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.

When I hear from people about the relative advantages of cultural diplomacy, they often point to the apparent “neutrality” or “apolitical” basis of, say, cultural exchange. Coming from an anthropological background, this often advanced claim has always puzzled me.

This post continues my preliminary discussion of the results of a survey I recently conducted, designed to invite practitioners of cultural diplomacy to reflect upon their own practice. Additional discussion of this survey can be found in my February 15th post.

Several years ago I organized a conference designed to encourage those involved in the work of cultural diplomacy – policy makers, practitioners and cultural producers, public diplomacy officers, and academics; who too seldom talk to one another – to generate a shared conversation about what in fact composes this enterprise.