Understandably, after the #Flotilla was assaulted by Israeli military and activists on board were killed, Source 1 is still speechless. And he is also still busy answering all the direct tweets he gets from the Israeli Foreign Ministry who is incessantly bombarding the world with the justification of their actions. Here though is another look at Flotilla and the questions and forces at play coming from -KRT-.
In a recent essay in Foreign Policy entitled "Turkey's Zero-Problems Foreign Policy", which is but a nice wish, the Turkish Foreign Minister Ahmet Davotoglu outlined the principles of the new Turkish Foreign Policy. (Unlike many other countries, Turkey has a plan and has goals for their Foreign Policy.)
One of the principles Turkey aims to implement is a new discourse and diplomatic style, resulting in the spread of Turkish Soft Power in the region. According to Davotoglu, Turkey doesn't make threats, although it maintains a powerful military due its insecure neighborhood. Insecure it is, and as the story of Flotilla has proven, even projecting Soft Power can provoke harsh, violent replies; albeit soft, it's still power after all.
In a recent essay in Foreign Policy entitled "Turkey's Zero-Problems Foreign Policy", which is but a nice wish, the Turkish Foreign Minister Ahmet Davotoglu outlined the principles of the new Turkish Foreign Policy. (Unlike many other countries, Turkey has a plan and has goals for their Foreign Policy.)
One of the principles Turkey aims to implement is a new discourse and diplomatic style, resulting in the spread of Turkish Soft Power in the region. According to Davotoglu, Turkey doesn't make threats, although it maintains a powerful military due its insecure neighborhood. Insecure it is, and as the story of Flotilla has proven, even projecting Soft Power can provoke harsh, violent replies; albeit soft, it's still power after all.
But it was another priniciple that caught my eye and made me ponder: Turkey strives for "rhythmic diplomacy", so Davotoglu explained. What the heck, I thought, are we back to the days of the Vienna congress of 1815 and dancing diplomats? No, I was told reading on, rhythmic diplomacy aspires to provide Turkey with a more active role in international relations. This principle implies active involvement in all international organizations and on all issues of global and international importance. But what rhythm? How? What for? I needed to go back to my library.
In his excellent book "The Dance of Life", Edward T. Hall spends a great number of pages to elaborate on rhythm. For Hall rhythm is basic to synchrony. It is impossible to synchronize two events unless rhythm is present. To illustrate his point, Hall uses the example of a group of children on a playground. Hall was noticing one very active little girl who seemed to stand out from the rest. She was all over the place. Filming the scene and concentrating on that girl, Hall noticed that whenever she was near a cluster of children the members of that group were in sync not only with each other but with this girl. So much in sync and rhythm that Hall was able to play a piece of rock music over the taped playground scene only to see film and music remain in sync for the entire duration of the movie. This girl had rhythm inside her, and she transferred it to the people around her. For Hall, rhythm may be the most binding of all the forces that hold people together, that get them synchronized.
I got it, I exulted, that is what Turkey is trying to achieve with its diplomacy. Moving through the international community, displaying the rhythm inherent in their soul, being the active element on the political playground, and thus synchronizing geopolitical actors towards the solution of a crisis.
Turkey's got rhythm allright, but will anyone dance along? Its first real attempt at rhythmic diplomacy, fitting out the Flotilla that was sent to Gaza, failed tragically (and then again, it can be a success, as George Friedman concludes in his splendid analysis in Stratfor). Turkey had to realize that while moving on a dancefloor, you might step on somebody's toes. But not only that: the Turkish dance even led to MURDER ON THE DANCEFLOOR. Today's political environment is a rough disco indeed. And just like in Sophie Ellis Bextor's song, there is only in one way that the audience can respond: "If you think you're getting away, I will prove you wrong."
In his excellent book "The Dance of Life", Edward T. Hall spends a great number of pages to elaborate on rhythm. For Hall rhythm is basic to synchrony. It is impossible to synchronize two events unless rhythm is present. To illustrate his point, Hall uses the example of a group of children on a playground. Hall was noticing one very active little girl who seemed to stand out from the rest. She was all over the place. Filming the scene and concentrating on that girl, Hall noticed that whenever she was near a cluster of children the members of that group were in sync not only with each other but with this girl. So much in sync and rhythm that Hall was able to play a piece of rock music over the taped playground scene only to see film and music remain in sync for the entire duration of the movie. This girl had rhythm inside her, and she transferred it to the people around her. For Hall, rhythm may be the most binding of all the forces that hold people together, that get them synchronized.
I got it, I exulted, that is what Turkey is trying to achieve with its diplomacy. Moving through the international community, displaying the rhythm inherent in their soul, being the active element on the political playground, and thus synchronizing geopolitical actors towards the solution of a crisis.
Turkey's got rhythm allright, but will anyone dance along? Its first real attempt at rhythmic diplomacy, fitting out the Flotilla that was sent to Gaza, failed tragically (and then again, it can be a success, as George Friedman concludes in his splendid analysis in Stratfor). Turkey had to realize that while moving on a dancefloor, you might step on somebody's toes. But not only that: the Turkish dance even led to MURDER ON THE DANCEFLOOR. Today's political environment is a rough disco indeed. And just like in Sophie Ellis Bextor's song, there is only in one way that the audience can respond: "If you think you're getting away, I will prove you wrong."