenheim as the “museum of the new” ............................................................ - 204 - 6.4. Intel and HP as a new technology for art production ................................................... - 224 - 6.5. Conclusion .................................................................................................................... - 237 - Chapter VII. Informational dimension: Living and challenging cosmopolitanism online .... - 245 - 7.1. Introduction .................................................................................................................