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Long before globalisation was formally recognised, the Irish diaspora existed as a globally dispersed cultural presence.

Culture Ireland (2006)

Cultural Diplomacy (CD) as a concept and practice is difficult to define. In a report from a U.S. government backed body, the Advisory Committee on Cultural Diplomacy (ACCD), entitled Cultural Diplomacy: The Linchpin of Public Diplomacy (2005), defined Cultural Diplomacy as the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding, (ACCD, 2005,p4). This is accomplished using a nation's cultural products. These range from high art, to music, literature, dance, theatre, architecture and more. An important aspect of Cultural Diplomacy is that is is not restricted to government based activities. Long time practitioner of public and Cultural Diplomacy John Brown, notes in his chapter in the William Kiehl edited America's Dialogue with the World that much cultural diplomacy can take place without government involvement (Brown, 2006, p.71). This feeling is echoed and advanced by Sherry Mueller who believes every American who interacts with foreigners whether a business executive, nonprofit leader, tourist, student, athlete, or rock star has an obligation to consider how his actions reflect on our country (Mueller, 2009).

This essay will briefly cover some of the main areas in which Ireland engages with the world in the field of Cultural Diplomacy and how it is done. There are a few main aspects to Irish culture that are usually advertised and promoted over others, these include: literature, music, theatre, art, education, and what is seen as 'Traditional Irish culture. It is these few that will be the main focus of the piece.There are other areas that it would seem fitting to include in a discussion of Cultural Diplomacy, however, they mostly fall into other categories of their own. Such as Sport Diplomacy for example, naturally enough for sports related events. Also, general Public Diplomacy, which includes the appointment of ambassadors in foreign territories; state visits by government representatives; cross-border initiatives such as the Twin Town plan, where towns are matched with a counterpart in a foreign land and form a special, two way relationship with them. There are

certainly elements of cultural exchange in these and more activities that fall in these categories, but they are different in nature to actual Cultural Diplomacy efforts, as will be seen in the essay.

Cultural Diplomacy work falls into the category of being a soft power in terms of the way it is used and the way it influences other countries and nations. The nations of the world have options about whether they would engage with the world through hard power, soft power or an amalgamation of the two termed smart power. A useful definition of the term hard power comes from Ernest J. Wilson, where he amalgamates several scholars definitions to synthesise his own. He puts hard power as the capacity to coerce them to do so. Hard power strategies focus on military intervention, coercive diplomacy, and economic sanctions to enforce national interests (Wilson, 2008,p.115).1 Ireland is a relatively young nation, and a small one at that, so its hard power options are not many and even the options that do exist are not strong. Conversely, soft power is the capacity to persuade others to do what one wants (Wilson, 2008,p115). Not coercive, but using persuasion and attraction (Wilson, 2008). A succinct definition of smart power is still not ready, but it is basically an amalgamation of hard and soft power, tailored to be the most efficient in a targeted environment. For example, when interacting with a strict muslim country, a targeted approach would mean not using the same materials or tactics as one would when interacting with Britain or France.

With Ireland's hard power strength being what it is, soft power has to make up the lions share of its smart power approaches to other nations. As Public Diplomacy author Nancy Snow succinctly puts it, soft power is culture power (Snow, 2009,p.3). The quote at the start of this piece is taken from the strategy guide set out at the formation of Culture Ireland, the state backed body whose objective is to promote Ireland's arts and artists abroad. Culture Ireland makes use of the countries pre-formed international ties such as the positivity and goodwill generated from past missionary work, the

1 The author defines power as having the ability to influence another to act in ways in which

that entity would not have acted otherwise

foreign nations whose companies invest in the nation, the countries whose diaspora Ireland plays host to and Ireland's own diaspora, and more. It also recognises the need to cultivate new connections in countries it has had little dealings with in the past saying Ireland needs to invest in new strategies to build deep, long-lasting relationships with other countries and peoples. We believe that artistic and cultural interaction offers one of the most effective and powerful means to achieve that goal (Culture Ireland, 2006,p.5). The guide sets out comprehensive sets of goals in many areas, and provides a full framework for the body's activities. Last year (2009) the body had a budget of 4.531million (Department of Tourism, Culture and Sport, 2010), with which they were involved in giving grants, helped with setting up concerts and other cultural events and were involved in over 156 events spread worldwide over the course of the year (Culture Ireland, 2009). They ensure visibility for Irish culture and provide opportunities to artists that would otherwise not have occurred. According to the body themselves: In 2008 alone, over 500,000 people across the globe saw a live performance by an Irish theatre and/or dance company and many more have seen the work of Irish artists in exhibitions and films or been to a showcase gig of Irish bands at one of the 6 Music From Ireland showcases taking place every year (Culture Ireland, 2009) In an Irish Times article in March 2010, Eugene Downes, chief executive of Culture Ireland, says of the importance of Cultural Diplomacy Its a crucial way of developing an awareness of Ireland. Culture is a real asset a country has in times of recession, because its unique; it cant be replicated by other countries (Boland, R., 2010). The article details the agency's plans for next year, though no specific events are mentioned, the agency are planning on exploring new ways to tap into unexplored markets using new web-based technology, social networking and live streaming of cultural events. In the article Niall Burgess, the consul general in New York, says that Ireland is still one of the most recognised brands in the US and it is clear that the agency plans on capitalising on that brand recognition (Boland, R., 2010).

State organisations whose concern is Cultural Diplomacy exist all over the world, though their

activities are subject to different forces than Irelands. In the U.S., even the word culture was a trigger to some that meant the area was much neglected. In the years post World War II Cultural Diplomacy fell under the authority of a State Department body called the Division of Cultural Relations, which existed in one way or another until 1978 when it was consolidated into the United States Information Agency. Its main activity and primary reason for its existence was its administration of the Fulbright exchange programme and other educational programmes. There was a certain reluctance and even a fear in the U.S. to use the word culture, some seeing it as an unmanly word. Brown suggests A second element in our national character that makes our government historically disinclined towards arts diplomacy is the politicalspecifically, democratic nature of American society, for which culturespecifically, the high artsis far less important as a means of national self definition than in countries with older, more established cultures in continental Europe or Asia (Brown, 2006,p.73). There were instances of the U.S. engaging in Cultural Diplomacy with great success (the Family of Man exhibition) and with some failure ( the Advancing American Art exhibition). Recent years have not seen much change, but there have been some organisations and projects set up to engage in Cultural Diplomacy overseas (CultureConnect) (Brown, 2006). There are agents in the U.S. who recognise the potential power of CD, the country possesses the knowledge, experience and expertise necessary to have very effective CD programmes use culture in a strategic and government backed way, the problem however, remains the lack of funding the government is willing to commit to the area.

The United Kingdom (U.K.) takes its Cultural Diplomacy efforts a lot more seriously than the United States. The British Council is a very active institution, running exchanges, competitions, exhibitions and more. They work worldwide, with 233 offices in 107 countries and territories (NewAmerica.net, 2009). They also work within Britain and Northern Ireland, interacting with foreign residents there, and working hard to create a positive feeling among non nationals who in turn will report positively back to their home nations.

Cultural Diplomacy, as is shown by the British Councils engagement with foreigners whilst in the country, does not always have to be about promoting the nation abroad. In 2009 the then Minister for Arts, Sports and Tourism, Martin Cullen, convened a meeting of 15 of Ireland's main tourist bodies including museums, Tourism Ireland, Filte Ireland, the Arts Council and others to discuss further steps to be taken in the state's Culture Tourism sector. On the occasion Minister Cullen had this to say about the area Cultural tourism is growing in importance internationally. It has been achieving average annual growth rates of 15% - three times the overall growth rate for tourism. It represents a third of all tourism business and is high yield. It is essential that Ireland places itself as a premier destination for the many tourists for whom experiencing culture is an important component of their holiday. (Dept. of Tourism, Culture and Sport, 2009) The Department of Foreign Affairs (DFA) in Ireland is charged with the responsibility of handling the state's cultural relations. Its Cultural Section works with the Department of Education and Science to facilitate exchanges, and coordinates with the state's overseas embassies to produce and host Irish cultural events, including exhibitions, concerts, readings,lectures and other supports (DFA, 2009). Culture Ireland is an offshoot section of this. The Department of Arts, Sport and Tourism also has a part to play, with a scheme set up by them called Culture Tourism, which, as mentioned above, involves many different organisations working together to produce a concerted and high quality effort at boosting Ireland's national cultural currency through cultural tourism. It is important to realise that Cultural Diplomacy, like all other diplomacy, is a two way connection. It is based on an exchange of ideas, not thrusting them upon a host nation or population. Ireland plays host to many international arts performers, products and producers, with many large institutions such as the National Concert Hall (NCH) regularly sold out for concerts and shows from international artists.

It is worth mentioning the different schemes and incentives brought in by the Irish government to attract producers of culture. The main one, and the most famous, was the tax scheme introduced in 1997 whereby income earned by writers, composers, visual artists and sculptors from the sale of their works is exempt from having to pay income tax in certain circumstances. In order to claim the exemption, the producer must be a resident of the country and the work must have artistic and cultural merit, as set out by a set of guidelines (Revenue.ie, 2010). The scheme has seen Ireland grow as a producer of work of international merit with foreign artists relocating here. The Scottish writer Irving Welsh now lives here, as does the American science fiction author Anne McCaffrey. The French writer Michel Houellebecq, who caused controversy and debate over the exemption when he claimed it because of the shocking nature of his writing, lived in the country for years before moving.

For a long time, Ireland has clung to a history of literary tradition. The description of the country as the Island of saints and scholars originated from the monastic tradition of the island in the early centuries of christianity. The island back then was used as a base to export christianity to its surrounding nations and Iceland. The monasteries produced many finely crafted religious books and that it was from this era too that Irish folklore tales, traditionally passed down in oral tradition were written. Historically speaking, Ireland has produced many works that would be recognised as Irish today, and if produced now would be regarded as good examples of Cultural Diplomacy. In music, the American national anthem is based on a piece written by Irish Harpist Turlough O'Carolan. There are several words in use all over the globe that stem from the Irish language, for example galore, shanty and slob. Even St. Patrick's day, though the celebrations and parades we know today stem from the U.S., is a day in celebration of Ireland's patron saint. The government make great use of this day as an opportunity to engage in high profile Cultural and Public Diplomacy with other nations, sending representatives to strategic locations worldwide and securing goodwill and positive feelings about the nation. It is also an opportunity to export Irish art, music and culture on a day internationally reserved for attention to Ireland and its culture, both old and modern.

Ireland has long been a participant in the Fulbright, and other, exchange programmes for both cultural and academic exchanges. The concept of an exchange programme and the adoption of it into practice provides for almost equal mutual benefits. The candidates on both sides of the exchange are selected to be opinion formers in their native country and so when they return and share positive experiences, the host nation gets positivity and goodwill in a direct way. The Fulbright programme is one of the few U.S. Cultural Diplomacy initiatives and it sets a solid example to other practitioners of how to run a successful cultural exchange programme. Since 1957 over 1600 Irish students and academics have been sent to America and Ireland has played host to over 600 return exchanges from the U.S. (Fulbright, 2010).

Diplomatic exchanges also play a large part in Ireland's Cultural Diplomacy efforts. Embassies abroad are very often charged with running Irish cultural events such as exhibitions, concerts and showcases. They provide information and links from interested foreign parties to Ireland's culture and are often the first line of Irish culture abroad.

Ireland has maintained a literary tradition that has been recognised globally and plays a valued part in international diplomacy efforts. The Cultural Section of the DFA has produced two travelling exhibitions based on the work of two of Ireland's most famous writers. The James Joyce travelling exhibit was formed in 2004, and the Samuel Beckett one in 2006. The Joyce exhibit was formed to mark the 100 year anniversary of the day his most famous book, Ulysses, was set, the Beckett one, to mark the centenary of the writer's birth2. The Joyce exhibit toured the world, taking in approximately 68 venues in 2004 and 2005. The day in question, 16 June 1904, is marked internationally every year and in Dublin by Bloomsday. There are readings of Joyce's work and exhibits all over the world on this day every year, some sponsored by Irish bodies, others by local cultural agencies or private companies (Jamesjoyce.ie, 2010). The sponsorship by private bodies shows the impact the Irish literary giant has had worldwide, and shows that a lot of people are
2 Catalogue's from the both exhibitions are available for free download from http://www.dfa.ie/home/index.aspx? id=3031

interested in participating in events that celebrate Irish culture.

Other writers commonly cited as evidence of Irelands great literary pool of talent are William B. Yeats, Seamus Heaney and Oscar Wilde. All are recognised globally as being masters in their fields and Yeats and Heaney have both won the nobel prize for literature. Culture Ireland recently had a part in bringing plays written by Flann O'Brian abroad, and are involved regularly in productions of other established writers works. As well as the literary figures of the past, Culture Ireland greatly encourages modern, new and emerging playwrights, authors and poets. The body is involved in publicising the achievements and awards garnered by the nations literary producers such as John Banville (Man Booker prize winner), Colum McCann (U.S. National Book Award winner), Seamus Heaney (Nobel prize winner), Brian Friel (world renowned playwright) and other, less known names.

As mentioned, diplomacy has a vital element of two way dialogue to it. Ireland hosts many events that attract international cultural actors to the country who, through their own efforts at Cultural Diplomacy, engage and inform the Irish about the wider world. The Irish Writer's Centre, based in Dublin, runs regular workshops, readings, launches and meetings with international poets, playwrights and authors of fiction and non-fiction alike. The events are well attended for the most part and they run events designed to encourage people who would not normally be involved with literature to engage with it and be exposed to international and national authors.

Further to the efforts of the Writer's Centre, are the independent literary festivals that go on in the country. The Gerard Manly Hopkins International Literary Festival funs every year on the last week of July. The festival attracts people from many countries and showcases various strands of the arts, including in the programme music and high art as well as poetry readings, workshops and other literary events. The Flat Lake Literary and Arts festival also provides a venue for literary interaction and debate. Held yearly in Co. Monaghan, the festival is of a different tone than the Hopkins one, and designed to be more of a multimedia experience. There are literary events such as readings and live interviews mixed with art shows and auctions, international and Irish artists, music and dance. Events such as this are becoming more common in general. The arts and literature produced both within the border and internationally are being packaged and showcased in new and inventive ways and are bring good numbers of culture tourists to the island.

Another aspect to the country's Cultural Diplomacy effort that has been around in the country are the many Summer Schools. They range in subject, but their main point of attraction is a concentrated period of immersion in an aspect of culture. There are schools for poetry (Merriman Summer School, Yeats Summer School), other literature (Synge Summer School, Goldsmith Summer School), Irish music and culture (Oideas-Gael Series of Summer Schools, Parnell Summer School, O'Carolan Summer School Of Traditional Music Song And Dance). The popularity of these schools (and more that are not listed) can be seen in the example of the Oideas-Gael series of schools which take place in Donegal every year. These are a series of courses on the Irish language and other aspects of traditional Irish culture and music. Even though the courses are based on the Irish language, the group say that Irish people only make up half of their attendees in a year (Oideas-Gael, 2010).

Irish art is not hugely known abroad as being specifically 'Irish Art', but through various exchanges of international artists and exhibitions, Irish artists are having their work seen by people of other nationalities. Culture Ireland plays a large part in promoting art and artists abroad. The give grants and help artists get in contact, and negotiate, with galleries and museums worldwide to help them show their work. There are also strong efforts made to reciprocate and bring international art to Ireland. Famed Irish artists such as Jack B. Yeats, brother of poet William B. Yeats, Kevin Sharkey and Louis le Brocquy have had huge international success, earning millions and having their work exhibited in famous and prestigious museums worldwide. There are countless other artists of considerable talent living and working in Ireland, but without the name recognition power of the more famous ones, being supported by Culture Ireland. The highlights for 2010 spring season of events sponsored by Culture Ireland included 7 different exhibits some with many different artists on display at each, remembering that these are the highlights only and there are more events not listed.

Irish art institutions are good for showing works from international artists as well as home produced art. One example of this is the 2010 exhibition in the Irish Museum of Modern Art called Vertical Thoughts. The exhibit displays works of art by fourteen international artists, all associated with the American composer Morton Feldman. This exhibit is a great example of international culture meeting. The artists are from all over the world, and are united by an American composer, curated by a Spanish curator and some works are part sponsored by the Swiss embassy in Ireland. The exhibit has many famous names attached to it, including work by Jackson Pollock, Willem de Kooning and Alex Katz.

It isn't only high art paintings and sculpture that is promoted by Culture Ireland. Contemporary Irish Dance, while not enjoying wide mainstream popularity in the country, is well represented by the organisation. This combines traditional Irish dance as well as Irish practitioners and choreographers for modern dances as well. Speaking of dance projects in America that are copied from the Irish Genesis project by Ella Clarke and Julie Lockett, the Irish Times say that as well as being flattering to the two originators of the project, they also illustrate the rising international fortunes of Irelands current generation of independent dancers. Its a reputation gained not through paddywackery or glitzy populism, but through a rigorous intellect reflected in well-crafted choreography (Seaver, M., 2010). The position of dance in Ireland is reflected in the membership of Cindy Cummings and David Bolger in Aosdana in the newly created choreography section.

Theatre too is a big part of Ireland's Cultural Diplomacy. Playwrights of international renown such as Oscar Wilde, Samuel Beckett and W. B. Yeats who have already been mentioned have secured Ireland in the minds of the world as a nation that is capable of producing great theatre. Others such J. M. Synge, George Bernard Shaw, Brian Friel, Frank McGuinness and more make up a cadre of famous and well known playwrights and dramatists. There are, however, incalculable numbers of amateurs and less well known writers at work today. Culture Ireland provides grants specifically for Irish writers and theatre artists to go to the Edinburgh Fringe Festival, one of the most famous theatre festivals in the world. There is also domestic events that attract many international acts and an international audience such as the Dublin Fringe Festival, Dublin Theatre Festival, Dun Laoghaire Festival of World Cultures, the World Street Performance Championships and more. These events show a vast array of different forms of theatre and performance art, and expose both the domestic audience and performers from around the globe to new material every year.

Ireland has also produced some fine international comedians. When a comedian on the world stage uses the country in his or her act, it is showcasing a product of the country. Comedians as well as other performers can apply for the culture Ireland grant to go to Edinburgh, and Irish comics are well sought after internationally with the likes of Dara O'Briain, Dave Allen, Brendan Grace, Dylan Moran and comic television and screen writer Graham Linehan all using Ireland as material in an international setting.

Theatre cannot be mentioned without actors. Ireland has produced some of the worlds best known actors, each of whom by virtue of excelling in their field, provide invaluable Cultural Diplomacy credit to Ireland. The Irish government recently decided to solidify the contributions it saw being made by Irish actors to the country's Cultural Diplomacy efforts and Taoiseach Brian Cowen appointed actor Gabriel Byrne for a three year term as Ireland's first Cultural Ambassador. This is one of the ways Culture Ireland is hoping to capitalise on the brand recognition Ireland has in international markets (Boland, R.,2010). The agency have already been working with Byrne, utilising his talents and contacts, to put on a series of events in America next year. Having someone like Byrne, who bridges the gap perfectly between the Irish government and the commissioning producers, theatre owners, film industry heads and the performing arts industry at large in the most important market for Irish cultural products is move that will provide a welcome boost to the agency and will enable them to showcase a greater number of Irish acts than ever before.

The Irish film industry plays a large part in Ireland's Cultural Diplomacy. Film and cinema is one of the most consumed part of media in the world. Irish films and actors are oscar winners in many different categories, and are represented in most of the film festivals worldwide including Sundance and Cannes. Ireland also hosts festivals, the most famous and the biggest being the Jameson Dublin International Film Festival. Ardmore studios in Co. Wicklow also have a large part to play. Many international film makers and producers choose to shoot in Ireland and Ardmore has hosted the biggest names. Mel Gibson used the studios, as did Francis Ford Coppolla and Stanley Kubrick

(Ardmore Studios, 2010). Apart from those large budget names, the country also produces smaller films. Filmmakers can apply for the Culture Ireland grants, though are not eligible for tax exempt status under the Artist's Exemption.

Irish music, both Traditional and modern, have long been the jewel in the crown for Irish culture. Traditional music was brought overseas by the mass emigration of the nineteenth and twentieth centuries. Culture groups were started by immigrant communities and so the music and traditional Irish culture survived in those destination lands through the groups and the descendants of the settlers. Irish Music can be found influencing modern styles from all over the globe whether it is in musical instruments played, styles of playing or musical mechanics such as chord progressions in modern songs. Ireland regularly sends performers from the country abroad to compete in competitions and festivals for traditional music and dance which are held all over the world. In the U.S. they are very visible reminders of the diaspora there, and they connect present day Americans with their ethnic heritage. The festivals are held all over the U.S. and are a time where Irish Cultural Diplomacy is at its strongest.3 Participants and the audiences at the events are already interested in, and connected to, Irish culture and it would not be difficult at all to exploit that goodwill more even than it already is.

Classical music also is an area where Irish composers and musicians shine internationally. There are numerous events highlighted on the Culture Ireland calendar with classical concerts, featuring works performed by and/or written by Irish artists. The National Concert Hall in Dublin has schedule that is full of international artists coming over to share their music with a domestic audience. There are numerous concert choirs, musical groups and orchestras in the country too who perform on the national stage. International co-operation in music is exemplified by the RTE Concert Orchestra worked in conjunction with an American production called Bugs Bunny on Broadway that saw Loony Tunes cartoons set to a live orchestral accompaniment. The show was a
3 A list of Irish music and Dance festivals in the U.S. along with a map showing their location can be found at http://www.ramblinghouse.org/irish-music-festivals-2010/n-american-irish-music-festivals.

success and the orchestra gained some very serious and credible international recognition for its work on the production, becoming listed as one of the world's top orchestras by IMG Artists, one of the world's top arts managements businesses (IMG Artists, 2010).

No mention of Ireland's musicians contribution to Cultural Diplomacy could ignore the work done by pop and rock musicians. Over the last 60 years, Ireland has produced high class international acts and hosted some of the biggest names in the industry. As with the Irish actors that become celebrated Hollywood stars, top Irish pop and rock musicians act as unofficial cultural ambassadors wherever they go. Westlife, Boyzone, U2 and their peers all are outspoken in interviews about Ireland and the positive aspects of the country. There is care taken so that they are not branded as British acts, which has happened before, but it is an important part of their brand image that they are seen as an Irish band, group or entertainer.

Irish Culture is found in the majority of the world's countries. The country has made strong advances in the field of Cultural diplomacy, but unlike the work of the British Council, most of Ireland's effort comes from private and not state sources. The Irish model, headed by Culture Ireland, is one of guidance and planning events and exhibitions so as to maximise exposure, not one of numerous state sponsored programmes to foster goodwill in foreign populations. Ireland has an enviable and unique position in the world as regards international links and networks. Thanks to the missionary ties created by previous generations, and also the Irish diaspora, Ireland has a welcoming audience for cultural exports, and by extension a friendly environment in which to practice Cultural Diplomacy, in most of the developing and developed world. A good job is already being done by Culture Ireland and by private entities alike. It is looking very likely that with the new initiatives being put through surrounding the appointment of Gabriel Byrne, and Ireland's continuing production of high standard cultural products, the future looks positive for the Island.

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Handbook of Public Diplomacy, New York, Routledge. pp.3-11 Seaver, M., 2010. Big steps for small dance companies. The Irish Times. 2 February. Wilson, E. J., 2008. Hard Power, Soft Power, Smart Power. The Annals of the American Academy of Political and Social Science. Vol.616(1), pp.110-124

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