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A Strategic Approach to Public Diplomacy in South Korea
Abstract
Governments across the globe are increasingly recognizing the importance of public diplomacy. In particular, cultural diplomacy is considered important in fostering a mutual understanding between nations. South Korea officially embraced the notion of public diplomacy in 2010 and has since been making extensive efforts to promote its soft power assets. In particular, the Korean government has embraced mainstream cultural contents as tools of soft power. Popular culture from South Korea has attracted a significant foreign audience, first in Asia and later across the globe. The spread of Korean cultural contents is commonly referred to as the Korean Wave, or Hallyu. This paper provides a brief outline of how the Korean government simultaneously has contributed to and benefited from Hallyu. It is argued that the current policy framework for cultural diplomacy in South Korea has two major shortcomings. First, the government has succeeded in developing a strategic approach to cultural diplomacy that effectively and efficiently supports, promotes and coordinates efforts by actors within and outside of the state. Specifically, this paper points to the lack of continuity in public policies, the absence of a control tower and the need to improve collaboration with non-governmental actors. It is recommended that South Korea establish a top-level organization responsible for coordinating efforts by the various governmental and non-governmental stakeholders involved in promoting the country’s public diplomacy. Second, it is argued that Korean cultural diplomacy is highly diversified and lacks a focal point. This paper suggests that the government can benefit from placing Korean dramas at the center of its cultural assets. The structure is inspired by the corporate structure of the Walt Disney Company. Disney regards theatrical films as its core asset, and has built a network of complimentary assets that reinforce and benefit one another. In summary, this paper advocates that South Korea might benefit from a more strategic approach to cultural diplomacy with regards to both actors and contents.
... It is part of the government's communication activities or each individual to achieve a goal set in the international context. Three significant transformations differ public diplomacy from the traditional one [41]. ...
... This change does not imply that the role of government is becoming less important. The researchers point out that diplomacy cannot be carried out efficiently without government direction, where the government needs to coordinate stakeholders, promote related activities, and provide advice [41], [42]. To conclude, the fact that public diplomacy covers a wider range of persons, interests, and strategies from both the communicator's and the communicant's point of view distinguishes it from the idea of traditional diplomacy [39]. ...
span lang="EN-US">This study discussed Darmasiswa program as Indonesia’s public diplomacy effort in the educational fields conducted by the Republic Indonesia Ministry of Education, Culture, Research, and Technology (Kemendikbud RI). Despite its vast opportunities, Indonesia still has difficulties attracting international students compared to various neighboring countries. By analyzing the seven pillars of public diplomacy, supported by international communication and industry 4.0 concept, this study showed that Kemendikbud has considered the seven pillars in public diplomacy in conducting public diplomacy efforts. It is found that Darmasiswa is a state-directed effort designed to enhance favorable international relations through the student movement’s positive experience. The strategy is formed by uses various types of communication channels that support each other’s. The message is also processed by involving policy and rationality by prioritizing consistent, truthful, and credible as part of the main elements. Besides, they form strategies by maximizing cooperation with various parties. In Kemendikbud, the program undertakes audience research and actors from 1st and 2nd track diplomacy as part of its tactics. The program also found that public diplomacy in Darmasiswa program has acknowledged changes in the 4.0 era through new media usage. However, there are still many challenges encountered in the performance of the seven pillars.</span
... The Korean Cuisine to the World program focused to further increase the number of South Korean restaurants around the world, increase investment in the South Korean food industry in expansion, creating lists of public figures, and others. This policy was viewed as an effective way of spreading South Korea's influence to the global community (Istad, 2016). Adding to the massive success of the five strategies, the Korean Wave is still thriving as one of the main South Korean national identities. ...
This research aims to provide the blueprint of how South Korea both state actors and nonstate actors involved in South Korea’s Gastrodiplomacy. This research will provide the details of South Korea government implementation of “Kimchi Diplomacy” in the world and the increases of South Korean Kimchi export. This research uses literature studies to collect all the information and data needed to answer Gastrodiplomacy impact on the South Korean economy. Gastrodiplomacy is a form of South Korea's soft power in promoting culinary culture, especially Kimchi. South Korea's strategy in introducing the world to their Kimchi commodity tends to be carried by people to people. In addition, Gastrodiplomacy is used by the South Korean government as a national branding to the world. This strategy has succeeded in improving the country's economic situation, especially the increase in exports of South Korean Kimchi commodities. South Korea's Kimchi exports have increased since 2011 and reached a tipping point to 144.51 million USD in 2020. This study indicates a relationship between South Korea's Gastrodiplomacy strategy and the improvement of the Kimchi commodity economy.
... Rather than representing contradictory positions, we argue that this duality of global commercial interests on the one hand, and local employment on the other hand, represents an intersecting space worth exploring critically. The global recognition of the Korean film and music industries ( Kwak, 2019 ;Shin, 2009 ) has had direct implications for how Korea defines itself, as reflected in the country's evolving approach to nation branding and cultural industry policies over the past few decades ( Gibson, 2020 ;Istad, 2016 ;Jin, 2014 ;Kim, 2017 ;Kwon & Kim, 2014 ;Oh & Lee, 2013 ). Idols' active and highly visible role in the K-pop industry, therefore, positions them at the heart of the country's shift toward a net exporter of popular culture. ...
With K-pop’s tremendous growth transnationally, scholars have pointed to the industry’s inclusion of singers from different national and ethnic backgrounds, highlighting them as examples of successful glocalization. But there has been little attention paid to how these “foreign” singers, now integrated into the Korean pop music industry, are received within South Korea itself. In South Korea, public attention towards these idols has intensified as a result of the global success of multinational K-pop groups like Blackpink and NCT. The public visibility of these idols complicates South Korea’s image as an ethnically, linguistically, and culturally homogenous nation. This article examines the domestic reception of these idols, exploring the tensions that emerge at the intersection of Koreanness, K-pop, and multiculturalism in South Korea today. Drawing on focus group interviews with Korean K-pop fans as well as Koreans who do not actively follow the industry, the article explicates how foreign K-pop idols alternately challenge and reinforce contemporary everyday South Koreans’ understandings of Koreanness.
... The role of people-to-people exchanges has been examined in the context of education (Yun, 2014;, sports (Kim & Lee, 2009;Kim, Lee, Choi & Lim, 2016;Lim, Chang & Kim, 2014), NGOs (Ayhan, 2018;Han & Yang, 2017), and think-thanks (Paik & Yang, 2018). The evolution of Korean public diplomacy has been accompanied by studies that critically evaluate the government's approach (Cho, 2012) to middle power (Howe, 2017;Kim, 2012;Kim, 2013;Lee, 2012;Lee, 2015;Lee, 2016;Melissen & Sohn, 2015), cultural assets (Istad, 2016;Jang & Paik, 2012;Lee, 2009), soft power (Kalinowski & Cho, 2012;Kim & Marinescu, 2015;Lee, 2011), nation branding (Cull, 2012;Hong, 2014;Schmuck, 2011), cultural diplomacy (Kang, 2015;Kim, 2011;Kim, 2018;Kim & Jin, 2016), gastrodiplomacy (Pham, 2013), and digital diplomacy (Park & Lim, 2014;Robertson, 2018). While the literature into Korean public diplomacy is growing, there are few studies that focus on strategies of communication (but see Lee, 2019;Park & Lim, 2014;Robertson, 2018). ...
Proponents of new public diplomacy emphasize the importance of two-way engagement with foreign publics. Despite theoretical support for mutual dialogue, there is a lack of studies that examine the means by which governments and other actors of public diplomacy engage with civic stakeholders. Responding to this gap in the research literature, the present study introduces the case of Talk Talk Korea and critically examines how the Ministry of Foreign Affairs engage with foreign publics through online contests. The contest format has received limited attention in the research literature as a tool of political communication, despite being a popular platform among government agencies in South Korea. This study highlights the role of online contests in public diplomacy and examines seven rounds of contest participation in Talk Talk Korea from 2012 to 2018. Through examinations of both participation guidelines and user submissions, it is observed that the online format enables the government to steer direction of the dialogue, and to collect public views on topics of particular interest to South Korea. At the same time, it is argued that a contest premised on incentives requires particular attention to critical dialogue. The study concludes with a discussion of policy implications for two-way engagement in public diplomacy.
In the age of internet and technology, the focus of international relations could easily shift from one state to another one and also events on the other side of the world could raise concerns on this side. For the Korean government, efficient public engagement and high technological development nourish its soft power and support the positive perception of Korea’s image. To understand how South Korea has successfully used public diplomacy to build and maintain good relations with other countries, it's important to examine the tools that the Korean government has employed to improve the country's global image. In the process of establishing public diplomacy, it is necessary to learn how to localize "tailored and two-way public diplomacy" tailored to national characteristics and people's characteristics (Jin, 2018). In this paper, the author would explain the Korean public diplomacy and bilateral relations with Hungary and Türkiye, then examine the KCCs on account of
primary research and finally compare the media interests about Korea over the last decade.
Hallyu akımının yaydığı bir eğlence türü olan K-pop’ın küresel bir boyuta ulaşmasında önemli etkenlerden biri iletişim alanında yaşanan teknolojik gelişmelerdir. Ağ teknolojileri ve dijitalleşmenin gelişmesi ile oluşan dijital medya öğeleri K-pop’a dair unsurların yayılmasını kolaylaştırmaktadır. Geniş hayran kitlelerini bir araya getiren, K-pop grup ve idollerinin hayranlarıyla etkileşime geçmesini sağlayan sosyal medya platformlarından biri olan Twitter; Trend Topic diğer deyişle gündemdekiler özelliğiyle de kitlelerin çıkardığı sesin nasıl yankılandığını ve etkilerini göstermektedir. Türkiye’de de Twitter aracılığıyla hayran grupları buluşmakta ve seslerini oluşturdukları hashtagler aracılığıyla geniş kitlelere duyurabilmektedir. Bu çalışma, K-pop’ın Türkiye’deki “etkenliğini” öğrenmeyi amaçlamaktadır. Bu kapsamda geniş kitlelerin sesini duyurmasına ve kollektif hareket etmesine olanak tanıyan Twitter’ın Trend Topic köşesinde K-pop’ın ne sıklıkta ne kadar süre zarfında, hangi konu başlıkları, hangi k-pop hayran grupları tarafından gündeme getirildiği içerik analiziyle araştırılmıştır. Bu bağlamda K-pop’un Türkiye’de ağlar üzerinden bir hayran kültürü yarattığı ve hayran kültürü aracılığı ile gündemde etken olan bir unsur olduğu görülmüştür.
Bu kitap Güney Kore’den tüm dünyaya yayılan Kore Dalgası (“Hallyu”) olarak bilinen kültürel içeriklerin kültürel diplomasi aracı ve kanalı olarak devlet politikasıyla üretim ve yayılım sürecinin nasıl desteklendiğini örnekler üzerinden tartışmaktadır. Çalışmada, “Hallyu” örneği merkeze alınarak yaratıcı içerik endüstrisinin Güney Kore’de devlet politikası ve büyük şirketlerin desteğiyle gelişme süreci, ulusaşırı popüler kültür pazarına damga vurması hem ekonomi politik bakış açısıyla, hem de kültürel üretim ve mücadele alanı olarak kültürel çalışmaların bakış açısıyla tartışmaya açılmaktadır. Bu kitapta Kore sinema endüstrisinin, K-dramaların ve K-pop’un gelişkin hükümet politikalarıyla ilişkisi Kore Dalgası’nın dönemsel farklılıklarını ve gelişme evrelerini ortaya koymak için örnek olarak ele alınmaktadır.
Çalışmanın Türkiye’de kültür politikaları, kültürel diplomasi, yaratıcı endüstriler alanında çalışanlara temel bir kaynak olması amaçlanırken; farklı bir coğrafyada bir ülkenin demokratikleşme sürecine koşut olarak kültürel alana ilişkin yönetsel erkin düzenleyici politikalarının denetimden ve sansürden ilk olarak ifade özgürlüğüne ve en nihayetinde de kültürel içerikleri metalaştırmaya doğru nasıl değiştiği yönünde bir izlek sunması açısından da örnek teşkil edeceğini düşünülmektedir. Bu bağlamda, kitabın Türkiye özelinde demokratik, kapsayıcı, çok yönlü ve sürdürülebilir kültür politikaları üretimi için yeni soruların sorulmasına ve araştırmaların yürütülmesine vesile olacağı umulmaktadır.
The first decade of the new millennium witnessed the rising importance of public diplomacy across the globe. The elevation of public diplomacy has a dual dimension, as a new field of diplomatic practice and a new field of academic research. What should be the Korean model of public diplomacy? How can Korea shift to the emerging paradigm of diplomacy? To address these simple but fundamental questions, this paper provides a conceptual model of Korea's public diplomacy within a five-phase framework, emphasizing the production of diverse soft power assets based on competitive advantage and the development of knowledge diplomacy as a complementary alternative to a narrow cultural diplomacy. Given Korea's "middle power" status in the international society, we argue that the new model should combine universal values with Korea's historical experience in such a way that Korea could play a role in bridge-building between advanced and developing nations. We also suggest adopting a geographic-thematic approach in combination with a modular approach, taking into consideration the needs and demands of object nations and groups. Networking of subjects and objects is another crucial element of the new model, while new digital media should provide the necessary instruments for networking and other activities throughout nearly the entire process of public diplomacy.
As a consequence of changing domestic and international socio-political environment, public diplomacy policies require relational, networked and collaborative approaches for more effective and long-term outcomes. This article explores the relevance of non-state actors to public diplomacy and suggests why and how collaboration takes place between state and non-state actors. Furthermore, the article develops a typology of collaboration between state and non-state actors for public diplomacy initiatives based on two dimensions: whose objectives are prioritized in the collaboration and who proposes collaboration. The article suggests that non-state actors' potential for public diplomacy can be tapped by state when state approaches non-state actors for collaboration as well as opening its channels for collaboration opportunities coming from non-state actors.
How is a policy initiated and implemented toward a newly arising industrial sector? This paper addresses that question by looking at the way the Japanese and the South Korean governments respond to the massive production and export of pop culture. The investigation focuses on the emergence of the local cultural industries, the policy issues they raise, and the domestic discourse they initiate. The central argument of this paper is that these governments no longer perceive the cultural industries in only ideological terms, but following the success of the private sector, they have recently shifted their attention to the economic benefits derived from the commodification of culture. However, their efforts to foster the pop culture sector heavily emphasize investment in infrastructure as a part of a developmental-state strategy. This attitude is too rigid to accommodate the dynamism of the cultural industries and should be supplemented with a more nuanced approach that considers the distinctive structure and the organization of the cultural industries.
Place branding is happening. A new field of practice and study is in existence and whatever we choose to call it there can no longer be any doubt that it is with us. This collection of intuitive and well-reserached articles examines how places and regions see themselves, and how they reflect this in their branding.
In this article I examine the Korean Wave as an illustrative case of cultural globalization. I examine this new cultural phenomenon in light of the realignment of Korean media and cultural industries. The Korean Wave is a symptom of the discursive formation and practice of Korea's national cultural policy, which aims to advance Korea's global economic competitiveness by promoting innovation and expansion in the creative industries. I identify implications of the Korean Wave for critical theories of cultural globalization and for the Asian region in fostering or hindering regional cooperation and cultural diversity.
This article examines how South Korean and Japanese public diplomacy organizations employ digital media to embrace the principle of ‘networked public diplomacy’ through analyses of the web and social media practices. A network analysis was used to map interorganizational information networks among core public diplomacy organizations in each country. To reveal the key organizations' communication strategies on Facebook, a content analysis was also conducted. The findings indicate that Japan had a strong internal network infrastructure achieved through dispersed connections and partnerships; however, Korea had a centralized network, including a limited number of dominant actors. The results of content analysis suggest that both South Korea and Japanese public diplomats focused on promoting their cultural products and national values through their use of texts and visual images. In addition, user profile analysis gaged the degree of users' engagement in the organizations' profiles and identified the demographic features of users. Comparative data suggest the Korean public diplomacy organization was more successful at attracting and engaging with foreign public than the Japanese public diplomacy organization. These results imply that although these two countries had similar sociopolitical backgrounds and perspectives of public diplomacy, they had distinct forms of internal information networks, communication strategies, and social networking performances with public.
How to raise the brand value of Korean products has been seriously considered in recent years by the government as well as commercial firms, and this question has brought a momentum to deal with policy matters on nation branding in Korea. Consequently, the Lee Myung-bak administration (2008–13) took drastic action by establishing the Presidential Council on Nation Branding (PCNB) in 2009 to deal with nation branding. This policy initiative on nation branding was conducted by the Lee administration from February 2008 to February 2013. This paper first reviews and discusses the policy framework for nation branding and the key activities on nation branding, followed by a discussion of achievements and limitations of Korea's nation branding. The nation branding issue has not been discussed much in the Korean or Asian public policy and public management communities in the past, and this article might provide a useful and timely reference for promoting such discussion.
Public diplomacy is a term much used but seldom subjected to rigorous analysis. This article—which draws heavily on a report commissioned by the British Foreign and Commonwealth Office in the spring of 2007—sets out a simple taxonomy of public diplomacy's components and their interrelationships. These components are (1) listening, (2) advocacy, (3) cultural diplomacy, (4) exchange, and (5) international broadcasting. It examines five successful and five unsuccessful uses of each individual component drawing from the history of U.S., Franco-German, Swiss, and British diplomatic practice. The failures arise chiefly from a discrepancy between rhetoric and reality. The final section applies the author's taxonomy to the challenges of contemporary public diplomacy and places special emphasis on the need to conceptualize the task of the public diplomat as that of the creator and disseminator of “memes” (ideas capable of being spread from one person to another across a social network) and as a creator and facilitator of networks and relationships.
Der Erfolg der NATO als internationaler Krisenmanager basiert auf einer stabilen politischen Unterstützung. Dazu muss die
Allianz in einen aktiven Dialog mit ihren Gesellschaften treten und ihre Politik transparent vermitteln. Der vorliegende Beitrag
diskutiert die Kernfunktionen von Public Diplomacy und zeigt, wie die NATO seit den 1990er Jahren begonnen hat, Public-Diplomacy-Ansätze
auszubilden. Die Herausforderungen einer aktiven Public Diplomacy werden am Beispiel des NATO-Einsatzes in Afghanistan deutlich.
The success of NATO as an international crisis manager ultimately depends on a solid backing of its policies on the part of
its publics. For this reason the transatlantic alliance has to communicate with the publics and make its policies transparent
and comprehensible. This article discusses several key functions of Public Diplomacy and shows how NATO has begun to create
a range of new Public Diplomacy instruments since the late 1990s. However, NATO allies still underestimate the importance
of Public Diplomacy, which is demonstrated by the difficulties in gaining political support for its operations in Afghanistan.
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