W3: Cultural Diplomacy Should be Better Utilized

One of the most striking things about how cultural diplomacy was discussed this week was its connection to a country’s soft power.  I wonder how much of this influence is necessarily imposed, however, and outreach efforts are actively pursued; or rather, whether such influence is attributed to stereotypes given by various organizations or media outlets from within a country.  Those groups inherently promote certain aspects or patterns from their host culture and the world designates it as that culture.  For example, as Schneider’s article stated, the United States of America is the “country with the most influential culture in the world” “that least acknowledges and uses its persuasive powers.”  She pointed to the U.S. born “jazz music” and television shows “Dallas” and “Friends.”  My cousins in France always used to ask me about the accuracy of these types of stereotypes, mostly from various TV shows, or whether I ate hamburgers every day or even rode horses to school (I grew up in Texas).  I think that culture (and especially one’s perception of another’s culture) has an enormous amount of possible influence or change, and absolutely should be utilized in public diplomacy efforts.

One of the questions this week asked whether cultural diplomacy should be distinguished from other public diplomacy efforts.  I definitely think so.  As Nick Cull’s article states, “cultural diplomacy is a type of public diplomacy.”  Capitalizing on a particular country’s cultural traits can bring an entirely new dynamic to diplomacy, to events sponsored in-country, and can additionally help find similarities between cultures that may allow work to be done on another level.  I would argue, however, that shows like American Idol, although great for apparently promoting “equal opportunity, merit-based competition, and selection by voting” in and of itself is not cultural diplomacy (Schneider).  Unless of course, that TV show were to travel to another country through a non-profit or other organization or embassy, and bring U.S. artists to meet and interact with local counterparts, exchange opinions, and share their talents and culture with each other. 

One of my favorite articles this week was the compilation of best practice organizations by the U.S. Center for Citizen Diplomacy, which highlighted how each group worked on international cultural engagement.  They argue that this concept has never been more important, with “the reliance of identity politics (national, regional, ethnic, and religious) and sub-state actors on cultural symbols and creative expression; and the increased importance of cultural products and services in global commerce and trade,” among other things.  Through music, film, dance, writing – you name it – these groups travel around the world to bring these aspects of American culture to them, and most of the time learn from the local culture at the same time.   The dialogue and interaction opens minds, allows for enhanced creativity, and encourages cooperation on another, very personal level than the generic political or business meetings where these interactions normally occur.

To bring this a step further, I loved Dr. Sherry Mueller’s description of citizen diplomacy, which I would argue is absolutely an integral part of cultural diplomacy.  “One handshake at a time,” she says that individuals are empowered to shape and strengthen foreign relations.  The International Visitor Leadership Program (IVLP) works at this as well, by allowing visitors to additionally interact with U.S. citizens “‘beyond the headlines’ and help them develop a more realistic and nuanced understanding and appreciation for the history, heritage, democratic institutions, and fundamental values of the United States.”  Her claim that the “home hospitality” visits are the favorite and lasting memories from a visitor’s trip is incredibly important, and truly highlights the effectiveness of personal, cultural interactions.