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Temporary international relocation initiatives (TIRIs) for artists and cultural workers are a form of international solidarity. Yet they are embedded in a context shaped by colonial history and global North-South power dynamics. In this report, the authors draw on the experiences of relocated artists as well as those of team members within TIRIs and host organisations to examine if TIRIs are currently equipped to identify power asymmetries, injustice, discrimination and racism at individual, institutional and structural levels and to effectively mitigate them. Finally, they develop holistic practical recommendations for greater equity and justice as well as an anti-racist approach for TIRIs and host organisations. This report addresses decision-makers and teams in TIRIs and host organisations, arts institutions, funders and policymakers. Both recognizing the existence of structural, systemic and individual injustice, racism and discrimination, and contributing to their eradication requires discomfort and constant self-reflection. Therefore, this report is an exercise in sitting with discomfort. The authors see this discomfort as a catalyst for change processes - an engine to sustain pressure to enact this change that cannot simply be dissolved by individual action. The summary report can be downloaded here: https://doi.org/10.17901/akbp1.23.2022

Temporary international relocation initiatives (TIRIs) for artists and cultural workers are a form of international solidarity. Yet they are embedded in a context shaped by colonial history and global North-South power dynamics. In this report, the authors draw on the experiences of relocated artists as well as those of team members within TIRIs and host organisations to examine if TIRIs are currently equipped to identify power asymmetries, injustice, discrimination and racism at individual, institutional and structural levels and to effectively mitigate them. Finally, they develop holistic practical recommendations for greater equity and justice as well as an anti-racist approach for TIRIs and host organisations. This report addresses decision-makers and teams in TIRIs and host organisations, arts institutions, funders and policymakers. Both recognizing the existence of structural, systemic and individual injustice, racism and discrimination, and contributing to their eradication requires discomfort and constant self-reflection. Therefore, this report is an exercise in sitting with discomfort. The authors see this discomfort as a catalyst for change processes - an engine to sustain pressure to enact this change that cannot simply be dissolved by individual action. The full report can be downloaded here: https://doi.org/10.17901/akbp1.22.2022

In der vorliegenden Studie wird untersucht, welche Faktoren den Deutschlandbezug von PASCH-Alumni beeinflussen. Hierfür wurden eine Fragebogenerhebung und Gruppeninterviews mit PASCH-Alumni aus Bulgarien, Ägypten und Brasilien durchgeführt. Außerdem wurden Expert:innen der entsprechenden Länderkontexte befragt. Zentrale Faktoren für einen nachhaltigen Deutschlandbezug sind demnach einzelne PASCH-Aktivitäten und die Rolle der Lehrkräfte bzw. der schulischen Kontextbedingungen. Für die AKBP bedeutet dies v.a. die Lehrkräfte zu stärken, Alumni-Netzwerke inkl. Aktivitäten auszubauen sowie die einzelnen länderspezifischen Kontexte für den Erfolg der PASCH-Initiative verstehen zu lernen.

Im Zentrum dieses Werkes stehen die französischen Schulen im Libanon in der historischen Zeitepoche der wachsenden französischen Einflussnahme von 1909 bis 1943. Anhand der verschiedenen politischen Regime des Osmanischen Reiches und des französischen Völkerbundmandats über den Libanon wird die These untermauert, dass diese Schulen immer stärker zu Instrumenten kolonialer Machtausübung wurden. Gleichzeitig zeigt die Autorin, dass die Bildungseinrichtungen ebenso stark von der Akzeptanz und den Erwartungen der libanesischen Bevölkerung abhingen und von dieser zur kulturellen, religiösen und nationalen Identitätsstiftung genutzt wurden. Indem die Studie die komplexen Prozesse aufzeigt, welche die französische Zivilisierungsmission im Libanon begleiteten, leistet sie einen wichtigen Beitrag zur hochaktuellen Debatte um Gestaltungsmöglichkeiten und Grenzen von Zivilisierungsmissionen., This book deals with the history of French schools in Lebanon in a context of increasing colonial domination. By covering the period from the end of the Ottoman empire through the French mandate in Lebanon, it analyzes the extent to which French schools acted in the interest of the French government on the one hand, and the Lebanese population on the other.

Curatorial action is based on historical presuppo sitions. It is construed from the right to education and having a voice in civil society; however, at the same time it is based on the hierarchies as well as discriminatory exclusion and marginalisation mechanisms of Western modernity. Using Pierre Bourdieu‘s model of alliance building as a basis, the study presents curatorial practices that are suitable for breaking through hegemonic patterns and initiating transcultural exchange processes.

In the field of international relations and transnational cooperation, normative attitudes and values of foreign cultural and educational policy (FCEP) sometimes precede practice in Germany and within internationally active organisations. However, in order to be able to act credibly to the outside world, cultural mediator organisations in particular should also implement structures of diversity and inclusion. In this study, the concepts of diversity and inclusion will be explained, a selection of existing measures will be presented and concrete steps for implementing diversity and inclusion will be shown. For the area of foreign cultural and educational policy, this results in suggestions as to how a corresponding cultural change within organisations could be supported.

Besides providing platforms for dialogues on global art and cultural discourse, biennials are highly conducive to the decentralisation of the art world. It goes without saying that each biennial's context, in other words its specific geopolitical framework conditions, organisational forms and promotional structures as well as local actors, plays a decisive part. This study, by way of example, will focus primarily on recently founded biennials in the so-called "Global South" and, in this respect, particularly on the African continent with the objective of identifying both trends and specific needs. Therefore, the funding of biennials worldwide as, for example, undertaken by the European Union or cultural institutes of European countries will be studied and contextualised in order to delineate current trends as well as possible promotion activities within the scope of Germany's foreign cultural and educational policy as well as international cooperation efforts.

Les biennales sont des plateformes de dialogue sur les discours artistiques et culturels mondiaux et contribuent de manière non négligeable à la décentralisation de la scène artistique. Chaque biennale étant liée à un contexte particulier, ces liens jouent un grand rôle avec leurs conditions géopolitiques spécifiques, leurs formes d'organisation, leurs structures de financement et leurs acteurs locaux. À titre d’exemple, l'étude qui suit se penche principalement sur les biennales fondées ces dernières années, dans ce que l'on nomme "le sud global", avec un accent sur le continent africain. Il s'agit d'identifier autant les tendances que les besoins particuliers. Il en résulte un examen et une contextualisation des initiatives de financement destinées aux biennales dans le monde, qu’elles soient menées de manière multilatérale par l'UE ou par les instituts culturels des pays européens, afin de déterminer les tendances actuelles ainsi que les potentiels dans le domaine de la politique culturelle et éducative extérieure de l'Allemagne (Auswärtige Kultur- und Bildungspolitik - AKBP) et des coopérations internationales., Besides providing platforms for dialogues on global art and cultural discourse, biennials are highly conducive to the decentralisation of the art world. It goes without saying that each biennial's context, in other words its specific geopolitical framework conditions, organisational forms and promotional structures as well as local actors, plays a decisive part. This study, by way of example, will focus primarily on recently founded biennials in the so-called "Global South" and, in this respect, particularly on the African continent with the objective of identifying both trends and specific needs. Therefore, the funding of biennials worldwide as, for example, undertaken by the European Union or cultural institutes of European countries will be studied and contextualised in order to delineate current trends as well as possible promotion activities within the scope of Germany's foreign cultural and educational policy as well as international cooperation efforts.

The Covid-19 pandemic has hit the creative and cultural sectors hard; it has led to further risks and restrictions for artists, particularly for those who were already vulnerable, marginalized, or persecuted. It also hindered opportunities for cross border mobility and collaboration, thereby creating major obstacles for mobility and temporary relocation programs which aim to enable artists from restrictive political contexts to continue their practice. By learning from the experience of the Covid crisis, and particularly from restrictive contexts such as Turkey, this report explores how to support artists and maintain spaces of artistic freedom despite these circumstances. The report provides artists' perspectives and experiences related to the challenges of the pandemic, and presents the strategies they used to cope with them. As Covid exposed the interlinkage between economic, political, and psychosocial risks, the report provides a critical perspective on the concept of "risk" and of being "at-risk." It also examines the challenges and opportunities that affected the work of organizations supporting artistic freedom and mobility, and how those organizations were able to respond to the needs of artists in this period. Drawing on practices that emerged in response to the pandemic, the report develops recommendations to guide future attempts to expand transnational solidarity for artistic freedom in the face of the pandemic’s long-term impacts, as well as any future threats or obstacles of similar nature.

Covid-19 pandemisi kültür sanat sektörününde ağır bir darbeye yol açtı, sanatçıları daha fazla risk ve kısıtlamalarla karşı karşıya bıraktı ve sınırötesi hareketlilik ve iş birliği olanaklarına ket vurdu. Bu metin, pandeminin dönüştürdüğü bir dünyada sanatsal ifade özgürlüğü alanlarının nasıl korunabileceğini inceleyen raporun temel bulgu ve önerilerini özetlemektedir. Rapor kırılgan, ötekileştirilen ve tehdit altındaki sanatçıların görüşlerini ve pandeminin getirdiği zorluklarla baş etmek için geliştirdikleri stratejileri ortaya koymaktadır. Rapor ayrıca, sanatçı hareketlilik ve koruma programlarının bu sanatçıların ihtiyaçlarına yönelik sunduğu desteğin güçlü ve zayıf yönlerini de incelemektedir. Covid krizinin riskin tanımını nasıl daha karmaşık ve tartışmalı hale getirdiğini ortaya koyarak rapor "risk altında sanatçı" tabirine dair eleştirel bir perspektif sunmaktadır. Türkiye örneği üzerinden baskıcı ortamlardaki deneyimlere odaklanan rapor böylelikle pandeminin uzun erimli etkileri, gelecekteki benzer krizler ve ciddi kısıtlamalar durumunda sanatsal özgürlük ve hareketliliğin nasıl desteklenebileceğine dair öneriler geliştirmektedir. İngilizce raporun tamamına buradan erişilebilir: www.doi.org/10.17901/akbp1.01.2022, The COVID-19 pandemic has hit the creative and cultural sectors hard and restricts the mobility and opportunities of artists worldwide. What did we learn from this period about how to support artists and cultural activists in situations of political, social, and economic threat? With a focus on Turkey, this report provides perspectives and experiences related to artists' challenges during the pandemic, as well as their strategies to cope with them. It also examines the responses by organizations supporting artistic freedom and mobility in this period and provides recommendations for future practices.

The Covid-19 pandemic has hit the creative and cultural sectors hard; it has led to further risks and restrictions for artists, particularly for those who were already vulnerable, marginalized, or persecuted. It also hindered opportunities for cross border mobility and collaboration, thereby creating major obstacles for mobility and temporary relocation programs which aim to enable artists from restrictive political contexts to continue their practice. By learning from the experience of the Covid crisis, and particularly from restrictive contexts such as Turkey, this report explores how to support artists and maintain spaces of artistic freedom despite these circumstances. The report provides artists' perspectives and experiences related to the challenges of the pandemic, and presents the strategies they used to cope with them. As Covid exposed the interlinkage between economic, political, and psychosocial risks, the report provides a critical perspective on the concept of "risk" and of being "at-risk." It also examines the challenges and opportunities that affected the work of organizations supporting artistic freedom and mobility, and how those organizations were able to respond to the needs of artists in this period. Drawing on practices that emerged in response to the pandemic, the report develops recommendations to guide future attempts to expand transnational solidarity for artistic freedom in the face of the pandemic’s long-term impacts, as well as any future threats or obstacles of similar nature.

Threats to both creativity and freedom of expression are on the rise globally, with Africa as no exception. As a result, artists, journalists and human rights defenders are seeking out shelter or safer locations in order to escape harm. However, the support systems cur­rently in place predominantly relocate at­-risk African artists to Europe and North America, which poses an additional set of social, cultural and economic challenges. This brief summarises key findings and recom­mendations of a report that investigates the successes and challenges of devel­oping temporary shelter and relocation initiatives based in Africa.

The EU is promoting cultural relations with Asian countries. While building interpersonal and institutional connections, the EU pays special attention to Japan. The image of the EU and its mutual relations with Japan are generally recognised as predominantly good and trustworthy. This paper will examine the process of building creative/progressive cultural relations between the EU and Japan based on two hypotheses; first: despite the fact that the EU tried to develop cultural relations within Japan, the embassies of the EU Member States are far more active in cultural programs than the EU Delegation; and secondly: the reception of the EU as a historic and cultural project is rather fragmented (as opposed to being holistic) in Japan. The aim of this research is to analyse, compare, and evaluate both the effort and achievements made by the EU and Japan in the process of building creative cultural relations. The research will demonstrate an analytical approach in the political sciences discipline.

Threats to both creativity and freedom of expression are on the rise globally, with Africa as no exception. As a result, artists, journalists and human rights defenders are seeking out shelter or safer locations in order to escape harm. However, the support systems currently in place predominantly relocate at-risk African artists to Europe and North America, which poses an additional set of social, cultural and economic challenges. This brief summarises key findings and recommendations of a report that investigates the successes and challenges of developing temporary shelter and relocation initiatives based in Africa.

Biennalen sind Plattformen für den Dialog über globale Kunst- und Kulturdiskurse und tragen erheblich zur Dezentralisierung des Kunstbetriebs bei. Dabei spielt die Kontextgebundenheit der jeweiligen Biennale eine große Rolle mit ihren spezifischen geopolitischen Rahmenbedingungen, Organisationsformen, Förderstrukturen und lokalen Akteuren. Die vorliegende Studie nimmt exemplarisch vor allem die in den letzten Jahren gegründeten Biennalen des sogenannten "Globalen Südens" in den Blick, mit einem Schwerpunkt auf dem afrikanischen Kontinent, um sowohl Trends als auch spezifische Bedarfe zu identifizieren. Es erfolgt daher eine Betrachtung und Kontextualisierung von Förderinitiativen für Biennalen weltweit, die multilateral von der EU oder von Kulturinstituten europäischer Länder durchgeführt werden, um aktuelle Tendenzen sowie Potenziale für die AKBP und für internationale Kooperationen auszumachen., Besides providing platforms for dialogues on global art and cultural discourse, biennials are highly conducive to the decentralisation of the art world. It goes without saying that each biennial's context, in other words its specific geopolitical framework conditions, organisational forms and promotional structures as well as local actors, plays a decisive part. This study, by way of example, will focus primarily on recently founded biennials in the so-called "Global South" and, in this respect, particularly on the African continent with the objective of identifying both trends and specific needs. Therefore, the funding of biennials worldwide as, for example, undertaken by the European Union or cultural institutes of European countries will be studied and contextualised in order to delineate current trends as well as possible promotion activities within the scope of Germany's foreign cultural and educational policy as well as international cooperation efforts.

Im Feld der internationalen Beziehungen und transnationalen Kooperationen gehen normative Haltungen und Werte der Auswärtigen Kultur- und Bildungspolitik (AKBP) bisweilen der Praxis in Deutschland und innerhalb von international tätigen Organisationen voraus. Um nach außen glaubwürdig agieren zu können, sollten insbesondere Kulturmittlerorganisationen auch innerhalb Strukturen von Diversität und Inklusion implementieren. In der vorliegenden Untersuchung werden die Konzepte von Diversität und Inklusion erläutert, eine Auswahl bereits bestehender Maßnahmen aufgezeigt sowie konkrete Schritte zur Implementierung von Diversität und Inklusion erläutert. Für die Auswärtige Kultur- und Bildungspolitik ergeben sich daraus Vorschläge, wie ein entsprechender Kulturwandel innerhalb der Organisationen zusätzlich flankiert werden könnte., In the field of international relations and transnational cooperation, normative attitudes and values of foreign cultural and educational policy sometimes precede practice in Germany and within internationally active organisations. However, in order to be able to act credibly, cultural mediator organisations in particular should also implement structures of diversity and inclusion internally. In this study, the concepts of diversity and inclusion will be explained, a selection of existing measures will be presented and concrete steps for implementing diversity and inclusion will be shown. For the area of foreign cultural and educational policy, this results in suggestions as to how a corresponding cultural change within organisations could be supported.

Freiräume für kulturelles Schaffen und wissenschaftliches Forschen geraten in vielen Teilen der Welt massiv unter Druck. Im nationalen Raum wird Kultur immer diverser und muss alltäglich neu verhandelt werden. Auf diese Herausforderungen kultureller Vielfalt und wissenschaftlicher Freiheit muss die Auswärtige Kultur- und Bildungs­politik (AKBP) neue Antworten finden. Es genügt nicht mehr, auf das eigene kulturelle Leitbild zu verweisen, gewachsene Strukturen einer ausufernden Vielfalt von Zuwen­dungsempfängern und föderalen Koordinationsinstanzen werden den Herausforde­run­gen nicht gerecht. Neue (digitale) Räume für die kulturgeleitete Verhandlung von Werten und Normen, für Verständigung und Zusammenleben sind notwendig. Erfor­derlich sind auch ein neues politisches Mandat, eine bessere Zuordnung von Aufgaben und die Nut­zung der Chancen, die die Kreativindustrie bietet. Darauf sollte sich Deutschland mit einer politischen und institutionellen Neuaufstellung vorbereiten. Dabei sollten die internationalen Kulturbeziehungen in den Vordergrund gestellt und alte Muster nationalen kulturpolitischen Handelns überwunden werden. (Autorenreferat)

The subject of religion and the behaviour of religious actors in the COVID-19 crisis appear at first glance to constitute either just marginal issues or factors which tend to be negative. On the other hand, there is far less public discussion on the key role played by religious communities as civil society partners of governments or the WHO, as agencies providing charitable and pastoral assistance, and as a resource for hope and contingency management so as to successfully cope with the pandemic. This study analyses the ambivalent role of actors in the COVID-19 pandemic within the framework of a theory-based empirical analysis, presents the most important developments, learning effects and problem areas yet to be addressed and finally, based on this, draws up policy recommendations for action.

Als 'Kuratieren' wird seit Mitte des 20. Jahrhunderts eine spezifische Veröffentlichungspraxis im Kunstkontext bezeichnet: Kunstwerke, Dokumente und Artefakte werden in Konstellationen eingebunden und gezeigt, um Rezipient:innen aufzuklären, zur Reflexion ihrer Wahrnehmung und Selbstwahrnehmung anzuregen und als Mitspieler:innen in kommunikative Aushandlungsprozesse zu involvieren, die die Grenzen der künstlerischen und individuellen Freiheiten, der Toleranz und der Akzeptanz von Andersartigkeit, von Wissen und Nicht-Wissen austarieren. Kuratorisches Handeln findet auf der Basis historischer Voraussetzungen statt. Es leitet sich ab vom Recht auf Bildung und Mitsprache in einer Zivilgesellschaft, beruht aber zugleich auf Hierarchien und diskriminierenden Exklusions- und Marginalisierungsmechanismen der westlichen Moderne. Unter Berücksichtigung von Pierre Bourdieus Modell der Bildung von Allianzen werden kuratorische Praktiken vorgestellt, die sich eignen, hegemoniale Muster zu durchbrechen und transkulturelle Austauschprozesse anzustoßen.

Das Thema Religion sowie das Verhalten religiöser Akteure in der Coronakrise scheint auf den ersten Blick entweder nur ein Randthema oder einen tendenziell negativen Faktor zu bezeichnen. Öffentlich weniger diskutiert wird hingegen, dass Religionsgemeinschaften als zivilgesellschaftliche Partner von Regierungen oder der WHO, als Agenturen der karitativen und seelsorgerischen Hilfe sowie als Ressource der Hoffnung und Kontingenzbewältigung für eine erfolgreiche Bewältigung der Pandemie eine Schlüsselrolle spielen. Die Studie untersucht die ambivalente Rolle von religiösen Akteuren in der COVID-19-Pandemie im Rahmen einer theoriegeleiteten empirischen Analyse, präsentiert die wichtigsten Entwicklungen, Lerneffekte und offenen Problemkreise und erstellt auf dieser Basis schließlich politische Handlungsempfehlungen.

Chinese in Australia have grown into a variegated diaspora with a mainland-born majority. Diasporas are channels of cultural, economic and political influence; and seen as such by sending and receiving countries. They interact in international cultural relations between sending and receiving countries, as expressions of civic virtue oriented to either or both. Cooperative interactions between the respective countries can bring prosperity to all; but when security considerations cast clouds over relations between countries, the concerned countries and communities have careful paths to tread. This input visits the Chinese diaspora past and present. It emphasises the rules of friendship and hospitality as guiding principles for healthy international cultural relations.

El objetivo de este estudio es establecer un mapa inicial de los programas de reubicación temporal y redes de apoyo para artistas y trabajadores culturales en América Latina. Además, se examinan los elementos necesarios para impulsar colaboraciones entre las instituciones artísticas y las organizaciones de derechos humanos con el fin de brindar una mayor protección a artistas en riesgo y promover la libertad artística y de creación. El sector de los derechos humanos y de las artes abordan estos temas desde diferentes perspectivas, con diferente terminología y diferentes enfoques. El estudio invita a estos dos sectores a buscar sinergias en sus estrategias para atender mejor las necesidades de las y los artistas en riesgo tanto a nivel regional como a nivel de cada país. Para hacerlo, proporciona información sobre los desarrollos actuales en algunos países, por ejemplo en México, Argentina, Costa Rica y Colombia y presenta diferentes modelos de reubicación temporal.

This study is a mapping of existing temporary relocation programmes and support networks for artists and cultural workers based in Latin American countries. It investigates the prerequisites for partnerships between arts institutions and human rights organisations as a means to better protect artists at risk and to promote artistic freedom. The human rights and the arts sectors approach these aims from their different perspectives, with different terminology and different focuses. The study calls upon these two sectors to develop synergies in their strategies to better meet the needs of artists at risk in Latin American regional contexts in all their diversity. As such, the study provides insights into current developments, e.g. in Mexico, Argentina, Costa Rica and Colombia.

Threats to both creativity and freedom of expression are on the rise globally, with Africa as no exception. As a result, artists, journalists and human rights defenders are seeking out shelter or safer locations in order to escape harm. However, the support systems currently in place predominantly relocate at-risk African artists to Europe and North America, which poses an additional set of social, cultural and economic challenges. This report thus attempts to understand the experiences of artists from African countries and investigates the successes and challenges of developing temporary shelter and relocation initiatives based on the continent. It is accompanied by a concise summary document.

El presente texto es el resumen de un extenso estudio sobre las estrategias políticas de los expertos religiosos en los Estados Unidos y América Latina. En el pasado reciente, los dirigentes de organizaciones religiosas han venido ejerciendo una influencia cada vez mayor en la política de las Américas. Esto tiene consecuencias, como es evidente en el caso de los presidentes Trump y Bolsonaro, que fueron elegidos con un importante apoyo de personas y organizaciones religiosas. El presente estudio se centra en los discursos y prácticas de los expertos religiosos en el ámbito político, sin mantener la lupa solo sobre las elites conservadoras. Más bien, examina las tensiones entre los actores de las más diversas direcciones religioso-políticas. Después de una introducción metodológica, el estudio analiza primero los EE.UU., Guatemala, Brasil y México. Luego se abordan temas controvertidos. Por último, sacamos conclusiones en aras de orientar la cooperación cultural internacional., The present text is a highly condensed version of an extensive study on the political strategies of religious experts in the USA and Latin America. In the recent decades, leaders of religious organisations gained a growing influence on politics in the Americas. Consequences can be seen through the Presidents Trump and Bolsonaro, who were elected with the significant support of religious individuals and organisations. The present study focuses on the discourses and practices of religious experts with regard to the political field. But the magnifying glass will not only be turned towards conservative elites. The tensions between actors of divergent religious-political orientations are also under scrutiny. After a methodological introduction, the USA, Guatemala, Brazil and Mexico will be studied as cases. Then, we address controversialissues. Finally, conclusions are drawn for international cultural cooperation.

The integration of cultural and creative industries and international cultural policy can renew current internationalisation processes: It can serve as a source of inspiration and a driving force. It can be incorporated into foreign communication and the work of intermediary organisations, and it can also be integrated into the promotion of foreign trade. While countries such as Great Britain and Austria have growth and export oriented policies for creative industries, other European countries have developed policies with a sectional approach and orientation. The Netherlands, France and Scandinavian countries associate the potentials of the creative industries with cultural and social attributes. What could an integrated view of an international economic policy for the cultural and creative industries look like which surpasses the dichotomy of culture and the economy, and then, for example, places creativity, inclusion and transnational networking at the centre of its foreign policy activities?

"Cultural Democracy", like many cultural policy themes, has different meanings, relevance and importance depending on the political, economic, cultural and social contexts in which it is applied. "Democratising culture" - implementing strategies to increase access to and the dissemination of ideas and values - has certainly been aided by the arrival of the internet, but it remains those with resources, with networks, with expertise and historical privilege, who are best able to assert their values, ideas, beliefs and ideological assumptions: what hopes then, for a more democratic world order, in which everyone - or at least the majority of people - may be able to project their views, traditions, values and perspectives into the "global market of ideas"? My reflections on this theme will be informed by my South African experience, by my serving as part of UNESCO's technical facility on the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, and my work within cultural policy across the African continent. I will begin this reflection with reference to my home country, South Africa, as a metaphor for the world.

The definition and understanding of Cultural Diplomacy are changing; and they are doing so at a moment when the European Commission is rethinking its own external representation in cultural terms. The joint ifa/EUNIC conference in April 2016 brought together thinkers to contribute to debate on what the closer integration of culture and diplomacy means in practice: what opportunities it offers, what risks it holds and - above all - how we should see the potential scope of culturally-framed actions to influence problems traditionally seen as political. Cultural Relations, in other words, are seen as more potent than previously understood - but with this understanding comes the need to integrate Cultural Relations with diplomacy in search of solutions to challenges that are culturally, as well as politically, rooted. This input seeks to outline an approach to the New Cultural Diplomacy (NCD).

Der bis heute fortwirkende Ausgangspunkt zum Verständnis der gegenwärtigen Kultur Chinas und seiner Kulturpolitik (inkl. des Bereichs kultureller Bildung) ist ein fundamentaler "Kulturbruch", ausgelöst durch die gewaltsame und als demütigend erlebte politisch-militärische, wirtschaftliche und kulturelle Konfrontation Chinas mit den europäischen Imperialmächten im 19. Jahrhundert. Der vorliegende Beitrag zeichnet die kulturhistorischen Kontexte seit 1949 nach und gibt Einblicke in Selbstverständnisse kultureller Identität im heutigen China. Er liefert dabei zugleich eine scharfe Gegenwartsanalyse zu aktuellen gesellschaftlichen Entwicklungen im Land, dem Widererstarken traditionalistischer Ansätze in all ihrer Widersprüchlichkeit und zur Bedeutung aktueller Tendenzen der Re-Ideologisierung durch einen vor allem in der jüngeren Generation um sich greifenden Hyper-Nationalismus und China-Suprematismus.

Este documento sintetiza las princi­pales conclusiones y recomendaciones de un estudio y cartografía de los pro­gramas de reubicación temporal para artistas y trabajadores culturales en América Latina. El estudio examina los elementos necesarios para impulsar colaboraciones entre las instituciones artísticas y las organizaciones de dere­chos humanos con el fin de brindar una mayor protección a artistas en riesgo y promover la libertad artística y de crea­ción. El sector de los derechos humanos y de las artes abordan estos temas desde diferentes perspectivas, con diferente terminología y diferentes enfoques. El estudio invita a estos dos sectores a buscar sinergías en sus estrategias para atender mejor las necesidades de las y los artistas en riesgo tanto a nivel regio­nal como a nivel de cada país en toda su diversidad.

This brief summarises key findings and recommendations of a report that maps existing temporary relocation pro­grammes for artists and cultural work­ers based in Latin American countries. The report investigates the prerequis­ites for partnerships between arts insti­tutions and human rights organisations as a means to better protect artists at risk and to promote artistic freedom. The human rights and the arts sectors approach these aims from their differ­ent perspectives, with different termi­nology and different focuses. The study calls upon these two sectors to develop synergies in their strategies to better meet the needs of artists at risk in Latin American regional contexts in all their diversity.

Despite the striking differences with regard to the functions, parameters, relationship to the State and the market, and the current trends, neither the existence of a European civil society nor its sustainable positioning in the public sector can be denied. Civil society is not a short-lived fad. It is part of Europe’s cultural tradition; it has a well-developed structure and legitimacy; and it will continue to be a major factor and, wherever possible, a motor for European development. Currently, the potential of a dynamic civil society in the defence and further development of an open, cosmopolitan, and democratic society appears to be of particular importance.

Trotz markanter Unterschiede bezüglich der Funktionen, der Rahmenbedingungen, dem Verhältnis zu Staat und Markt und den aktuellen Trends kann an der Existenz einer europäischen Zivilgesellschaft ebenso wenig ein Zweifel bestehen, wie an ihrer nachhaltigen Positionierung im öffentlichen Raum. Zivilgesellschaft ist keine kurzlebige Modeerscheinung. Sie ist Teil der europäischen kulturellen Tradition, verfügt über eine gewachsene Struktur und Legitimität und wird ein mitbestimmender Faktor und wo möglich auch Motor der europäischen Entwicklung bleiben. Von besonderer Bedeutung erscheint aktuell das Potenzial einer lebendigen Zivilgesellschaft bei der Verteidigung und Weiterentwicklung einer kosmopolitischen, offenen, demokratischen Gesellschaft.

Germany is one of the key donors when it comes to peace and security initiatives through international organisations such as the United Nations (UN) or the European Union, as well as civil society organisations. Generally, the awareness for an intersectional gender dimension in programmes and projects dealing with peace and security initiatives has increased during the last two decades, also through various funding schemes. By now there exists a relatively comprehensive normative framework around gender, peace and security issues that guides and highlights the different dimensions and entry points to respond to gender specific considerations in peace building, conflict resolution and transitional justice. This paper outlines such framework in relation and relevance to Germany’s foreign policy and development cooperation. To better understand the effects and impact of Germany’s contribution to the implementation of the women, peace and security agenda on the ground, a total of ten projects funded and supported by ifa’s zivik Funding programme have been reviewed to identify good practices and lessons learned.

Die Integration von Kultur- und Kreativwirtschaft und internationaler Kulturpolitik kann laufende Internationalisierungsprozesse erneuern: Sie kann als Ideengeber und Transmissionsriemen dienen. Sie kann in die Auslandskommunikation und in die Arbeit der Mittlerorganisationen eingebunden werden, sie kann aber auch mit der Außenwirtschaftsförderung verschränkt werden. Während Länder wie Großbritannien und Österreich wachstums- und exportorientierte Kreativwirtschaftspolitiken betreiben, haben andere Länder Europas querschnittsorientierte Politikansätze entwickelt. Die Niederlande, Frankreich und skandinavische Länder verbinden Kreativwirtschaftspotenziale mit kulturellen und gesellschaftlichen Attributen. Wie könnte eine integrierte Sicht auf eine internationale Kultur- und Kreativwirtschaftspolitik aussehen, die sich über die Dichotomie Kultur und Wirtschaft hinwegsetzt und dann beispielsweise Kreativität, Inklusion und transnationale Vernetzung in den Mittelpunkt außenpolitischer Aktivitäten stellt?