Isreal Samuel,
Department of History and International Studies
Federal University Lokoja
Kogi State, Nigeria,
Abstract
The economic relations between Nigeria and nations of the world have given rise to multi-faceted socio-cultural relations. Over the years, Nigeria has grown in space with economic activities at the centre stage of its bilateral relations with other sovereign nations, the world over. While it is a truism that Nigeria establishment of diplomatic ties with other sovereign nations is in furtherance of her efforts to promote cooperation among countries of the world in a wide range of areas such as trade, investment, technical cooperation, industrialization, energy, food and agriculture, and technology; the pattern of bilateral interaction of Nigeria has impacted markedly on the area of cultural diplomacy. Pertinent questions however are to what extent has Nigeria involved in cultural diplomacy with the countries of the world? What are the contending issues and benefits arising from such cultural relations? This forms the thrust of this paper. The paper interrogates Nigeria cultural diplomacy with the aim of articulating the benefits arising from such relations. Essentially, the paper argues and also demonstrates that despite some challenges in pursuit of foreign policy, Nigeria has been able to benefit from cultural relations with the rest of the world. The paper adopts a multidisciplinary frame of analysis employing both descriptive and narrative tools at arriving at a conclusion.
Keywords: Diplomacy, Cultural Diplomacy Foreign Policy
Introduction
Genuine intellectual discourse in contemporary international relations will not be complete without taking into cognizance the place of culture as a crucial component in inter-state relations. This is based on the fact that the global society itself is a composition of diverse cultural identities with long histories that predate the current age.[1] Culture plays key role in the enhancement of the image of a country by directing the perception of its recipients to areas that will enable a better understanding of its values.[2] This explains the imperativeness of cultural relations among independent nations of the world. Through cultural exchange, individuals from distinct cultural backgrounds can also learn to appreciate and cherish the values in other cultures. As a matter of fact, the volume of human relations, (Internationally), drastically increased and consequently, ideas, values, customs, culture and attitudes of societies became diffused across International borders necessitating cultural relations among independent nations of the world. Indeed, the emergence of sovereign states and the later interdependence of same further create the opportunity for cultural relations across borders. Unarguably, the interdependence of sovereign states unifies the world peoples into one orbit and has drastically increased inter-state relations with culture serving as platform for such relations. For Nigeria, her contact with the outside world through the instrumentality of diplomatic ties enhances its cultural relations.
Cultural diplomacy is an integral part of diplomatic activities of almost all states in today’s global politics. Although this specific dimension of diplomacy is attached with growing importance in last decades, it can be still considered the most underestimated area of diplomatic activities of states, particularly in comparison with economic or defence diplomacy. Therefore, an aspect of diplomatic relationship that is of great importance cannot be said to be inconsequential and unworthy of intellectual interpretations. Besides, culture has been adjudged as “a powerful global economic engine generating jobs and income with a value of US$1.3 trillion in 2005”, while in 2007 forty percent of global tourism revenue is said to have come from cultural tourism.[3] The study seeks to identify the crucial aspects of Nigeria cultural interactions with the global community. To achieve this purpose, the paper proceeds in segments as introduction, conceptual and theoretical analysis, perspectives on Nigeria’s Cultural Diplomacy, contending issues in such cultural relations and conclusion.
Conceptual and Theoretical Analysis
The concept used in this study that demands clarification for better understanding of the argument here is the concept of cultural diplomacy. Perhaps, the concept of cultural diplomacy would be better captured with a fore understanding of the terms culture (which is explained in terms of the tradition of a people, their arts, customs, and beliefs), and the concept of diplomacy. Taylor define culture as the complex whole which include knowledge, belief, art, law morals and custom and any other capabilities acquired by man as a member of the society 1871. A culture is the beliefs, way of life, art, and customs that are shared and accepted by people in a particular society.[4]
From the above definition it means that culture entails the totality of a people’s way of life which include, but not limited to, their dietary habit, religion and worship system, mode of dress, burial system, technology, marriage and civilization thus, Uchendu observes that culture is the basic idea that gives a society its identity and binds it into one.[5] The Nigerian Cultural Policy categorized culture into material and non-material forms. The former refers to physical items such as beads, bracelets, and clothes that are associated with a group of persons, while non-material culture refers to the ideals, norms and values of a given people.[6]
The term diplomacy is given several meanings and interpretations by scholars of international relations and politics such that none is generally accepted in explaining the concept. Diplomacy is both “a category of practice and a category of analysis”[7], meaning that contemporary definitions of diplomacy are broad and differentiated along epistemological and methodological boundaries. A charming characterization, although heavily criticized Satow define diplomacy as the application of intelligence and tact to the conduct of official relations between the government of independent states.[8] McDermott, another leading scholar in international relations sees diplomacy as “a science which permits its practitioners to say nothing and the shelter behind mysterious nods of the head […] a science whose most successful exponent is he who can swim with his head above stream of events he pretends to conduct.”[9] More elaborately, Plischke define diplomacy as […] the political process whereby states establish and nurture official inter-relations, direct and indirect, to pursue their respective goals, interest and substantive and procedural policies in the international environment.[10]
For the purpose of analysis, diplomacy is conceptualized to mean the political process by which political entities, generally states, conduct official relations with one another within an international environment. It is a mechanism designed to establish and maintain networks and relationships among traditional and new actors in the pursuit of shared interdependent goals.[11] Arising from the above analysis on the concept of diplomacy, cultural diplomacy is therefore conceptualized in this paper to mean, the promotion of cooperation among cultural subjects from the sending state and the receiving state. In practice, this can be carried out mostly by means of providing information to cultural subjects in one (sending) state on the possibilities of establishing contacts and cooperation with “parallel” cultural subjects in the second (receiving) state and vice versa.[12] Cultural Diplomacy is a part of diplomacy that emphasizes on cultural understanding as the basis for dialogue and trust. The act has become a world industry with legal foundations and comprehensive set of conventions enshrined by Vienna Conventions on Consular and diplomatic relations. Many governments enshrined the approach to cultural diplomacy within a foreign policy document and appoint a Foreign Minister to lead its implementation. An important aspect of the Foreign Policy is operated within the framework of its strong cultural foundation. In addition, Hagher sees Cultural Diplomacy as a soft power approach that has become recognized as a way of resolving conflicts, building sustainable relationship between countries.[13]
The concept of foreign policy has varied definitions; every scholar has tended to define it in his own way based on the focus of his research. Therefore, it does not have a universal definition. Foreign policy is generally the objectives that guide the activity and relationship of one state in its interaction with other states.[14] Hassan (2006) foreign policy refers to the calculated steps taken by a state which are intended to maximize the opportunities that are available outside the geographical boundaries, while at the same time minimizing the peril that abound[15]
The theoretical framework adopted in this paper as a frame of analysis is the systems theory. Developed in the 1950s, the theory provides a useful basis for both theoretical and practical analysis. The main proponents of the theory are James Rosenau, McClelland, Morton Kaplan, and Karl W. Deutsch. Rosenau, one of the proponents of the theory “has suggested that systemic research be pursued not only in terms of local, national and international systems but also in terms of issue areas.”[16] Its underlying assumption is that there is order or system in international relations. It sees nations as being in continuous contact in intricate framework of relationships resulting from the process of interactions,[17] just as Nigeria is interacting with the countries of the world through cultural relations.
A nation’s behaviour, according to McClelland, is a two-way activity of taking from, and giving to, the international environment;[18]this is the main aim of Nigeria’s (cultural) relations. The system theory also emphasizes the significance of the interaction of behaviours of states just as this paper is centered on Nigeria’s cultural diplomacy. The system’s theory also views international environment as a result of diverse actions. International relationships are conceived as the consequences of vast number of particular purposes, intentions, expectations and efforts.[19] As the system theory correctly posits, the purposes, intentions, and expectations of Nigeria in her cultural relations is to promote and maintain cultural contact, hence the suitability of this theory for this paper.
Perspectives on Nigeria’s Cultural Diplomacy
At the centre of Nigeria’ cultural diplomacy are the ministries of Culture and Tourism; Foreign Affairs, Information and Communication. Others are the Nation’ Diplomatic Missions; the National Council for Arts and Culture, the States Ministries of Culture and the Councils of Arts and Culture of each state. In addition, there is Nigerian Television International and external Broadcast of Nigeria’s Voice of Nigeria. There are also the National Troupe, the Copyright Commission, the Universities, the Film Institute, the National Theatre and the National Museum. These public institutions are supported by the civil society of artists, arts and crafts guilds, traditional festivals, tourists’ destinations, and organizations like Society of Nigerian Theatre Artists and Radio and Television Workers Unions. In addition, arts and sport has also become a major cultural, diplomatic tool. Nigerian footballers have been celebrated all over the world. Often, Nigeria wins at international sports competition and football has almost become a national ideology for unity. The following figures are Nigeria’s cultural ambassadors: Kanu Nwankwo, Austin Okocha, Mikel Obi, Francisca Ordega, Victor Osemen among several others. All of these have projected Nigeria’s soft power and cultural diplomacy in the international arena.[20] A more dynamic form of Nigeria’s cultural diplomacy is emerging from her citizens. For instance, many of Nigeria’s new musicians like 2face Idibia, Dbanj, and Whiz Kid, have projected Nigeria beyond her borders. Nigerian musicians have toured the world and showcased Nigerian talents and thrilled fans. Fela Kuti has become a global icon of music for liberation. The National Troupe of Nigeria, the Benue State Dance Troupe Afiziri Dance Troupe have consistently toured and performed in foreign countries extending a hand of friendship to the world.[21]
Nigeria cultural diplomacy is often best portrayed through her embassies, where Nigerian mission opens up dialogue with host nations by showcasing Nigerian culture through exhibitions and performances. For example, the country’ first official cultural diplomacy with China and Malaysia came with Nigeria hosting the Anhui Acrobatic Troupe from China in the first quarter of 1980 which China reciprocated by hosting Nigeria Women Basketball team who were in China for two weeks play tour.[22] Cultural exchange between the two countries, further received boost following series of exhibition on the economic and cultural life and the performance of Acrobatic troupes from China at the National Theatre in 1983 and 1985 respectively. The exchange of visits by the two countries’ Ministers of culture in 1983 and 1984 were most significant as they facilitated the signing of two working programmes by their representatives.[23] It suffice right to say that, cultural contacts between Nigeria and China have been on the increase as many Nigerians acknowledge the country’ long-term links with China, and the presence of a huge Chinese community in Nigeria.[24]
Furthermore, Nigeria was able to sign Cultural Agreements with many nations of the world. There are two types of Cultural Agreements namely: the necessary Agreement and the Programme of Exchange. The basic Cultural Agreement is the general direction through which two countries want to relate to culturally. In the Cultural Agreements with France, Morocco, Venezuela and Gabon, one fundamental deferrable is observed. The basic Agreement includes cultural, educational, scientific and technical cooperation and exchange. However, the content of the agreements with the other sample countries give prominence to the performing arts. In all the Agreements concerned, the countries agreed to exchange theatre groups, performance and personnel.[25] The mass media is also treated as a means of cultural diplomacy, distinct from the theatre in the Agreements. Since 1970 when Nigeria signed her first cultural agreement, there has been an increase in the number of such agreements with various countries. About fifty (50) of such agreements exist. Individual features and patterns have emerged through which these agreements can be evaluated. It has been observed that cultural agreements of any country are directly involved with the foreign policy objectives of such countries. The phenomenon is discernible in one of the declared intentions of Nigeria’s policy thrust – a pre-occupation with Afrocentricism and black in diaspora. The number of cultural agreements with African and blacks in Diaspora aligns with the declared intention of Nigeria’s foreign policy.[26]
Apart from China, Nigeria also developed cultural diplomacy Malaysia. In the pursuit of social and cultural integration, Nigeria and Malaysia took special interest in their affairs by introducing a number of measures to achieve this goal. The two nations support the exchange of experiences and information on literacy, professional training and employment. Mutual cooperation in the promotion of sporting activities with a view to bringing together the youth of Nigeria and Malaysia with the aim of ensuring their balanced development; likewise, promoting a continuous strengthened cooperation amongst themselves in health matters and related fields evolve.[27] This relation has helped in the setting up of a number of associations within its jurisdiction. The Nigeria-Malaysia accords have occasionally attracted football competition for football clubs that emerge as runners-up in their various national leagues under the management of the West African and South East Asia Football Union.[28]
In the promotion and development of cultural integration, Nigeria and Malaysia in order to facilitate cultural relations have signed Economic, Scientific, Technical and Cultural Cooperation Agreement (ESTC) in 1990, which was aimed at fostering cooperation in areas of science and technology, culture, economy, and capacity building.[29] To this end, member states pursue the promotion of learning and dissemination of a language as a factor in community integration and unity; establish where necessary, structures and mechanisms for the production, propagation and utilization of cultural industries within the area of agreement. Moreover, in March 2001, Nigeria signed a Declaration on the Principles of Friendly Relations, Partnership and a Programme on Cultural and Scientific Cooperation with Malaysia.[30] It is instructive to stress that Nigeria and Malaysia have common social cultural background which necessitate these cultural contacts.
Contending Issues in Nigeria’s Cultural Diplomacy
Development experts and scholars especially historians, political scientists and cultural anthropologists have often criticized Europe for under-developing Africa. While these allegations are cogent, given Africans unsavory history of slave trade, colonialism and neo-colonialism, the growing cultural diplomacy raises a spectre which if, not addressed urgently, might lead future scholars to grumble again. For instance, the current trend in Nigeria’s relations with China is laden with strategic cooperation and collaboration as well as mutual cooperation.[31] However, a dispassionate analysis of cultural diplomacy shows an equation that replicates a similar one the West had with Africa which led to cultural imperialism. Using China as a point of discussion Liu captures it that:
The broad outline and intended goal of China’ Cultural Visitor Programme was to promote mutual cultural understanding the intention and the underlying assumption were very prominent…and the goal had also been transformed from tentative cultural understanding to cultural industry cooperation Culture in its own right was discussed only when it might go against development and as something to be mobilized as a valuable resource for development. This trend is a logical extension of the priority of the present Chinese domestic cultural policy: to develop the cultural industry.[32]
From the above submission, there is no doubt that Africa’s market for China’s cultural products is still very uncertain. Objectively, the language and cultural barriers to be conquered within the trade in cultural products are huge.
Given China’s standing, it is surprising and worrying that culture does not receive more attention across government and that, as a nation, Nigeria is under-investing in her cultural infrastructure, which has been giving China an edge over Nigeria. If Nigeria’s cultural institutions are to maintain the inspirational role that they have, there is need to replenish and nurture them. Cultural connections and cultural relations cannot be sustained in the face of threatened funding cuts. Some of her institutions are unable to add contemporary work to their collections and repertory so cannot reflect the changing makeup of the society, let alone maintain their position as an up-to-date global resource relevant to balance her relations with these two countries in particular and the global community in general.
Another major challenge of Nigeria’s cultural diplomacy with some countries whose official language is not English is in the area of language understanding. Language constitutes an important aspect of culture that not only enhances but facilitates cultural relations. Language apart from been a symbol of cultural identity, it is a medium where people communicate and interact with others. Without language, it is impossible for a people of different cultures to interact with each other. Anyogo describes language as “an umbilical cord or better still, a Facebook web that connects people of different origins, races, cultures etc in the world.”[33] With the benefit of language understanding, it becomes easy for parties to interact in a web of intergroup relations even across national borders. However, given that there exist difficulty by majority of Nigerians to speak and understand certain languages like China during cultural interface, the benefit of cultural diplomacy will continue to elude Nigeria. This explains why the Chinese economic attaché once remarked that […] China finds it easier to bring some Chinese workers like Managers, Accountants and Secretaries who could send the report of the progress of the work back to Chinese government or the home company written in Chinese language until Nigerians is able to understand Chinese language.[34]
Another contending issue in Nigeria’s cultural diplomacy especially with China is the creation of Chinese separate towns in some Nigerian cities for example, Lagos. The creation of separate residential areas for Chinese people in Nigerian towns will not encourage harmonious interactions between Nigeria and China. Rather, it will encourage separatist tendencies. Like during the period of Nigeria’s colonial experience, the establishment of separate towns for China would possibly arouse resentment in a way which would affect the nature of relationship between Nigeria and these countries through cultural interface. This is possible, should the people in the cities in which Chinatown is established began to feel that government is not interested in the plight of the local people like their Chinese counterpart especially, the disparity in the availability of basic social amenities. Indeed, this separation has the tendency of generating ethnic exclusiveness and particularism which is unhealthy for cultural relations.
Unequal economic development between Nigeria and these countries constitute another impediment to cultural relations between them. It should be borne in mind that Nigeria ties generally are premised on economic factor; cultural relations seem to be an added impetus to these robust bilateral ties. Given that Nigeria’s economic growth as a third world country, is not at par with that of her allies, there is every tendency that in near future, foreign cultures will subsume that of Nigeria since the economy is the defining factor in international relations in the contemporary period. Therefore, in order for Nigeria to benefit immensely from her cultural relations with the rest of the world, emphasis should be placed on developing Nigeria’s economy that is capable of competing with the rest of the world.
Conclusion
The intense interconnectedness of the global system and its far-reaching implications on the policies of a state, in relation to other states, necessitates the establishment of some degree of strategy in their interactions with others for the pursuit of crucial interests. The means through which such relationship is conducted is called diplomacy, and it arises out of the coexistence of a multitude of independent states in an inter-dependent world. For Nigeria’s interests, in the context of diplomacy, to be optimally promoted, the country need to adopt activist stance in public policies involving arts and culture. This requires an understanding of how culture affects her relations with other countries and her competitiveness in the world economy. It is the position of this essay that the future of Nigeria’s Cultural diplomacy cannot be sustainable without a robust overhaul of her domestic institutions of culture that underpin and give expression to Nigeria’s cultural policy and cultural diplomacy.
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[1]G.I. Sheriff, E. Adie and N.L. Obiagelli “Nigeria-China Cultural Relations: Harnessing the Potentials for Tourism and National Development.” Nile Journal of Political Science, Vol.1, No.2, (2019): 15 – 16
[2]D. Stelowski “Culture in International Relations: Defining Cultural Diplomacy.” Polish Journal of political Science,Vol. 1, Iss.3, (2015):61.
[3]UNESCO “The Power of Culture for Development”. France: UNESCO, 2010. Retrieved online from http://www.lacult.unesco.org/lacult_en/doc/The_Power_of_Culture_Developmet.pdf
4Eward Baranett Taylor: Primitive Culture Researches into the Development of mythology, Philosophy, religion, art and Custom Volume 1; Cambridge Liberty collections.
[5]Uchendu quoted in W.T. Uji “Cultural Awakening: A Tool for National Development.” Benue Valley Journal of Humanities, Vol.3, No.2, (2000): 51.
[6]E. Essien and S. Iorza “Global Media and Cultural Domination: Strategies for a New World Information and Communication Order (NWICO) for Africa.” Journal of Globalization and International Studies, Vol.4, No.1&2, (2009): 71.
[7]V. Pouliot and J. Cornut “Practice Theory and the Study of Diplomacy: A Research Agenda.” Cooperation and Conflict, Vol.50, No.3, (2015): 299.
[8]E. Satow A Guide to Diplomatic Practice (London: Longmans, Green and Co. Ltd, 1966), 1.
[9]G. McDermott The New Diplomacy and its Approaches (London: Plume Press/Ward Lock Ltd, 1973), 37.
[10]E. Plischke Microstate the World Affairs: Policy Problems and Options (Washington DC: American Enterprises Institute for Public Policy Research, 1977), 41.
[11]D. Hart and A. Siniver “The Meaning of Diplomacy” in International Negotiation, 26, (2020), 6.
[12]G.R. Berridge and A. James A Dictionary of Diplomacy, 2nd Ed. (Hampshire and New York: Palgrave Macmillen, 2003), 63.
[13]I. Hagher Nigeria: After the Nightmare (Maryland: University Press of America, 2011), 12.
[14] Encyclopeadia Britanica
[15] Hassan A. Salihu. Essay on contemporary Nigerian foreign policy (vantage publisher, 2006), 371.
[16] N.D. Palmer and H.C. Perkins International Relations: The world community in transition, 3rd Revised Edition (Delhi: A.I.T.B.S. Publishers, 2007), xix
[17]E. Agubamah and Z.T. Zasha “China’s Cultural Diplomacy in Africa: The Trajectories, Trends and Realities.” Journal of African Politics and Society, Vol.2, No.2, (2013): 171.
[18]C. Chandra the Analysis of Systems Theory (Beijing: Agna Press, 1986), 19.
[19]Agubamah and Zasha “China’s Cultural Diplomacy in Africa,” 171
[20]Hagher Nigeria: After the Nightmare, 12
[21]Hagher, Nigeria: After the Nightmare, 34
[22]A. Aloa “Nigeria and the BRICs: Diplomatic, Trade, Cultural and Military Relations.” The South African Institute of International Affairs (SAII), Occasional Paper No. 101, (2011), 25.
[23]V.N. Chibundu Nigeria-China Foreign Relations, 1960-1999 (Ibadan: Spectrum Books Limited, 2000), 46.
[24] Chidundu, Nigeria-China Foreign Relations, 1960-1999 46
[25]Chibundu Nigeria-China Foreign Relations, 1960-1999, 46.
[26]Chibundu, Nigeria-China Foreign Relations, 1960-1999, 46
[27]C.A. Kezie and B.H. Amir “Economics Cross-Roads: The Experiences of Nigeria and Lessons from Malaysia.” Journal of Development and Agricultural Economics, Vol.3, No.8, (2011): 368
[28]Kezie and Amir “Economics Cross-Roads,” 368.
[29]I. Bello “An Appraisal of Malaysia-Nigeria Foreign Economic Relations.” European Academic Research, Vol.V, Iss.1, (2017), 758.
[30]O.I. Eme “Unemployment Rate in Nigeria: Agenda for Government.” Academic Journal of Interdisciplinary Studies (Rome-Italy: MCSER Publishing, 2014): 12.
[31] S.O. Udeala “Nigeria-China Economic Relations under the South-South Cooperation.” African Journal of International Affairs, Vol.13, No.1&2, ( 2010): 78.
[32]H. Liu “China-Africa Relations through the Prism of Culture – The Dynamics of China’s Cultural Diplomacy with Africa.” Journal of Current Chinese Affairs, China aktuell, 3, (2008): 27.
[33]C. Anyogo “Language, Literature, Education and Crisis Management in Nigeria’s Democratic Experience.” Journal of African Politics and Society, Vol.1, No.2, (2012), 143.
[34]A. Osundu “China’s Unconditional Aid: For or Against Nigeria’s Development?” VUNA Journal of History and International Relations, Vol.1, No.1, (2013): 335