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BEYOND CULTURAL DIPLOMACY International
cultural co-operation policies: By Rod Fisher Director, The International Arts Bureau, London Fundamental shifts in the political ideologies of the countries of Central and Eastern Europe , the enlargement of the European Union and the relaxation
of its internal frontiers, together with financial pressures on the budgets
of governments, including reductions in funding of departments and institutes
involved in international cultural exchange, have considerably altered
the landscape of Europe in the past decade. The Cultural Information & Research Centres Liaison in Europe network (CIRCLE), in association with the International Cultural Centre, Krakow, and Institute for Culture, Warsaw, and with the support of the Polish Ministry of Culture and the Council of Europe, is organising this Round Table to explore evidence of policy and research responses to these changes in the international cultural policies of governments. According to the European Task Force on Culture and Development report In From The Margins, governments need 'to re-examine their cultural policies to reflect more adequately contemporary arts, practice and the new political environment in Europe(2). This Round Table is a direct response to the recommendation contained in the same report that a European conference should address this issue. Our aim in Krakow is to assess to what extent international cultural policies now reflect both the macro developments that have taken place and the changes in cultural practice. Does cultural diplomacy remain a potent force or has it been superseded by new imperatives? Where are the demarcation lines in responsibility? Are trade or cultural ministries setting the agenda or are foreign affairs ministries still pulling the strings? To what extent can international policies be arts-led? What of the emerging role of regions and cities in international cultural co-operation? How are cultural institutes and agencies responsible for international cultural exchange adapting to reductions in financial aid? How can programmes of support at European, national, regional and local levels more adequately respond to the needs of cultural practitioners who wish to engage in transnational collaboration? It might be helpful to remind ourselves of the context in which this Round Table is taking place. A different political landscape The collapse of the Soviet system in Central and Eastern Europe not only
had fundamental political ramifications, but it also had impacts on international
cultural exchange. Prior to 1989 cultural co-operation between East and
West was fairly rigidly controlled. Bilateral exchange was pursued through
a classical form of cultural agreement, based on political theory and
economic reality: the theory involved the exercise of State control of
the cultural and intellectual life of Central and Eastern European countries,
governing who could participate in the process; the reality was non-convertible
currencies. Political change has created a surge of interest in cultural
collaboration between practitioners in both halves of Europe. However,
many in Central and Eastern European countries have been unable to take
advantage of their new freedom to travel, because political change did
not result in economic parity. New economic realities If the 1980s had proved exacting for many in the arts and cultural sector, the economic conditions of the 1990s were to prove even more troublesome. Reductions or no-growth in cultural expenditure was the reality in many countries, and the budgets for international cultural co-operation were not immune to the impacts. The British Council, Goethe Institute and other cultural institutes had their budgets cut and their operations and administration were subject to reorganisation or review. For their part Central and Eastern European countries had neither the financial resources, nor always the political will to create instruments for international exchange to replace the discredited ministries previously involved in cultural agreements. Globalisation Globalisation processes are affecting culture in many ways. Hierarchies
are being eroded and giving way to networks. The process - driven by international
conglomerates rather than wholly owned US companies - is enlarging choice.
At the same time it is also perceived as generating popular culture tastes
worldwide. Some countries have felt powerless to react. Others have enhanced
their international efforts to promote and defend their culture, language
and identity. Safeguarding and promoting cultural diversity Globalisation is associated with blandness. It is presumed that the growth of cultural homogenisation and the 'global post modern' will erode national and regional cultural specificities. Of course this suggests that globalisation is evenly distributed throughout Europe, which is a questionable proposition. Nevertheless, most governments have begun to recognise the need to safeguard the distinctiveness of their cultures, traditions, language and heritage. This presents new challenges for cultural policies which some countries and regions have responded to in their international objectives. It has taken some of them longer to recognise that the multi-cultural dimension of many countries should also be reflected in the international cultural co-operation policies they pursue. Culture and trade The rapid pace of trade and investment liberalisation is increasingly recognised as a catalyst for enhancing the flow of creative work across frontiers and providing nations with enhanced access to cultural expression from other countries. New economic opportunities have emerged for each nation's cultural industries. Trade ministries have recognised that film and TV programmes, design companies, publishers, music industries and others contribute to export objectives and have promoted their product through trade fairs and exhibitions. The skills of craftsmen and heritage restoration or conservation experts are being promoted in export-led initiatives in some countries. On the face of it, a convergence of cultural and trade interests has much to commend it. However, difficulties can arise when minorities use the arts as decoration to underpin trade missions, and thus confuse the different imperatives of the cultural and trade sectors. Cultural policy and trade objectives need to be developed in harmony. Regional and local players - a 'new' dynamic One of the most significant developments in the 1990s has been the growth of interest in regions and cities in international cultural exchange. Such interest is not new of course. However, regions and cities have capitalised on new economic and political opportunities to forge cultural alliances across borders, region by region, city to city. Some regions, ambitious for nationhood status, have used culture and language as tools to position themselves on the world stage; key cities have actively promoted their arts and culture to project their profile in the European arena. The most successful have established international cultural profiles that act like a magnet attracting others to collaborate. Are there lessons to be learned here, or will only a select number of cities and regions be able to advance their image through exporting their culture this way? Changes in transfrontier cultural practice The dynamics of international cultural practice have undergone significant change. There has been a new emphasis, especially in theatre and dance, from ready-made product to joint explorations and co-productions. Cross-border traffic in the arts in Europe has changed, as cultural organisations seek to achieve economies of scale and costs and to take advantage of new international markets and associated revenue-raising opportunities. An international platform enables arts organisations to enhance their profile and thus their market potential. Moreover, the exposure of artists and performers to new audiences and critics in other countries enhances their professional development, while, at the same time, enriching the experience of audiences and providing programme variety to venues and festivals. Professional training and workshop opportunities in Europe have mushroomed as a direct result of the increased mobility of the performer. Similarly, the demand by artists for residencies and studios in other countries has outstripped opportunities. Networking - cultural co-operation on the cheap? Networking has become a convenient and cost-effective mechanism for the exchange of information and experience by cultural practitioners. Whether the term is used to denote collaborative visits, travel to set up co-productions, see work in situ or in festivals, research material for books or plays, or attend conferences, the general consensus among artists, directors or managers is that networking develops contacts, enriches experience and can lead to productive international partnerships. Much of this takes place independently of government support and there is every expectation it will continue to do so. Nevertheless, it is an area which practitioners find continually difficult to resource, and national and regional authorities often appear reluctant to assist in a systematic way. The In From The Margins report argues that the European Union, national, regional and local government would considerably advance the cause of international cultural co-operation if they could develop strategic support mechanisms to facilitate contact between artists, administrators, curators etc. Funding sustainable cross-border projects Much has been made of the 'lottery' of funding for transnational projects. The emphasis on project funding and the relatively small amounts of money available through European Union programmes such as Kaleidoscope and Raphael have tended to prolong the process of establishing international partnerships, making it difficult for relationships to be sustained. Nor is there any likelihood, given the proposed budget, that Culture 2000, the single framework programme scheduled to succeed Ariane, Kaleidoscope and Raphael, will make the situation any better. It is also difficult to escape the impression that the shape of the funding programmes is driving cultural co-operation initiatives in Europe, rather than responding to them. From cultural diplomacy to cultural relations? A subtle, but important, change has been evident in the policies of some
of the cultural institutes and agencies in recent years. Their role for
many years was inextricably linked to cultural diplomacy, an instrument
of foreign policy in which efforts are directed to presenting positive
images of a nation state through its culture (and, it has to be said,
with a view to obtaining advantage in a country and facilitating diplomatic
operations). However, today the efforts of a number of them are more closely
associated with cultural relations, which are intended to promote mutual
understanding and co-operation, rather than one-sided advantage. Consequently,
such policies are rather more neutral in their impact. This is an important
distinction. Agencies such as the British Council continue to promote
high quality and diverse UK arts to audiences overseas - strengthening
the arts community and cultural industries in the process. However, the
emphasis is now on the development of sustainable, mutually beneficial,
international partnerships in the arts. An exchange of ideas Cultural co-operation is not only about the flow of cultural goods and services; it is also about the exchange of ideas. Therefore, what CIRCLE hopes the Round Table will do is to promote a dialogue on how international cultural policies are changing. It will seek to examine the potential synergies between various government departments in promoting or exporting their cultures and identify models of good practice. The potential for collaboration between cultural institutes to effect savings in administrative and other costs will also be examined. In particular, the Round Table will seek to establish whether governments or their agencies need to refocus their international strategies for the beginning of a new millennium.
(1) Ash, Timothy Garton, Where Do
We Go From Here? In 'Visions of Europe', Time magazine special issue,
Winter 1998/99 |
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