Aboriginal art and cultural diplomacy: Australia, the United States, and theCulture Warriorsexhibition

2013 ◽  
Vol 38 (1) ◽  
pp. 18-31 ◽  
Author(s):  
Gay McDonald
Keyword(s):  
United States ◽  
Cultural Diplomacy ◽  
The United States ◽  
Aboriginal Art

Operating in a Zone of Ambiguity: Tensions and Risks

Build ◽  
2019 ◽  
pp. 81-108
Author(s):  
Mark Katz
Keyword(s):  
United States ◽  
El Salvador ◽  
Hip Hop ◽  
Cultural Diplomacy ◽  
Cultural Exchange ◽  
The United States ◽  
Exchange Programs ◽  
Collaborative Interactions ◽  
The Asymmetry

This chapter explores the central tensions that animate hip hop diplomacy. One tension is between art and diplomacy, particularly in their distinctive approaches to process and views on outcomes. A second tensions arises because of the asymmetry of power between the United States and the countries that hip hop diplomacy programs visit. This chapter posits that hip hop diplomacy (and cultural diplomacy in general) operates in a zone of ambiguity, a state in which palpable, inescapable tensions and uncertainties hang over one’s every action. Specific examples come from hip hop diplomacy initiatives in El Salvador, India, Morocco, Senegal, and Zimbabwe. The chapter ends by offering guidelines for respectful, collaborative interactions in cultural diplomacy and cultural exchange programs.

Introduction

Build ◽  
2019 ◽  
pp. 1-24
Author(s):  
Mark Katz
Keyword(s):  
United States ◽  
Foreign Policy ◽  
African American ◽  
Hip Hop ◽  
Cultural Diplomacy ◽  
The United States ◽  
Us Foreign Policy ◽  
Policy Objectives ◽  
Artistic Styles ◽  
African American Communities

The introduction explains why the partnership between hip hop diplomacy is unlikely and risky but also potentially productive. Hip hop is a powerful platform for US cultural diplomacy because it is globally popular, widely accessible, readily combined with a variety of artistic styles and practices, and immediately and positively associated with the United States. Hip hop diplomacy can serve US foreign policy objectives by enhancing the image of the United States and promoting US interests abroad. The introduction concludes with a reflection on the author’s identity as a white man and considers its implications for working in hip hop, a genre and culture that arose out of African American communities.

scholarly journals Public and cultural diplomacy of the United States

2016 ◽  
pp. 59-70
Author(s):  
Illya Gavrylevko
Keyword(s):  
United States ◽  
Foreign Policy ◽  
Cultural Diplomacy ◽  
The United States ◽  
Policy Tool ◽  
The U.S

The paper deals with public and cultural diplomacy of the United States, which are regarded as a specific foreign policy tool. The author traces back the introduction of such practice by the United States and its evolution, and also distinguishes their features. Special attention is being paid to the issue of effectiveness of the U.S. public and cultural diplomacy.

scholarly journals The Truth of Cultural Diplomacy

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Riski Muhamad Baskoro
Keyword(s):  
United States ◽  
Qualitative Research ◽  
Cold War ◽  
International Relations ◽  
Cultural Diplomacy ◽  
The United States ◽  
Post Cold War ◽  
United States Information Agency ◽  
Specific Activities

<p><em>Since the United States Information Agency (USIA) is no longer active to operate cultural diplomacy in the post-cold war, the concept of cultural diplomacy has experienced a time of crisis in the context of International Relations studies. For a decade, cultural diplomacy was marginalized and considered obsolete until finally in the early 2000s, cultural diplomacy was revived and activated both in practice and theory. Since then, cultural diplomacy has returned to its path. The discourse of cultural diplomacy in International Relations studies has developed to gain more specific activities. This is a qualitative research, with the aim of understanding cultural diplomacy in a more holistic way. The results of this study indicate a debate and a lack of consensus on several aspects of cultural diplomacy and bringing much unclear explanation.  This study also shows a dichotomy between cultural diplomacy and other approaches.</em></p>

Negotiating an Unequal Partnership: The Korean Children’s Choir 1954 U.S. Tour and Syngman Rhee’s Diplomacy

2021 ◽  
Vol 28 (3) ◽  
pp. 218-246
Author(s):  
Hye-jung Park
Keyword(s):  
United States ◽  
Korean War ◽  
Cultural Diplomacy ◽  
The United States ◽  
Diplomatic Relations ◽  
High Profile ◽  
Documentary Sources ◽  
Children's Choir ◽  
Personal Connections ◽  
The Korean War

Abstract Most studies of U.S. cultural diplomacy focus on the ways that the United States has leveraged cultural events to achieve its own political ends. The present article takes a slightly different approach in its analysis of the 1954 Korean Children’s Choir (kcc) tour of the United States. Using copious documentary sources and interviews the author has conducted with former child choristers, it traces how Republic of Korea (rok) President Syngman Rhee used this high-profile cultural event to create a new opening to advance his goals in his complicated diplomatic relations with the United States. At the close of the Korean War, the rok was a war-ravaged nation with little power in dealing with its patron superpower. Deploying personal connections and propaganda skills that he had cultivated during decades of living in exile in the United States, Rhee orchestrated the kcc’s tour of the United States, and the visit helped Rhee gain new footing in negotiating the rok’s unequal partnership with the United States. This detailed socio-historical and musicological account shows how both President Rhee and the choristers were active and effective agents in striving to put the rok front and center in the imaginations of Americans and impress upon them its cultural gravitas and strategic importance.

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