Arts and culture fuel innovation and need to be at the table in any key strategic conversations about U.S. foreign policy. They also serve as a key component in strengthening our relationships abroad through effective international exchange and economic diplomacy.

Americans for the Arts encourages international cultural exchange between arts organizations and professionals to facilitate peer-to-peer learning and the sharing of common struggles and solutions in the ongoing efforts to ensure thriving arts centers around the world. As a result, we are often asked to join or host delegations of international arts leaders.

Americans for the Arts on the International Stage

As a longtime supporter of international cultural engagement, Americans for the Arts continues to collaborate with global artists and partners through a number of programs and initiatives, including:

  • Americans for the Arts’s expert staff meet regularly for foreign delegations and are available for speaking engagements through our Speakers Bureau.
  • The Public Art Network’s (PAN) annual Year in Review recognizes outstanding public art projects that represent the most compelling work for the year across the United States and around the globe. Click here for the Year in Review database, as well as application information.
  • Americans for the Arts also support international artist and professional exchanges on an ad hoc basis.
Local Arts Agencies (LAAs) Leading the Way

The 2015 Local Arts Agency Census found that 15% of respondents were involved in cultural exchange initiatives or international cultural engagement programs. The majority of those LAAs actively engaged with international partners sponsored or participated in 1 to 5 activities annually, while 2% oversaw more than 10 activities per year. Click here to see more results from the 2015 Census.

The International Cultural Engagement Survey (LAA International Survey) solicited specific information from the Local Arts Agencies that had self-identified as being engaged in international cultural activities through the American for the Arts 2010 Membership Survey. This survey elicited data from 19 of the original 75 organizations (a 25% response rate) and was complemented by in-depth interviews with representatives from select participating organizations.

Ondemand Webinar: Think Globally-Act Locally: How Local Arts Agencies Are Acting on the Global Stage

Moderated by Director of Arts Policy at Americans for the Arts Marete Wester, this webinar is focused on international cultural engagement on the local level.

Cultural Tourism

International travel and first-hand experience with a country’s art and culture continues to grow in popularity. The nations that take an active role in promoting cultural tourism in their countries continue to reap the rewards of their efforts.

Within the United States, cultural tourism has become a powerful means of expressing the uniqueness of the many diverse places and people found across our country. Globally, the travel market has become increasingly competitive. In 2016, over 75 million international tourists visited the United States, spending nearly $206 million in tourism receipts (according to the World Tourism Organization).

The 2012 Office of Travel & Tourism Industries report National Travel and Tourism Strategy put forth policies, actions, and recommendations that promote domestic and international travel throughout the United States. Americans for the Arts continues to work with our nations’ policymakers to advance cultural tourism in the United States. Download our one-pager for some quick facts about cultural tourism in the United States.

Americans for the Arts Resources
  • The National Arts Index found consistently favorable trends for Cultural Tourism

    • U.S. cultural destinations help grow the U.S. economy by attracting foreign visitor spending. Cultural tourism by foreign visitors is, effectively, a form of export by domestic arts and culture industries. The U.S. Department of Commerce reports that the percentage of international travelers including “art gallery and museum visits” on their trip has grown since 2003 (17 to 24 percent), while the share attending “concerts, plays, and musicals” increased from 13 to 17 percent since 2003.
    • The U.S. keeps strengthening its international trade surplus. U.S. exports of arts goods (e.g., movies, paintings, jewelry) increased from $64 to $72 billion between 2010 and 2011, up 11 percent. With U.S. imports at just $25 billion, the arts achieved a $47 billion trade surplus in 2011.

Cultural Exchange

Rising powers, growing instability, and technological transformation create new threats, but also new opportunities. Leveraging civilian, non-governmental, and non-military power to advance our country’s national interests is a cost-effective investment for the American people. International cultural exchange among people living in different countries is a powerful tool for preventing armed conflict and managing crises, as well as a catalyst to spur economic growth. The Quadrennial Development and Diplomacy Review of the U.S. Department of State and the U.S. Agency of International Development calls for the use of civilian power to advance our national interests and to better partner with the U.S. military.

In envisioning a greater role for the arts in cultural diplomacy and engagement, 36 national and international public and private sector leaders met for the 2009 National Arts Policy Roundtable on “The Role of the Arts in Strengthening and Inspiring the 21st Century Global Community”. In light of the power of the arts to transcend differences and communicate across cultures, participants agreed on the need to assert a more visible and active role for the arts in improving the relations between the United States and the world. Five areas of recommendation emerged from the participants' discussions, which represent opportunities for improving public and private sector cooperation and action.

Areas of Focus

While there are many aspects that contribute to successful cultural exchange programs, two issues severely impact the success and growth of such programs:

  1. Inconsistent processing of foreign artists’ visa applications by the U.S. Citizenship and Immigration Services (USCIS)
  2. A lack of funding for the Cultural Programs Division of the State Department’s Office of Citizen Exchanges, resulting in difficulties in cultural exchanges

To learn more about these issues and  how you can help, visit the Legislative Issues Center

Other Resources
  • National Endowment for the Arts Webinars Bringing Foreign Artists to Your Stage Part I and Part II
  • The Artists from Abroad website, created by the League of American Orchestras and the Association of Performing Arts Presenters, provides tools to help artists navigate the visa process.

UNESCO in the USA

The United Nations Educational, Scientific, and Cultural Organization (UNESCO) was founded in 1945 with the mission of “building peace in the minds of men and women” through the promotion of arts and culture, education, and science. Americans for the Arts was named to the U.S. National Commission for UNESCO in 2016, and though the United States will withdraw from the Organization effective December 31st, 2018, the country’s 90+ designations will remain active thanks to local support and activism.

UNESCO’s arts and culture network in the United States is centered on the country’s 9 Creative Cities. Founded in 2004, the Creative Cities Program promotes cooperation with and among cities that have identified creativity as a strategic factor for sustainable development. The international network is currently formed by 180 Members from 72 Countries. Successful Creative Cities like those found in the United States are grounded in local support from their mayor, small business, and private individuals. The U.S.’s 9 Creative Cities represent some of the country’s best locally-driven international initiatives and exchange programming.

Other Resources
  • To learn more about the history of UNESCO and its programs around the world, visit the UNESCO homepage
  • For more information on the UNESCO Creative Cities Network (UCCN), click here

Key Terms and Definitions

Citizen Diplomacy: The concept that the individual has the right, even the responsibility, to help shape U.S. foreign relations “one handshake at a time.” Citizen diplomats can be artists, students, teachers, athletes, artists, business people, humanitarians, adventurers, or tourists. They are motivated by a responsibility to engage with the rest of the world in a meaningful, mutually beneficial dialogue. To learn more about Citizen Diplomacy and how you can make a difference, visit the  U.S. Center for Citizen Diplomacy's website.

Creative Industries: Composed of both nonprofit and for profit businesses involved in the creation or distribution of the arts. In the United States, there are 904,581 such businesses and they employ 3.34 million people. The creative industries are a powerful economic driver as well as contributors to our nation’s cultural diversity, identity, traditions, and innovations. Learn more about Creative Industry Reports.

While Americans for the Arts has not published a report on international models, here are a few resources on creative industries outside the United States.

Cultural Diplomacy: A course of actions that are based on and utilize the exchange of ideas, values, traditions, and other aspects of culture or identity. The purpose of cultural diplomacy is to strengthen relationships, enhance sociocultural cooperation, and promote national interests. Cultural diplomacy can be practiced by the public sector, private sector, or civil society. For more on Culture Diplomacy programming, visit the Institute for Cultural Diplomacy's website.

Cultural Engagement: The active participation of the United States in relationships beyond our borders. Cultural engagement is mainly achieved through arts exchanges carried out for the primary purpose of the mutual transmission of cultural expression and artistic ideas.

21st Century Statecraft: New policies and programs that seek to leverage the power of information networks to support everything from improving healthcare and education to growing economies and expanding participation in government. This also includes new approaches to fostering civil society organizations and post-conflict stabilization work. For a broarder definition visit the U.S. Department of State's web pages.

Public Diplomacy (PD): Supports U.S. foreign policy goals and objectives by expanding and strengthening the relationship between the people and government of the United States and the citizens of the rest of the world. For examples of programs in support of Public Diplomacy visit the U.S. Department of State's Bureau of Educational And Cultural Affairs website.

There are 5 strategic imperatives for PD in the 21st century:

  1. Shape the narrative
  2. Expand and strengthen people to people relationships
  3. Combat violent extremism
  4. Inform policy making
  5. Deploy resources in line with current priorities.

Soft Power: The ability to impact foreign policy and engagement through attraction rather than coercion or force. The term was coined by political scientist Joseph Nye, who identified three pillars of Soft Power:

  1. Political values
  2. Culture
  3. Foreign policy

According to the 2018 Soft Power 30 report – an annual ranking of Soft Power globally – the United States has the fourth strongest overall Soft Power, behind the United Kingdom, France, and Germany. The same report places the USA first in Cultural Soft Power and notes that “it is unlikely America’s global cultural ubiquity will decline anytime soon.”

More Resources

Organizations Working in International Cultural Exchange

 

Promoting International Cultural Exchange and Policy Development

In our rapidly globalizing world, Americans for the Arts believes cultural strategies are powerful agents of change when applied to U.S. foreign relations goals—helping to enhance security, grow our economy, promote mutual understanding, and begin new conversations. Because of our diverse population, we also know that the global community begins at home.

Each local arts agency is unique. Their diversity in community size, geographic location, and types of international programming represent multiple models through which other communities may be inspired, regardless of their individual size or available resources.

The survey of international activity at the local level demonstrates that:  

  • International cultural engagement by local arts agencies occurs in communities of all sizes, spanning the spectrum of large cities with populations in the millions, such as Los Angeles, to small communities like St. Johns, Michigan, with a population of less than 10,000.
     
  • Local arts agencies are annually involved in international engagement and arts-related citizen diplomacy activities across 13 disciplines.
     
  • Communities representing all geographic areas across the United States have forged international connections reaching all regions of the world, including countries like Chile, China, Germany, Ghana, Haiti, Japan, Mexico, New Zealand, Pakistan, and Russia.
     
  • With some notable exceptions in larger communities, the majority of these international interactions are coordinated on less than $25,000 per year.
     
  • The majority of these international programs are motivated by the local arts agency’s mission and are designed to support increased mutual or cultural understanding.
     
  • Local arts agencies are more likely to support international events within the United States than to send their artists abroad. Many of these programs make use of the skills of professional as well as amateur or community-based artists.
     
  • There is no one funding formula. Local arts agencies support their work through a combination of financial sources, including earned income from ticket sales and membership fees, and contributions from corporations, foundations, local and state entities, and international partners.
     
  • Partnerships are critical to success. Local arts agencies collaborate with other cultural organizations as well as with non-arts organizations to support interdisciplinary programming. For example, many local arts agencies have forged strong long-term partnerships with sister cities programs operating in their communities, or with their local public school systems, colleges, and universities.

For more results of the Survey and interviews review the special report Backyard Diplomacy: Prospects for International Cultural Engagement by Local Arts Agencies (LAA) (pdf, 2.3 MB). You can also download the survey questions (pdf, 307 KB).

Trends in Localized International Cultural Connections

Ms. Argy Nestor

HundrEDs of Good Ideas for Arts Education

Posted by Ms. Argy Nestor, Dec 19, 2018


Ms. Argy Nestor

Imagine yourself among over 100 educators from throughout the world whose conversations are focused on innovation! Pinch me—is this real? Over and over that question entered my mind as I traveled to Helsinki, Finland to attend the Innovation Summit planned by HundrED during the first week of November of this year. It was an honor to be invited to participate in the summit. HundrED is a non-profit organization that discovers, researches, and shares inspiring innovations in K12 education, and was born from the notion that in a world becoming increasingly connected and globalized, education can still be very local and isolated in its practices. HundrED has identified 100 innovators for 2019 and highlighted their work so others can learn and apply ideas to their own work. Some of the innovators are working against all odds. But the one thing they have in common is starting with a seed of an idea and figuring out how to impact the learners in their communities.

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Royden Mills

Reflections on a Quarter-Mile Long Public Artwork in Edmonton, Canada

Posted by Royden Mills, Aug 14, 2018


Royden Mills

Resonant Progression is a public art commission that was advertised internationally by the City of Edmonton, Alberta, Canada and completed in September 2017. The story of the young city of Edmonton is a very interesting one, and the concept involved an important inspiration in reference to the role that Dr. Terwillegar and Dr. Oleskiw had in the bridging of a path and calling for Ukrainian, Polish, and European people to follow to come and live in Edmonton more than 100 years ago. There could have been portraiture, or narratives about their lives, but the sculptures were presented with the simple but more universally accessible idea that what is needed in our era is places to contemplate our relationship to nature—and that these sculptures could be clearly places to view from as much as look at

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Dr. Rhoda Bernard

Arts Better the Lives of Everyone

Posted by Dr. Rhoda Bernard, Jun 06, 2018


Dr. Rhoda Bernard

At the Berklee Institute for Arts Education and Special Needs, we believe that the arts better the lives of everyone. This is something other countries have figured out, but we still need to learn it here. We still need to learn to welcome all—including people with disabilities—into spaces where performances and exhibits take place. We still need to learn to broaden our understanding of who can be an artist, and what an artist looks like. We still need to learn how to open up our classrooms to all students and break down barriers to arts learning so that arts education, artistic expression, and artistic engagement can be a powerful, meaningful, and significant part of everyone’s life.

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Destiny Swiderski

Amiskwaciw Wâskâyhkan Ihtâwin :: Community Engagement: Genius Loci of Place

Posted by Destiny Swiderski, Aug 17, 2017


Destiny Swiderski

For an artist, the initial concept for a public art project can be an exciting experience followed by anxious moments of uncertainty. Thinking of a concept that speaks to the public, while reflecting the values of your own artistic expression, is a challenging task. Questions preoccupied me as I conceptualized and created Amiskwaciw Wâskâyhkan Ihtâwin, a three-dimensional gateway/mural located in downtown Edmonton, Alberta. My awareness of Edmonton’s historic role as a gathering place for Indigenous peoples provided an essential clue to uncovering the essence of this special park.

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Viktorya Vilk

Expanding the Arts Ecosystem in Malawi

Posted by Viktorya Vilk, Aug 01, 2017


Viktorya Vilk

Malawi has no shortage of artists. What’s needed is a more robust arts ecosystem in which artists can grow and thrive. There is no question that the arts are critical to fostering human development, establishing identity through shared cultural heritage, bolstering democracy, and protecting human rights. It is high time that international donors and the Malawian government realized that one of the country’s greatest resources—arts and culture—remains largely untapped.

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Gretchen Coombs

Aesthetics of Process in a City Master Plan in Western Sydney, Australia

Posted by Gretchen Coombs, Jul 27, 2017


Gretchen Coombs

The Future of Penrith/Penrith of the Future came out of the C3West initiative (community, commerce, contemporary art), and demonstrates how partnerships between artists, city councils, urban planners, architects, and businesses have resulted in positive social outcomes where communities reimagine urban life, establish relationships to place, and experience what art can be and do outside the museum. The C3West model challenges the orthodoxies of community art by bringing in civic and business partners, tapping into sources of money that would not normally be available to artists.

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Ms. Carly Rapaport-Stein

Shake Shack serves up Public Art in Philadelphia (& around the world!)

Posted by Ms. Carly Rapaport-Stein, Sep 08, 2015


Ms. Carly Rapaport-Stein

Last year, the City of Philadelphia Mural Arts Program and Shake Shack joined forces for Summer Rendezvous, a breezy, bright mural on the wall behind Shake Shack’s first Philadelphia location. Edwin Bragg, Vice President of Marketing & Communications at Shake Shack, took a few minutes to talk to me about the partnership.

CRS: What drives Shake Shack’s giving philosophy, both historically and currently?

EB: Shake Shack’s mission is to Stand for Something Good, which means taking care of each other and our communities. Giving back is an essential to connecting to every community that Shake Shack is in. We have a program called Shack Gives Back, a company-wide community program that recognizes Shake Shack employees for volunteering. We also donate with funds, meals at Shake Shack, and more.

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Mr. Robert Lynch

The Arts Help Us Find Comfort, Peace, and Unity

Posted by Mr. Robert Lynch, Dec 30, 2015


Mr. Robert Lynch

2015 is almost over, and what a year of successes and changes we've had as a country. The unemployment rate dropped to its lowest level in more than seven years; the Supreme Court ruled in favor of same-sex marriage nationwide; a landmark climate change agreement was approved; the U.S. embassy reopened in Cuba after 54 years; and a week ago, the Every Student Succeeds Act passed--a tremendous win for arts education. The arts won a number of other legislative victories too, such as increased federal arts funding and arts-friendly legislation regarding both IRA tax rollovers and visa law along with key successes at the state and local levels.

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Ms. Karen Henry

Vancouver, Canada: Artists Explore Year of Reconciliation

Posted by Ms. Karen Henry, Aug 25, 2015


Ms. Karen Henry

We live in interesting times. In Canada, Aboriginal rights are becoming a primary part of the political landscape. We are embarking on a long journey to recognize injustice and develop new partnership and governance models. The Truth and Reconciliation Commission of Canada was a five-year project established to witness the stories and address the harm done by Indian Residential Schools and to set the country on a path of healing. In the spirit of this project, the City of Vancouver established a Year of Reconciliation from June 2013 to June 2014, working in partnership with Reconciliation Canada. 

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Kit Monkman

Encouraging News

Posted by Kit Monkman, Aug 24, 2015


Kit Monkman

The email crossed the Atlantic on 9th June 2015. My iPhone chimed its arrival into a gloriously sunny North Yorkshire afternoon, and into a conversation with friends and colleagues in the lowering sun.

Dear Kit,

Congratulations! Your project Congregation was selected and recognized in the recent Americans for the Arts 2015 Public Art Network Year in Review. The project was selected by jurors Peggy Kendellen, Laurie Jo Reynolds, and Ernst C. Wong and will be publicly presented on Thursday, June 11th at the 2015 Public Art & Placemaking Preconference in Chicago…” etc, etc.

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Mr. Jeff M. Poulin

What’s Going on Internationally in Arts Education?

Posted by Mr. Jeff M. Poulin, Jun 02, 2015


Mr. Jeff M. Poulin

As we celebrated International Arts Education Week 2015 last week, I have a renewed interest in exploring what is happening around the world in the fields of arts and education; specifically where they come together.

The first International Arts education Week was held in 2012 at the UNESCO headquarters with representatives from all sectors involved including artists, educators, NGO’s and the like. To coordinate global efforts in celebration of the power and impact of arts education, the delegates at the UNESCO general conference approved a resolution designating a week to join together as a global community to celebrate on the 4th week of May annually. This guide book is a great starting place for your celebration.

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Ms. Jordan Shue


Raaja Nemani

An Interview with BucketFeet, A Shoe Company That Believes Art is for Everyone

Posted by Ms. Jordan Shue, Raaja Nemani, Mar 05, 2015


Ms. Jordan Shue


Raaja Nemani

Recently in our travels through the internet, my colleagues and I stumbled upon a young, Chicago-based company that supports artists by collaborating with them to design and sell canvas shoes (reminding us of VANS Custom Culture Contest, going on in schools across the country right now!). We were thrilled to see how explicit the company is in its support of the arts, and were even more excited when Co-Founder and CEO, Raaja Nemani, responded to my email immediately, graciously agreeing to answer some of my questions about such an amazing company.

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Annie Wu

Not Just Pretty: Aesthetics in Social Impact Design

Posted by Annie Wu, Nov 18, 2014


Annie Wu

Annie Wu (2) Annie Wu

Though the practice of design encompasses both form and function, conversation about it often circles around aesthetics—the graphics of the next iOS operating system, for instance, or the sleek lines of the newest Tesla model. In these instances, we assume that the objects are going to work; no one doubts whether or not the iPhone can accommodate newer iOS versions or whether the vehicle can actually carry people. When we discuss design in the social sector, however, this premise is problematic since whether or not a design solution meets a user’s needs can’t be taken for granted.

What role, then, do aesthetics play in social impact design?

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Aaron Bisman

Don’t Dismiss Digital Experiences

Posted by Aaron Bisman, Oct 07, 2014


Aaron Bisman

Aaron Bisman Aaron Bisman

  1. The average American adult spends 11 hours per day with electronic media.
  2. 58% of adults in the United States own a smartphone and 40% own a tablet. Cellphone adoption transcends race, location, and income level.
  3. 73% of adults use at least one social media channel.

These facts help to establish a truism of life today. We live in an augmented reality; for more and more of us, we value and desire digital experiences alongside “real world” ones. And one need not negate the other. Our lives do not only take place in the physical world; why should our experiences with art and culture?

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Alex White-Mazzarella

Public Art; a means for human development - The Artist as Social Animator

Posted by Alex White-Mazzarella, Sep 06, 2014


Alex White-Mazzarella

Alex White-Mazzarella Alex White-Mazzarella

 

It was about six years ago, in 2007, sitting in my small Hong Kong apartment, that I put down ideas for a work practice that would use public art and modern culture as means of developing community and habitat. A practice where the arts would be used not just as an aesthetic to beautify or to activate space, but as productions of communality with the residents of a place and through a process that would open a space for community members to develop and connect. It came from contact with arts in public spaces.

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Ms. Michelle Laflamme-Childs

Diving Headfirst into The New Wave of Public Art

Posted by Ms. Michelle Laflamme-Childs, Sep 03, 2014


Ms. Michelle Laflamme-Childs

Michelle Laflamme-Childs Michelle Laflamme-Childs

What do you think of when you hear the words, “public art?” A figurative bronze sculpture of a local hero or historical figure? Perhaps a large, brightly painted, abstract steel sculpture on your local University campus? Maybe even a landscape painting that hangs in the lobby of City Hall behind Plexiglas?

Well, here are some things that might not immediately spring to mind:

  • A “Dance Bomb” by a contemporary Indigenous dance company1,
  • A large, temporary mandala constructed in a town center from the bread and seeds of local residents, washed away hours later by a large rainstorm2,
  • A 50 foot digital dome showing an interactive immersive video project of a ground-breaking temporary installation by Chinese dissident artist Ai Weiwei and a Navajo artist in remote Navajo Country3,
  • A flock of ceramic birds decorated with words and text of controversial histories or personal stories “landing” in a park or parking lot for a day, then disappearing4.
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