Quo vadis ars?
The situation in the cultural sector has been
described and discussed in numerous interviews, corona diaries,
comments and reports in the past few weeks. Our annotated
collection
of currently 193 sources
gathers voices from different sectors and media.
This creates a picture of the cultural landscape in crisis,
whose temporal transformation can be explored interactively
via a dedicated
tag cloud.
Ein Jahr ohne Werke . Was es für das Musikleben bedeutet, wenn Verlage um ihr Überleben kämpfen
A year without pieces . What it means for musical life when publishing houses fight for their survival
by Merle Krafeld (03 Feb 2021)
Original source: VAN Magazin für klassische Musik
Music publishers play an important role in the cultural ecosystem. Not only do they promote the work of composers, but they also produce well thought-out sheet music in individual parts, ensure good binding quality of the sheet music and produce new editions of historical works. To do this, they conduct study of sources and work with scientific precision. The publishers therefore generate income not only from the sale of sheet music, but above all from the lending of scores of mostly copyrighted works to orchestras and choirs. The rental fees are made up of various facto rs such as the length and instrumentation of the work, the number of performances and seats available for sale. Last year, the turnover from rental fees for music publishers collapsed by up to 80 per cent. In addition to lending fees, publishers and rights holders also lost income from distributions by the German Performing Rights Society (GEMA) and foreign collecting societies as well as the German Music Edition Society (VG Musikedition). Since royalties are usually only paid out in the following year, the loss of income will not be felt until 2021. Publishers who specialise in choral music are also particularly affected, as it is not foreseeable here when rehearsals can be resumed. In the lockdown, only the purchase of individual parts and chamber music with small ensembles boomed. Henle-Verlag, which serves this segment with an app, among other things, is the only publishing house that recorded an increase in turnover in 2020.
As long as there is no planning security in the cultural sector, the sale and rental of sheet music will not increase. The staff of the publishing houses are therefore currently on short-time work and at the same time working flat out to offer works with a small line-up.
Many publishers are currently falling through the cracks of the aid payments because they are either too small or too big. The Neustart Kultur programme can compensate for turnover losses from the rental sector, but only 30 per cent of the lost turnover from April to November 2020, against which aid already received, such as short-time allowance, must be offset. So in the end, the aid is just a drop in the ocean. Read More Read Less
As long as there is no planning security in the cultural sector, the sale and rental of sheet music will not increase. The staff of the publishing houses are therefore currently on short-time work and at the same time working flat out to offer works with a small line-up.
Many publishers are currently falling through the cracks of the aid payments because they are either too small or too big. The Neustart Kultur programme can compensate for turnover losses from the rental sector, but only 30 per cent of the lost turnover from April to November 2020, against which aid already received, such as short-time allowance, must be offset. So in the end, the aid is just a drop in the ocean. Read More Read Less
tag Musikverlage GEMA Planungssicherheit Chormusik Leihverkehr Kurzarbeit Neustart Kultur Music Bericht
Sprachmacht und Sachertorte . Österreichische Literatur in der Coronakrise
Power of language and the Sacher cake . Austrain literature during corona crisis
by Irene Binal (25 Sep 2020)
Original source: Deutschlandfunk Kultur
In a feature on the current situation of Austrian literature, the topic of Corona, which is currently a major concern for all creative artists, should not be missing, in addition to the great role models, the special features of the publishing landscape and the coffee house culture in Vienna.
The author Michael Stavarič, who accompanies the journalist Irene Binal through Vienna, is particularly affected by the crisis, as his current novel "Fremdes Licht" (Strange Light) was published in spring. About 30 lectures were cancelled, interviews and meetings w ere missed. After four years of work, there is now a lack of income and the author is thinking about whether life as a freelance writer can still afford to live in the next few years.
Despite comparable hardship, many Austrian authors do not feel that state support is adequate. With the project "Work instead of Alms" Marlen Schachinger wanted to set an example in this situation. Through a crowdfunding campaign she has raised about 20,000 €. Most of the money came from readers and is used to pay not only for the anthology itself but above all for the fees of the about 20 authors. Read More Read Less
The author Michael Stavarič, who accompanies the journalist Irene Binal through Vienna, is particularly affected by the crisis, as his current novel "Fremdes Licht" (Strange Light) was published in spring. About 30 lectures were cancelled, interviews and meetings w ere missed. After four years of work, there is now a lack of income and the author is thinking about whether life as a freelance writer can still afford to live in the next few years.
Despite comparable hardship, many Austrian authors do not feel that state support is adequate. With the project "Work instead of Alms" Marlen Schachinger wanted to set an example in this situation. Through a crowdfunding campaign she has raised about 20,000 €. Most of the money came from readers and is used to pay not only for the anthology itself but above all for the fees of the about 20 authors. Read More Read Less
tag Literatur Österreich Arbeit statt Almosen Marlen Schachinger Michael Stavarič Umsatzeinbruch Crowdfunding Literature/ Text Feature
Es sieht düster aus, bilanziert die Schweizer Museumsbranche . Corona-Folgen für Museen
It looks rather gloomy, concludes the Swiss museum industry . Consequences of Corona for museums
by brik/kusv (10 Aug 2020)
Original source: Radio SRF 2 Kultur
"It's terrible what you just see and hear informally," says Tobia Bezzola, President of the Swiss Association of Museum Professionals ICOM, commenting on the situation of museums in Switzerland. There has been a 50 to 80 percent drop in visitor frequency. Site location, type of funding and the proportion of inter-regional visitors are currently determining the extent of the losses. Using the example of the Museum of Science Kulturama in Zurich, the Museo d'arte della Svizzera Italiana MASI and the Museum of Natural History St. Gallen, the article illust rates the concerns of museum directors in Switzerland. At present, they are able to cope with the operation with the help of reserves and the support of the cantons, but if the crisis lasts longer, job cuts and a reduction of the cultural program must be taken into consideration.
Read More
Read Less
tag Museen Besucherzahlen Finanzen öffentliche Finanzierung Claudia Rütsche Tobia Bezzola Toni Bürgin Visual Arts/Design Bericht
Der verzögerte Kulturinfarkt . Resilienz des Kulturbetriebs
The delayed culture infarction . Resilience of the cultural sector
by Dieter Haselbach, Pius Knüsel (27 Jul 2020)
Original source: Kulturmanagement
The cultural industry has long been a two-tier society. While the state-financed cultural institutions will come through the crisis with the help of much public funding, the many private institutions and artists will fall victim to the crisis. The public institutions are not innocent of this, as they have used the solo self-employed as an inexhaustible reserve army.
In view of the fact that even before the crisis there was a discussion about the dwindling public in cultural institutions and the loss of significance of museums, the authors are irritated by a contri bution by Tobias J. Knobloch, President of the Kulturpolitische Gesellschaft, who urged that public funding be expanded in order to avert the consequences of the crisis for the cultural industry. In this context he also speaks of resilience.
Here it should not be forgotten that the crisis is the great time for cultural associations. They are now trying to get a share of the public funding.Differently it looks with the solo independent ones, which fall by the promotion rasters of the federation and federal state governments for enterprises and come thus over the rounds only with an application for unemployment relief ALG II .
Here the authors come to the crucial point of their article: Many artists do not have a business model that would be sustainable and provides for reserves and a sensible old-age provision. Postponing crisis and old-age provision until later is not a model with a future. Even if the state is currently generous, sustainable business practices must be introduced in the cultural sector.
In their outlook, the authors assume that the large state-financed houses will survive the crisis, and that many solo self-employed and privately financed houses will give up. Cultural tourism will also start again in 2021. The only chance the stakeholders have is to create new room for maneuver. A cultural infarction can currently only be avoided if the funding instruments and organizational principles are reconsidered and digitization is promoted. Read More Read Less
In view of the fact that even before the crisis there was a discussion about the dwindling public in cultural institutions and the loss of significance of museums, the authors are irritated by a contri bution by Tobias J. Knobloch, President of the Kulturpolitische Gesellschaft, who urged that public funding be expanded in order to avert the consequences of the crisis for the cultural industry. In this context he also speaks of resilience.
Here it should not be forgotten that the crisis is the great time for cultural associations. They are now trying to get a share of the public funding.Differently it looks with the solo independent ones, which fall by the promotion rasters of the federation and federal state governments for enterprises and come thus over the rounds only with an application for unemployment relief ALG II .
Here the authors come to the crucial point of their article: Many artists do not have a business model that would be sustainable and provides for reserves and a sensible old-age provision. Postponing crisis and old-age provision until later is not a model with a future. Even if the state is currently generous, sustainable business practices must be introduced in the cultural sector.
In their outlook, the authors assume that the large state-financed houses will survive the crisis, and that many solo self-employed and privately financed houses will give up. Cultural tourism will also start again in 2021. The only chance the stakeholders have is to create new room for maneuver. A cultural infarction can currently only be avoided if the funding instruments and organizational principles are reconsidered and digitization is promoted. Read More Read Less
tag Museen Kulturförderung Soforthilfe Solo-Selbständige Hartz IV Olaf Zimmermann Tobias J. Knobloch All sections Bericht
Interne Anweisung: »Schauspieler über 60 bitte eliminieren«
Internal directive: »Please eliminate actors over 60«
by Stefan Grund (17 Jun 2020)
Original source: Welt
In the last days, a letter has become known that the production company Saxonia Media has sent to the scriptwriters of the popular series "In aller Freundschaft" commissioned by the first German national TV channel ARD. In it they were asked to use actors over 60 in a very reduced way or even not to cast them at all. After there have been only rumours up to now that production companies encourage their script writers to remove old characters, this is the first case in which such a procedure has been proven. The German association of actors 'Berufsverband Sc hauspiel" is investigating all suspicious cases, not only to clarify them, but also to warn against such action.
Read More
Read Less
tag Fernsehserien ARD Schauspieler*innen Berufsverband Schauspiel Drehbuch Altersdiskriminierung Performing Arts/ Cinema Bericht
Kommunen, Verbände, Künstler - der »Kulturpolitische Salon« im DLF Kultur diskutiert verschiedene Sichtweisen auf das Kulturpaket. Fazit: Die langfristigen Folgen der Krise sind noch nicht absehbar. . Kann das Milliardenpaket des Bundes die Kultur retten?
Leaving the Corona crisis behind with a . Can the federal government's billion-euro package save culture?
by Skadi Jennicke, Ulrich Khuon, Dagmar Schmidt, Wolfgang Schmidt, Olaf Zimmermann, Hans Dieter Heimendahl (12 Jun 2020)
Original source: Deutschlandfunk Kultur
As part of the economic stimulus package, the German Federal Government has provided one billion euros for the protection of the infrastructure in the cultural and creative industries with its "Restart Culture" programme. In the new format of Deutschlandfunk, the "Cultural Policy Salon", representatives from various sectors are discussing about the significance of the government's cultural package in the current situation and how the exit strategy from the crisis could look like for the sector. The participants agree that the economic stimulus pac kage is an important signal for the sector, but it is still seen as a form of emergency aid. The crisis is far from over, many cultural institutions are still in test mode. As the municipalities and institutions are still reacting to the crisis, they hope for some deceleration, so that there is again time for a reflective approach to the demands of the new everyday life.
Read More
Read Less
tag Konjunkturpaket Neustart Kultur Kulturförderung Bundesregierung Verbände Kommunen All sections Diskussion
Kunst gehört zur Grundversorgung
Art belongs to the basic amenities
by Marcus Woeller (19 Apr 2020)
Original source: Welt
The cultural and creative industries have been hit hard by the lockdown. With the discussion of the first easing of the lockdown, galleries and exhibition houses will probably be able to open again. This is important not only for the exhibition houses that lack the entrance fees for the programme work, but also for the art market. Collectors would like to see works in the original and not in the digital showroom. Galleries open to visitors is the precondition for the art market to recover. Until then, we hope that the smaller galleries will be able to persevere, as they make an important contribution to the basic supply of art.
Read More
Read Less
