Nearly everyone likes cultural diplomacy in principle, but some remain skeptical about its value. It is seen by many as soft power at its softest, safe and fuzzy, with more aesthetic rewards than diplomatic ones.

For those of us committed to using cultural diplomacy as a significant force in advancing the national interest, that kind of condescending view is aggravating and we always welcome solid evidence that it is wrong.

SHANGHAI --- Zhao Qizeng, China’s leading proponent of public diplomacy, wrote, “Culture is the soul and life of a nation.” That concept is the driving force behind much of China’s exercise of soft power, and other countries that deal with this superpower need to understand the value the Chinese place on their language, traditions, and other cultural elements of their national life.

BEIJING --- During the 20 years since the demise of the Soviet Union, and after a unipolar moment for the United States, China has emerged as the newest superpower. All its predecessors at this exalted level, going back even before Rome, have established their positions by amassing formidable military strength. But China is going about matters differently.

On Thursday, May 17, 2012 I attended the discussion on “Digital Diplomacy: A New Era of Advancing Policy” at the Carnegie Endowment for International Peace in Washington and on Twitter at #DigiDiplomacy. Carnegie had already posted video and audio of the event by early afternoon.

In a couple of recent postings I have tried to elaborate the notion of a nation brand, to identify some of the salient issues surrounding the relationship between public diplomacy and branding, and to illuminate the more subtle distinctions.

If we do not highlight it often enough, cultural diplomacy promotes the creation of transnational social spaces of engagement and interaction. And, even as they are often identified with particular cultures or countries, cultural diplomatic interventions are also unavoidably cosmopolitan in nature, insofar as they move between, confront, and conjoin multiple social worlds. In this way and even when carried away by the worst excesses of national chauvinisms, cultural diplomacy is inherently a transnationalist project of sorts.

APDS Blogger: Oscar Castellanos del Collado

Between January 29 and May 6, 2012, posters of Frida Kahlo’s self-portrait were hung from light posts around Los Angeles. The portraits served as invitations to “In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States,” the first co-organized exhibition by the Los Angeles County Museum of Art and Mexico’s Museum of Modern Art.

Although democracy retains its allure, the Arab uprisings that began last year were about democracy primarily as simply a means to an end.

The real goal of those who took to the streets was to grasp a better future for themselves and their families. Having a job, getting enough to eat, being assured that children could receive decent education and medical care – these constitute the substance of everyday life that so many in the Arab world had long been denied and were determined to claim.