El dragón chino en Angola: la diplomacia cultural como una herramienta de construcción de identidad

El creciente interés de China por África ha modificado y estructurado una nueva política exterior, en donde el fortalecimiento de las relaciones políticas y económicas se ve ligado al uso de la diplomacia cultural como una herramienta de atracción. Teniendo en cuenta lo anterior, la presente investigación tiene por objetivo principal indagar cómo China construye una identidad a través de su diplomacia cultural en Angola, demostrando así, que este país utiliza sus costumbres, principios y normas para establecer una identidad de rol en la que se asume como una potencia que debe cooperar. No obstante, sus intereses van más allá de la cooperación al profundizar en relaciones de confianza que lo beneficien política y económicamente. Haciendo un uso del concepto de Imperialismo, la investigación mostrará las limitaciones y los vacíos de la noción de identidad para explicar acciones chinas en Angola, mostrando cómo se hacen uso de herramientas imperialistas para un beneficio propio.

Confucius institutes and the rise of china

Abstract: Since 2004 China has set up over 700 Confucius Institutes and Confucius Classrooms around the world to promote its language and culture and thereby to shape its image. Despite this impressive number Confucius Institutes are surprisingly understudied, especially in terms of their actual structure, operation mode and activities. This paper uses German Confucius Institutes as a case study to bridge this gap. It first discusses the concepts of public and cultural diplomacy and culture institutes as a conceptual tool to analyze Confucius Institutes. It then turns to the case study to provide empirical data to better understand this instrument of China’s image shaping efforts. It argues that Confucius Institutes are connected to the rise of China and a unique member of the family of national culture institutes.

The global creative economy and the new development debate

This paper explores the renewed interest in the creative economy as a possible development pathway for developing nations. Noting the extent to which discussions of creative industries frequently merge into the concept of a creative economy, the paper considers the institutional and public policy settings required to capture economic value associated with creative practice. It is also argued that knowledge economy and creative economy discourses are increasingly merging, particularly in their focus upon design, innovation, software development and convergent media. The paper draws attention to ambiguities in policy discourse, particularly in relation to copyright and intellectual property.

Anni Iano: um estudo de caso sobre as temporadas culturais franco-brasileiras de 2005 (Brésil, Brésils) e de 2009 (França.Br2009)

As manifestações culturais e a cultura, em geral, têm adquirido relevância e protagonismo nas relações internacionais contemporâneas. Tal fenômeno possibilitou maior quantidade de pesquisas, teorias e trabalhos no campo das Relações Internacionais dedicadas a essa dimensão. Almeja-se com este trabalho contribuir com uma análise no plano das Relações Culturais Internacionais, enfocando o Ano do Brasil na França (2005) e o Ano da França no Brasil (2009). Através da análise destas duas temporadas culturais, analisa-se a densidade dessa profunda relação histórica entre Brasil e França, marcada pelos cálculos estratégicos de ambos os países. Esta pesquisa pretendeu mostrar que as temporadas culturais tornaram-se um dos modelos de diplomacia cultural adequados aos desafios da nova ordem global. Por isso, foi feito um estudo de caso sobre as temporadas franco-brasileiras de 2005 e 2009, através de pesquisa monográfica teórico-histórica; a qual demonstrou como as referidas temporadas culturais conciliam forças culturais em oposição na atualidade, ao mesmo tempo em que promoveram o intercâmbio cultural.

O Universo da música na Política Externa Brasileira

Esta pesquisa tem como base da ideia de que a música popular brasileira, desde a proclamação da república, sempre foi um importante instrumento da diplomacia cultural do país. Nesse sentido, tentamos demonstrar as maneiras pelas quais o governo brasileiro tentou difundir externamente essa expressão cultural, as motivações que permearam essas iniciativas e os seus resultados. Por outro lado, tentamos, também, analisar os processos que levaram a formação, desenvolvimento e consolidação da indústria da internacional da música, como forma de entender os constrangimento e desafios impostos a tal política cultural externa brasileira. Nessa pesquisa, foi dada, ainda, um especial destaque aos governos de Lula da Silva, um período identificado como decisivo nos rumos da política cultural do país, em função de sua ampliação ao estímulo da produção e da difusão, interna e externa, da música brasileira. A mudança se deu na ampliação das ações culturais do Ministério das Relações Exteriores, mas, principalmente, do inédito protagonismo do Ministério da Cultura junto ao Itamaraty. Nesse sentido, o objetivo geral desta dissertação é analisar até que ponto a música brasileira tem uma capacidade real de se internacionalizar e, dessa forma - dentro das discussões atuais acerca do papel que a economia da cultura teria para o desenvolvimento nacional -, se converter num vetor do desenvolvimento brasileiro e da ampliação da influência do país no sistema internacional.

Podem as nossas leis tornar-nos mais atrativos?

The concept of soft power offers the opportunity for the States, under the current power shifts, to thrive, in a competitive and globalised scene, shaping o t hers' preference in accordance with their goals. Portugal, though it i s a small country, has soft power skills, according with specialized rankings, due to i t s geography and climate, main economic activities, historical role, legal framework, culture and language. Therefore, we can and we should develop public policies to optimize our resources, converting them in planned outcomes. On the other hand, public entities engaged with foreign trade, investment and tour ism, aid f or development, promotion of culture and language should be structured in or-der to strengthen the performance of Portugal in this area. Being a member of the European Union or of the Community of Portuguese Speaking Countries is, at last, essential to expand our global presence. In this Master's work project, I decided to make a critical analysis of legislation related with public diplomacy i n Portugal, together wi th research about the approach of two other countries (United Kingdom and Finland) to the same topic, for the sake of improvement.

La proyección de imagen a partir de Soft Power, mediante Nation Branding y Diplomacia Pública en el caso de Japón, durante el periodo 2002 – 2010

En el actual contexto de globalización y con el comienzo de la era de la información, cada vez más Estados han buscado proyectar una imagen favorable con el objetivo de atraer atención y crear una reputación que permitan cumplir objetivos de política exterior y fomentar el desarrollo económico, logrando de esta manera un posicionamiento en el sistema internacional mediante estrategias novedosas, que incluyen elementos tanto diplomáticos, políticos, económicos, como comerciales y culturales. Para Japón, Nation Branding y la diplomacia pública han sido dos de las principales herramientas para lograr este reposicionamiento internacional, resaltando atractivos como las tradiciones culturales, el turismo, los incentivos para negocios, y trabajando en conjunto entre el gobierno nacional, el sector privado y la sociedad civil para crear relaciones entre el país y gobiernos y sociedades a nivel internacional.

La Diplomacia del Jazz como una estrategia de política exterior de Estados Unidos durante la Guerra Fría

En aras de contener el comunismo y expandir la cultura norteamericana y los valores de democracia y libertad, Estados Unidos lanzó una estrategia de política exterior denominada la Diplomacia del Jazz, que consistía en promocionar internacionalmente el jazz mediante dos artificios: primero, la celebración de conciertos de los intérpretes más representativos de este género en diferentes partes del mundo; y segundo, la trasmisión de programas radiales sobre jazz en emisoras de difusión internacional y así poder mostrar la “superioridad” cultural de su país en detrimento de la otra superpotencia, la Unión Soviética. De este modo, la presente monografía tiene como fin estudiar de qué manera se instrumentalizó dicha estrategia como un medio para proyectar positivamente la imagen de los EEUU durante la Guerra Fría, concretamente entre 1954 y 1968, a partir de la teoría del realismo progresivo de Joseph Nye.

El papel de la industria cinematográfica colombiana en la promoción de imagen del país a nivel internacional (período 2003-2012)

El presente estudio de caso tiene como objetivo determinar el papel que ha desempeñado la industria cinematográfica colombiana en la promoción de imagen del país a nivel internacional durante los gobiernos de Álvaro Uribe y Juan Manuel Santos. Se defiende, que la industria cinematográfica colombiana sí ha incidido en la promoción de imagen del país a nivel internacional, puesto que, ha incrementado la presencia del cine colombiano en los festivales de cine más importantes del mundo, generando una mayor figuración del nombre de Colombia en escenarios internacionales, proyectándose como país que impulsa su cinematografía, lo cual ha sido posible gracias a unas políticas de promoción del cine por parte del Estado. Para desarrollar esta investigación, se utilizarán los conceptos de diplomacia cultural, promoción de la imagen país, e industria cinematográfica. Como metodología, se utilizarán el diseño documental y de campo, y se realizarán entrevistas a expertos en cine.

Bollywood and Australia : worth making a song and dance about

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain.

Bollywood’s Australian yarn

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain. As a genre Bollywood has grown and developed over a period of 100 years, coloured by India’s history, politics, socio-economic conditions, culture, sensibilities, dreams, fantasies, hopes and expectations. The ever-increasing presence of the Indian diaspora in different parts of the world has helped to realise what we might think of as Bollywood’s cultural diplomacy project. Various Australian state tourism bodies have since supported Indian productions and used Bollywood stars as ambassadors to promote Australia as a welcoming nation. The 1996 film Indian has been credited for featuring the first appearance of kangaroos in Indian cinema. But I have noticed that as early as 1974, a Hindi film Majboor made first reference to Australia and its iconic boxing kangaroo. It featured Bollywood superstar Amitabh Bachchan with a poster captioned: ‘Just hop, skip and jump every Thursday to Perth Sydney’. Australia is now a hot destination for Bollywood as well as regional language film-makers, with a successful foray of films from Soldier (1998) to Bhaag Milkha Bhaag (2013). Over the past two decades, Australian films such as Holy Smoke! (1999), The Waiting City (2009), Save Your Legs! (2012), feature India, not just as a background location but as an integral part of the plot. Bollywood’s influence on Australia can be gauged by the direction of Australian film careers. Be it the Indian-Australian actress Pallavi Sharda (Besharam) or Australia’s bowling sensation Brett Lee (Asha and Friends), Mary Ann Evans – AKA Fearless Nadia, Louise Lightfoot, Tom Cowan, Bob Christo, Tania Zaetta (Salaam Namaste), Nicholas Brown (Kites), Tabrett Bethell (Dhoom 3), Rebecca Breeds (Bhaag Milkha Bhaag), Kristina Akheeva (Yamla Pagla Deewana 2), Emma Brown Garett (Yamala Pagla Deewana), Vimala Raman (Mumbai Mirror), Anusha Dandekar (Delhi Belly), and Maheep Sandhu (Shivam). In this paper I would focus on the journeys and stories of actors, chiefly Fearless Nadia, Bob Christo, and Pallavi Sharda; and also compare a few Bollywood films, particularly Kya Kehna (2000) and Salaam Namaste (2005) made on same theme but set in India and Australia respectively, to show how Australia as has been presented as sexually liberating, visually romantic, and fantastical land of beaches and beauties.

Jinkhin Mongol/True Mongolian: Mongolian museums and the construction of national identity

 This dissertation examined the history of museums in Mongolia and their fate in the post socialist period. The work ultimately identified that while museums have sought to contribute to historical revisionism, they have been heavily influenced by politics, international cultural diplomacy and by popular notions of national identity.

Sugar and spice: the golden age of the Hindi movie vamps, 1960s-70s

How do we define the globalized cinema and media cultures of Bollywood in an age when it has become part of the cultural diplomacy of an emerging superpower? Is it still an 'other' industry in a world dominated by Hollywood? Bollywood and Its Other(s) aims to compensate for the lack of scholarly literature on Indian film by opening up hitherto unexplored sites or sites that are in formation. It focuses on the aesthetic-philosophical questions of the other, Indian diaspora's negotiations with national identity, alternative reading strategies/research methods, marginal genres (sci-fi, horror), marginal characters (flaneuse, vamps), marginal gender (non-normative sexualities), marginal cinema (Hindi avant-garde), marginal language (Hinglish), and marginal regions (the Kashmir valley). It intends to address film scholars, South Asian studies researchers, cinephiles and lay readers alike.

Heritage conservation futures in an age of shifting global power

This article argues that international conservation and heritage governance are now entering new and historically important phases. The economic and political shifts that characterize globalization today are providing a platform for non-Western modes of heritage governance to gain newfound legitimacy on the international stage. With the appropriation of cultural heritage for commercial and political purposes occurring at all levels within the emerging economies of Asia, South America, the Middle East, and Africa, heritage conservation aid now plays an important role in the cultural diplomacy and soft power strategies of numerous countries in these regions. Analyses of the globalization of heritage governance in the mid–late 20th century have focused primarily on intergovernmental bodies, such as UNESCO, at the expense of critically reading the role nation-states continue to play in international conservation and heritage governance policy. Using examples from Asia, this paper addresses this imbalance by re-centering the nation-state in an account that argues the rise of heritage diplomacy, coupled with today’s shifting global order and ongoing reduction in UNESCO’s capacity, hold important implications for heritage conservation over the coming decades.

Italia e Francia nell'Ungheria di Trianon (1919-1939): due modelli di penetrazione politico-culturale

Italy and France in Trianon’s Hungary: two political and cultural penetration models During the first post-war, the Danubian Europe was the theatre of an Italian-French diplomatic challenge to gain hegemony in that part of the continent. Because of his geographical position, Hungary had a decisive strategic importance for the ambitions of French and Italian foreign politics. Since in the 1920s culture and propaganda became the fourth dimension of international relations, Rome and Paris developed their diplomatic action in Hungary to affirm not only political and economic influence, but also cultural supremacy. In the 1930, after Hitler’s rise to power, the unstoppable comeback of German political influence in central-eastern Europe determined the progressive decline of Italian and French political and economic positions in Hungary: only the cultural field allowed a survey of Italian-Hungarian and French-Hungarian relations in the contest of a Europe dominated by Nazi Germany during the Second World War. Nevertheless, the radical geopolitical changes in second post-war Europe did not compromise Italian and French cultural presence in the new communist Hungary. Although cultural diplomacy is originally motivated by contingent political targets, it doesn’t respect the short time of politics, but it’s the only foreign politics tool that guarantees preservations of bilateral relations in the long run.