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.
»Wir brauchen mehr Klarheit« . Theaterintendant über Lockdown-Folgen
. Theater director about lockdown consequences
by Christian Stückl, Sabine Leucht (02 Nov 2020)
Original source: taz
Ten Bavarian theaters sought dialogue with the Bavarian Prime Minister Markus Söder last week. They did not receive an answer to their letter - whether this was only because the lockdown light was already in prospect remains open. Apart from Munich's Head of Cultural Affairs, nobody has reviewed the hygiene concepts of Munich's Volkstheater, as director Christian Stückl reports in an interview. Stückl sees the problem of the new lockdown on the one hand in the fact that the facilities which are not among the drivers of infection are now being close d. In contrast to the retail trade, culture is probably not loud enough when it comes to defending its interests. On the other hand, politicians seem to be relying on the fact that it is precisely the large institutions that are subsidized by the state and will therefore be less affected by the crisis. The fact that the many solo self-employed and the entire independent scene are in danger is often ignored.
The Munich ensembles have now asked the decision-makers for a debate on the proportionality of the measures. Whether this offer of discussion will be accepted is still open. But Stückl is already thinking aloud about whether otherwise a lawsuit would not be the right way forward.
As yet, the houses are not yet short of visitors, partly because of the reduced quotas. However, Stückl fears a de-familiarization effect if the facilities remain closed for longer. What is much worse, however, are the effects of the crisis on the artists. He reports on a conversation with a dancer who has only a few years to practice his art. If he can't dance in front of an audience now, there's no making up for it. Read More Read Less
The Munich ensembles have now asked the decision-makers for a debate on the proportionality of the measures. Whether this offer of discussion will be accepted is still open. But Stückl is already thinking aloud about whether otherwise a lawsuit would not be the right way forward.
As yet, the houses are not yet short of visitors, partly because of the reduced quotas. However, Stückl fears a de-familiarization effect if the facilities remain closed for longer. What is much worse, however, are the effects of the crisis on the artists. He reports on a conversation with a dancer who has only a few years to practice his art. If he can't dance in front of an audience now, there's no making up for it. Read More Read Less
tag Theater München Dialog mit der Politik Markus Söder November-Lockdown Verhältnismäßigkeit Lebensrelevanz Performing Arts/ Cinema Interview
Der Ton macht die Musik . Offener Brief der GMD- und Chefdirigent*innenkonferenz
It's not what you say, but how you say it. . Open letter of the conference of General Music Directors and Chief Conductors
by GMD- und Chefdirigent*innenkonferenz (02 Nov 2020)
Original source: concerti
The theaters and concert halls have lived up to their responsibility to the public with excellent hygiene concepts. The reward, however, is not solidarity, but the renewed "muting" of culture, decreed by a state that does not live up to its responsibility for pupils, who nevertheless travel in crowded buses and trains and are taught in poorly ventilated classrooms every day.
The GMD and the Chief Conductor's Conference is very angry, as the promises of support in recent months can only be understood as lip service in view of the recent lockdown and t he degradation to a recreational facility. The ruthlessness not so much towards the institutions as towards the people working in and for them, who are to some extent robbed of their identity, is very painful and cannot be compensated with money. Read More Read Less
The GMD and the Chief Conductor's Conference is very angry, as the promises of support in recent months can only be understood as lip service in view of the recent lockdown and t he degradation to a recreational facility. The ruthlessness not so much towards the institutions as towards the people working in and for them, who are to some extent robbed of their identity, is very painful and cannot be compensated with money. Read More Read Less
tag November-Lockdown Musikschulen Freizeiteinrichtungen Verantwortung Ausfallhonorare guter Ton Music Offener Brief
»Gottesdienst der Künste« im Thalia Theater
by Daniel Kaiser (01 Nov 2020)
Original source: NDR
Creative protests against the November lockdown started in Hamburg on November 1. Together with the two churches, Hamburg's cultural institutions celebrated a "cultural service" at the Thalia Theater. The structure of the service was recorded and imaginatively filled with artistic and religious content. Since the cultural institutions will be closed for the next few weeks, the religions, whose task it has always been to provide comfort and confidence in times of mourning, were now called upon. In his sermon, Sieghard Wilm pointed out that the virus should n ot drive people into loneliness, but rather should encourage them to be together and love their neighbor. In the intercessions, the Senator for Culture, Carsten Brosda, made his pleas to society - including the hope that the role of the arts would also be recognized in Bavaria and the Uckermark region. Criticism of politics was also expressed in other respects. The fact that cultural institutions were mentioned in the same breath as amusement parks and brothels hurt the pride of the scene. In Hamburg, anger, desperation, rebellion and comprehension were creatively transformed into a convincing artistic project. It is comforting to know that culture does not go into freeze mode, but uses its means to defend itself.
Read More
Read Less
tag Theater Kultur-Gottesdienst Solidarität künstlerischer Protest November-Lockdown Hamburg Carsten Brosda Performing Arts/ Cinema Bericht
»Es fühlt sich an wie eine Bestrafung und Verhöhnung« . Kommentar zum Theater-Lockdown
»Es fühlt sich an wie eine Bestrafung und Verhöhnung«
by Dorothea Marcus (31 Oct 2020)
Original source: Deutschlandfunk Kultur
Theater critic Dorothea Marcus spoke with Wilma Renfordt, dramaturge of the NRW-Impulse-Festival, and Stefan Bachmann, director of the Schauspiel Köln. Although both are frustrated by the recent closures, they do not criticize the lockdown, but rather see it as a solidary contribution by the theaters. The independent critic cannot agree with these statements. Rather, she speaks of a slap in the face for culture, which - in contrast to slaughterhouses and shopping centers, church services and the train - must now close again, despite almost chumming up efforts for ex cellent hygiene concepts. However, she finds the new lockdown for culture alarming, not because it does not affect so many others, but because she does not believe it will be effective. This in turn undermines the acceptance of the measures in society. The many parties in the last few days speak for themselves. Corona deniers will feel encouraged. This not only endangers health, but also social peace. With the closures, hotbeds of fire will be set, which will perhaps occupy us much longer than the Corona crisis.
Read More
Read Less
tag Theater November-Lockdown Unterhaltung Verständnislosigkeit gesellschaftlicher Friede Wilma Renfordt Stefan Bachmann Performing Arts/ Cinema Kommentar
Diese Entscheidung trifft die Falschen . Shutdown für Kultureinrichtungen
This decision affects the wrong people . Shutdwon for cultural institutions
by Maria Ossowski (29 Oct 2020)
Original source: rbb24
Not only lack of understanding, but above all anger is great among all creative artists and culture enthusiasts in Germany. For one month, all facilities have to close, despite the fact that sophisticated hygiene concepts have made them the safest places to be during the pandemic. Maria Ossowski - herself a member of the high-risk group, by the way - feels at home there and in her commentary sums up the lack of understanding: Because the governments have not been able to get a grip on the infection and especially on party culture, culture must now pay for it again. So this measures sound the death knell for many smaller cultural institutions.
Ossowski derives why culture cannot be an exception from the following three points: First, politics is currently populist, driven and relies on no studies. Secondly, it is assumed that artists do not fight back, but rather hire themselves from the nearest supermarket out of existential need. Thirdly, many retailers and businesses will not survive the crisis, so why should the gross value added in the cultural industry be taken into account?
In this way, the importance of culture is being trampled underfoot not only for the individual, but for our entire society. Read More Read Less
Ossowski derives why culture cannot be an exception from the following three points: First, politics is currently populist, driven and relies on no studies. Secondly, it is assumed that artists do not fight back, but rather hire themselves from the nearest supermarket out of existential need. Thirdly, many retailers and businesses will not survive the crisis, so why should the gross value added in the cultural industry be taken into account?
In this way, the importance of culture is being trampled underfoot not only for the individual, but for our entire society. Read More Read Less
tag Existenzrelevanz Lebensrelevanz November-Lockdown Partykultur Hygienekonzepte Infektionsketten All sections Kommentar
»Als ob Kultur nur Bespaßung wäre« . Louwrens Langevoort über Corona-Maßnahmen
. Louwrens Langevoort about Corona measures
by Louwrens Langevoort, Carsten Beyer (29 Oct 2020)
Original source: Deutschlandfunk Kultur
That's the perversion of the whole story. We are not a swimming center. It's not like we can close in one day and on December 1st we open again and the audience is back.
The director of the Cologne Philharmonic has to cancel 30 events for November. Whether and when he will be allowed to reopen his house is still written in the stars. Since concerts require advance notice, he would have to know by now whether he will be allowed to play again on December 1, otherwise it would be impossible to organize a performance. Basically, a certain frustration is exp ressed in the conversation: even though Langevoort, as director of the Philharmonic, must expect the worst, he had hoped that the intensive advertising for the well-designed hygiene concepts in theaters, operas and concert halls, among others by the German Stage Association, would be noticed by politicians. The second lockdown for cultural institutions seems to him to be exaggerated, especially since he has the impression that politics does not do exactly that in those places where it would have to take consistent action. The fact that the Chancellor talks about having to reduce the total mass of encounters because of the incomprehensible chains of infection is completely understandable to him. Nevertheless, the disappointment is great - also about Markus Söder's statement that one does not want to offend anyone who has made an effort. The cultural industry feels that it suffers a snub in the face of current events.
Asked about the promised compensation payments, Langevoort is skeptical. Also in the spring support was promised. These were only implemented very slowly and many companies and solo self-employed persons did not benefit from them. He also points out that artists want to perform and not to become welfare recipients. In addition, the houses also see themselves as cultural institutions with an educational mission. They want to fulfill this mission even in times of pandemic. Read More Read Less
Asked about the promised compensation payments, Langevoort is skeptical. Also in the spring support was promised. These were only implemented very slowly and many companies and solo self-employed persons did not benefit from them. He also points out that artists want to perform and not to become welfare recipients. In addition, the houses also see themselves as cultural institutions with an educational mission. They want to fulfill this mission even in times of pandemic. Read More Read Less
tag Konzerthäuser Philharmonie Köln Soforthilfe November-Lockdown Planungssicherheit Angela Merkel Markus Söder Deutscher Bühnenverein Bauernopfer Music Interview
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
So werden wir die Welt nicht retten
This is not how we will save the world
by Cornelius Meister (29 Oct 2020)
Original source: Staatsoper Stuttgart
Failure of the German society is diagnosed by the General Music Director of the Stuttgart State Opera, Cornelius Meister, in his statement on the current situation in the Corona crisis. On the one hand the society did not manage to stop the virus, on the other hand it could not give the politicians any confidence that a differentiated decision would be handled responsibly. And so cultural institutions where no infections have been detected are now being taken into collective custody - worse still, they are being categorized under "leisure facilities". This blac k and white thinking is dangerous, and who if not culture could counteract it? The humanistic tradition, which Cornelius Meister advocates, means not only differentiated action on the part of politics, but at the same time a way of dealing with one another that is characterized by mindfulness. Only in this way can the physical and mental health of our fellow human beings be protected. A "cultureless November", on the other hand, will not save the world
Read More
Read Less
tag November-Lockdown gemeinsame Verantwortung schwarz-weiß Denken Freizeiteinrichtungen Kollektivhaft Performing Arts/ Cinema Statement
Bildet Banden! . Warum der zweite Lockdown für Theater und Künstler*innen wie eine Ohrfeige wirkt
Create gangs! . Why the second lockdown is like a slap in the face for theater and artists
by Georg Kasch (28 Oct 2020)
Original source: Nachtkritik
The location of the theaters is desperate. Not only is a second lockdown imposed on them, they are also classified as "entertainment«, are in a row with gyms, betting shops and brothels. And this despite the fact that the theaters behaved so exemplarily during the lockdown. With streamings they entertained their audience, developed hygiene concepts, and replanned the new season three times. And now?, asks Gerog Kasch in his commentary. The houses have to close their doors again, although even virologists do not consider this step necessary. Can the closure rea lly be justified by the fact that the audience, after the consequent separation, meets in the stalls after the performance to discuss the evening?
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
tag November-Lockdown Unterhaltung Hygienekonzepte Bestandssicherung Grundeinkommen Bauernopfer Krise als Chance Streaming Performing Arts/ Cinema Kommentar
Kultur in Krisenzeiten: Mit Vernunft!
Culture in times of crisis: With reason!
by Axel Brüggemann (27 Oct 2020)
Original source: SWR 2
Where is the trust in current cultural policy? Axel Brüggemann focuses on this question in his commentary on the situation of the theatres in Germany. Despite various series of events accompanied by scientists, in which no infection with corona could be proven, the theaters and other cultural organizers are currently the victims of the political wobble. They can no longer see any sense in the regulations: With only 50 visitors left, as the current corona regulation in Bavaria stipulates when the incidence value of 100 infected persons per 100,000 inhabitants is exce eded, even a highly subsidized house is facing ruin. After some artistic directors had already resisted the closure of their houses during the spring with little success, a final rebellion of cultural workers seems to be taking place. That is dangerous. On the one hand, the cultural workers will look for other platforms, which may also be made available by corona deniers. On the other hand, the stages are important places for democratic discourse and fact-based debate. They are thought leaders, experimental fields and innovative institutions. If they can only play the play »Struggle for Survival«, then not only do they no longer fulfil their function, but they also fight on behalf of our open and enlightened society.
And if it should become unavoidable to close the theaters, Brüggemann demands that they be given another platform for discourse. Free streaming not only lacks the appreciation of artistic work, but is also not the right format for discussion in an open-minded society.
And if it should become unavoidable to close the theaters, Brüggemann demands that they be given another platform for discourse. Free streaming not only lacks the appreciation of artistic work, but is also not the right format for discussion in an open-minded society.
Read More Read Less
