Broadly, the literature that has been reviewed reveals a number of contrasting, and perhaps somewhat surprising/mundane, ways in which arts (and culture) can be showcased and contribute to a country’s cultural relations, and nation branding efforts. It is useful at first to set out some guidelines; outlining some definitions of cultural relations and cultural diplomacy thus providing a framework for discussion of the analyses that follow. The literature reviewed here reflects on areas which provide platforms for the display of arts and cultural artefacts in a manner which can be understood as an attempt to present a particular view of the originating state (or its citizens) through an arts/cultural lens for the consideration of an audience which may comprise both domestic and international viewers.
1.2 Cultural Diplomacy & Cultural Relations While treated as discrete areas of interest in academic literature, the distinctions between cultural diplomacy and cultural relations are often less clearly drawn in practice (see Wyszomirski et al, 2003). Both cultural diplomacy and cultural relations put culture, art, and other aspects of culture at the forefront of international exchanges of ideas and information though, cultural diplomacy is closely aligned to the national interest and the advocacy of those interests. Cultural relations, on the other hand, are predicated on longer term engagements which emphasise mutuality, trust and multilateral people-to-people relations conducted at arm’s length from the state and its overt interests. The authors of the Joint Report examining cultural relations in societies in transition usefully draws attention to the different purposes to which cultural relations are put noting that, ‘for the Goethe-Institut, harmonious relations are the fruits of ‘good cultural relations’ and obviously bring mutual benefit both to participants and to Germany. For the British Council, operating closer to debates in London about ‘soft power’, mutually-beneficial relations are also discussed but in the contexts of improving trade, inward investment, and levels of tourism and international students’ (Hertie School of Governance & The Open University, 2018:15). This observation both confirms the definitional and practical subjectivity at the core of cultural relations and serves to broaden the range of activities and artefacts that might be included in a consideration of showcasing platforms. For the purposes of this review, a view of cultural relations, which mirrors context within which the British Council currently operates is taken. Whether 'relations' or 'diplomacy' is utilised as the preferred term, it is important to acknowledge that, historically arts and cultural forms have been used to 'showcase', 'exhibit' or display national assets and excellence, but the degree of national (government or equivalent) influence varies. In order to understand the role of showcasing in the contemporary context it is important to reflect,
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