Composing trust #3: Cultural relations perspectives beyond the European Union

Biography:

Phloeun Prim is a cultural entrepreneur, and the Executive Director of Living Arts International (LAI). LAI incubates cultural initiatives that contribute to a peaceful, sustainable future, using the living arts as a catalyst for change. LAI began in Cambodia where Phloeun is based, and is shaped by its identity as a grassroots, post-conflict, non-profit organisation. Phloeun started his career as a co-founder of ‘Artisans d’Angkor’, a Cambodian social enterprise that provides professional skills and opportunities to young Cambodians in rural communities with limited educational opportunities.

In 2009, he became Director of Cambodian Living Arts (CLA), which was the seed for Living Arts International. Today LAI not only continues its work in Cambodia through CLA, but has also established a regional branch, Mekong Cultural Hub, which works across Asia, and a transnational program, Connecting South. Phloeun’s skills and networks enable him to bridge connections and cooperation across grassroots and policy. His imagination and ambition drives him to deliver large scale international projects, from Season of Cambodia Festival in New York City 2013, to LAI’s latest exploration; a project to bring Global South communities into the heart of global efforts to democratise access to cultural heritage through technological innovation.

In recent years, Phloeun has been a visiting Professor at NYU Abu Dhabi, teaching courses on Arts for Transformation, which have now become part of the core curriculum.

Link to LinkedIn profile

Biography:

Samantha Nengomasha is based in Zimbabwe and works for Hivos, an international human rights organisation, that is Dutch-based. Her work includes focusing on issues of democracy, gender equality, diversity and inclusion, as well as also bringing those aspects into climate justice, looking at how local people and how local communities are responding to and reacting to climate change. 

She works in other capacities, doing capacity building, also knowledge management and organisational development, particularly focusing at the role of youth as change makers as well as front runners for them to bring sustainable socioeconomic development in their communities, doing this through industry of arts, media and culture locally in the region of southern Africa. Her work has therefore been advocating for as well as the activity participation for actively participating in the mobilisation of marginalised minority communities helping them become part of the decision making metrics as well as contributing to their local conflict resolutions. It has to be to do with human conflict or to also do with human nature conflict. 

Her educational background is in the social sciences discipline. She holds a bachelor’s degree in sociology as well as a master’s degree in international relations and diplomacy.

Link to LinkedIn profile

Biography:

Levina (Lev) Wirawan is an international arts manager and producer, specialising in artistic collaborations, festivals, and capacity building in the arts. Lev’s worked in the arts for 10 years, operating across multiple art forms – connecting ideas, people, and projects from UK, Indonesia and several South East Asian countries, Japan, and wider Europe. 

She has more than five years’ experience in inclusive arts with a focus on disability arts and is currently expanding her work on arts and environmental sustainability. Her role as Programme Manager (Cultural Engagement/Arts) for British Council included leading and managing more than 30 inclusive arts projects and initiatives, notably the ground-breaking Festival Bebas Batas – Indonesia’s first disability arts festival, involving over 100 artists and welcoming over 20,000 people in 2018.

She also develops and manages residency programmes, brokering new partnerships and co-productions between Indonesia and the UK arts sector. She enjoys yoga, cooking (and eating) plant-based food, and learning about East Asian traditional and popular culture.

Link to Instagram profile

Biography:

Elham Khattab is the Founder and Director of Out Of The Circle Organization, based in Cairo, Egypt, that provides since 2008 arts management and curation support for visual and new media artists. Khattab also produced DIGI MENA: a mapping research project that maps digital artists from the Middle East and North Africa, supported by the Goethe Institute and the German Federal Foreign Office. Since 2018, Out Of The Circle organisation started an arts residency for international new media artists in the heart of Cairo where artists spend time working on their art projects and research.

Her educational background is in the social sciences discipline. She holds a bachelor’s degree in sociology as well as a master’s degree in international relations and diplomacy.

Link to LinkedIn profile

Biography:

Andrea is an engineer, entrepreneur and executive. She is the Cofounder and Managing Director of Kingston Creative an organisation seeking to transform Downtown; the founder of Bookophilia, a bookstore that promotes Caribbean literature; and the founder of Go Global Art, an art marketing platform which helps artists from developing countries gain access to global markets. 

Andrea is a strategic business coach and consultant for creative entrepreneurs. She recently managed the Arts portfolio for the British Council where she developed strategy and implemented key projects in film, literature and visual art to build capacity and drive the creative economy in Jamaica.

Link to LinkedIn profile

Biography:

George Henry Okello Abungu is a Cambridge-trained archaeologist and Emeritus Director-General of the National Museums of Kenya. He is the founding Chairman of Africa 2009, ISCOTIA (International Standing Committee on the Traffic in Illicit Antiquities), and CHDA (Centre for the Heritage Development in Africa).

He has been an advisor to the Aluka project of the Mellon Foundation USA, the Global Heritage Fund USA, Vice President of International Council of Museums (ICOM) Paris, France, a Member of the International Jury of the UNESCO Melina Mecouri International Prize for Safeguard and Management of Cultural Landscapes, and a member of the International Experts of the Humboldt Forum, Berlin, Germany. He has sat on the World Monuments Watch panel of the World Monument Fund, New York and was Kenya’s Representative to the UNESCO World Heritage Committee, and Vice-President of its Bureau (2004-2008).

He is a Fellow of the Stellenbosch Institute for Advanced Studies, University of Stellenbosch South Africa. He is the founding Professor of Heritage Studies, at the University of Mauritius and currently serves as a Special Advisor to the Director General of ICCROM, Rome, Italy. He is also Honorary Professor of Heritage Studies, Australian National University, Canberra, Australia. He is a recipient of multiple distinctions.

Link to LinkedIn profile

Biography:

Lindsay Amini is the Director of Cultural Programs at Meridian International Center, a prestigious non-profit in Washington, DC, brings a proactive and creative approach to the organisation’s Center for Cultural Diplomacy. With over 12 years in international educational exchange and public diplomacy, and Lindsay has deep understanding of cross-cultural dynamics. She leads proposal, exchange, and exhibition development, advancing the organisation’s mission of global understanding through cultural engagement.

Lindsay serves as Program Director of Next Level, a U.S. Department of State initiative sending hip-hop artists abroad for youth inspiration, artistic entrepreneurship, and conflict transformation. Since 2016, she has overseen programme implementation, emphasising arts-driven cultural exchange. Lindsay’s commitment to cultural relations is evident in her participation in the Cultural Relations Platform’s Global Cultural Relations Programme in Athens (2017) and Brussels (2019), enhancing her global perspective.

With a Bachelor of Arts in Art History from Emory University and a Master of Arts in Art History from The George Washington University, Lindsay Amini blends academic foundation with professional experience. Her journey reflects the arts’ power in international understanding, exchange, and transformation.

Damien Helly: You are listening to the Composing trust podcast, by culture Solutions – a series on European cultural action with the world. Is Europe still attractive? How is it perceived by outside the EU? How do Europeans promote culture together in the world, with which partners? What have they learned, what is their experience? Our Composing Trust podcast series will address these issues.

Isabelle Van de Gejuchte: We are delighted to welcome you to this discussion focusing on international cultural relations. I’m Isabelle Van de Gejuchte, and together with Alexandra Gil, we are honoured to host this discussion. This podcast aims to provide a platform for non-EU experts to articulate their diverse perspectives and experiences in the field, as well as to offer recommendations for shaping ICR strategies and practices.

Alexandra Gil: We will explore the varied meanings of this term in different contexts and broaden our awareness of international cultural relations strategies beyond the European Union. Therefore, this podcast will bring a diversity of voices and perspectives from experts in various geographical contexts. 

Isabelle Van de Gejuchte: The two episodes that follow seek to contribute to the recognition of the myriad of understandings, reasonings, and realities that coexist within the realm of International Cultural Relations.

Alexandra Gil: And now it’s time for our contributors to introduce themselves.

Kateryna Kravchuk: My name is Kateryna Kravchuk, I’m a co-founder of Lanka procolective, from Ukraine.

Phloeun Prim: My name is Phloeun. I’m the executive director of Living Arts International. Which is an organisation that came out of 25 years on the ground with Cambodian living arts.

Sam Nengomasha: My full name is Samantha Sakai Masha. I’m based in Zimbabwe. I work in an international human rights organisation.

Levina Wirawan: My name is Lavina Wirawan. I am Chinese, Indonesian born currently working in Jakarta. I am a producer specialising in artistic collaborations, festivals, creative exchanges, I am also arts manager for British Council.

Elham Khattab: I’m Elham Khattab. I’m based in Cairo, Egypt and I’m curator, arts manager and researcher. I’m also the founder of the Circle organisation.

Andrea Dempster: My name is Andrea Dempster Chong, and I’m speaking from Kingston, Jamaica. I’m a structural engineer turned cultural activist. I run an arts non-profit in Kingston called Kingston Creative.

George Abungu: My name is George Ubuntu. I am from Kenya and I’m an archaeologist and a heritage expert. In addition to that, I am Emeritus Director general of the National Museums of Kenya.

Lindsay Amini: I’m Lindsay Amini. I’m The Director of cultural Programmes at Meridian International Centre, a public diplomacy, non-government organisation based in Washington, DC.

Alexandra Gil: So Isabelle, although International cultural relations hasn’t been defined as a clear, sharp concept… can we at least know what is at the core of it? What is the general understanding, here in Europe?

Isabelle Van de Gejuchte: Sure, the term has different definitions and one understanding is that international cultural relations are based on interaction between different cultures with a focus on intercultural dialogue, mutual understanding and benefit – it’s a two-way conversation. It can be undertaken by civil society or governmental actors. With the latter, the frontier with cultural diplomacy can be blurred, as often government actors tend to pursue their country’s strategic interests and values. 

Alexandra Gil: Thank you! You know, I’ve also asked this question to our interviewees, and many interesting slightly different elements came to the table. Would you like to hear their views on that

Isabelle Van de Gejuchte: Sure! I’m curious to discover how it is perceived outside Europe. 

George Abungu: I think the international cultural relations should be international. It should not be European. It should not be American. It should not be African. It should not be Asian. It should be international by the name. Unfortunately, getting things international, which means bringing partners from every part of the world, is not an easy thing. And so I think by its starting in Europe and spreading in other parts getting stakeholders and building a true international cultural relations. For me it’s a very good thing (…) So for me, I think it’s a very, very good concept. I think it’s a good thing, but I think it will have to move and grow out of basically just European Union to get buy-in from every segment of every part of the world.

Lindsay Amini: The term international cultural relations is not really used that much within the scope of public diplomacy. And honestly, most Americans that I talked to about ICR, they really think that term refers more to an academic focused approach to communications. So really for me cultural diplomacy goes beyond the government to government and to include people to people.

Andrea Dempster: When I think about international cultural relations, Jamaica is a prime example. That natural and organic cultural relations that we have had throughout our diaspora in the US, in the UK, all around the world has developed the Jamaican brand. It’s developed a lot of partnerships. It’s brought a lot of revenue to Jamaican creators into the country and that is Usually without the uh, the intervention of governments and organisations is usually based on the efforts of, you know, individuals. Then you have your intentional or strategic cultural relations, which I believe can lead to social transformation, economic transformation, skills transfer, and has all of those kind of benefits. But each way, whether it’s natural and organic or whether it’s intentional, strategic has a light side and a shadow side right, positive, negative. They can be Exploitative. Or they can be mutually beneficial depending on how we approach it.

Alexandra Gil: These were George, Lindsay and Andrea, arguing the universality of International Cultural Relations as a concept, built through individual efforts with an influence beyond national borders. The importance of giving voice and empowering local communities for a fluent exchange all around the globe is also raised, as you will now listen to Kateryna, Phloeun, Levina and Sam.

Kateryna Kravchuk: Well, international cultural relations are now one of the most important ways for us as Ukrainians to be subject to international dialogue. So to have this agency to be heard as we want it to be heard to have our our right to the our own narrative. And also it’s a chance for us to build communication and dialogue with the countries in the world that have always been out of the focus of our attention. For example, it’s really important now for Ukrainians to speak with the people and communities from Latin America, from Africa, from Southeast Asia, from South Asia, because we actually have more in common than we thought and we never actually explored that. So for us, it’s really important on the both bottom up level and also state level. 

Phloeun Prim: The last 10-15 years, our focus is really to support young generation of artists that came out of the tragedy and the history of Cambodia. For us when it comes to international cultural relationship, it’s that expansion of knowledge of perspective, of engagement that enrich in fact local perspective, local creativity. But that is fed by connecting with peers regionally and internationally. So I think this is kind of my point of view and how important in fact ICR are in terms of helping and keep helping to develop the cultural sector.

Levina Wirawan: The diversity of Indonesia, without talking about international scale like internally Indonesia with its massive diversity is already like doing cultural relations as a second nature whether or not we want to label it that or not. Because, you know, there’s that diversity. And you know how we can stay united as a nation, one of the ways is definitely have to relate to one another. And so yeah, maybe the term is something that is coined by Europe. It is something that I think Indonesia could definitely relate with.

Sam Nengomasha: In my particular context, international cultural relations encompasses the aspect of people first. So bringing diverse people together, and how we do it locally is we bring collaborations amongst Africans, so the approach is very pan African, which means that it’s centred and driven from the Africans themselves, we also have this particular focus on the young people because we value their impact and society.  We know they are our greatest resource and we also know that they are the cultural actors in society. (…) I would say, for me international cultural relations is about embracing that diversity, respecting different forms of knowledge and its plurality. As well as facilitating the meaningful contributions so that overall we move together, we develop together, we know each other and we live together in harmony.

Isabelle Van de Gejuchte: While diverse in their perspectives on International Cultural Relations, all invitees agree on several elements. Mainly, they emphasise on the importance of people-to-people exchanges, sharing local viewpoints and creativity from small communities to larger audiences in different regions of the world. These exchanges may bring tailored solutions to current global challenges.

Alexandra Gil: Yes, and one interesting point is that International cultural relations should be a truly international experience and not as a relationship between the West and the rest of the world. Our experts even stressed that International Cultural Relations is happening without involving the global North.

Isabelle Van de Gejuchte: To delve deeper into the subject, we asked our interviewees what they perceive as the added value of International Cultural Relations:

George Abungu: Cultural relations should be an advocacy platform. It can help you know, for example, in developing partnership we talk about co-creation, co-curation, co-exhibition, co-researching. Those are areas that we need in the cultural sector here. We need to be able to do that, and I think international cultural relations can be able to create that sort of, you know, a bridge between countries here, institutions here with other parts of the world. AndI think the international cultural relations should be international. It should not be European. It should not be American. It should not be African. It should not be Asian. It should be international by the name

Andrea Dempster: I think there is a lot of value in international cultural relations. I think culture is a language that, you know, transcends, you know, a lot of the boundaries, boundaries, barriers that, you know, we put up. And I think it can be a really powerful tool in decolonization, in challenging notions of colonialism.

Lindsay Amini: I think 1 area where ICR is especially well-suited is in conflict transformation and that can be supporting freedom of expression. While the arts might not fully resolve the conflict, they are definitely a space for expression and healing, and then that can also lead to building resiliency for individuals and community. And that’s really where I see that ICR can create those safe spaces, whether those are physical spaces or more in the emotional, mental, mental realm.

Sam Nengomasha: The first is to look at how we are doing cultural relations. What is the purpose of doing cultural relations? Then we are going to look into processes such as decentralisation and we are going to make them long term by sustaining them, by giving power to the people, so establishing local ownership. I think that is the best way to just break through and be sustainable with our approach. I do think there are many reasons why we engage in cultural relations but those that would have meaning for us in the local context are those that contribute to our local development. And what we try to focus on or what we pride ourselves in our Pan African approaches is the cohesion, because we have spirits of Ubuntu which is like oneness of everyone, I am because you are. So our approach is very communal, you know, it involves people, it’s people centred. So when we talk of Pan African approaches, we’re looking at how do we all come together, how do we establish the shared understanding of our identities being diverse as we are and how do we move forward.

Lindsay Amini: Our focus is looking at more of the community driven work. So yes, while the funding might come from a government, where our strength lies is trying to find the local actors on the ground that are gonna have the most impact on the community and it’s something that we’re constantly talking to our funders about is, look, we wanna have a community-driven approach because we wanna hear what those needs are and we wanna make sure that that’s what we’re addressing, not just these overarching goals that a government might have.

Andrea Dempster: International cultural relations can have economic benefits. So we would do an exchange programme, say with Gabe, an artist from Germany. He came to The Edna Manley College of the Visual and Performing Arts, which is the only art school in Jamaica. These international artists have come in to do murals and art district. And what does that do? It raises the profile of the art district. It shifts the narrative around downtown Kingston from maybe, you know, the crime and the warfare and whatever. So in shifting those narratives and bringing more visitors in, just that international collaboration on the murals makes that district a little higher profile.

Alexandra Gil: Mutuality, engagement with communities, the capacity to contribute to conflict resolution and the economic advantages that International cultural relations can bring were some of the ideas presented by George, Andrea, Lindsay and Sam. Kateryna, from the delicate situation her country is living in, brings on the potential arts and culture can have during conflict for tangible and intangible heritage preservation, strongly linked to communities memories and identity.

Kateryna Kravchuk: If you talk about international cultural relations during the war in Ukraine, now there is 2 separate tracks: work with Ukraine and work with Russia. And the international community can do many things for both topics. For us it is very important that in the interactions with the European, with not only European but international community, this dignity, this agency, is celebrated of Ukrainians, of Ukrainian narrative. And also, sensitive dialogue in terms of that cultural heritage is being ruined every day, that cultural heritage is being stolen. And recognition of that this is actually the damage to the cultural heritage of all, all of us, right, because cultural heritage of every country’s culture, heritage of the global community. This is something that is important for us in this dialogue with the international community. And after the war, of course, I wish all of us that there is a dialogue between all countries. And international cultural relations can actually help to foster that dialogue, to rebuild the links that are broken. I’m talking most of all about interpersonal links, not only about institutions, but interpersonal links. 

Isabelle Van de Gejuchte: Kateryna stressed the often understated power of cultural relations to rebuild dialogue following a situation of conflict. Now, if we look at climate change, this is also an area where international cultural relations have a key role to play, as the problem must take into account the local cultural context, while international exchanges are crucial to tackle this global challenge. Let’s hear from Levina, George, Kateryna, and Andrea.

Levina Wirawan: There’s like that transformative power where arts and culture could play a significant role in responding to climate emergency. Of course, it is very important to understand climate emergency is being responded differently across the different parts of the world. I think the idea that I want to stress is that we do the effort as far as possible and as practicable. Like we know that the arts and cultural sector has have has that extraordinary how to say inventiveness to make sense of what kind of climate solutions that would meet people’s needs and aspirations in a particular context. It’s very different to, let’s say, statistics or facts or research. through arts and culture, it is a little bit more how to say gentle and more organic way of sharing the truth of creating the space to think and to respond or express towards an issue more organically.

George Abungu: Climate change is a critical area, particularly in Africa, where we are contributing very little towards the problem. And yet we are the greatest victims. And I think through cultural relations with other parts of the world, we will start to understand more our responsibilities and we understand more about those other parts. And I think international cultural relations can play a critical role also as a bridge in creating this global awareness in areas like, you know, human rights like climate change and other areas.

Kateryna Kravchuk: When it comes to climate change we are now one of the most polluted country in the world when it comes to the areas that are mined and water pollution, soil pollution. So for us it’s really important to talk about the land as an integral part of culture. Land is very important to Ukrainians as a cultural asset, we have one of the richest soil in Ukraine. So for us, talking about culture is talking about land in very complex understanding.

Andrea Dempster: In Jamaica, if you have roads that need to be fixed, if you have hospitals that need to be built, art is not a major priority and neither is climate change. People speak about net zero and they assume that, you know, net zero is something that concerns everybody. No, if you don’t have water, sanitation, if you’re dealing with basic development issues, net zero is like, you know, what is that? Why is this is not a concern. And so, you know, not to put it so bluntly. Of course there’s people here who care about the climate, and we’re very affected by climate change and sea Level rise. But it would be hard for us to find a way to bring a focus to and to find funding for artists responding to climate change. But in partnership with these international organisations, you know we’re able to join voices and have a stronger voice and communicate a stronger message.

Alexandra Gil: This was very interesting Isabelle. Our experts from Europe, Africa, Asia and the Americas have stressed the importance of an approach that is rooted in an open dialogue through deep listening. International cultural relations inclusive practices should consider the diversity of voices and perspectives, accounting for specific sensitivities and cultural needs, therefore empowering local communities, encouraging more and more people to people exchanges and co-creation practices all around the globe. 

Isabelle Van de Gejuchte: Yes, indeed, Alexandra, and I’m really looking forward to our next episode when our experts will discuss decolonisation of practices, north-south relations, and international cultural relations as a transversal approach.

Damien Helly: Thank you for listening to today’s episode of our Composing trust podcast by culture Solutions! If you liked it, you can subscribe and follow us on your favourite podcast platforms, and contact us at culturesolutions.eu.