by Miljana Jakovljević
Research Forum,
European Movement in Serbia
Column – Research Forum, European Movement in Serbia
„It is not solely in relations among advanced countries, however, that soft power plays an important role. In an information age, communications strategies become more important, and outcomes are shaped not merely by whose army wins but also by whose story wins.“
Joseph S. Nye, Jr.
It cannot be denied that we already live in a multipolar world. The appearance of the new actors on a global scene, can mean that the EU has to make certain changes in its existing foreign policy. In order to secure its position and avoid being left behind, the EU must not only focus on political, economic and security issues, but also on domestic affairs, as its survival may depend on them.
Over the last few decades, the EU has invested in the cultural sector as a direct consequence of the tendency to create stronger bonds between its members, balance the powers, foster a sense of unity, and create a shared identity. Among other things, integration has also been seen as an opportunity for research in the field of cultural diversity and a creation of new cultural values through the interaction of various cultural traditions, each consisted of their own specific values, habits, characteristics, and ways of thinking and living. Therefore, nurturing common values among all members has been a key focus of EU’s cultural policy with a particular emphasis on cultural heritage.
Undoubtedly, cultural heritage plays an important role in both the internal and foreign policy of the EU, making its story intriguing. Some may consider it to be a relict of the past, left to us to preserve it for future generations. However, this approach is a bit superficial. Cultural heritage is very much alive, constantly being recreated, and spread across the communities and people. On top of that, it can also be commercialized, homogenized, and used for touristic purposes, as well as a tool for fulfilling political and diplomatic goals.
In fact, (in)tangible manifestations of heritage reflect a unique view of life itself. The dominant narrative of cultural heritage shapes personal and collective identity, deeply integrated values, and collective memory. It defines individual, communities, and nations, i.e. they are using these manifestations to identify themselves and present themselves to the world in a certain (wanted) way. While these processes may have been unconscious in the past, they are now highly professional, with strategies created in advance, with specific target audience in mind.
For quite some time, when examining the soft power of the states, cultural diplomacy has been under the spotlight. It is understood as the exchange of ideas, information, art, in addition to other aspects of culture between nations and people in order to induce mutual understanding. Some consider it of a pillar of foreign diplomacy because cultural activities are the best way to represent the idea of “the self“. In that sense, cultural heritage played an important role in “creating the image of the self in the world“.
On the other hand, lately, thanks to development and progress, new findings, the need for closer connections, and a growing awareness about the importance of cultural heritage, cultural heritage diplomacy has slowly begun to emerge. Even though it is still developing, it can be considered a part of the spectrum of a states’s soft power, so we will certainly see it expand in decades to come. Namely, this form of diplomacy involves exchange, cooperation, and joint governing of mutual histories, cultures, and nature, shared by the people. Cultural heritage in that sense can be used as parts of other diplomatic actions (e.g., as a part of cultural diplomacy, predecessor of heritage diplomacy) or as a completely new form of diplomacy.
The policies of the European Union and the Council of Europe are similar when it comes to cultural heritage (and many other important issues) in order to achieve supranational goals. Initially, the focus was on building nations and identities, but later these state strategies were restructured. Now, cultural heritage is used to promote intercultural and international relations, improve the Union’s position in a multipolar world, and contribute to peacebuilding and power dynamics.
Within the Union, cultural heritage diplomacy is currently based on the carefully crafted European values during previous decades. They were modeled in a way to promote the social dimension of heritage and encourage other parties to participate in a dialogue, while at the same time masking inequalities and fostering a sense of belonging to the EU among the citizens.
For example, the European Heritage Label (EHL) was implemented in order to grow stronger internal relations between the member states. EHL is a recognition awarded by the EU to the monuments, museums, archives, etc. The idea was to highlight their value for the entire Union, its history, and its culture, while at the same time enforcing cooperation. After achieving success within, the EU turned its attention toward foreign affairs, and cultural heritage diplomacy was used to foster international relations and disseminate knowledge about European nations and cultures. However, since this program wasn’t part of strategic diplomatic action, concrete results could not be measured. It can be seen more as an instrument that plays a certain role in the dissemination of values and shaping a certain picture on the global stage.
A similar approach was taken with the European Capital of Culture. That is to say, ever since the eighties, one or more cities are designated each year to organize numerous cultural events that serve as a reminders of the European values. At first, only cities within the Union were designated. Though, later on, the action has expanded to include the countries in the process of integration, so Novi Sad was appointed in the year 2022, and it is expected of Skopje to be the Capital of Culture in 2028.
When it comes to foreign diplomatic actions, it is far more challenging for the EU to develop and implement effective diplomatic action. It’s not just that they have to be well-coordinated, but also individual state activities, their policies, already implemented projects, and programs must also be taken into account. As a result, the EU tends to focus on short-term projects that aim to build bridges and induce dialogues, while also emphasizing values, equality, and mutual interests.
Yet, make no mistake about the attitude of the EU toward foreign actors. It is far less altruistic (in comparison to the member states), and its goal is to strengthen the position of the Union on the global stage. In order to do that, cultural heritage diplomacy is also used to promote peacebuilding in the world while establishing contact with countries in the process of integration. The dominant narrative is about unity within the EU, conflict resolution, and promotion of stability.
So, diplomatic activities can be organized on the soil of the Union or outside of it. In the first case, they are organized on the heritage sites or places of practicing intangible cultural heritage. Quite often, EHL sites or Capitals of Culture are promoted to newly appointed ambassadors or other foreign dignitaries during official visits. In the second case, the EU sometimes uses cultural heritage as a tool in the process of interpretation of history (e.g., Northern Ireland), which is considered to enhance intercultural dialogue. There are also certain cases when the EU resumed with a role of a “saviour“ (e.g., Mali, Middle East). The goal was to demonstrate its ability to calm the tensions and justify its participation in the conflicts in the first place. In the regions requiring special attention (e.g., Syria), the EU will not shy away from strategic partnerships with the Council of Europe (which is no wonder having in mind their strong bonds) and UNESCO, in an attempt to match the activities of other global powers like China and the USA.
Overall, while there is currently a tendency to emphasize deeply integrated values, within the borders and outside of the Union, some voices are raising concern that this may need to change in order for the EU to position itself in a multipolar world. It seems they are not suitable to give an adequate response on real and potential dangers brought by the new age. Yet, the 2016 Global Strategy placed a significant emphasis on the promotion of the aforementioned values. According to the document, they are the ones making the Union stronger. Furthermore, Strategy is placing an important emphasis on the cultural diplomacy without directly mentioning cultural heritage (diplomacy). However, you should not think for a moment that it is put aside. The truth is, it takes time to fully comprehend the full effects of its usage in diplomatic actions.
References:
Benjamin Martill, Lisa ten Brinke, “Europe in a Multipolar World”, LSE IDEAS – Strategic update, 2020
Dragan Klaić, Početi iznova-promena teatarskog sistema, Beograd: Clio, 2012
European External Action Service, Shared Vision, Common Action: A Stronger Europe – A Global Strategy for the European Union’s Foreign and Security Policy, 2016
Heritage Diplomacy – Discourses, Imaginaries and Practices of Heritage and Power (edited by Tuuli Lähdesmäki, Viktorija L. A. Čeginskas), New York: Routledge, 2024
Joseph S. Nye, Jr, The future of power, New York: Public Affairs, 2011
Lyndel V. Prott, Patrick J. O’Keefe, “’Cultural Heritage’ or ‘Cultural Property’”, International Journal of Cultural Property Vol. 1 Issue 2, 1992
Milton C. Cummings, Jr, Cultural Diplomacy – The Linchpin of Public Diplomacy, Report of the Advisory Committee on Cultural Diplomacy, U.S. Department of State, 2005
Milton C. Cummings, Jr, Cultural Diplomacy and the United States Government: A Survey, Washington, D.C: Center for Arts and Culture, 2003
Miša Stojadinović, “Evropa i multipolarni svet”, Politika nacionalne bezbednosti god. IX vol. 14 br. 1, 2018, 163-175
Tim Winter, Heritage diplomacy, International Journal of Heritage Studies, 2015, DOI: 10.1080/13527258.2015.1041412
Tuuli Lähdesmäki, “Heritage Diplomacy Discourses in the EU: Notions on Cultural Diplomacy, Cultural Heritage, and Intercultural Dialogue among EU Officials and Heritage Practitioners”, Ethnologia Europaea 51(2), 2021, 48–71
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