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Cultural diplomacy of Yugoslavia 1945-1991 is often represented through its socialist,
European or westernization aspects. However, one specific characteristic of this multinational
federation is often overlooked. Non-alignment was the main axis of the Yugoslav
foriegn policy from c. 1956 to 1989. This foreign policy doctrine made possible a wide array of
networks to be formed with the newly liberated post-colonial states of Africa, Asia and Latin
America. This paper presents a short history of these networks. The given examples present
Yugoslav-African cooperation in the fields of museology, literature, artistic and intellectual
exchange, exhibitions and institutions created based on this cooperation – such as the Museum
of African Art in Belgrade. Yugoslavia was very present on the African continent and
signed official cultural cooperation treaties with over 30 of its nation states. Belgrade and
the rest of the Yugoslav federation was extremly receptive of initiatives from the non-aligned
and, to the limits of their infrastructural and financial possibilities, supported them. The
specificities of socialist Yugoslavia, however, made possible for a decentralization of cultural
cooperation. The paper also examines the most recent interpretations of Non-Aligned heritage
and history in lieu of events following the 60th anniversary of the Belgrade Conference
and the Jubilee Conference of the Non-Aligned (Belgrade, October 2021). A special emphasis
is placed upon the analysis of two exhibitions – The Non-Aligned World in the Museum of
African Art, and the Prometheans of the New Century in the Museum of Yugoslavia. The last
part of the text elaborates on the renewal of these old trends of cooperation and gives some
thought to the reach and possiblities of cultural diplomacy in the post-colonial space of Africa,
Asia and Latin America, highlighting recent examples from the Republic of Serbia and its
neighbours. In a globalised world and with Serbia rapidly forming partners on all continents,
these links should be re-examined and renewed

Within the framework of rich and diverse activities of museums, which include
exhibitions, publishing, educational and conservation / restoration activities, a special place
is given to international cooperation programs which, if well designed, can play an important
role in the cultural diplomacy system of each country. In the process of transformation from
a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed
an important part of its activities towards international cooperation and thus cultural
diplomacy. These activities are realized through hosting of exhibitions of foreign institutions,
visiting exhibitions of the Gallery in European museums, organization of joint exhibitions
with museums in the region, cooperation with foreign cultural centers and through protocol
visits. Well-designed themes and programs that promote national art, connections with other
cultures and the culture of other nations, museum activities – exhibitions and publications
– become an important tool for better international relations and a foundation for active
cooperation among museum institutions throughout Europe.

The paper explores the soft power of the Serbian TV series produced in the period
2015–2021 – as focused on the in depth analysis of the TV series Senke nad Balkanom (Black
Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić) – and their role in the domains of
cultural diplomacy and international relations of Republic of Serbia. The research uses the
methods of the qualitative (textual, narrative, genre) and quantitative (the financial success
in terms of distribution, placement at the festivals, promotions on the social webs) analysis.
The aim of this paper is to map out – reading the thematically and generically diverse
case studies of multilayered narrative complexity – the emerging patterns of the soft power
analysis of TV series and their importance and value for the national cultural policy and
diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes
the story of the past and the present; cultural and political tensions; opposed parties
and conflicting identities in the country and in the region. At the same time the TV series
creates the image of Serbia – process of ’branding the nation and the state’ – aimed for and
turned toward the world, but not necessarily made in accordance with the state priorities
and strategies. Regional and global reactions and critical response to the Shadows over the
Balkans, its international placement, distribution and promotion argue the skilful change of
the global into the local phenomenon (global exploitation and the growing soft power) as well
as the successfully achieved mission of the cultural diplomacy – have appropriated identity
and enhanced visibility of the country and of the nation.

The People’s Republic of China has long sought to improve its image in the world
through various and numerous forms of public and cultural diplomacy. Since China became
one of the important and influential actors at international level, there was a need to change
their perspective concerning others, but also to change the perspective of others concerning
China. To achieve that, the People’s Republic of China has begun to implement a proactive
strategy of public and cultural diplomacy, which will promote it as a responsible great power
and which will contribute to the formation of a positive narrative in international relations.
The Chinese authorities, with several major initiatives involving economic, political and cultural
strategies are seeking to improve and promote their country’s image as a trusted political
and economic partner. In the process, culture and cultural exchange are becoming one
of China’s most important tools for increasing its soft power. As these initiatives include the
Western Balkans, and thus the Republic of Serbia, China, as elsewhere, uses various methods
and instruments of cultural diplomacy, ranging from Confucius Institutes and academic
cooperation to the internationalization of the Chinese media as well as Chinese presence in
the media of these countries. Accordingly, the aim of the paper is to present and describe how
these instruments work in the Western Balkans, and how they are applied in the Republic of
Serbia in comparison with other countries in the region.

In the past few years, cultural diplomacy has become important among the priorities of European Union (EU) policies. In that political vision, European cultural relations should be based on transnational interactions between two or more cultures, be equal, un-projective and noncoercive, and guided by mutual cooperation of state and non-state actors. The paper examines the development of the European Union’s (EU) cultural diplomacy agenda, from ”culture in external relations” to ”inclusive cultural relations” and the ”new spirit of dialogue” as a political narrative and institutional logic, laying the foundations for contemporary priorities of European foreign cultural policy, its instruments and programs. The theoretical and empirical framework of the analysis is set by considering the dichotomies of discourse and political rhetoric surrounding EU cultural diplomacy. The methodology of the work is based on an analysis of the EU public policy discourse and documents, initiatives, contents and announcements related to cultural diplomacy and foreign cultural policy, in order to see their development phases, concepts and scope of activities for improving international cultural relations. In defining and interpreting the current European ”narrative” and the paradigm of cultural diplomacy, the paper starts from the multi-perspectival theoretical foundation of cultural diplomacy and related concepts. The analysis shows how the EU’s decade-long effort to shape its foreign policy and cultural strategy has gained its explicit ex-pression from the implicit one. At several stages of development, the EU has adopted a new model of cultural diplomacy that combines elements of several definitions – and theoretical frameworks – of public diplomacy and soft power, cultural policy, international cultural relations and cultural cooperation. This integrated EU strategic approach is based on a broad definition of culture, intercultural dialogue and cooperation, and a bottom-up approach. In order to balance the soft power projection dimension in EU cultural diplomacy policy and practice, it would be necessary to persist in advocating for a cultural perspective that would focus on collaborative approaches and field processes generated by cultural diplomacy projects and actors. It would essentially be an incentive for a ”new spirit of dialogue” both between member states and with third countries that are on the European path.