Art & Culture as a Means of Diplomacy
In this post, we will explore ideas and possibilities to explore for cultural diplomacy taking India and Italy as a case study, with the aim of building of long-term relationships between the two countries.
While India’s connections in Europe have been stronger with the UK due to the colonial connections, Italy has more recently tilted towards China for economic considerations. However, it is in mutual interest for both to reach out to each other in a post-Brexit post-Pandemic world. First, it is important for both not to merely think of culture as a transactional ‘soft power’ tool. Rather, it needs to be seen as an enabler for finding common ground and establishing mutual understanding which then forms a platform for win-win collaborations across a wide range of areas, both cultural and economic. Both the countries have an ancient past, a rich tradition of food, music and culture; and a paradoxical attachment for traditional values rooted in family and community in the face of modern individualism and globalisation. It is only meaningful that a relationship for the future between the two is rekindled by shared memories of the past.
India was one of Ancient Rome’s most valued trading partners, with a thriving commerce forged between the two through both land and maritime routes. Roman imports ranged from treasures of daily use like spices, herbs, cotton textiles and indigo to items of luxury like ivory and precious stones, while a major export was wine. In the Gabinetto Segretto of the National Archaeological Museum in Naples, one can find the ivory statuette of a Yakshi, a female tree spirit that symbolises fertility in Indian mythology. It was excavated from a merchant’s house in Pompeii. Likewise, in India, in places like Arikamedu off the coast of Pondicherry, excavations have revealed items like Amphorae and fine Arretine pottery, establishing it as a key port for trade with ancient Rome. Today the site unfortunately lies neglected, under constant threat from predatory sand miners and the sweep of urbanisation. A good starting point would be acknowledging the same and initiating a dialogue for joint excavation, conservation and exhibition projects at the site. Another ideal starting point can also be a joint exhibition on Indo-Roman trade and shared histories co-curated by the National Museums of both countries. Institutions like the Uffizi Gallery and the Capitoline Museum are rich repositories not just in their collection of art and antiquities but in the knowledge of their conservation and exhibition, sharing of which would greatly benefit the Indian museums in their effort to preserve and showcase their own.
The Kochi Muzhiris Biennale in India was started in 2012 and receives more than 600,000 visitors making it one of the most popular art event destinations in Asia. A sister partnership with the Venice Biennale, which was one of its inspirations (reflected also in the fact that the creators chose to adopt the suffix ‘Biennale’ rather than the expected English ‘Biennial’) would be highly synergistic. While Kochi would benefit from learnings on areas on how to globalise its design and appeal and use the event to promote tourism, Venice can take a leaf out of Kochi as to how to take it self more inclusive and diverse while improving its access to the pool of emerging artists from South Asia. Collaborations can be artistic, curatorial, administrative or strategic with its respective mutual benefits. Likewise, on the commercial front, the India Art Fair, which was till recently co-owned by Art Basel presents an opportunity to MIART in Milan or Artissima in Turin to explore partnerships with, which will allow Italian collectors access to the best of Indian contemporary art and galleries and vice versa.
Art Residencies are another underrated but very useful means to encourage cultural exchange and cross-pollination of ideas. They provide an opportunity for artists from both countries to visit each other and incorporate cross cultural influences into their artistic practice while fostering appreciation of each other’s cultures. In 1960, Francis Newton Souza, one of India’s foremost modern artists, once attended a residency on an Italian government scholarship but such initiatives have been rare on either side. Both countries today have well established art foundations, privately run museums and independently run art residencies which can come together to further this aspect.
Since the lockdown, there has been an exponential growth in virtual platforms online and use of digital technologies which can act as a catalyst for international collaborations by eliminating geographic boundaries. Virtual Reality based tours like the ones recently started at the Domus Aurea in Rome are a clear opportunity for Indian archaeological sites and museums to replicate and integrate into their experiences. India is a globally recognised technology hub and collaborations can help the art and culture sector in both countries identify the right partners who can deliver technology solutions at lower costs, while incorporating insights on visitor experiences. Using 3D projection techniques or immersive technologies like VR and AR will enable Italian museums to make their art and cultural objects accessible to Indian audiences in an engaging way, while reciprocally the Italian public can experience Indian history and culture.
In conclusion, cultural diplomacy between Italy and India has been relatively unexplored in the past but offers immense possibilities going forward. It will require long term commitment, funding and the involvement of the respective ministries of culture and tourism as well as museums and departments of archaeology; but the outcomes can make the effort worthwhile. When the pandemic subsides to usher in a new normal, a good starting point would be to identify pilot projects of symbolic value like excavation and conservation of historic sites with shared history or a joint exhibition on Indo-Roman trade. Finally, it also needs to be kept in mind that cultural diplomacy is not the exclusive domain of the government. On the contrary, it is fertile ground for private institutions, art patrons and citizen diplomats to make a lasting difference.
The original was published in Italian in Art Fond, Rome based Fondazione Ducci’s Art Journal.
