The Turkish ruling regime's problematic use of a vocabulary that appears to be identical with that of many Balkan post-migrants manifests in one of the goals of the AKP's „Vision 2023“ on its official homepage. There, a collective „we“ announces that „we will (re-)appropriate the reminiscences of our forefathers“ („Atayadigârlarımıza sahip çıkacağız”), with the historical Old Bridge of Mostar in the background. The same totemic language is applied on the homepage of TİKA, the Turkish Cooperation and Coordination Agency: „Turkey appropriates the monuments of the Ottoman reminiscences in the Balkans“ (Türkiye Balkanlar'daki Osmanlı Yadigârı Eserlere Sahip Çıkıyor). In a similar vein, the reminiscence (yadigâr) is more frequently paraphrased by the notion of the „Ottoman heritage“ (Osmanlı Mirası): thus, figurative kinship relations to the Balkans (heritage) are constructed. This figurative kinship is also expressed in countless other public speech acts, where Bosniaks and Turks are regularly called siblings (kardeş) and relatives (akraba), regardless of their biographies. Similarly, Bosnia, Kosovo, or other places were often called „home“ or declared identical with Turkey by Turkish officials. These samples show that the understanding of the nation-state itself and its borders was widened by the AKP regime throughout the past years, characterized by the use of kinship-metaphores. Concomitantly, the existing and conflictuous questions of belonging, ownership, sovereignty and territoriality in the Western Balkans were even amplified.
[Public Diplomacy] Turkish-Bosnian sibling cities and a semantic problem with ‚populism'(Part 2/8)
The stress of the Ottoman past in the official Turkish actors' cultural initiatives is the reason why their activities have been classified cultural diplomacy from the very beginning of their visibility in the Balkans. The year 2009, when the first branch of the Yunus-Emre-Cultural Centers opened its doors in the Bosnian capital Sarajevo, can be seen as a first significant benchmark. However, Turkish culture and cultural diplomacy are not only promoted in direct and subtle ways by offical representatives of the Turkish state: from the point of view of soft power – which according to Joseph Nye needs to work subtly in order to be successful – the popularity of Turkish TV-series was (and still is) of enormous relevance. Especially the latter aspect implies that an understanding of the appeal of “Turkish culture” in the Balkans cannot solely be explained by studying the ruling regime's activities: much broader strata of the involved societies (e.g. TV consumers/prosumers in Bosnia and Turkey) and their various discoursive contexts are, as informal actors, involved in the process of cultural diplomacy.