Cultural diplomacy - Demos

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Maximising the UK’s cultural competitive advantage Figure 3 Spending on acquisitions by major museums (2004/05) The Met, New York MoMA, New York Louvre, Paris Getty, Los Angeles Rijksmuseum, Amsterdam National Gallery, London Tate, London V&A, London British Museum, London Source:The Art Fund, Nov 2006 10 20 30 40 50 60 £ millions power of Tate’. 45 While commentators are right to point out that figures can be skewed by major purchases of individual pieces, the point remains. In a world in which cultural diplomacy will be ever more central, the UK must sustain its influence and credibility by support for acquisitions to maintain the range, quality and contemporary relevance of our cultural assets. But cultural diplomacy is not simply a question of funding. As the next chapter will show, it is vital that politicians appreciate the ways in which cultural settings offer opportunities for informal engagement and message-sending around diplomatic objectives. Ministerial attendance at high-profile exhibition openings and premiere performances should be given greater priority by senior British politicians. For example, at the opening of the Jameel Gallery at the V&A, attended by the Prince of Wales and Middle Eastern Demos 45
Cultural Diplomacy ambassadors, there was no high-level UK government presence, a missed opportunity at a time when engagement with the region has never been more important. Conversely, there are few instances of cultural professionals (other than those related to science) having a seat at the trade and policy table, the inclusion of the director of the British Museum as a member of the China Task Force being a notable exception. Government departments should look for more opportunities to engage leading cultural professionals in the policy-making process, through their involvement in policy teams and commissions. The emerging powers are fast realising the importance of their own cultures and using them as one of their central tools of outward projection. Our government will take care of official ties, but if the foundations of broader cultural relationships are not in place, these will be fragile, especially as public opinion becomes ever more suspicious of government activity. We cannot afford to be complacent and expect our relative position of cultural strength to take care of itself. It is vital that the whole of government, in partnership with others including cultural institutions, works actively and energetically to maintain and strengthen our cultural standing. Market forces often drive the international work of UK cultural institutions Much of the work that the UK’s cultural institutions do overseas is commercially driven. For example, not only has the NHM been touring exhibitions overseas commercially for 17 years, it has also provided consulting services to the European Union and the national museums of Kenya, Qatar and Dubai. The BL generates income from its publications and image supply, and the BM has advisory contracts in Kenya (funded by DCMS) and Qatar. These kinds of opportunities are particularly prevalent in the Gulf States, which see cultural tourism as a vital future component of their economies, and in Eastern Europe, where nations want to establish their identities, to restore their heritage, and to modernise their displays. Touring exhibitions are a big business in their own right. The V&A 46 Demos
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Page 8 and 9: Acknowledgements We would like init
Page 10 and 11: Glossary ACE Arts Council England A
Page 12 and 13: Executive summary From the reciproc
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Page 16 and 17: Introduction In the long course of
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Notes 1 According to J Nye, see www
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Notes 39 DCMS, International Strate
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Bibliography British Library, Briti
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Bibliography M Leonard, Britain TM
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Organisations interviewed China Ai
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Organisations interviewed Cymroza A
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Organisations interviewed The Briti
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