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.
Kultur ist nicht für alle da . Corona-Maßnahmen und Kultur
Culture is not there for everyone . Corona measures and culture
by Tobi Müller (29 Oct 2020)
Original source: Zeit
With Till Brönner and the band 'Die Ärzte', prominent representatives of the music industry issued statements talking about the existential needs of many musicians, but also of the workers important to the industry, from event technology to gastronomy. In his contribution, Tobi Müller is right to criticizes the wrong figures and thus the economic power that the players in the industry are referring to. However, his comparison with employees, who would also be in a bad way, is misleading. After all, these employees may receive short-time compe nsation and, in the worst case, unemployment benefits. The solo self-employed person may request however directly social welfare assistance Hartz IV.
But Müller also complains that the statements conceal the fact that there are areas in the cultural industry that are affected more and which less. Music is undoubtedly one of the hardest hit economic sectors. However - according to Müller's central argument - the culture Brönner is talking about is that of the upper middle class, which can loudly stand up for the rights of artists. Especially in view of the fact that the punk band 'Die Ärzte' has ventured into the 'Tagesthemen' to raise its voice, the concept of culture that Müller represents in his contribution is remarkable. It is based primarily on concert halls, stages and museums, for which the jazz trumpeter Till Brönner is a symbolic figure, and not on the areas of culture such as folk music, hits or punk.
The suggestion that Tobi Müller has for the industry looks in the current situation rather strange: Not to always only bale the state into responsibility, but to show solidarity with one another. Why not open the large theater halls for concerts or enter into cooperation with museums, which usually have large, airy rooms. And as a sign of charity, churches could also offer the doors for theater and music professionals. Read More Read Less
But Müller also complains that the statements conceal the fact that there are areas in the cultural industry that are affected more and which less. Music is undoubtedly one of the hardest hit economic sectors. However - according to Müller's central argument - the culture Brönner is talking about is that of the upper middle class, which can loudly stand up for the rights of artists. Especially in view of the fact that the punk band 'Die Ärzte' has ventured into the 'Tagesthemen' to raise its voice, the concept of culture that Müller represents in his contribution is remarkable. It is based primarily on concert halls, stages and museums, for which the jazz trumpeter Till Brönner is a symbolic figure, and not on the areas of culture such as folk music, hits or punk.
The suggestion that Tobi Müller has for the industry looks in the current situation rather strange: Not to always only bale the state into responsibility, but to show solidarity with one another. Why not open the large theater halls for concerts or enter into cooperation with museums, which usually have large, airy rooms. And as a sign of charity, churches could also offer the doors for theater and music professionals. Read More Read Less
tag Musikbranche Till Brönner Die Ärzte Solidarität Wirtschaftsfaktor Staat Publikum Hartz IV Kulturbegriff Music Kommentar
»Die virtuelle Welt hilft uns leider nicht« . Star-Geigerin Anne-Sophie Mutter über Corona
»Unfortunately the virtual world does not help us at all« . Star violinist Anne-Sophie Mutter on Corona
by Anne-Sophie Mutter, Gero Schließ (20 Oct 2020)
Original source: Deutsche Welle
Already in the summer, violinist Anne-Sophie Mutter and her colleagues wrote an open letter calling for support from the society for musicians. Now she is using the Opus Klassik award to draw attention to the precarious situation of many artists in the Corona crisis. In an interview with Deutsche Welle, she once again expresses her position. She herself is doubly affected by the pandemic. Not only are most of her concerts cancelled for 2020, but in March she had to cancel her tour because she herself had fallen ill with the corona virus.
The violinist reacts with incomprehension to the current actions of politics. At concerts and cultural events, there are extremely strict rules of hygiene, while in restaurants people are allowed to celebrate without distance. The fact that this not only discriminates against a single profession, but also against a high-turnover industry and thus the entire German cultural landscape is on the verge of collapse, hurts her very much. She does not want her concerns to be understood as criticism of the work of the Minister of State for Culture, with whom she is in close contact. Rather, she hopes for new aid measures for all solo self-employed people in the cultural industry so that it can be saved through the crisis. If this does not happen, the industry must raise its voice in demonstrations.
For Mutter, there is no question that art and culture are important as sources of consolation, especially in times of crisis. To rely on streaming as self-exploitation of artists in this time is no solution for society as a whole. Even if concerts are currently taking place, the musicians usually play without a part of their fee, since they usually give two concerts each in front of a hall that is at most half full. Mutter suggests that one should follow the example from Salzburg, where with the chessboard pattern and consistent testing the festival could be carried out as usual. The gratitude of the audience, which she experienced in autumn, shows her how important music is during a crisis. Read More Read Less
The violinist reacts with incomprehension to the current actions of politics. At concerts and cultural events, there are extremely strict rules of hygiene, while in restaurants people are allowed to celebrate without distance. The fact that this not only discriminates against a single profession, but also against a high-turnover industry and thus the entire German cultural landscape is on the verge of collapse, hurts her very much. She does not want her concerns to be understood as criticism of the work of the Minister of State for Culture, with whom she is in close contact. Rather, she hopes for new aid measures for all solo self-employed people in the cultural industry so that it can be saved through the crisis. If this does not happen, the industry must raise its voice in demonstrations.
For Mutter, there is no question that art and culture are important as sources of consolation, especially in times of crisis. To rely on streaming as self-exploitation of artists in this time is no solution for society as a whole. Even if concerts are currently taking place, the musicians usually play without a part of their fee, since they usually give two concerts each in front of a hall that is at most half full. Mutter suggests that one should follow the example from Salzburg, where with the chessboard pattern and consistent testing the festival could be carried out as usual. The gratitude of the audience, which she experienced in autumn, shows her how important music is during a crisis. Read More Read Less
tag Klassik Streaming Schachbrettmuster Salzburger Festspiele Honorar Gleichbehandlung Monika Grütters Music Interview
Kleine und mittlere Theater sind existenziell bedroht . Corona-Maßnahmen in NRW
Small and medium-sized theaters are existentially threatened . Corona measures in North Rhine-Westphalia
by Marc Grandmontagne, Marietta Schwarz (15 Oct 2020)
Original source: Deutschlandfunk Kultur
A decree of the Ministry of Health severely limits the number of participants for events in North Rhine-Westphalia. With immediate effect, only 250 participants or a maximum of 20 percent capacity are permitted. This decree will hit the venues hard at the beginning of the season, as the complete events now have to be rescheduled. Smaller venues, such as the Kommödchen in Düsseldorf, have already announced that they will close again for the time being. The head of the German Stage Association, Marc Grandmontagne, considers the decree to be completely misguided. So far, no infection in a theater is known. All houses have a thoroughly worked out hygiene concept. Due to the modern ventilation technology in the large houses, the danger of infection is minimal. Up to now, under these circumstances it would have been possible in NRW to seat 100 percent of the seats. Since the audience currently still wants a safe distance, 50 percent of the seats were usually occupied. So there is no objective reason for the new decree.
The Ministry of Culture in NRW has not yet issued a statement on the decree. Grandmontagne is calling for better coordination between the players. Since the Ministry of Culture supports the smaller houses in particular, he does not assume that the decree was coordinated in advance.
Grandmontagne is particularly concerned about the signal that the decree sends out to the cultural workers themselves. Tiredness and exhaustion is noticeable in the industry. Not being able to carry out one's own profession normally in the long term has psychological consequences. Nevertheless, it must be remembered that the development of the pandemic is due to our own behavior. Here the cultural industry has been very consistent and responsible so far, and has gained a lot of experience. This whole experience can now serve as a basis for future strategies. Read More Read Less
The Ministry of Culture in NRW has not yet issued a statement on the decree. Grandmontagne is calling for better coordination between the players. Since the Ministry of Culture supports the smaller houses in particular, he does not assume that the decree was coordinated in advance.
Grandmontagne is particularly concerned about the signal that the decree sends out to the cultural workers themselves. Tiredness and exhaustion is noticeable in the industry. Not being able to carry out one's own profession normally in the long term has psychological consequences. Nevertheless, it must be remembered that the development of the pandemic is due to our own behavior. Here the cultural industry has been very consistent and responsible so far, and has gained a lot of experience. This whole experience can now serve as a basis for future strategies. Read More Read Less
tag Theater NRW psychische Belastung Hygieneregeln Gesundheitsministerium Performing Arts/ Cinema Gespräch
Debatte um Künstler in Not . Corona-Soforthilfe gefloppt
Debate about artists in need . Corona emergency aid flopped
by Peter Jungblut (28 Sep 2020)
Original source: BR24
Another round of discussions on the state of culture: in Munich's Volkstheater, the Bavarian Minister of State for Science and Art Bernd Sibler had to answer questions from cultural workers. The displeasure is great. In Bavaria, the number of allowed visitors is still determined not by the size of the event rooms but by the size of the events. Only three houses are allowed to accommodate 500 spectators in the course of a model experiment. The fear among culture enthusiasts is still great, so that even these places are not sold out.
Just as unsuccessful as the pilot project was the emergency aid program for solo self-employed persons, which expired at the end of the most recent quarter. Instead of the expected 60,000 applications, the Free State received only 10,000, of which 8,000 were approved. The reasons for this are manifold. Some have already received money from other funding sources or applied for Hartz IV, while others are keeping their heads above water with other jobs if they are not already trying their luck in another profession. In the cultural sector, the fear of the "point of no return" is now spreading. What if next year too many cultural workers have already reoriented themselves and a return to the situation before the lockdown will no longer be possible? The helplessness is great. Bernd Sibler points to the satisfaction of the Bavarians with the strict corona measures, while Volkmar Halbleib, SPD party member of the state parliament, vehemently attacks his colleague from the CSU party: civilized cultural events are not a source of infection. Everyone is now aware of this. Therefore, something must now finally be done for culture to free the artists from their hopeless situation. Read More Read Less
Just as unsuccessful as the pilot project was the emergency aid program for solo self-employed persons, which expired at the end of the most recent quarter. Instead of the expected 60,000 applications, the Free State received only 10,000, of which 8,000 were approved. The reasons for this are manifold. Some have already received money from other funding sources or applied for Hartz IV, while others are keeping their heads above water with other jobs if they are not already trying their luck in another profession. In the cultural sector, the fear of the "point of no return" is now spreading. What if next year too many cultural workers have already reoriented themselves and a return to the situation before the lockdown will no longer be possible? The helplessness is great. Bernd Sibler points to the satisfaction of the Bavarians with the strict corona measures, while Volkmar Halbleib, SPD party member of the state parliament, vehemently attacks his colleague from the CSU party: civilized cultural events are not a source of infection. Everyone is now aware of this. Therefore, something must now finally be done for culture to free the artists from their hopeless situation. Read More Read Less
tag Soforthilfe Bayern Bernd Sibler Münchner Volkstheater point of no return Sitzplätze All sections Bericht
»Viele Kollegen von uns mussten Hartz IV beantragen«
»Many of our colleagues had to apply for Hartz IV social security«
by Wiebke Eymess, Jörg Burger (23 Sep 2020)
Original source: Die Zeit
With 80 performances a year, the cabaret duo "Das Geld liegt auf der Fensterbank, Marie", consisting of Wiebke Eymess and Friedolin Müller in the time before Corona, were able to finance themselves well. Together with their two children, the couple lives in the countryside and therefore has very reduced running expenses. Nevertheless the Corona crisis was a shock. As the couple was fully booked for two years in advance, Wiebke Eymess reacted to the cancellations with a panic attack in March. It took time for her to adjust to the new situation. She describe d her feelings and fears in a blog. The fact that the German radio station SWR3 now prints them twice a week as a column helps the family make ends meet. In addition, donations from loyal fans and craftsmanship help them keep their heads above water. The state support they received from the emergency aid programs was minimal. Even if the public has the impression that a lot is being done for culture, hardly anything of it is trickling down to the people affected. Although the ban on employment is being eased somewhat at the moment, and the first theaters and event venues have reopened, one can speak of it more as a hobby than as a job, due to the minimal fees involved. Also the incautiousness of politicians in their choice of language can have devastating consequences. Health Minister Jens Spahn warned of events recently, but actually meant family celebrations. The consequence: ticket sales for cultural events collapsed abruptly.
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tag Kabarett Berufsverbot Kulturförderung Soforthilfe Panikattacke Performing Arts/ Cinema Interview
»Vielen von uns droht die Supermarktkasse«
»Many of us are at risk to sit at the supermarket checkout«
by Heinz Rudolf Kunze (17 Sep 2020)
Original source: NDR Info
In an interview with the NDR, the German singer and songwriter Heinz Rudolf Kunze talks about his experiences during the Corona pandemic and the situation of the music industry. All the central topics of the discussion are addressed in the interview. The picture he draws is depressing. In the music industry, too, live performance is the most important source of income today. CDs are primarily produced to promote concerts. Kunze openly calls streaming an exploitation, because the musicians cannot finance themselves from the cents they receive. Even successful accompanying musicians can only survive the Corona crisis by working in other industries. Although open-air concerts could be held in the summer, the number of visitors was usually limited. In contrast to the adjacent gastronomy, the event industry has to fulfill strict hygiene requirements. Kunze doesn't mince his words when it comes to the regulations that vary from region to region. Here "little princes" are at work, who rule arbitrarily. In autumn and winter, no concerts are possible. His own tour has been postponed until spring; whether it can actually take place is written in the stars.
For the future Kunze hopes that the cultural industry will be recognized as an economic factor. At the same time, the cultural offer in Germany, which according to its perception is the largest in the world, must be maintained. This requires the prudent promotion by politics. Kunze equates the breaking away of this offer with the deforestation of the rainforest. Thus he chooses a very drastic picture for the danger in which he currently sees his industry. Read More Read Less
For the future Kunze hopes that the cultural industry will be recognized as an economic factor. At the same time, the cultural offer in Germany, which according to its perception is the largest in the world, must be maintained. This requires the prudent promotion by politics. Kunze equates the breaking away of this offer with the deforestation of the rainforest. Thus he chooses a very drastic picture for the danger in which he currently sees his industry. Read More Read Less
tag Popmusik Hygieneregeln Berufsverbot stiller Tod Streaming Konzerte Music Interview
„Wo ist die Empathie des Herrn Spahn?“ . "Where is the empathy of Mr. Spahn?"
by Matthias Goerne, Manuel Brug (13 Sep 2020)
Original source: Welt
In an interview with the newspaper Die Welt, the successful lied singer Matthias Goerne expresses his displeasure about the treatment of the concert world during the Corona crisis. He recently took part in a discussion round with the Minister of Health Jens Spahn. The disappointment about the minister's behavior is great: His answers were only evasive; culture as an economy is still not recognized. Although there are subsidies for institutions, the many solo self-employed still look anxiously to the future. The clubbing and stabbing among the concert organizers has a lready started, as the agencies are also struggling to survive. The situation is very difficult at the moment, especially for the young professionals. Many of them will not succeed in gaining a foothold in the market. On the other hand, there are colleagues who have slipped into basic welfare and are now looking for a new job. There is no common voice on the music market. Goerne is even disappointed by the agencies, as they do not argue with sufficient power. Those who work as freelancers are getting more and more immoral offers, because the public houses can save money reducing the number of guests. Yet it is precisely these guests who attract the public.
Goerne shows particularly little understanding for the fact that distance rules do not apply in public transport, but that in concert halls large distances between visitor seats are required. The festival season and above all the Salzburg Festival, which was realized successfully and without infections, has demonstrated that the audience of concert events is highly disciplined and that seating arrangements in a checkerboard pattern can be implemented without danger. Being happy to attend concerts again, the visitors abtstain from conversations in the hall. In addition, many concert halls have excellent ventilation systems that minimize the risk of infection. Goerne cannot understand why the economic power of the industry is not taken into account here giving it a chance to generate income again. Instead, politicians are accepting the death of theater and opera on a large scale.
Read More Read Lesstag Konzerte Konzerthäuser Konzertagenturen Solo-Selbständige Studierende stiller Tod Salzburger Festspiele Schachbrettmuster Jens Spahn Music Interview
Solo-Selbständige: Unter Verdacht
Freelancers: Under suspicion
by Karin Finkenzeller (14 Jun 2020)
Original source: Zeit
The uncertainty related to the application for emergency aid is affecting many creative artists and cultural workers. As the regulations were initially all but transparent, it was not clearly communicated that it is not possible to apply for entrepreneurial salaries in every German federal state. Now, there hangs the accusation in the air, that artists are obtaining benefits from the state by fraud, which the state awarded far too carelessly. Rainer Bode, cultural advisor in Münster, and a few fellow campaigners have therefore sent an appeal for remediation to the B undestag Committee for Culture.
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tag Soforthilfe Solo-Selbständige Existenzangst Vera Klima All sections Bericht
Das Eine-Milliarde-Euro-Baby
The One-Billion-Euro-Baby
by Dirk Peitz (05 Jun 2020)
Original source: Zeit
Dirk Peitz explores the question of how the crisis of culture in Germany can be described exactly and who is currently bearing the costs that arise in the cultural sector. The »latent lack of systemic relevance« could become a problem for the industry if the economic crisis becomes more severe or lasts longer than currently expected. While the approximately 1.7 million employees are currently an argument in favour of artists, cultural funding could be discontinued very quickly in times of tight budgets.
tag Monika Grütters Konjunkturpaket Kulturförderung Systemrelevanz All sections Analyse
Überraschung oder Enttäuschung . Was steckt drin im Kulturpaket?
Surprise or disappointment? . What comprises the stimulus package for culture?
by Felicitas Twickel (29 May 2020)
Original source: Aspekte
In the coming week, the German federal government is to adopt an economic stimulus package for the cultural and creative industries. The hopes for support are high. Felicitas Twickel spoke to representatives of the industry who were particularly affected by the pandemic. In addition to the organizers of festivals, which will lose all income in 2020 without replacement, the freelancers in particular are affected by the crisis. If it is not possible to promote them with the announced cultural package, then the diversity of culture and music in Germany is in peril.
