American Ballet Theatre’s Post

Cultural Diplomacy | If culture is a representation of your identity, then it’s worth celebrating. Not just your own culture, but others as well. Celebrating multiculturalism is a PRIME way to connect with people and transcend borders. This is why Cultural Diplomacy is so important. It allows people to share human experiences that ultimately benefit everyone. Take dance, for example. Imagine the life long connection made when a Native American dancer collaborates with a group of young tribal African dancers in their homeland. Or, a group of Hip Hop dancers teaching and demonstrating moves to a group of youth in the Middle East. There’s no doubt the benefit flows in both directions with exchanges like these. Sharing American culture with people whose perception of us is shaped by presumption is so important. These are the types of people-to-people engagements that connect us to the world we live in. Emerging from WWII and entering the Cold War, genres like modern dance and jazz were uniquely American. It’s worth noting that both of these genres were championed by African Americans and Women! Alvin Ailey and Martha Graham, Dizzy Gillespie and Louis Armstrong were pioneers in their respective fields. Call it Cultural Diplomacy or propaganda, these groundbreaking artists were at the front edge of communicating with our adversaries while simultaneously inspiring the next generation around the world. Today, artists like Misty Copeland and countless others continue the work of their predecessors.   There are currently more than 20 Cultural Diplomacy Programs and Initiatives led by the Bureau of Educational and Cultural Affairs at the U.S. Department of State. Here are a few that include DANCE as well as other performing arts genres. Follow them on social media to witness cultural diplomacy in action! Art Envoy Program- Shares American artists with countries from around the world to foster cross-cultural understanding. Utilizes Performing artists, visual artists, culinary artists, poets, playwrights, theatrical directors and filmmakers, curators, and more. #ArtsEnvoy Next Level- Initiative using Hip Hop music, dance, and art to foster cross-cultural exchanges in diverse communities around the world through 2 week residencies. @next_level_usa  Center Stage- Initiative that brings international performing artists in dance, music, and theater to the U.S. to develop a month-long tour around the U.S. @centerstageus IVLP- International Leadership Visitor Program- Artists, leaders, and athletes. Through short-term visits to the U.S., foreign leaders cultivate lasting relationships with their American counterparts. @stateivlp The Fulbright Program- In partnership with more than 160 countries, offers international educational and cultural exchange programs for scholars, artists, teachers, and professionals to pursue important research and professional projects. @the_fulbright_program #CulturalDiplomacy #GlobalConnection #TranscendBorders

28 Credentials of Entrepreneur 28COE- Cultural Ambassadors Bridging Cultures Through Art and Diplomacy In a world that often seems divided by borders, language, and politics, the role of cultural ambassador’s shines as a beacon of unity and understanding. These remarkable individuals serve as bridges between nations, connecting people through the universal language of art, music, literature, and more. In this blog post, we delve into the fascinating world of cultural ambassadors, exploring their contributions to diplomacy, global understanding, and the preservation of cultural heritage. The Essence of Cultural Ambassadors Cultural ambassadors are individuals chosen by their governments or organizations to represent their culture and country on the international stage. Their mission goes beyond traditional diplomacy; they strive to foster mutual respect, appreciation, and dialogue through cultural exchange. These envoys of culture are artists, musicians, writers, and scholars, each possessing a deep passion for their craft and a commitment to showcasing the beauty and uniqueness of their culture. Building Bridges through Art Art has the power to transcend boundaries and speak to the soul. Cultural ambassadors harness this power to create connections between diverse cultures. They organize exhibitions, performances, and workshops, allowing people from different backgrounds to engage with and appreciate art forms they might never have encountered otherwise. For example, renowned cellist Yo-Yo Ma has used his music to promote cultural exchange worldwide. Through his Silk Road Ensemble, Ma brings together musicians from various countries along the historic Silk Road to create harmonious, cross-cultural compositions. This fusion of musical traditions serves as a testament to the potential for collaboration and mutual understanding. Preservation of Cultural Heritage Cultural ambassadors are not only cultural emissaries but also custodians of their heritage. They play a crucial role in preserving traditions, languages, and artistic practices that might otherwise fade into obscurity. By sharing their culture with the world, they ensure its continued relevance and vitality. One such example is the work of Japan’s cultural ambassadors, known as “cultural grass-roots envoys.” They travel to remote corners of the world to teach traditional Japanese arts like tea ceremonies, ikebana (flower arranging), and calligraphy. Through their efforts, these ambassadors help preserve Japan’s rich cultural heritage while also fostering international goodwill. Diplomacy Beyond Borders Cultural diplomacy is a unique form of soft power, and cultural ambassadors are its torchbearers. They facilitate cross-cultural dialogue, dispel stereotypes, and promote cooperation on global issues. #28coe #28coeecosystem #ambassadors #art #culture https://lnkd.in/dnRVBmsk

Bridging Art and Diplomacy: How Curating Strengthened My International Relations Skills 🌐 With a Bachelor's in International Relations, I’ve always been passionate about global connections, diplomacy, and cross-cultural understanding. But it was my role as an art curator that truly honed these skills in ways I hadn’t anticipated. Curating international exhibitions and collaborating with artists from across the globe brought my academic background to life. Here’s how my curatorial work has deepened my expertise in international relations: 🔑 Cultural Diplomacy in real life: Curating requires constant collaboration with global artists, institutions, and governments. Every exhibit becomes an exercise in diplomacy—building bridges between cultures, fostering mutual understanding, and promoting dialogue through art. 🌍 International Networking: Curating has allowed me to build relationships with professionals from all corners of the world. Whether coordinating with art collectors in Europe or collaborating with artists in Latin America, I’ve learned how to navigate global networks and form connections that are essential in diplomacy. 💬 Cross-Cultural Communication: Just as in international relations, curating requires clear, tailored communication. Presenting exhibitions to diverse audiences across cultural boundaries has enhanced my ability to communicate ideas with clarity and sensitivity—skills I bring into any international conversation. 🤝 Conflict Resolution and Negotiation: Curating isn’t without its challenges. Disputes over cultural interpretations or logistical issues have taught me how to mediate conflicts, find common ground, and negotiate solutions—mirroring the complexities of international negotiations. My journey as an art curator has allowed me to combine my academic background in international relations with real-world, cross-cultural experiences. Whether in a gallery or at a negotiation table, it’s all about fostering understanding and building lasting connections. #ArtCurator #InternationalRelations #CulturalDiplomacy #GlobalNetworking #Leadership #CareerJourney #CrossCulturalSkills #ConflictResolution

New H-Diplo Roundtable on Charlotte Faucher's _Propaganda, Gender, and Cultural Power: Projections and Perceptions of France in Britain, c1880–1944_. Oxford University Press, 2022. https://lnkd.in/eBuvB_YQ Introduction by Lori Maguire, University of Reims; reviews by Rachel Chin, University of Glasgow, Pauline Georgelin, Independent Researcher, Philip Nash, Penn State Shenango; response by Charlotte Faucher, University of Bristol From the introduction: "I’m delighted to be able to introduce Charlotte Faucher’s book on French cultural diplomacy in Britain from 1880 to the end of World War II. Situated within the new diplomatic history, the book considers the question through the roles of both state and non-state actors, and, in particular, of women who took initiatives and sometimes even acted on their own. Divided into six chronologically based chapters, Faucher’s book traces the development and evolution of cultural diplomacy by French authorities, as well as its eventual takeover by male diplomats and academics. The chronological approach allows her to show both the evolution in the concept of what constitutes diplomacy, and who practiced it. Faucher explains her goals in the introduction: 'This book presents a corrective to this approach [studying cultural exchanges separately from diplomatic relations], offering the first systematic analysis of French cultural diplomacy in Britain and focusing in particular on its gendered workings. It argues that questions of cultural diplomacy shaped Franco-British and European politics to the extent that writing a history of French diplomacy in Britain requires analysing cultural processes' (4). One of the most impressive aspects of this book is the large range of source material on which it is based. These include British, French, and Belgian archives at both national and local levels; personal papers; and the archives of organizations like the French Institute in the UK, the French Chamber of Commerce, and the British Council. Added to this are personal interviews, newspapers, parliamentary debates, etc. This provides Faucher’s work with great depth of insight into the workings and the impact of cultural diplomacy at all its echelons. The comprehensiveness of her sources allows her to assert the importance of cultural diplomacy. The reviewers have all worked either in the area of French foreign relations or gender history...."

CfP: COLD WAR, WARM FRIENDSHIPS:  Politics and Culture in The Cold War Editions of the World Festival of Youth and Students  October, 17-18, 2024 “Babeș-Bolyai” University, Cluj-Napoca, Romania Deadline: 15 April 2024 During the Cold War, both blocs championed art, popular culture, sporting competitions, and major exhibitions and festivals for propaganda purposes shedding light on the strategic deployment of cultural diplomacy in a time of crisis. György Péteri's conception of the “Nylon Curtain” provides a more accurate image than the “Iron Curtain,” conveying a scenario in which both the United States and communist countries prioritized visibility on the other side. This curtain-like transparency enabled the USA to promote its lifestyle and values, thus exposing socialist societies to the capitalist paradigm. Conversely, isolation was not advantageous for the “Eastern Bloc” countries, as it signified international failure and consequent marginalization. Pia Koivunen (2022) provides a comprehensive analysis of the World Youth Festivals during the Cold War, particularly focusing on their role in Soviet cultural diplomacy. Koivunen's study reveals that the Soviet Union successfully utilized the World Festival of Youth and Students for its cultural diplomacy efforts from the late Stalinism period through the early Khrushchev era. She discusses the evolution of these youth gatherings into a Soviet cultural product, beginning with the first festival in Prague in 1947. Importantly, Koivunen re-evaluates the role and agency of young people in these events. She argues that the World Youth Festivals were not merely orchestrated rallies by Kremlin bureaucrats. Instead, they became significant spaces for transnational encounters among young people. These festivals provided opportunities for youth to find ways to overcome the various restrictions and boundaries imposed by the Cold War world. Through detailed analysis of grass-roots interactions, she suggests that individuals had more opportunities for transnational contacts than previously acknowledged by scholarship. The forthcoming conference poses a question about a nuanced view of the World Youth Festivals, highlighting their complexity and significance as tools of Soviet cultural diplomacy and as platforms for youth interaction and exchange during the Cold War. We want to examine the relationships not so much between the two blocs, but we are particularly interested in cultural diplomacy, cultural exchanges and individual relationships and the complexity of these large-scale events and their political, cultural, artistic and social implications within the State-Socialist World and on the background of Cold War propaganda. Organizers: Andrada Fătu-Tutoveanu, “Babeș-Bolyai” University, Cluj-Napoca, Romania Karolina Łabowicz-Dymanus, Polish Academy of Sciences, Warsaw, Poland https://lnkd.in/dvuhamwa

Masquerade Diplomacy This may be the inaugural occasion where this term is being utilized, owing to the fact that the concept of Masquerade holds significant reverence for many Africans, while others distance themselves from it due to religious convictions. Some individuals who do embrace Masquerade view it merely as a form of amusement, while a select few perceive it as a vital aspect of cultural preservation. In my prior discourse on the Realm of Masquerade, I introduced the Concept of Masquerade. Masquerade has coexisted with humanity and has fulfilled diverse roles within African society. In Igbo tradition, initiation into the Masquerade Cult constitutes an integral component of the rite of passage, with Masquerade manifestations serving as a deterrent to juveniles. Numerous foreign belief systems have maligned Masquerade, branding it as malevolent and demonic. This negative portrayal has cast a shadow over Masquerade culture in Africa, particularly in Igbo territory. The notion of a self-fulfilling prophecy has materialized, as contemporary society grapples with instances of Masquerade-related unruliness, prompting some intellectuals and upstanding natives to distance themselves from it. In pursuit of harmony and the advancement of peace, I have conceived the notion of Masquerade Diplomacy. This entails a fresh perspective on what has transpired and what could potentially unfold. Although Masquerade designs, personas, and performances vary across different societies, the symbolic essence remains a unifying element. Ojukwu, the Igbo warlord, transported the Ajaofia Masquerade from his hometown of Nnewi (Anambra State) to Ngwo (Enugu State) during the burial of his father-in-law. Cultural exchange is inherently intertwined with diplomacy. The inhabitants of Ngwo, particularly his in-laws, bore witness to a novel cultural spectacle through the Masquerade performance, fostering a shared sense of delight. Not only did the people of Ngwo forge a newfound bond with the Nnewi populace, but they also cultivated a shared experience. During cultural festivals, communities often host friends and allies who bring their own Masquerade from distinct cultural backgrounds. Certain Masquerades travel alongside dance ensembles to showcase their artistry in diverse locales. Observing cultural parallels in Masquerade practices promotes harmony. Mutual respect among Masquerades serves as a catalyst for peace. Members of the Masquerade fraternity from various regions share analogous wisdom for the sake of peace. Masquerades provide audiences with narratives that transcend societal barriers. By mirroring and embodying societal traits, Masquerades instigate change. The realm of Masquerade Diplomacy presents a promising avenue for future exploration. Gavin Price Abdulrahman Alyousef Africa No Filter Irma M Morales Maire Tracey Anupama Sekhar Karalyn Monteil Elizabeth K. Briody, Ph.D. Tracey Sage FRSA New Florida Journal of Anthropology .

https://lnkd.in/gZaGPd2u Cultural Diplomacy in the Age of Festivals: India’s Soft Power Amid Global Summits   Anurag Punetha   Political scientist Joseph S. Nye once said, "Cultural festivals are the new roundtables of international diplomacy where the currency is not power but participation; not politics but shared experiences." Think about it - in today's world, sometimes a shared meal or a dance performance can do more for international relations than hours of formal meetings. India finds itself at an interesting crossroads. The country faces a unique challenge as it prepares to participate in the SCO Summit in Pakistan this October and the G20 Summit in November. How do you balance being the land of vibrant festivals and warm hospitality with the need to stand firm against security threats?     For years, Pakistan has antagonized India, primarily through its support of cross-border terrorism. Diplomatic gestures alone failed to achieve peace. Modi’s government understood the need for military strength, and India’s responses, including halting bilateral talks and carrying out surgical strikes, sent the right signal. As the upcoming festivals of Dussehra and Diwali approach, the symbolism is fitting. Dussehra marks the triumph of good over evil, and Diwali celebrates the victory of light over darkness. Lord Ram, after countless emissaries like Hanuman and Angad failed to convince Ravana, acted decisively to bring victory. Similarly, after years of patience and diplomatic efforts, the Modi government moved decisively, conducting military strikes and forcing Pakistan into a defensive stance.   During the upcoming SCO Summit, External Affairs Minister S. Jaishankar’s decision to attend without engaging in bilateral talks with Pakistan continues this strategy. It underscores India's refusal to engage with a country that harbors terrorism. Instead, India is using international platforms like the SCO to project its strength and reinforce its commitment to security. This isn’t disengagement; it’s a clear message that cross-border terrorism is a non-negotiable issue. At the same time, India continues to engage globally through its cultural diplomacy, but now with a firm belief of hard power.   India’s assertiveness on the hard-power front has been evident in its dealings with China. First, during the 2017 Doklam standoff, India held its ground and prevented China from constructing a road that would have brought the PLA closer to the Siliguri Corridor, a strategically vital region for India. Then, in the 2020 Galwan Valley clash, Indian soldiers, despite the loss of lives, gave a fitting reply to Chinese aggression, inflicting heavy casualties on the PLA as reported by some international publications.

From Diplomacy to Digital Influence: My journey of fusion and impact. My story unfolds within the halls of academia, where I pursued a degree in International Relations. Graduating with Magna Cum Laude honors in just three years spoke volumes about my thirst for knowledge and my relentless pursuit of excellence. Moreover, my active involvement in organizations, impactful activities and scholarship, as well as my internship with the Ministry of Foreign Affairs of the Republic of Indonesia, further underscored my strong interest in diplomacy and global affairs. However, as I stood on the threshold of my future, I felt a stirring within me—an undeniable call to venture beyond the confines of traditional career paths and explore avenues where I could leverage my skills to make a tangible impact. It was in this moment of reflection that I found myself drawn to the dynamic world of strategic digital communication. Recognizing the power of storytelling and the ability of online platforms to amplify voices and catalyze change, I embarked on a new chapter of my journey as a content creator and influencer. "Why jump from International Relations to Digital Communication?" The answer lies in the intersection of two seemingly disparate worlds, each with its own unique relevance and potential for impact. In the realm of International Relations, I was immersed in studying global dynamics, diplomatic strategies, and socio-political complexities. Enter the world of digital content creation—a vibrant landscape where creativity knows no bounds and storytelling takes center stage. Here, the principles of diplomacy—building bridges, fostering understanding, and amplifying voices—find new expression in the digital sphere. By bridging the worlds of International Relations and digital content creation, I discovered a powerful synergy, one where the analytical rigor of academia meets the creative energy of digital media. I found a means of engagement that transcends boundaries, fosters connections, and drives meaningful change. It's a journey fueled by curiosity, creativity, and a deep-seated belief in the power of strategic communication. As a multifaceted digital creator and influencer, I'm driven by the pulse of Gen-Z, constantly seeking the freshest trends and ideas to captivate my audience. In addition to being a Model, I’m drawn to brands that champion sustainability and diversity, as it mirrors my unwavering commitment to creating an impactful change. Working with like-minded people fuels my passion to elevate a brand while driving a meaningful influence. But hey, enough about me! Sorry for the long story-telling. This was just my way of introducing my Portfolio. Feel free to take a look at it! I promise it’s worth the click.

We must ask a preliminary question: do the decision-makers’ perceptions matter? - Robert Jervis Before Finland’s 1917 independence, the French and British leadership had to decide how to react to Soviet aggression against Finland, these efforts were spontaneous, personal projects. They emanated from national activists, private promoters of the Finnish national project: the domestic process of building a national identity spilled over through diasporas and cultural contacts. But after 1917, this became a part of the Finnish state’s international activities. Cultural relations, strategically used in the long term by Finnish representatives for political and identity purposes, came to have an effect on the decision-making in 1939–1940. This kind of strategic image promotion by a small state is not a phenomenon for history books only: it is well illustrated by the Ukrainian government’s communication activities towards European and American societies in reaction to the February 2022 Russian aggression. With time, it was learned that this process of convincing others was also an essential part of building the Finns’ perceptions of themselves. National activists promoted abroad an image of their developing nation, and also hoped that the nation would come to correspond to this image and develop in certain directions. Finnish nationalism is a sensitive thing, where self-perceptions develop through contacts with the world in a never-ending cycle of persuading oneself and others of Finland’s worthiness. The contours of Finland’s national project are drawn in a dialogue between external models and blueprints, foreign perceptions and Finnish intentions. This is how we came to see Finland’s cultural and image diplomacy as more than calculated statecraft: a process intertwining with the very definition of Finland’s national identity, one more scene where the debates of national identity played out. The book is the result of this evolution, an attempt at replacing culture and image in the way the Finnish state defined its Cold War foreign policy. Country-specific studies of public and cultural diplomacy in the Nordic countries are a steady trend, criticized either for lacking in comparative, theoretical depth or for being too concerned with the present day. This book acknowledges the first criticism but sets its dial to empirical variety and contextualized understanding rather than broad, general explanations. It will, however, take advantage of conceptual suggestions made elsewhere and work to extract from my case some general insights as by-products of empirical exposition. Hopefully, this book will provide enough depth in the empirical case while retaining the interest of those readers mostly interested in wider issues—the cultural Cold War, cultural diplomacy and nationalism, institutional organizations, the foreign policy of small states and so forth. 258p 2023 Macmillan https://lnkd.in/gYFyZvKr

🔴🇨🇳(Part 3 of 3) China's cultural heritage projects abroad: 🔶Major-country diplomacy 🔸through cultural heritage diplomacy. Li Liusan 20-Jun-2023, 11:47 CGTN ❇️🇳🇵From April to May 2015, Nepal was struck by a devastating earthquake. The nine-story Dharahara Tower suffered severer damage, with partial collapse and serious overall deformation. Upon arrival, Chinese experts first communicated their restoration plan with local personnel, determining what to restore, what not to restore, and to what extent. Given the tower's sacred stature in the hearts of the Nepalese, they hope to restore it as soon as possible. In this location, 🇺🇸right next to the tower was an American construction site. 🇯🇵A stone's throw away across a petite square lay a Japanese worksite, 🇺🇳and beyond a larger plaza stood a UN project. This landscape could be likened to an international arena of competition. 🔶Currently, our project is the only one that has been completed, with the others having barely begun. The main reason we were able to complete the restoration so efficiently is that our philosophy was well-matched with the condition of the tower. We cleared all components buried in the rubble and reused as many as possible, resulting in a re-utilization rate of 85 percent. Moreover, we employed cutting-edge technologies such as 3D scanning, digital modeling, drone aerial photography, and virtual assembly. 👏In the end, the project was a complete success, with Nepal lauding the restoration of the Dharahara Tower as a shining example of our international collaboration. 💖In all our international collaboration projects, particularly those in the countries along the Belt and Road, we place great emphasis on communication with local experts and workers. We always create an environment where we interact very well with each other, much like a family. This cultural and civilizational exchange is realized through our everyday work. We tell the story of China through actions and advance China's major-country diplomacy through 🔶cultural heritage diplomacy. 🏛️China Institute for Innovation and Development Strategy also contributed to this article. (If you want to contribute and have specific expertise, please contact us at opinions@cgtn.com. Follow @thouse_opinions on Twitter to discover the latest commentaries on CGTN Opinion Section.) ❇️🇨🇳(Part 1 of 3) China's cultural heritage projects abroad: 🔶Major-country diplomacy through 🔸cultural heritage diplomacy. 🌐 https://lnkd.in/gV6JpZUC ❇️APPENDICES See Comments .