REDEFINING DIPLOMACY - GERMANY AND ITS GLOBAL CULTURAL IDENTITY THROUGH THE LENS OF MIGRATION AND GLOBALISATION

This could not be more true in the case of Germany, a nation that is testimony . to the notion that history is on a dynamic continuum of ideological and political change. Since the 19th century, it has experienced what some may call a swinging migration force, wherein the influx of migrants and their impact on german culture has been primarily determined by the political climate that framed society and its ideologies. From 1861-90, as a result of the reductions of transatlantic emigration to the USA due to economic crises, Germany held the largest number of immigrants in the world; approximately 30%. This was due to its vast expansions of high industrialisation and agricultural modernity that drew employable, tax-paying, and often religious migrants who could contribute to Germany’s vast economy, and establish cultural links and reputations on a global scale. The 20th century is a potent example of the intrinsic link between law, migration, and culture, as there are very few historical cases wherein a country’s relationship with the world has been moulded to such an extent by its migration policies. The ‘Century of Refugees’ after the Russian Revolution of 1917, wherein the Weimar Republic became a destination for refugees looking to protect themselves from the implementation of the Soviet system, followed closely by the asylum-opposed National Socialist Party of the 1930s, alludes further to this idea that Germany has been a vacillating player on the diplomatic stage. The 1950s- the present marks dynamic unprecedented shifts in migration and globalisation policies, from the ‘Economic Miracle’ of the Federal Republic in the mid-1940s, the intake of ‘guest workers’ in the 1960s, and the political climax of the end of the Cold War and fall of the Berlin Wall in 1989, which all revolutionised the image of Germany as a significant player in international relations.

Cultural diplomacy is an inevitable outcome of such an intense history, leading to the need for Germany to use its newfound stance as a destination for multiculturalism. This article explores to what extent Germany has achieved this goal, and will cover a global span ranging from Europe, Africa, and East Asia and these examples will demonstrate how Germany uses culture to remedy itself from its recent turbulent history. More significantly, what does the role of contemporary migration and globalisation policy play in the advancement of cultural relations? Can it be determined that the efforts exalted by German diplomats represent a final push in the field of cultural diplomacy?

THE SIGNIFICANCE OF THE GOETHE INSTITUTE

Discussing the growing vastitude of german cultural diplomacy without crediting the work of the Goethe Institute (founded in 1951) would be to abandon the nucleus of the country’s foreign cultural relations. The aim of the institute is mostly to promote the learning of the German language and traditions abroad, to establish harmonious connections with leaders and diplomats. The name ‘Goethe’ itself directly evokes the historical connotations of the infamous writer Johann Wolfgang Goethe (1749-1832), whose employment of the term ‘Welt-Literatur’ was used as an opposing force to the budding nationalism of the Napoleonic Wars. Goethe instead demanded a transnational amalgamation of literature, which viewed the literary world as a ‘totality’ that transcended nationalistic and linguistic boundaries. His emphasis on the need to read literature from countries such as China, England, and India symbolised a refutation of the growing number of xenophobic, nationalistic german poetry in the wake of the Napoleonic Wars in 1812-16. Therefore, the Goethe Institute has successfully preserved this global cultural sentiment, which characterises its lasting influence on the international stage. A fascinating documentary by Deutsche Welle entitled ‘The Last Cultural Diplomat’ explores the work of Klaus-Dieter Lehmann, the president of the Goethe Institute in Germany from 2008-2020, who reshaped the notion of cultural diplomacy in Germany in his 12 years as leader. His emphasis on the need for liberalism, civil society, and democracy as the foundations for prosperity highlight the significance of cultural exchange as a medium of the global confederacy, a timeless quality that symbolises a refreshing humility in an age of vicious political ambition. He states, ‘We are seeing an oversimplification of things and a brutality in disagreements..we need to create a politics that is free and liberal..and we need a cultural education.’ Cultural diplomacy, therefore, is in itself a form of politics removed from its Machiavellian principles; instead, it is a science of cooperation and preservation on a global scale.

Interestingly, the Goethe Institute was founded in a period where migration dominated domestic policies. The 1940s-50s marked the sudden upsurge in post-war migration, wherein over 8 million inhabitants in the Federal Republic, and 3.6 million in the GDR, were either refugees or ‘ Die Vertriebene’ or expellees from eastern and central Europe. Thus, the institute was founded based on a necessity for cultural cohesion, requiring Germany to maintain peaceful foreign relations to ensure its domestic stability.

EUROPEAN CULTURAL DIPLOMACY: GERMANY AND ITALY- AN ATTEMPT TO RECONCILE TWO NATIONS?.

Very few times in history has there been such an interdependency and collaboration of two nations- Germany and Italy have essentially ridden the potholed path of politics together, their ‘must-win mindset’ of economic policy and prosperity marking the origins of European power politics.

Both countries were founders of the European Coal and Steel Community in 1950, and have experienced similar revolutions in state affairs. For example, the formation of the German Democratic Republic in 1949 closely followed the Partito Comunista Italiano in 1921, and both nations experienced immense capitalist economic acceleration after WW2, leading to a collective monopolisation of resources and sharing of a common political passage.

The fascinating impact of these inter-European relations is shown, however, through the sequential migration patterns between Italy and Germany from the mid 20th to 21st century. From 1955, the German Commission introduced Italian ‘guest workers’ into its labour market, essentially providing temporary labour work, leading to a boom in Italian immigration. Whilst this began as mainly short-term labour contracts and rotations, however, led to an abandonment of this bilateral treaty at the end of the 1960s and the creation of the 1961 Rome Treaty, which allowed freedom of movement to Germany for members of the European Common Market. Since then, Italian- German migration has certainly experienced fluctuations and has taken place in several waves after the Anwerbestopp (recruitment halt) of 1973, however on the whole, since 1965, there has been a positive net migration of 95,000 Italian migrants to Germany per year. Particularly since 2012, approximately 1,080,936 Italians have migrated to Germany, and 24 % of migrants were in the age bracket of 18-24, showing an increasing young interest in cultural integration. In covering such an expansive data set of migrant statistics, the evidence of its influence lies in how cultural exchange and diplomacy between Italy and Germany has developed.

Surprisingly, despite such close integration between the two countries, there has been a pattern of rising tensions in the last few decades, interestingly for the very reason that there is such close geographic and political distance between them. The ‘euphoria’ of a single shared currency led to changes in collective reliance on the North American market, along with the pre-existing struggles of language barriers and cultural differences.

Stefan Ulrich of the Süddeutsche Zeitung sums this up exceptionally by describing German-Italian relations as resembling ‘an old-married couple’- there is nothing particularly hostile between them per-say, but that fiery passion of political diplomacy in the 20th century has withered away into a relationship of nods of acknowledgement. Is this accurate? Perhaps from an economic and political point, yes. For example, the very different approaches to monetary policy, where Germany takes a more rigorous, defensive stance than Italy demonstrates this feeling of growing distance.

However, as a result of fluctuating Italian migration in Germany, cultural diplomacy remains one of the last standing threads of affiliation. This is demonstrated by the vastitude of artistic influence in both Germany and Italy, where the political journalist Germany’s modern museums and cultural structures act as a paradigm of attraction for D. Desseri describes artists as the ‘cultural diplomats of their national sensitivities’. Italian artists and architects, whilst Germany is a traditional host destination for major cultural diplomacy is the Berlin National Gallery, which is embellished with the work Italian brand events such as Armani and Valentino. A specific example of artistic, of both ancient and contemporary Italian artists. The Italian Embassy in Berlin and the connection between migrants and natives. One prominent example was in November Italian Culture Center have also organised numerous programs to strengthen the 2017, where the Italian Embassy held an international education conference to offer education in Germany. This reveals the growing reconciliation between the two resources and advice to Italian students who are interested in pursuing higher countries, as the youth see Germany as an inclusive, multicultural, and thriving society themselves in such a diverse education system. The event consisted of Italian educators which would make the perfect destination for Italian students looking to immerse

who had worked in Germany and how their migration proved vital to their career the successful outcomes of german migration policy, its ‘Willkommenskultur’ and prospects and exposure to new companies and organisations. Italy, therefore, resembles desire for new refreshing contributions to its society creates a feeling of harmony amongst underlying ‘hard power’ political and economic tensions

AFRICAN- GERMAN CULTURAL DIPLOMACY: NAMIBIA AND GERMANY- A REMEDY FOR PAST MISTAKES.

An outstanding moment in Lehmann’s career is documented by his visit to Namibia in southwest Africa. What distinguishes Namibia from relations with other countries is Germany’s colonial history in the region between 1884-1915. Thus, German-Namibian cultural diplomacy is not just a means of cooperation and friendly artistic exchange, but also a much more powerful means of establishing strong connections in recognition of Namibia's turbulent history. One particular historical event that has driven the need for Germany to involve itself in with Namibian culture and society today is the 1904-08 attack (often termed ‘the forgotten genocide of the 20th century) on the Namibian population, which resulted in over 100,000 victims due to government-sanctioned extermination to eliminate opposition to german settlers. In 2015, the Berlin alliance ‘Völkermord Verjährt Nicht’ presented a petition to the German government to acknowledge its colonial massacres in Namibia as a genocide, leading to increased government dialogue and diplomacy with descendants of its victims, depicting what R. Schellenberg terms ‘a transparent process of reconciliation’. Here the boundaries of ‘soft power’ have been transcended as a way of healing the wounds of the past, and the government's direct involvement in ensuring Namibia can involve itself in german culture presents german cultural diplomacy as an absolute necessity.

Several examples are indicating the expansive cultural exchanges between the two regions; Namibia has also adopted the famous german Oktoberfest and Windhoek Karneval in March and April, which consists of royal balls and parades through the city. Besides, architecture in Namibia also closely resembles that of Germany, with its Romanesque and Gothic buildings. An example is the Christus Kirche, designed by German architect Gottlieb Redecker- the building has an almost flower-topped shape and a German-inspired symmetry, yet its colours and layout blends seamlessly with the warm and sandy background of the Namibian streets, symbolising a sense of intersection between the two cultures. Literature and language are also powerful means of manifesting successful cultural diplomacy and this shown through Lehmann’s visit to the Namibian Goethe Institut, in which the learning of the German language is encouraged and popular amongst young people. Lehmann emphasises his need for cultural collaboration through language by stating that ‘Africa changed the way [he] saw the world’ and that only through the linguistic and artistic exchange can the knots of the colonial past be resolved. In 1990, the use of literature to transfer ideas from Namibia across to Germany was shown by the Namibian writer Giselher Hoffman, who wrote several fictional books in the German language. He aimed to use literature as a means of ideological-cultural diplomacy, and his book Die Verloren Jahre, which was published a year after Namibian independence, highlights the sensitive and psychological need for german post-colonial consciousness. The novel tells the story of seven married couples and deals with the themes of national identity, emancipation, and belief. Hoffman intended for these novels to reach not only a Namibian audience but also a German one, essentially using recent political history to create a sense of cultural and humanistic affiliation. The insightful illustrations of hope, fear, and estrangement in the novel make it an embodiment of the notion of cultural exchange and diplomacy itself; it widens an understanding of a nation's history and future desires and cements a shared cultural understanding that functions beyond nationalistic boundaries.

Hence, German-Namibian cultural diplomacy is one that is founded on the complexity and unique colonial history, which makes its cultural exchange and awareness as the binding and healing force between the two nations. Cultural diplomacy is more than a political act; it is also a restorative power.

EAST ASIA AND GERMANY CULTURAL DIPLOMACY: THAILAND AND GERMANY- WHERE MIGRATION MEETS INNOVATION.

Migration patterns between Thailand and Germany indicate a growing obligation to exchange diplomatic ideas through culture and art, primarily down to the work of the Goethe Institut. It is perhaps fascinating that two such geographically and culturally dissimilar countries have found a way to use migration as a spring-board into closer relations, acting as evidence of the steadfast nature of ‘soft-power’ as a global force. One need only look at the impact of migration policy in Germany and Thailand in recent years: according to the Statisches Bundesamt, approximately 59,000 Thais migrated to Germany in 2013, and the introduction of Merkel’s immigration Bill in 2015 had resulted in over 1 million East-Asian migrants reading in Germany in 2017. Only earlier this year, Lehmann demonstrated the need to maintain these ties by travelling to Bangkok’s Goethe Institut, to celebrate the Thai partner’s (one of the largest Goethe Institutes in the world) 60th anniversary. What may be deemed as an extraordinary undertaking by the 80-year-old in the midst of the coronavirus, is symbolic of Lehmann’s dedication to cement cultural exchange even after his retirement this year. In the inspiring documentary dedicated to Lehmann, he discusses the principles of cultural diplomacy and the influence of transnational migration in action when visiting the Hua Lamphong Station in Bangkok, which he describes as a ‘piece of Europe’ modelled on Frankfurt Station.

Architectural parallels are shown through the interior dome shape and giant clocks that mark the centre point of both stations, testimony to the artistic exchanges that have been growing since the 20th century between the two countries. The role of architectural dialogue in German-Thai relations is also shown through the inspiringproject of the Büro Ole Scheeren in Bangkok, which in 2018 completed the landmark building of the MahaNakhon Tower. This metropolitan skyscraper overlooks Bangkokfrom 300 feet. The Germany-based architecture company, which has recently opened two new offices in Bangkok and Berlin, expresses its aim for a more global prospect through the building; the tower stands as a centrepiece amongst what Scheeren (the company director) calls ‘the untamable energy of the city’, with its impression of digital pixelation, referring to the growing technological and communicative growth between the countries, as well as a depiction of ‘ancient mountain topography’ implied through the compelling spiral-like structure of the MahaNakhon. Scheeren’s comments on his motives for designing the building highlights the prevalence of its cultural ties, as he claims the architecture represents the city’s ‘aspirations...as one of the unique and powerful qualities’, and that it embodies the ‘inclusiveness of Thai society’. One can therefore view the tower symbolic of diplomacy- the almost ‘unfinished’ structure of the building as a symbol of the ever- growing and steadfast nature of Thai-German unity and migration, and the unique structure of the building itself as a mark of universal German solidarity with its Thai partner. Despite being only one example, Ole Scheeren reveals through design, his aim to unify such different nations through the force of culture and ‘soft power’, and the MahaNakhon achieves this by standing as an emblem of the success of German globalisation and migration policy in action.

LOOKING AHEAD - CHALLENGES AND SUCCESSES.

There appears to be a certain misconception about cultural diplomacy when it is associated with the term ‘soft power’, as it is deemed less prevalent on the political stage and in international affairs. In a world where technology and economic growth carry a hegemonic rule over policies, cultural diplomacy seems as a sort of plenary task to project an image of global harmony. However, Germany stands as an outlier in efforts to promote it, as through the Goethe Institut and other companies such as Büro Ole Scheeren, new dimensions of cultural exchange are being revealed. The work of Lehmann and other german cultural institutions present this form of diplomacy as an embodiment of global unity and dignity- in Thailand, German architecture and education symbolise a dialogue of respect and combined prosperity; in Namibia, an acknowledgement of past mistakes; in Italy, an amalgamation of the two. This leads to a pending question: Where to from here? The retirement of Lehmann in 2020 and the uptaking of the role of president of the Goethe Institut by Carola Lentz marks a shift in cultural diplomacy trajectory. 2020 itself has presented numerous unprecedented challenges that Lentz has recognised as a duty of german society to combat, such as the rise of populism, racial injustice, and the impediments created by the pandemic.

With regards to political challenges such as populism and race, Lentz describes her new appointment as President as exceptionally vital, as she is now faced with the task of promoting a multicultural dialogue and a ‘protected area’ of free discussion that deals with the role of migration and history as contributors to cultural exchange. The pandemic offers further adversity, as Lentz apologetically admits that unlike Lehmann, her opportunities to travel to the many Goethe Instituts around the world have become limited. Yet, the use of digital communication is an invaluable instrument to retain the successful connections that Germany has made with her counterparts in the last few decades. Perhaps then, 2020 will be a test of the real power of cultural diplomacy. Will it falter in the face of adversity, or remain a humble force for good in a politically unstable world? Very recent events in migration threaten to create broader concerns in diplomatic relations; for example, the decision for the German government to intake the thousands of refugees on the Greek Islands, and the continuous influx of migrants from countries such as Syria and Turkey. Both Lentz and the german government as a whole are faced with the enormous task of not reducing such events down to political pragmatism, but sustaining a humane sense of cooperation between such people and countries, to allow German society to retain its reputation as one of diversity and inclusivity. Thus, we can only look ahead to see whether Angela Merkel’s claim in 2010 that ‘German multiculturalism has utterly failed’ remains accurate, or whether Germany has successfully positioned itself as the world’s ‘last cultural diplomat’.