Caroline
Miller is the dynamic and visionary director of Dance UK. She is one of those
people who have the capacity to ‘think big’ and who work hard to make things
actually happen, inspiring others to join and work with them. One of Dance UK´s
major achievements was the opening, last April, of the first clinic for injured
dancers, integrated in the british National Health System. While participating
in the Kennedy Center´s Summer International Fellowship this year, Caroline
realized she has one more role: that of a cultural diplomat. In this post, she
shares her thoughts on the actual role cultural diplomacy can play in fostering
mutual understanding. I couldn´t have wished for a more beautiful text to
celebrate the completion of our second year at the Kennedy Center. mv
DESH, by Akram Khan Company. Choreographer/Performer: Akram Khan. (Photo: © Richard Haughton) |
I’ve been
thinking a lot about cultural diplomacy in the last week. As the Director of
Dance UK, the main
advocacy organization supporting the professional dance sector in Britain, I’m
concerned about raising the profile of dance in society whilst arguing for its
value. I spend much less time thinking about the role dance has in promoting
and showcasing British culture and society.
This changed when I met a group of
cultural attaches last week as part of the Summer International Arts Management
Fellowship at the Kennedy Center in Washington DC. All experienced American
civil servants, the group was about to leave for new postings around the world
and they were keen to meet the international arts managers. Though I’d worked
with various cultural attaches in London and benefitted from their support for
specific arts projects, this was the first time I’d really stopped to think
about the strategic purpose of these government positions and what they were
trying to achieve in the big picture.
According
to the Institute of Cultural Diplomacy, the American political scientist and author Dr.
Milton C. Cummings defines cultural diplomacy as “the exchange of ideas, information, values,
systems, traditions, beliefs, and other aspects of culture, with the intention
of fostering mutual understanding”. This definition could have been used to describe my experience as a
Summer International Fellow at the DeVos Institute of Arts Management. Does
that mean I am a cultural diplomat?
What I’d thought was a great personal opportunity for my professional
development and to take back skills and management ideas to my organisation,
was actually just as much about me becoming an ambassador promoting the ideas,
values and culture of Britain.
Reflecting on completing my first year as a Summer International Fellow
in 2011, I had talked to my friends about my surprise that globalization and
homogenization of culture wasn’t as common as I’d accepted. I’d spent an
intense month living and working with arts managers from 28 countries and they
had talked about their dramatically different working worlds in countries such
as Zimbabwe, Egypt, Pakistan, Moldova and Cambodia, amongst others. Day to day
we exchanged ideas, traditions and value systems from our countries. “In my
country” became our collective catch-phrase.
Our experiences were wildly different. From the regions which didn’t
have a culture of buying tickets for arts events to countries where political
corruption and revolutions were the back-drop and influencer of arts
production.
Working alongside arts managers from five continents, I’d been elevated
from being the manager of a dance organization to “the Brit”, to the
representative of an entire colonial history! Though it was said in jest, the
stereotype of colonial British Empire was real and still current.
What, however, wasn’t stereotyped was the interest and excitement
around British arts, whether it was theatre, musicals, visual arts, museums,
music or dance. This was the area of
British-ness that caught international colleagues’ interest and imaginations.
It was through the arts that people had gained a more sophisticated
understanding of British society, values and beliefs. This for me was enough to
prove the value of cultural diplomacy and the role of the arts as an effective
communicator for the best attributes of individual nations.
Entity, by Wayne McGregor/Random Dance, 2008. (Photo © Ravi Deepres) |
I’ve had to think again about how I talk about the value of
dance in the UK, whether it is the British Bangladeshi Akram Khan whose show Desh explores a fictionalized
relationship with his father (watch here); Wayne McGregor/Random Dance’s abstract contemporary dance mixed with new
technologies (watch here); Rosie Kay’s dance performance Five Soldiers, which she researched by training with the army and
spending time at the Birmingham hospital which cares for injured soldiers
returning from Afghanistan (watch here); or DV8’s Can We
Talk About This which explored freedom of speech, censorship and offence in British Society (watch here). Together, they say more about the real Britain of
today, rich with tensions between tradition and modernity, religion and
spirituality than any essay could capture.
By the time you read this post, the London Olympics will have opened
and over one billion people worldwide will have watched the spectacular opening
ceremony. As I write, I have only the smallest clues as to what the event will
hold as details. We know that it will include many of Britain’s greatest
artists and talents and its theme is “the Isles of Wonder”. The creative team,
including Danny Boyle (known worldwide as the Director of the film Slumdog Millionaire), has promised a singularly British
show. The Daily Telegraph reports
that the show starts in a “green and
pleasant land”, passes through the industrial revolution and a celebration of
the right to protest, and the public service of British National Health Service
nurses and maybe another key element of British life… the big Saturday night
out. It also promises to be that rare thing in an opening ceremony – funny!
Following the dress rehearsal, one participant tweeted that the ceremony is
“Splendidly British and magnificently bonkers”!
Whatever
the London 2012 opening ceremony includes, I am sure it will effectively
communicate to a mass audience more about modern Britain in just one show than
politicians have achieved in decades. And my parting thought: we must remember
that no matter what our countries financial difficulties (or not), the arts have a role to play challenging the idea of what a
country is and stands for… So here’s to
cultural diplomacy.
Caroline
Miller is Director of Dance UK, the national voice
for the professional dance sector in the United Kingdom. She started her career
as a box office assistant, before working as a theatre marketing manager and a
publicist for major London arts venues including the Institute of Contemporary
Arts, the Southbank Centre and Sadler’s Wells Theatre. She was Head of
Publicity for the international art book publishers Phaidon Press. Caroline won
a fellowship from the European Union identifying outstanding female emerging
cultural leaders which enabled her to undertake the first MA in Cultural
Leadership at City University, London in 2007. At Dance UK she created the
Dance Manifesto which was presented to the British government and inspired
similar documents around the world and she established and runs the All Party
Parliamentary Dance Group which is a group of politicians who champion dance in
government.
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