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Country Profiles: Hungary
Table of Contents
1. Introduction
2. Methodology
3. Historical Trends of Cultural Diplomacy
3.1. First Trend
3.2. Second Trend
3.3. Third Trend
4. Examples of Hungarian Cultural Diplomacy
4.1. Cultural Diplomacy in the Public Sector
4.2. Cultural Diplomacy in the Private Sector
4.3. Cultural Diplomacy in Civil Society
5. Future Goals of Hungarian Cultural Diplomacy
6. Conclusion
7. References
1. Introduction Cultural diplomacy has a very long history. It is said to have originated hundreds of years ago when pioneers travelled the globe and, in essence, culturally represented their native countries in foreign lands. In more recent times the idea of cultural diplomacy has significantly changed. In the modern day, organisations as well as individuals in the public, private and civil sectors are seeking to foster better understanding between states through the growing field of cultural diplomacy. Cultural diplomacy is a form of soft power, and numerous sectors are employing it as a new form of negotiating and a means of achieving better political relations with countries all around the world. Now even smaller countries are organising exchanges or providing people with opportunities to interact through cultural diplomacy. This is true in the example of Hungary. Hungary is a relatively small nation within Europe. There are not many people in the world (only fifteen million) who speak the Hungarian language; therefore Hungary can o n l y reach a small circle of people with its native language. It seems that Hungary needs to make more of an effort to engage in cultural diplomacy since it is not a huge economic power. One can see that cultural diplomacy in Hungary is a recent concept. For the first time ever the government has dedicated a whole department to develop a cultural diplomacy strategy for the nation. Although this is a very recent development, there are now numerous H u n g a r i a n organisations, businesses and associations that are active in the field of cultural diplomacy either consciously or unconsciously. These active participants of cultural diplomacy are trying to spread Hungarian culture around the world. The projects aim to reach out to the Hungarians living outside of the present borders of Hungary and then to those interested in Hungarian culture. Often these groups are establishing contact with other similar groups in other countries, and through a common passion are fostering relations with each other. Since this has been going on, the Hungarian government has decided to take a step towards implementing cultural diplomacy through governmental initiatives in other fields such as politics and economics. Cultural diplomacy in Hungary is taking a new turn, from initially only being focused on the Hungarians living outside of Hungary, to a more international perspective in order to establish relations with other countries, while maintaining the present ones as well. Throughout the course of this paper, the methodology will be explained with definitions about cultural diplomacy and the various sectors. There will be an analysis of three major trends in cultural diplomacy and their historical background, followed by the presentation and analysis of the examples of cultural diplomacy within the three sectors. The final section will deal with looking at a concluding analysis of cultural diplomacy in Hungary and future goals of the country in this field.
2. Methodology This research is based on a specific country case study along with the definition of cultural
diplomacy. The case study is cultural diplomacy in Hungary within different aspects of society.
The definition of cultural diplomacy as presented by the Institute for Cultural Diplomacy is
‘the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of
culture, with the intention of fostering mutual understanding143’. This definition is
originally by Milton C. Cummings, a prominent political scientist from the United States.
Evidently there are numerous definitions of cultural diplomacy, since the term has many
different forms and applications, but it is deemed best to use this general one in order to be
able to analyse the varied applications of cultural diplomacy in Hungary.
Using specific examples within Hungarian society, it will be demonstrated as to how the
examples fit into the definition of cultural diplomacy mentioned above. This will be done in
relation to the public, private and civil sectors. The first section deals with the public sector
in general. Usually these organisations have a clear goal in mind to promote actively their
national culture in various forms144. The private sector includes those actors which are profit
generators, yet are fostering cultural diplomacy, whether it is in connection to their specific
business or not. Usually, investment in this area involves private entrepreneurs using their
profits to help provide the forum for cultural exchange, without necessarily promoting their
products or services. Civil society includes those actors which are citizen-initiated and non-
profit. Many civil societies operate upon networked connections in order to bring about
cultural exchange145. Although these three categories will be used throughout the paper,
some of examples mentioned can fit into more than one group. Therefore classification
entirely into one sole category also poses certain problems, but the examples in this report
tend to fall within the categories provided. With these three different categories, one is able
to see the different aspects, motivations and effectiveness of cultural diplomacy.
The following involves an in-depth analysis of each of the examples provided, such as how
they are representative of cultural diplomacy and further investigating their agents, agendas
and target audience. Using the idea of an agent is necessary in order to see who is initiating
the cultural diplomacy in question. In order to successfully explore the vehicle of cultural
diplomacy one must analyse what the actors are doing, or how this particular example of
cultural diplomacy is being conducted. The last aspect is looking at the intended audience,
or what group the actor is using to get through to in terms of cultural diplomacy. From
these characteristics, one should be able to clearly see how cultural diplomacy works in the
specific case studies and how this applies specifically to Hungary.
143 Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011.
http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy.
144 Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011.
http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy. 145
Institute for Cultural Diplomacy, "What is Cultural Diplomacy?." Accessed October 5, 2011. http://www.culturaldiplomacy.org/index.php?en_culturaldiplomacy.
3. Historical Trends of Cultural Diplomacy 3.1 First Trend
Much of the current emphasis of domestic Hungarian cultural diplomacy is geared towards the
ethnic Hungarian minorities living in the countries around Hungary. In order to maintain close
cultural ties, there are many academic, cultural, sporting and other types of exchanges taking
place. These areas include, present day Serbia and its northern province of Vojvodina; Croatia,
Slovenia, Slovakia, the Czech Republic, Ukraine and Romania among others. The priority at
first is to preserve a sense of Hungarian culture abroad in these surrounding countries.
Historically, Central and Eastern Europe have always been more heterogeneous than Western
Europe. Therefore, as a state within Central Europe, the population of Hungary has included
many minority ethnicities living alongside ethnic Hungarians. From the time when the first
Hungarian (Magyar) tribes migrated to Europe from Asia around 500-800 CE146, they were in
the oldest sense of word, cultural diplomats, since they were coming to Europe from afar and
bringing and representing their own culture in the hopes of creating a new life in the new
surroundings. From this time ‘Hungarian-ness’ flourished in Europe, contributing to being one
of the oldest languages in Europe. In the year 1000 Hungary became a Christian nation under
King Stephen I147. From that time, until the formation of the Austria Empire, Hungary remained
mainly Hungarian and often served as a tough barrier against Ottoman rule. Even throughout
the Austrian Empire, under the Hapsburg rule, there were numerous ethnicities living together.
This trend continued until the Hungarians were officially acknowledged as the largest majority
living within the Austrian Empire, which became the Austro-Hungarian Empire. From this
historic tie, Hungary often relied on Germany and Austria for the translation and circulation of
Hungarian culture throughout the rest of Europe148. After the First World War, Hungary was
subjected to conditions of the Treaty of Trianon in 1920149, which separated Hungary from two
thirds of its territory at the time. Consequently this is the reason behind the very strong
Hungarian minority presence in all of the countries surrounding Hungary. After the Second
World War, Hungary came under Communist rule. In 1956, the Hungarian revolution took
place which granted Hungarians a temporary freedom, only to be quickly repressed by the
military force of the Soviet Union150. Since the collapse of Communism following the fall of the
Berlin Wall, there has been a regime change in Hungary in which democracy was finally able to
sprout151. Although there have been trying times, Hungary still continues to strive for a
corruption-free democracy. With the coming of democracy numerous cultural organisations
that had been previously banned also began to emerge. Before the regime change Hungarian
cultural diplomacy was mainly focused on Hungarians living outside the present borders of
Hungary. More recently, if one were to use Cumming’s definition in the most modern sense of
the word, cultural diplomacy in Hungary on an international scale arguably only began
following the fall of the Communist regime.
146 Molnár, xii.
147 Molnár, xii.
148 Sáringer, 4.
149 Molnár, xv.
150 Molnár, xvii.
151 Molnár, xviii.
Whenever Hungarian culture and Hungarian cultural diplomacy is discussed, there is special
attention given to Hungarians not living in Hungary. These Hungarians can further be divided
into two distinct categories; those Hungarians in the countries which are presently bordering
Hungary, and Hungarians in the countries around the world. Generally the focus of cultural
diplomacy is usually on those Hungarians living in the surrounding countries around Hungary.
3.2 Second Trend Hungary’s accession into the European Union has been seen as another potential market for Hungarian cultural diplomacy to help spread the Hungarian culture throughout Europe. Although Hungary has had a long history within Europe, the strong ties developed with certain countries have only been present since the last two hundred years. More recently, Hungary’s accession to the EU took place in 2004, along with nine other Central and Eastern European countries. Since then Hungary has also joined the Schengen area for the free movement of Europeans within Europe. These two accessions combined have opened the doors for Hungary, as well as the other member countries of the European Union, to more cultural diplomacy and cultural connections. Also, Hungary’s reliance on the German speaking world has been overtaken by the growing prominence of the English language. Therefore the future focus for Hungary will likely be more towards the Anglo-Saxon speaking world152.
Since these metaphorical doors have opened, Hungary can work on renewing its international image and culture within the European Union. More specifically there are seven main strategic points where Hungarian cultural diplomacy has been more widespread since joining the EU. The first is the expansion of the cultural programme which encourages the development of small historical towns within Hungary153. The second step includes having more cultural activities for children during childhood, in order to increase the awareness of culture from a young age154. The third step stresses a need to establish new cultural centres and to make them more accessible to the general public155. The fourth step includes setting up programmes to preserve culture within Hungary156. The fifth step is to make historical culture more accessible and known in Hungarian society157. The sixth step is to make known the abilities of Hungary within the country and abroad158. The seventh step is having a balance relationship of culture being both current and in the past; putting together the classical with the new159. The last strategic step is to also look upon Hungarian culture as a marketable product with an emphasis on having a competitive influence160. With these goals and tactics in mind, Hungary can again renew its culture throughout Europe and subsequently around the world.
152 Sáringer, 4.
153 Sáringer, 2.
154 Sáringer, 2.
155 Sáringer, 2.
156 Sáringer, 4
Moreover, in 2006, a professor from the Corvinus University of Budapest named Bozóki
András wrote in depth about Hungarian cultural diplomacy, which became quite popular
throughout Hungary. This document is called A szabadság kultúrája Magyar kulturális
stratégia 2006 ” 2020 (The Culture of Freedom, Hungarian Cultural Strategy 2006-2020).
This document outlines the strategies, priorities, and actions of Hungarian cultural diplomacy.
It strongly advocates the need for the government and all sectors of society to keep up with
the changing situation of Hungary’s culture161, as well as stressing equal opportunity and
access to culture for everyone, regardless of social standing162. What is also important to add
to these priorities is the fact of not only sharing culture but going one step further and
creating partnerships, common projects and cultural organisations163. Futhermore, discussing
and further elaborating on culture in a positive context, is what is needed in order to sustain
long term cultural diplomacy with Hungary’s international partners.
3.3 Third Trend
For the future, it would be wise for Hungary to focus on cultural diplomacy on the
international stage. Hungary has up to this point focused its cultural diplomacy efforts
towards European politics and a closer intergration within Europe, but there is certainly an
argument that there is substantial potential for Hungary to focus its efforts more towards the
East, such as towards Russia and China. The radical right political party within Hungary, called
Jobbik, is adamant about these incentives to orient Hungary more towards the East. The
party are huge supporters of the dual-citizenship law for granting Hungarians outside the
present borders of Hungary full Hungarian citizenship. Specifically in the case of citizenship;
as of January 1, 2011, anyone that can retrace their routes to Hungarian ancestry and
that can demonstrate knowledge of the Hungarian language has the right to apply for
Hungarian citizenship164. Although this is a political move, it has cultural origins since those
now given the opportunity to apply for citizenship to those that are also Hungarian and hence
Hungarian culturally. This is a very significant move because of the fact of extending
citizenship to many people is viewed as historically symbolic, therefore cultural diplomacy
eases those relations with Hungarians all over the world.
Moreover, according to Harsányi Lászlo, a professor of cultural politics at the Budapest
Corvinus University, there is currently a divide in Hungary between two different perceptions
of cultural diplomacy on which there has been no decision upon as to which area to pursue.
These two ideas range from using cultural diplomacy as a tactic of cultural politics, or on the
other hand, taking cultural diplomacy as a tactic in foreign relations and using it as a strategy
in decision making. Therefore, one of the challenges of Hungarian cultural diplomacy in the
future is to reconcile these two diverse aspects and be able to use them together.
157 Sáringer, 2.
158 Sáringer, 2.
159 Sáringer, 2.
160 Sáringer, 2.
161 Bozóki, 6.
162 Bozóki, 5.
163 Sáringer, 3.
The progress for the expansion of cultural diplomacy programmes has been successful with the
last couple of years. In 2006 there have been Hungarian cultural offices opened in Beijing,
Shanghai, and Tel-Aviv. In 2007, the cultural sector opened offices in Belgrade and in Zagreb.
In 2009, there was an expansion to Madrid, and Abu Dhabi. Together with opening these
offices, was the strengthening of the relationship between the Spanish, Hungarian, and
Belgian Council of the European Union rotating presidency. All of these cultural expansions
combined have helped Hungary develop a number of cultural centres in other European states,
which have further helped the spread of Hungarian culture abroad.
164 Peter, Laurence. "New Hungary citizenship law fuels passport demand." BBC News, January 4, 2011.
http://www.bbc.co.uk/news/world-europe-12114289 (accessed October 5, 2011).
4. Examples of Hungarian Cultural Diplomacy In this following section, the examples of Hungarian cultural diplomacy will be demonstrated
and analysed, within the three sectors of public, private, and civil society.
4.1 Cultural Diplomacy in the Public Sector
HUNGARIAN CULTURAL INSTITUTIONS: IE. COLLEGIUM HUNGARICUM BERLIN
Agent: The Ministry for Education and Culture in Hungary is the active agent and supporter of
Collegium Hungaricum. The original idea for this particular cultural house came from after
the First World War, when Hungarian soldiers started looking for Hungarian cultural
institutions in foreign countries because of dissatisfaction with the nature of culture in
Hungary itself. Thus 1923, in the three locations of Rome, Vienna and Berlin, the Hungarian
government opened the first ever Hungarian offices abroad165. During the Second World War,
these houses were destroyed and were only reopened in 1973166. All of these Hungarian
cultural institutions including the Collegium Hungaricum are part of long-term cultural
projects by the Hungarian government.
Agenda: To provide a place for Hungarian culture to flourish in Berlin through cultural
events organised by the Collegium Hungaricum, occasionally in collaboration with another
German organisation is the main goal. Historically, Collegium Hungaricum was a meeting
place to those Eastern European thinkers, and artists that did not share the same ideology as
the government in power at the time in their native countries. This grew to become very
popular therefore at the time in the early 1970s, it was an indispensable part of Berlin
cultural life167. Since 2000, the goal of the Collegium Hungaricum has been to provide a
diverse and modern cultural experience on the Berlin cultural front, through presenting
Hungary as European, building up and developing relations within the cultural sphere with
other organisations, working with current and topical issues related to Hungarian and
German culture168. This institution is seen as successful because of the very diverse and
vibrant programmes it currently offers.
165 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed
September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.
166 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed
September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.
167 Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed
September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1. 168
Collegium Hungaricum Berlin, "Collegium Hungaricum Berlin - Magyar Kulturális Intézet." Accessed September 27, 2011. http://www.hungaricum.de/index.php?id=unserhaus&L=1.
Vehicle of Cultural Diplomacy: The Collegium Hungaricum in Berlin offers a wide range of
cultural interaction possibilities. These come in the forms of artistic and photography
exhibitions, concerts, literature events, organising debates about current topics of interest,
book presentations and film showings. The institution also offers language courses for those
wishing to pursue Hungarian studies. This is cultural diplomacy in its most basic sense since it
is providing the framework for cultural exchange to take place in the hopes of a better
common understanding of the other shared ties between German and Hungarian cultures. Target Audience: The target audience for a project such as this is naturally a diverse one, but
the Collegium Hungaricum caters specifically to those with a deep interest in the Hungarian
cultural heritage. The office is situated in Berlin, as such Germans who are interested in getting
to know Hungarian culture and potentially pursue Hungarian language studies. This Berlin
office also promotes Hungarian artists living in Germany by providing them with a location in
which to exhibit their work.
Locations: Vienna, Austria; Berlin, Germany; Brussels, Belgium; Bucharest, Romania; Delhi,
India; Helsinki, Finland; Cairo, Egypt; London, United Kingdom; Moscow, Russia; New York,
United States; Paris, France; Bratislava, Slovakia; Prague, Czech Republic; Rome, Italy;
Stuttgart, Germany; Sofia, Bulgaria; Tallinn, Estonia; and Warsaw, Poland.
HUNGARIAN DAYS IN GRONINGEN
Agent: Embassy of the Republic of Hungary in The Hague, the Netherlands. This was a one-
time project, but with hopes of being repeated in other areas.
Agenda: The main goal of arranging this particular gathering by the Hungarian embassy
was to bring together small and medium business owners from the northern part of the
Netherlands (Groningen-Friesland-Drenthe region), and from southern Hungary in order to
help foster potential new business relations. More specifically, this particular project was
designed to bring together these two regions for cooperation in research and development,
in innovation, and in supply chain partnering169.
By presenting the southern Hungarian region as an area ripe for foreign trade and
involvement, the Hungarian government hoped to increase Dutch investment in the region.
Although the main goal of this event was economics and business oriented, it was also
partnered by numerous cultural events in order to allow the northern Dutch to get to know
Hungary in more depth. This is an effective way to conduct cultural diplomacy, by bringing
two separate cultures together in order to allow a mutual understanding of cultre; as
professor Harsányi Lászlo suggested. In this case the Hungarian Government took the
concept of culture and applied it to foreign relations and business in order to tie everything
together.
169 Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and
Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011.
Vehicle of Cultural Diplomacy: The vehicle through which the participants were interacting was
through meetings and conferences of all sorts, such as the Co-operating in Technology and
Innovation; and the Business Development - Region meets Region seminar. In addition, there
were also one on one meetings set up between potential business partners from the
Netherlands and from Hungary. The Dutch also discussed the current trends of the Dutch
economy, and the potential business opportunities for Dutch businesses in Central and Eastern
European countries170. From the Hungarian side, business leaders promoted and described the
investment opportunities and introduced knowledge- centres171. On top of this, there were
successful business encounters of the past presented by both sides.
The cultural aspects of the programme included the presentation of two Hungarian artists
known as BOLDI and Pál Breznay through an exhibition of their work. Other aspect of
Hungarian culture were highlighted, an example being a special screening of the hughly rated
Hungarian film; ‘Cloud over the Ganges’.172. By combing both the business and the cultural
aspects, the Hungarian government has more of a chance to succeed in creating business
endeavours because of creating a familiarity with the country as a whole.
Target Audience: For the small and medium sized businesses, the main target audiences
were those involved in the following industries: pharmaceutical, medical devices,
biotechnological, agricultural/food, chemical and logistics. Therefore any business owner
that is looking to export and expand within Europe had the opportunity to get to know
others in Hungary working within the same field.
Since this project took place recently, the results as of the short term are not yet fully known,
but there was a high turnout of participating business owners with over seventy Dutch
business owners and twelve Hungarian business owners directly involved.173. Therefore, it can
be seen that for an initial project, it was a success. The participants had many opportunities to
get to know the other regions in terms of potential for investment. Through the cultural
sections of the programme, the participants were able to see the appeals of Hungarian culture.
Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510-
AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf.
170
Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011. Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510- AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf. 171
Grencze, Gábor. Embassy of the Republic of Hungary in The Hague, "Co-operating in Technology and
Innovation and Business Development Region meets Region Seminar." Last modified May 27, 2011.
Accessed October 4, 2011. http://www.mfa.gov.hu/NR/rdonlyres/86F03255-351B-4A5F-B510- AAEFDF0F45FE/0/110526InvitationtotheHungarianseminarGroningen.pdf. 172
Embassy of the Republic of Hungary in The Hague, "Hungarian Programme in Groningen from 26 May 2011." Last modified May 27, 2011. Accessed October 4, 2011. http://www.mfa.gov.hu/kulkepviselet/NL/en/upcoming_events/110526GroningenDays.htm.
BALASSI BÁLINT INTÉZET (BALASSI INSTITUTE) Agent: The original idea for the Balassi Institute was provided by the Hungarian Minister for
Education, and the project came about with the support of the Hungarian Language Institute
and the International Hungarology Centre. It was originally formed in January 1, 2002174. It
was initiated by the public sector, but continues to maintain ties to certain non-governmental
organisations such as the two mentioned above. Agenda: The main aims include the promotion and teaching of the Hungarian language in
Hungary to Hungarians living abroad and non-Hungarians studying in Hungary. Additionally, it
was also formed to respond to the growing demands of language knowledge within the
present globalized world. As there are many Goethe Institutes and French Institutes all over
the world, including in Hungary, the Minister of Education had suggested creating a similar
institution to compete with other similar European institutions175. Moreover, as a historical
result there are presently about five million Hungarians living outside of Hungary today. As
the Hungarian national government does not support the linguistic heritage of their own
minorities in terms of financial or educational means, the Balassi Institute was created in order
to allow Hungarian children the opportunity to learn the Hungarian language. This type of
cultural exchange which gives Hungarians living abroad the opportunity to learn more
about their culture is very useful since it not only teaches the participants about their
heritage but participants are able to take the learned skills and apply them when getting to
know another culture. Vehicle of Cultural Diplomacy: The main vehicles of cultural diplomacy of the Balassi Institute
are academic exchange and language courses. The functions that they serve, specifically
within these academic exchanges include:
The cultivation of the Hungarian language and education of Hungarians living outside of Hungary;
- Offers extended education courses, linguistic and terminological sessions for teachers of the Hungarian language;
- Organisation of Hungarian studies programmes, and the research of the Hungarian language abroad, with the cooperation of other international institutions;
- Preparatory courses and tests for state exams in Hungarian, - Establishing connections and networks between Hungarian foreign institutes, - Researching and organising text book publications dealing with the instruction of
the Hungarian language - Offers a scholarship fund and financial assistance for Hungarian studies, - Creates a database of communication for all those with teachers of the Hungarian
language, - Organisation of Hungarian cultural events like exhibitions and conferences176
173 Embassy of the Republic of Hungary in The Hague, "Hungarian Days in Groningen: “Region meets Region” investment
seminar and b2b event." Accessed October 4, 2011. http://www.mfa.gov.hu/kulkepviselet/NL/en/news_events/110526-
Groningen-seminar-b2b event.htm?printable=true.
174
Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.
http://www.bbi.hu/index.php?id=99&fid=110.
All of these tasks and goals listed are done with the overall goal of getting the Hungarian culture out into the rest of the world and making it more popular as a choice of study, thus making the Hungarian language and culture widely known and appreciated around the world.
Target Audience: For the Balassi Institute, the main vehicle for transmitting cultural diplomacy
is academic exchange; therefore the main target audience is students of Hungarian studies or
students in general who wish to pursue linguistic studies. In addition, the Balassi Institute also
wishes to facilitate interaction between the teachers of the Hungarian language and other
institutions who are involved in teaching Hungarian. Furthermore, the Balassi Institute is
expanding to open new networks and centres in places outside of Hungary. These include
Osijek, Croatia (Eszék) in 2007, Kaniza, Serbia (Magyarkanizsa) in 2009, Krakow, Poland in
2009, and Gothenburg, Sweden in 2009177. This expansion is following through with the
desire to move Hungarian political and cultural efforts more towards Eastern Europe and the
Balkans, and eventually on into the Nordic countries. These efforts to expand the institute to
different countries also strengthens the knowledge and perception of the Hungarian language
among Europeans, and therefore the target audience is constantly expanding to include more
and more international students.
175
Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.
http://www.bbi.hu/index.php?id=99&fid=110.
176 Balassi Institute, "Welcome Introduction Information." Accessed September 27, 2011.
http://www.bbi.hu/index.php?id=99&fid=110.
4.2 Cultural Diplomacy in the Private Sector The examples in this section were chosen to showcase varied examples of Hungarian
cultural diplomacy in practice through the medium of the private sector.
RUBIK’S CUBE
Agent: The Rubik’s Cube private business is implementing cultural diplomacy in an indirect
fashion. This well-known corporation have created a forum for people of different
nationalities to interact, through the many competitions and international events held
worldwide. The common interest of these individuals is their fascination with the Rubik’s
Cube and people get together in order to discuss and race to become the fastest puzzle
solver. The Rubik’s Cube connects to Hungary because it was invented by a Hungarian named
Ernő Rubik in 1974178. In 1982 the first International Rubik’s Cube Championships were held in
Budapest179. This tradition continues to this day. Therefore, this is an aspect of Hungarian
culture that has spread throughout the world and it is bringing people of all nationalities
together.
Agenda: The main aims of this international business is to bring people together to enjoy their products through the organisation of events held all around the world. In addition, in 1990 there was the establishment of the International Rubik’s Foundation which encourages and financially supports young and upcoming designers and engineers180. Since this is a private owned business, one cannot leave out the agenda of generating revenue and increasing sales. This was also increased by the invention of a new product called Rubik’s 360, a similar concept to the original design but with colourful balls rather than squares181.
Vehicle of Cultural Diplomacy: The Rubik’s Cube itself is the vehicle of cultural diplomacy. It is
bringing people together who share a similar fascination with this little puzzle, therefore all of
the organisation championships and competitions are also a part of the vehicle in order to
spread cultural diplomacy. More specifically, there is the International Rubik’s Cube
Championships, and other events organised by the World Cube Association (WCA), which in
turn provides the forum for people to interact. Through these vehicles it is also a way for
Hungary to present to the world their own invention and through competitions a view of
Hungary to be experienced with an international group of people. Rubik himself stated that
the cube is more of a piece of art182, which directly relates to cultural diplomacy since it is
spreading worldwide.
177 Sáringer, 8.
178 Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011.
http://www.rubiks.com/world/history.php. 179
Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011. http://www.rubiks.com/world/history.php.
Target Audience: The target audience for the Rubik’s Cube is a diverse one. According to
Rubik himself, the real fascination with the toy is that parents are returning to the original,
simple, and orderly toys of their own childhoods183 despite the advancement of electronic
entertainment in recent decades. He also states that with all of the chaos and instability that
currently exists in the world, the Rubik’s Cube is something that parents and the elderly can
teach their children as a relic of a simpler, more orderly time184. Thus parents and children
equally are very much targeted through the company’s marketing schemes since it is
reminiscent of the past. The success rate of the product is indicated by the decision to re-
launch the product very recently185.
180 Rubik's Official Website, "The History of Rubik's." Accessed September 29, 2011.
http://www.rubiks.com/world/history.php. 181
Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009.
http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011).
182
Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009. http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 183
Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009.
http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 184
Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009.
http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011). 185
Adams, William Lee. "The Rubik's Cube: A Puzzling Success." Time Magazine World, January 28, 2009.
http://www.time.com/time/magazine/article/0,9171,1874509,00.html (accessed September 29, 2011).
INTERNATIONAL VISEGRAD FUND Agent: This organisation was created June 9th, 2000 in Štiřín in the Czech Republic, in order to
promote closer cross border collaboration between the states of Czech Republic, Poland,
Slovakia, and Hungary186. All four government contributed finances towards this inter-
European project. However, no government of any of the four states has any authority over
the manner in which this organisation chooses to invest its capital. Since this collaboration is
among four countries, it allows them to have a larger goal in mind of supporting culture,
regardless of which country it is originating from.
The annual budget for the year 2010 was six million Euros187. This Fund is classified in the
private sector because of the huge sums of money used independently to support culture.
The Visegrad Group, of which the International Visegrad Fund is a part of, is also an
organisation set up for closer collaboration in European affairs between the four countries.
Agenda: The agenda of the Visegrad Fund includes the support for collaborative projects
between the member countries. These common projects take place in the fields of cultural
and scientific research and educational projects, youth exchanges, promotion of tourism and
cross-border cooperation188‛. T positive, since this can include more opportunities to work
together in a variety of fields. Although the funding for the Visegrad subjective nature of
the projects is surely a positive aspect of the project, as this can increase the co-
operation between the four states involved. Although capital for the Fund comes from
the respective governments, the Fund operates with its own board of executives and an
administrative body. Vehicle of Cultural Diplomacy: The main vehicle for cultural diplomacy is providing the
financial support in order to be able to sponsor and hold culturally collaborative events
between the four member countries. These events involve a variety of cultural fields.
Target Audience: The most common recipients of the scholarships, grants, and financial aid
are non-governmental organisations, municipalities, local governments, universities, schools,
public institutions and individual citizens. Therefore the most common forms of support are
granted to those running specific projects that bring these four countries together in
cooperative events. In addition, some of the scholarships offered by the Fund are also
available to those in the Balkans and former Soviet countries, thus there
186 Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011.
http://visegradfund.org/about/basic-facts/.
187
Visegrad Fund, "Budget - 2010 Budget." Last modified 2011. Accessed September 27, 2011.
http://visegradfund.org/about/budget/.
188
Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011. http://visegradfund.org/about/basic-facts/.
are occasional times when the financial support of the Fund goes beyond the borders of the
four main countries. Since the foundation of the Visegrad Fund, there have been over four
thousand different recipients of this grant, both individuals and organisations. Furthermore,
the number of recipients is increasing every year189.
4.3 Cultural Diplomacy in Civil Society The examples of cultural diplomacy within the civil sector were selected based on their
varied vehicles of cultural diplomacy. Within each of the fields selected (folk dance, pedagogy
and theatre), they all have the same goal of reaching out to foreign institutions working in
the same field in order to be able to culturally interact and thus contribute to an
understanding of each other. The selected examples are a combination of past projects and
continuous projects.
DESZK KÖZSÉG NÉPMȔVÉSZETÉÉRT ALAPÍTVÁNY (DESZK DISTRICT FOLK ART)
Agent: The agent is the Deszk Község Népmȕvészetéért Foundation, which was created on December 25th, 2005190.
Agenda: The goal of the creation of this foundation was to aid folk art traditions and
values, specifically in the southern region of Hungary. These traditions, according to the
foundation, need to be kept alive. This institution emphasises their goal of retaining these
traditions in order to see them passed on to the next generation. Within this foundation
specifically, there is a desire to preserve folk dancing and folk dancing organisations, in order
to spread dancing culture even further. In addition, the goals of the foundation include
working towards the continuation of dance halls for children and for adults, the organisation
of intensive dance lessons, organising excursions to significant villages and maintaining
cultural ties with Hungarians living outside of Hungary and their respective associations191.
Vehicle of Cultural Diplomacy: The vehicle through which this foundation reaches out to
others is by performing the traditional dances of Hungary’s past and ensuring that this
tradition is kept alive. Along with establishing sustainable relations with other types of folk
dance groups all around the region and outside of Hungary, the foundation also organises
certain types of professional training for those that would like to pursue dance as an art type.
At the Deszk Község Népmȕvészetéért Foundation, there are also numerous teachers that
come from all over the world, in order to teach new folk dances and dancing techniques. In
addition, there is also an annual summer camp where those interested can take place, and
often professional folk dancers are invited to teach and to perform.
189 Visegrad Fund, "Basic Facts." Last modified 2011. Accessed September 29, 2011.
http://visegradfund.org/about/basic-facts/. 190
Deszk Község Népmȕvészetéért Alapítvány , " „ MÚLT NÉLKÜL NINCS JÖVŐ " (Dr. Holló Ferenc József) ."
Last modified February 15, 2010. Accessed October 4, 2011.
http://www.deszkineptanc.hu/index.php?page=kronika.
191
Deszk Község Népmȕvészetéért Alapítvány , "Alapitvanyunkrol." Last modified February 15, 2010. Accessed October 4, 2011. http://www.deszkineptanc.hu/index.php?page=alapitvany.
Target Audience: The Deszk Község Népmȕvészetéért Foundation aims to ensure Hungarian
dancing traditions; therefore the target audiences include all those in the field of dance who
are also interested in keeping these traditions alive. Along with this goes the preservation of
different types of dance around Hungary’s southern region, which also includes those
members of folk dance groups in Vojvodina.
Although the foundation concentrates on the preservation of Hungarian folk art and dance,
there are numerous ties with other such organisations and foundations in other countries
which are working to preserve their own traditional dances. The organisations with
which Deszk Község Népmȕvészetéért Foundation has a close connection are: Tisza
Néptáncegyesület, in Magyarkanizsa, Serbia, where the folk dancers from Deszk took part in
the Kukorika Fesztival (Corn Festival), and the people from Magyarkanizsa regularly go to
Deszk, to share folk dance experiences. There is also Ifjúsági és Kulturális Egyesülettel
located in Transylvania, Romania.
These two cities got into contact because they are officially twin cities and after
establishing the contact the Deszk Letye-petye folk dance group performed at the Narcisz
Fesztival in Transylvania. Another area where this foundation is active is in Rahó, Ukraine,
where the Desezk folk dance group travelled to Ukraine to perform at their Brindza Festival.
Since the number of contacts and associate folk dance groups with which there has been the
establishment of relations has grown, this is a successful project that looks to be continuing
long into the future.
A KISRIGÓ-FÉSZEK ALAPITVÁNY (THE LITTLE MOCKINGBIRD NEST
FOUNDATION)
Agent: This foundation was formed in 2001 in Szeged, Hungary at the kindergarten called
Rigó Utcai Óvoda. It was formed by the parents of the children who attended the
kindergarten and the kindergarten teachers through both their own finances and outside
material support192. This foundation is classified in the civil sector because of the fact that it is
made up of individual citizens like parents and volunteers, and it is solely funded by the
members, and the donations of other citizens.
Agenda: The aims of the foundation include contributing to the kindergarten, the nurturing of the children and parenting techniques in the areas of Szeged and Csongrád Megye. The foundation also aims to support low-income families to ensure equal opportunities. The group works together with Hungary’s Serbian and German minorities with organisations in Vojvodina and Transylvania and Germany193. Therefore this is an example of a foundation that is working with ethnic Hungarians not just within Hungary but also in Hungary’s surrounding nations.
Vehicle of Cultural Diplomacy: This foundation is very active within their field. They apply
cultural diplomacy through the organisation of conferences and outings for the kindergartens
of the province of Csongrád; workshops, meetings, training session for kindergarten teachers,
the production of professional resources like newspapers, websites, information letters and
the organisation of a learning session for Hungarians on both sides of the border. They work
together with schools involved in training kindergarten teachers, organise workshops that
promote innovation in the field and support the Serbian and German minority kindergartens
in the province and the Hungarian kindergarten teachers in the bordering countries through
exchange of experiences. Further to this, they work together with German civil organisations
to provide donations for low-income families194.
Target Audience: Since the foundation was founded by parents of young children and by
kindergarten teachers, it is based in the field of early childhood education. Therefore the
target audience is usually anyone that is involved in this field, but most specifically
kindergarten teachers at the schools in Romania, Serbia and Germany. In Serbia one of their
main associate partners is Kerekítő Magyar Pedagógusok Egyesülete (Kerekítő Hungarian
Pedagogical Association). This body and the Kindergatern association arrange numerous
workshops together, where kindergarten teachers of both countries participate. These
collaborations take place several times a year, and therefore these collaborations are also
current and sustainable. Due to the fact that the target audience is so specific, it is still a
great form of cultural diplomacy where a body is taking experience and knowledge from a
certain field and expanding to others within the region and outside of the borders. Although
this is cultural diplomacy on a small scale, it is still very relevant because it is effective and has
many established connections between kindergarten schools in all the regions that it
reaches. These types of sma l l - s ca le projects are often more effective because of the
people that they reach; through developing individual relations and personal encounters.
192 Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011.
http://kisrigofeszek.lapunk.hu/?modul=galeria.
KRÉTAKÖR (CHALK CIRCLE) Agent: This is civil organisation based in theatre performances that has become a centre for
contemporary arts. They develop and produce community games based on social experiments.
Originally Krétakör was started by independent citizens working together and organising
performances themselves. This would provide both a performance for the public and a sense
of entertainment for those individuals involved. However following 1998, the project began to
evolve after gaining some public attention and financing from a private donor. The company
began to be exposed outside the present borders of Hungary. In 2008, there was a radical
change of direction for the organisation, which began when the company started its
performance series called Apology of the Escapologist196.
Agenda: The agenda of this civil society is changing the perception of conventional theatre,
and expanding it using a combination of pedagogues, social scientists, and media artists.
Furthermore, through performing to a wider audience regularly, those involved would be
expanding their own perception of other cultures through the numerous interactions with
people from outside Hungary.
Vehicle of Cultural Diplomacy: The performing rts is the driving force through which cultural
diplomacy is achieved. This is not limited to Hungary as the project involves other European
countries as well, along with a very nationally diverse cast. Therefore there is cultural
diplomacy in as a result of the actors, directors, and other team members working together,
and through this cultural exchange can potentially take place. Further to this, the Krétakör
commission includes a wide variety of organisations and individuals from all over Europe.
States such as France, Germany, Czech Republic, the Netherlands are represented alongside
Hungary here, and the European Union itself also has a direct involvement197.
Target Audience: Since Krétakör is a theatre company, the main target audience are those
with an interest, ability and experience in theater. Indirectly, through performances in
Hungary and in Europe, the company is reaching out to audiences as well. Through these
indirect cultural interactions, one can see cultural diplomacy in action as a result of the
sharing of art with other cultures through the platform of theatre.
193 Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011.
http://kisrigofeszek.lapunk.hu/?modul=galeria. 194
Kisrigó-Fészek Alapítvány, "Alapítványunkról." Accessed October 4, 2011. http://kisrigofeszek.lapunk.hu/?modul=galeria.
195KRÉTAKÖR, "About Us: 2008." Accessed October 4, 2011. http://kretakor.eu/
196
KRÉTAKÖR, "About Us: 2008." Accessed October 4, 2011. http://kretakor.eu/ 197
KRÉTAKÖR, "Partnerek: Megrendelők." Accessed October 4, 2011. http://magyar.kretakor.eu/
5. Future Goals of Hungarian Cultural Diplomacy The future of Hungarian cultural diplomacy lies in a three-fold solution, separated into
short, medium, and long term goals. The long term goals include merging together the
image of Hungary and Hungary’s position in the world, within the European Union, and
within Central Europe198. Through these steps Hungary will be able to present itself to the
world as a country that has an active role in cultural diplomacy. Moreover, the country needs
to strengthen the role of cultural diplomacy within the field of politics and foreign relations in
order to achieve the long term goal of enhancing Hungary’s image and position in the
world199. Ideally major communication and connectedness between the public, private and
civil sectors would be the best way to achieve this long term goal.
The short and medium terms goals of Hungarian cultural diplomacy are to strengthen the
current cultural centres and t o expand on what there is presently. In order to make it
easier to expand its cultural diplomatic practices there needs to be a common voice among
the foreign relations office, the cultural and sports sectors, and the Balassi Institute, to
have a clear goal of what Hungarian cultural diplomacy is and what are its tasks ahead200.
Along with this, there needs to be a national and an international perception in terms of
tourism for what is within the capacity of Hungarian cultural diplomacy201. The areas in which
Hungary wishes to be culturally active are those areas within the member countries of the
European Union, within the border countries surrounding Hungary, the United States, NATO,
the Visegrad countries, Russia, China, India, Japan, Korea, the southern European countries
(namely the Balkans), the Eastern European countries, as well as additional support from the
Committee on Foreign Relations within Hungary and other material and financial support.
What still remains to be done in the future is the eventual expansion of Hungarian cultural
diplomacy around the world to areas where Hungary does not have an economic presence.
Bilateral relations with a specific country can be initially opened up through exchange of
culture, thus allowing political and economic discussion to follow after. Examples of
countries with Hungarian minorities but with which Hungary does not have formal relations
are Argentina, Brazil and Canada. These could be massive potential markets to open up with
the use of cultural diplomacy, and provide a real potential chance for Hungary to present its
renewed cultural image to the world. Formerly Hungary has close relations with the Maghreb
countries of northern Africa, namely Tunisia and Algeria, but since the 1980s these relations
have soured. Before 1980, Hungarian was a popular language choice for young students of
northern Africa, and cultural centres were frequented by the local population. Therefore in
order to regain relations, a good starting point would be to re-establish relations through
cultural diplomacy. Further to this, Hungary should take into consideration the current
political situation in certain northern African countries, Hungarian cultural diplomacy; since
it is something that the region is r e l a t i v e l y familiar with, could aid in the peace process
and the process of building new relations with these re-emerged North African states.
198 Sáringer, 9.
199 Sáringer, 9.
200 Sáringer, 9.
201 Sáringer, 9.
One thing that has not been heavily analysed in this study is the fact that there is also a large
Roma minority presently living in Hungary. It is the largest minority in Hungary according to
the 2004 census report, and is currently numbered at 190,000 individuals202. However, over
the past decade the identification of individuals as Roma has reduced, whilst other minority
groups have seen a boost in the number of people willing to identify as part of their
culture203. This may be linked to discrimination and a widespread negative perception of the
Roma within Hungarian society, in a situation that is sadly mirrored across Europe in terms of
perception of the Roma culture. There is a pressing need for relations with the Roma to be
improved and for public perception of the Roma to be reversed. Therefore, for the Hungarian
government to improve relations with the Roma, and to aid their integration within Hungarian
society, cultural diplomacy could well be the way forward. The Roma themselves also have a
long history in Europe, but this does not change the fact that they are often discriminated
against. Helping the Roma in Hungary could eventually help the Roma in Europe since they
are often of a nomadic nature. The Roma do not belong to any nation in the ‘imagined
community’ sense of the world204, since they embody another type of community; one that
does not rely on national borders. Within the European Union there has been difficulty in
creating the feeling of being European, a n d therefore, Hungary along with the rest of
Europe could learn about the rethinking of cultural space in the sense of the Roma205. This
could also help change the perception of culture belonging to only one nation and its urban
cultural space to being moved to a European level, and encouraging a European culture206.
This is a huge potential area of involvement for cultural diplomacy in Hungary, as well as
cultural diplomacy within the whole of Europe.
202 Nemzeti és Etnikai Kisebbségi Hivatal, "National and ethnic minorities in Hungary." Last modified 2004. Accessed September 29,
2011. http://www.szmm.gov.hu/main.php?folderID=1414, 2.
203
Nemzeti és Etnikai Kisebbségi Hivatal, "National and ethnic minorities in Hungary." Last modified 2004. Accessed September 29,
2011. http://www.szmm.gov.hu/main.php?folderID=1414, 2. 204
Robins, 639. 205
Robins, 641. 206
Robins, 642.
6. Conclusion Cultural diplomacy is a tool now that is being used more and more all over the world in order
to achieve certain goals. Taking this into consideration the Hungarian government, like any
other world government appears to have a double motive in mind. The first is in order to
promote the culture of the particular country, and the second is to attain desired
goals. Through the numerous examples presented within the three different sectors, one can
see aspects of cultural diplomacy in society. Within the public sector, Hungary has strong
plans for the spread of Hungarian culture and language through events and institutions like
Collegium Hungaricum in Berlin, Hungarian Days in Groningen and the Balassi Institute.
Moreover, in the private sector companies like Rubik’s Cube foundation and the
International Visegrad Fund support cultural diplomacy through their numerous programmes.
Although these institutions are not directly supporting cultural diplomacy, they are providing
the forum for cultural diplomacy and exchange to take place. Within the civil sectors, there
are three Hungarian organisations that deal with bringing cultural diplomacy to the
Hungarians living outside of the present border of Hungary today. These three civil sector
organisations are the Deszk Község Népmȕvészetéért Alapítvány, the Kisrigó-Fészek
Alapitvány, and Krétakör. All of these organisations are bringing and sharing culture with
Hungarians and also more and more with others in Europe, through a specific field of focus.
When there is a common theme shared among many, then regardless of national attachment
there will be a cultural exchange, which is the ultimate goal of cultural diplomacy.
An overall assessment of cultural diplomacy includes Hungary’s involvement its diaspora in
the neighboring countries and expanding into Europe and even beyond. As a result of
historical reasons, some Hungarians may feel that their country has suffered from an inferiority
complex throughout the course of the last century, but its transition from a Communist
regime to a democratic system, followed by the entry into the European Union in 2004,
opened up the doors for Hungary to engage in international cultural diplomacy207. As the
country continues to embrace its new modern era, Hungarians need no longer
feel ashamed of their past and can newly present the culture and potential of their country
to the world as a country that has been successful208. This has also strengthened
Hungarian national identity, in order to accept and be patriotic about Hungarian culture in
order to use this to facilitating exchanges of all types with other nationalities and other
cultures209. Therefore what was hindering Hungarian cultural diplomacy between the Second
World War until the regime change is no longer the case, and Hungary is free for cultural
diplomacy.
Currently within Hungary, the fastest growing industry is the cultural sector210. However, the
support system has not adapted to accommodate for this fast paced change and the
government needs to be spending more money on cultural practices. Currently cultural
spending is 1 to 1.5% of Hungary’s annual budget211, since there is not that much
funding available, the country has seen a rise in regional funding in cooperation for cultural
projects of all sorts212. This is a successful policy, which enables Hungary’s regions to take
responsibility for culture as an asset that needs to be sustained. Funding overall is a huge
concern in Hungary. There needs to be the development of a standardized regulation to
ensure funding and support for cultural organisations that are new start-ups213. More
specifically for art exhibitions, theater performances, and workshops, the government should
set up a yearly plan to ensure the sustainability of these projects214. For Hungary to be able
to work and maintain its cultural sector it also needs to rearrange its ability to fund projects.
With the expansion of Hungarian cultural houses taking place in all parts of the world, this is
a very positive sign to show how far Hungary is going and taking the importance of
cultural diplomacy very seriously. Although Hungary is presently doing a lot, there is always
room for improvement. Expanding into countries with which Hungary had former relations,
but have muted in recent years due to various political reasons, is a first potential market to
explore culturally. Furthermore, expanding more towards the East and the growing
development of countries there would aid Hungary. If the country was able to build concrete
relationships with Eastern states it would no longer have solely rely on Western support in
dire situations. Hungary also has a huge Roma population, and presently the relations are
strained. Therefore, using cultural diplomacy to find commonalities in order to help them
integrate more into society and help ease relations could prove effective. Through cultural
diplomacy Hungary can start to build up strong relations with other culturally rich countries
and from these cultural relations, economic and political ties can develop.
Cultural diplomacy is a great tool for Hungary to use in order to connect and have
various exchanges with other countries. From these fruitful encounters, Hungary can develop
stronger ties which will be beneficial to both sides in challenging situations. It is hoped that
cultural diplomacy can lead to future integration and future cooperation between states in the
international arena. From the evidence of this report; despite some issues it seems that overall
Hungary is on track to becoming a significant cultural diplomatic power.
211 Bozóki, 10.
212 Bozóki, 10.
213 Bozóki, 11.
214 Bozóki, 11.
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