Indian Cultural Diplomacy

Celebrating Pluralism in a Globalised World

Paramjit Sahay

• Publisher: VIJ Books (India) Pty Ltd
• Year: 2019
• ISBN:
  9789388161091
• Edition: 1
• Topic: Politics & International Relations
• Subtopic: Globalisation
• Index: Politics & International Relations

The Book is a window on Indian cultural diplomacy, which is set against the backdrop of its ethos of 'Vasudhaiva Kutumbakam' (The World is a Family). It is pivoted to the 'Idea of India' that gets manifested through acceptance of diversity and celebration of pluralism.The Book in 15 chapters under 8 sections provides a comprehensive picture on the concept of cultural diplomacy; its relationship with public diplomacy and soft power; its place in the diplomatic architecture and its growing centrality. Unlike soft power, cultural diplomacy is not in the paradigm of power.The Book also provides an in depth study on the origins and evolution of Indian cultural diplomacy over the years. It reviews the role of the Ministries of Culture and External Affairs and the Indian Council for Cultural Relations (ICCR). It examines various instrumentalities, such as Cultural Agreements, Festivals of India, Cultural Centres and Chairs of Indian Studies, used by India, to achieve its objectives.The role played by Education, Media and Diaspora, as bridge builders is evaluated. The Book peeps into global cultural hubs, like the Smithsonian Institution in Washington DC and the working of cultural diplomacy at grassroots level at Chandigarh and Chicago.Two chapters in the Book look at the operation of cultural diplomacy in the Indian diplomatic missions and foreign diplomatic missions in India. This adds a practical dimension to the conceptual framework, as seen by practitioners of diplomacy.The final chapter provides an overview on the existing reality. A section on 'The Way Ahead' makes a number of practical recommendations in five clusters, to take cultural diplomacy to a higher plateau. Finally, it raises a set of pertinent issues and points for consideration by theoreticians and practitioners of cultural diplomacy. The Book would serve as a useful reference point for further studies, as it fills the existing void in the literature on cultural diplomacy.

Section – I

Understanding Indian Cultural
Diplomacy in a Globalised World

Chapter – 1

Cultural Diplomacy in a Globalised World

Introduction

The first chapter sets the stage for understanding cultural diplomacy in a globalised world. What is cultural diplomacy and its purpose? Is it to promote understanding among peoples and nations through understanding of different cultures?

How central is cultural diplomacy in the diplomatic arena? Where does it find its place in the diplomatic architecture? How does it manifest itself as an important instrument in furthering foreign policy, commercial and other interests? Is there an intrinsic link between culture and commerce? Does culture precede commerce or is it the other way around?

How do we define culture, when using it as a diplomatic tool? Do we view culture in a broader or narrower construct? Is it restricted to promotion of cultural relations only or does it go beyond this? Are we restricting the conduct of cultural diplomacy to only official sources or are we going to expand our horizon and include non-governmental players?

What are the features of globalisation that we need to understand in the context of cultural diplomacy? Do we look at the demographic profile of the countries, given the present day migratory flows? Has it resulted in changing the demographic character of the countries and how does this become relevant for cultural diplomacy?

How has the population in different parts of the world become diversified? A large-scale migration requires adaptation of the migrants into the host state. How have the governments addressed the issues of ‘Identity and Diversity’ in a transnational world, as the same compete with one another? Is it through pursuing policies of assimilation or multiculturalism? Do we see a clash of civilizations, as per the Huntington thesis, where identities clash with one another? Does globalisation lead to cultural homogenization or hegemony?

How does understanding of culture help in promoting connectivity? Does it result in tearing down, real or perceived barriers, between the foreigners and the locals and the majority and the minority communities? Do we see imposition of local values on the immigrants, be it Australian, British or French? Are we seeing the emergence of cultural nationalism? Are we becoming sensitive or insensitive to the views of others?

What is the shape of a globalised world as it is emerging? Is it getting more connected or disconnected, in so far it relates to peoples’ connectivity? What are the fault lines, if disconnected? What are the factors that bring about connectivity? What role does culture play in bringing about connectivity? Is connectivity the heart of cultural diplomacy?

How are cultural diplomacy and public diplomacy interconnected? Does cultural diplomacy get submerged in public diplomacy, which has become a vehicle of public policy for all the foreign ministries, as they are required to relate to foreign audiences? How does cultural diplomacy fit in with public diplomacy, which uses culture as one of its vehicles in achieving its objectives? Do we view cultural diplomacy as ‘soft power’, in converting other’s to one’s view point, as per terminology used by Joseph Nye Jr.

Understanding Cultural Diplomacy

Cultural diplomacy is an important diplomatic tool in enhancing connectivity among peoples. In this globalised world, it has assumed a greater role, as we strive to build a world on understanding, while accepting its diversity. The need for such an understanding has assumed criticality as we are witnessing the emergence of a conflict situation. It is not only a clash of civilizations as envisaged by Samuel Huntington but also among peoples belonging to the same faith. We are coming under pressure from state and non-state actors, who are promoting terrorism, whose primary purpose is to create cleavages among different groups in a society.

We live in a world that is dominated by the ‘Power’ narrative. From ‘Hard Power’, we have shifted our focus to ‘Soft Power’ and we are now turning our eye to ‘Smart Power’-another terminology created by Joseph Nye Jr. We also categorize countries in terms of their strength, by calling them ‘Super Powers’ or ‘Major Powers’.

In the context of globalisation, we have also tended to divide countries, keeping in view their level of development, such as ‘First World’, ‘Second World’ or ‘Third World’. We also view nations as ‘developed’, ‘developing’ or ‘least developed’, as we try to apportion responsibilities and benefits, in terms of their capacity to pay or absorb level of assistance. In the cultural context, we view nations, as ‘high’ or ‘low’ context, depending over their style of communication.

Definitional issues confront both, theoreticians and practitioners of diplomacy. The matter gets complicated, as new diplomatic vocabulary, like public diplomacy, soft power and smart power are added to confound the situation. At times, this is on account of differing understanding or perceptions of the topic as seen from one’s perspective; while in other cases it is purely for tactical reasons.

Cultural diplomacy is a combination of two words. In the traditional sense, it simply means using ‘culture’ in the pursuit of national interests through diplomatic channels by the State. The word ‘diplomacy’ implies government’s involvement. In the context of modern diplomacy, however, what becomes important is the role that culture plays in bringing about connectivity and this need not be spearheaded by the government.

It would be pertinent to state that Alliance Françoise, which is not a government organization, has better advanced the French interest rather than some other organizations, which are publicly funded. Cultural diplomacy could also be directly promoted by private groups, such as concerts by Zubin Mehta in Vienna or India or supported by the state agency, like ICCR, when Teamwork Arts mounts an exhibition ‘Eye on India’ in Chicago or organizes Festival of India in Australia.

How do scholars and experts define cultural diplomacy? Let us first look at the traditional approach, where Richard Arndt has defined it as follows:

“Cultural relations grow naturally and organically, without government intervention- the transactions of trade and tourism, student flows, communications, books circulation, migration, media access, intermarriage-millions of daily cross-cultural encounters. If that is correct, cultural diplomacy be said to take place when formal diplomats, serving national governments, try to shape and channel this natural flow to advance national interests”(Arndt).

It has two components-natural and organic growth of cultural relations and the involvement of diplomats to channelize these relations to advance national interests. This was true in the twentieth century, but it does not stand the test the way cultural diplomacy is pursued in the twenty-first century, where diplomats and non-diplomats criss-cross in using culture in promoting national interests, be it individually or jointly or with the support of the government, moral or financial. Diplomatic touch can be provided in myriad ways and forms, as we are treating students, academia, cultural personalities, sports persons and Diaspora, as our Ambassadors, notionally speaking.

Two commonly held definitions of cultural diplomacy in the modern context, which cater to the role of non-diplomatic players, are as follows:

“Exchange of ideas, information, and other aspects of culture among nations and their peoples to foster mutual understanding” (Milton Cummings, 2009).

“The use of creative expression and exchange of ideas, information and people to increase mutual understanding” (Walter Lacquer, 1994).

At the functional level, a former Director General, ICCR defined it in these words, “Cultural diplomacy is the use of culture in establishing effective communication and understanding between different societies” (Goel, Suresh, 2015).¹

A former Indian Ambassador also views cultural diplomacy playing an important role ‘in creating awareness of a nation state’s cultural achievements and thereby to create better understanding amongst the target nations and peoples’ (Yogesh Tiwari, 2007).

Let us also look at it from the perspective of a dancer, choreographer and art administrator Pratibha Prahlad and organizer of Delhi International Arts Festival (DIAF), who recognizes that ‘cultural diplomacy is of extreme importance’. For her,“Culture is all about understanding people, value system, art, languages and the way people transact their life” (Cited in Geeta Sahai, 2016).

All the above definitions have convergence on two points; the heart of cultural diplomacy is promoting understanding among peoples and nations, through using culture as a vehicle of communication and connectivity. This view gets endorsed by another academic, who opines that cultural diplomacy ‘can be helpful in bridging difference and in opening new avenues of communication’ (Goff, Patricia, 2013).

The above interpretation assumes importance if we view the whole world as a family, which was the aim in creating institutions, like ‘The League of Nations’ or the ‘United Nations’, even though these have not come up to their expectations. Cultural diplomacy does not fall in the ‘Power’ genre, as it is not to be played like a game of poker, chess or bridge. It is also not about victory of ‘A’ over ‘B’, but about connecting ‘A’ with ‘B’, generating understanding about each other; resulting in building mutual trust and paving way for promotion of relationship.

The ultimate thing to keep in mind is that cultural diplomacy is about ‘Understanding’. It is not about soft power, as it is people-centric and its aim is to create an atmosphere of trust. Of course, it is through trust that relationship could be further advanced. It would, therefore, be better not to describe cultural diplomacy as a tool but as a vehicle, which helps in building a conducive atmosphere, which paves way for fostering friendly relations over which ties could be built. For me, cultural diplomacy should be aptly described as a ‘Connectivity Bridge’ that connects peoples and nations.

Cultural diplomacy, to simply put it, is promoting understanding among peoples and nations through communications by using the medium of culture. I would view it as 4C’s, as ‘Culture, Connectivity, Communication and Cooperation’, where communication is a key element of cultural diplomacy. It is ‘Culture’ that provides the ‘Connectivity Bridge’; while it is ‘Communication’ that leads to ‘Cooperation’. The need for such an understanding becomes more pronounced in a globalised world. It thus becomes a 5-C’s Process- ‘Culture, Connectivity, Communication, Conversation, and Cooperation’. It is through communication of culture that you connect to converse, which results in cooperation.

The history of cultural diplomacy can be traced to early travellers, traders, religious preachers and sea-farers, artists and teachers, who could be placed in the category of ‘Cultural Ambassadors’. Nalanda University was a living example, which facilitated such cultural interactions. The Institute for Cultural Diplomacy (ICD) treats any form of cultural exchange as cultural diplomacy, if it takes place ‘in fields such as art, sports, literature, music, science, business & economy and beyond’. ICD defines cultural diplomacy in the present day context as follows:

“Cultural Diplomacy may best be described as a course of actions, which are based on and utilize the exchange of ideas, values, traditions and other aspects of culture or identity, whether to strengthen relationships, enhance socio-cultural cooperation, promote national interests and beyond; Cultural diplomacy can be practiced by either the public sector...

Table of contents

• Cover
• Title page
• Copyright page
• Dedication
• Contents
• Foreword
• Preface
• Acknowledgements
• Introduction
• Section – I Understanding Indian Cultural Diplomacy in a Globalised World
• Section – II Framework, Structures and Instrumentalities of Indian Cultural Diplomacy
• Section – III Role of Other Cultural Bodies and Direction of Indian Cultural Diplomacy
• Section – IV Vehicles of Cultural Diplomacy
• Section – V Diaspora and Media as Connectivity Bridges
• Section – VI Cultural Diplomacy at Global and Grassroots Levels
• Section – VII Culture Diplomacy Operations at Diplomatic Missions-Indian and Foreign
• Section – VIII Concluding Chapter
• Bibliography
• Index