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.
»Bei Öffnungen muss die Kultur dabei sein«
»Easings need to include culture«
by Carsten Brosda, Daniel Kaiser (11 Feb 2021)
Original source: NDR Kultur
The politicians' promise to present a step-by-step plan for a way out of the lockdown in mid-February was not fulfilled. Some ministers of culture have submitted a proposal that was not taken into account in the federal and state consultations. The question of how efficient the lockdown and the measures associated with it are is being raised more and more loudly. In an interview with NDR, Hamburg's Senator for Culture calls for a little patience. He hopes that the proposed gradual regulation for the opening of cultural institutions will also be implemented in par allel with retail and restaurants, also because of the excellent hygiene concepts in the institutions, so that culture is not disadvantaged as it was last autumn. In this context, he can hardly understand why the opening of hairdressing salons is currently being given priority. At the same time, he is concerned about the long-term consequences for cultural workers of the extension of the lockdown. At least in Hamburg, he does not see the financing of cultural institutions in jeopardy for the next two years. However, there will be no return to a cultural landscape like before the crisis, if only because the ranks of the players are thinning out.
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tag Lockdown Öffnung Kulturfinanzierung Friseursalons stiller Tod Perspektive All sections Interview
Aufgestaute Kreativität . Klassik-Profis in der Pandemie
Pent up creativity . Classic professionals in the pandemic
by Frederik Hanssen (02 Feb 2021)
Original source: Tagesspiegel
At the annual press conference of the German Orchestral Association this year, everything revolved around the nationwide silence in theaters and concert halls. Although short-time work is securing jobs in many city and state theaters and, with the exception of a few municipalities, no budget cuts have yet been felt this year, managing director Gerald Mertens urges that the houses must be opened as soon as possible. Thereby not country-wide incidence values should be taken as a basis, but those of the respective district. This early new start is especially important for f reelance musicians, who have been without income for almost a year. According to a representative survey, around 30 percent are already considering a change of profession. A temporary suspension of the artists' social security fund could help this professional group through the crisis. In the long term, an unemployment insurance system should be considered, which could be modeled according to the bad weather allowance of the construction industry, in order to avoid a similar critical situation in the future.
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tag Deutschen Orchestervereinigung Kurzarbeit stiller Tod Planungssicherheit Inzidenzwert Künstlersozialkasse Arbeitslosenversicherung Music Bericht
Wie gerecht ist der Orchesterbetrieb? . Die Corona-Krise macht ein Zwei-Klassen-System sichtbar
How fair is the orchestra business? . Corona crisis reveals a two-tier system
by Frederik Hanssen (16 Nov 2020)
Original source: Tagesspiegel
What is the music scene's lobby? This question has been discussed again and again in the last weeks. The permanently employed musicians are represented by the German Orchestra Association. In recent years, this association has negotiated good collective agreements for orchestra members. This means that they are well-positioned - also in comparison to freelance vocal soloists - and can safely get through the crisis, especially since they have relatively secure jobs due to their job at a state-financed institution.
The situation is currently different in the ind ependent scene. Two years ago the organization ›Freo‹, the Association of Free Ensembles and Orchestras in Germany, was founded, but it was intended as a forum for the exchange of experience. During the crisis, it is now lobbying for the independent ensembles and orchestras. This is all but easy, as Frederik Hanssen points out using the example of the German Chamber Orchestra (DKO). The orchestra works with a permanent staff of 20 freelance musicians who are booked for individual projects. Performances and tours are planned and organized by three employees. Although the orchestra has regular customers, most of whom have not returned their tickets in spring, and have extended their subscriptions to a large extent, the orchestra does not benefit from the State Minister of Culture's special fund for independent orchestras. While other orchestras and ensembles can use this fund to pay the salaries of the musicians until the end of the year, the freelance musicians and their orchestras are running out of road. Therefore, 'Freo' is now demanding to compensate this inequality by providing a basic financial security for the members of the free orchestras. This is not only about short-term survival, but also about the question of how state funding can be fairly distributed in the coming years when communal revenues collapse and cultural budgets are cut. The Konzerthaus am Gendarmenmarkt is setting an example of solidarity. Next spring, it will make its halls available to independent formations on 12 evenings for free. Read More Read Less
The situation is currently different in the ind ependent scene. Two years ago the organization ›Freo‹, the Association of Free Ensembles and Orchestras in Germany, was founded, but it was intended as a forum for the exchange of experience. During the crisis, it is now lobbying for the independent ensembles and orchestras. This is all but easy, as Frederik Hanssen points out using the example of the German Chamber Orchestra (DKO). The orchestra works with a permanent staff of 20 freelance musicians who are booked for individual projects. Performances and tours are planned and organized by three employees. Although the orchestra has regular customers, most of whom have not returned their tickets in spring, and have extended their subscriptions to a large extent, the orchestra does not benefit from the State Minister of Culture's special fund for independent orchestras. While other orchestras and ensembles can use this fund to pay the salaries of the musicians until the end of the year, the freelance musicians and their orchestras are running out of road. Therefore, 'Freo' is now demanding to compensate this inequality by providing a basic financial security for the members of the free orchestras. This is not only about short-term survival, but also about the question of how state funding can be fairly distributed in the coming years when communal revenues collapse and cultural budgets are cut. The Konzerthaus am Gendarmenmarkt is setting an example of solidarity. Next spring, it will make its halls available to independent formations on 12 evenings for free. Read More Read Less
tag Orchester Orchestervereinigung Freie Orchester Lobby Krise nach der Krise Etatkürzungen Music Bericht
Stille mit Vorsatz . Verbale Aufrüstung schlägt nötige Differenzierung: zur Kritik der Kulturbranche am zweiten Shutdown
Silence with intent . Verbal armament beats necessary differentiation: on the culture industry's criticism of the second shutdown
by Hartmut Welscher, Christian Koch (04 Nov 2020)
Original source: VAN Magazin für klassische Musik
The fact that the November lockdown hits art and culture hard, even though excellent hygiene concepts were developed to protect the public, divides the cultural world in Germany. The displeasure was expressed in open letters and articles in newspapers and social media. Only a few balanced voices can be heard at present. Federal and state governments are not innocent of this situation, as they have caused displeasure by failing to provide adequate justification as to which cultural and economic sectors are to be closed and which may remain open. As was already the case in March, many cultural workers feel offended by politics being assigned to professions that are not systemically relevant. So they feel that their function for society is not valued. Many now joined the statement of the trumpeter Tim Brönner, who complained that the cultural industry had no lobby, and tried to make themselves heard. The verbal armament, however, conceals the fact that the pandemic constitutes a twofold threat to artists: in addition to the material threat, many of them increasingly find themselves in a crisis of identity when they are no longer allowed to perform or interact with an audience. And so artists are currently making themselves heard loud and clear, but are still unable to find their way around.This applies not only to culture, but also to politics, which is currently more likely to stumble forward than to steer the processes in a targeted manner. And so the authors feel uncomfortable when Finance Minister Olaf Scholz keeps granting new aid programs. Public funds are limited, and the first municipalities are already making cuts.
For the cultural industry, the question now is where the development is heading. There will hardly be a return to the status quo-especially since it was not a good one before the crisis. At the beginning of the pandemic, many musicians were happy to have escaped the »hamster wheel of global competition and competitive pressure«. Can't quantity leave the field to quality? In this way, the cultural sector could at the same time make its contribution to solving the ecological question. Read More Read Less
For the cultural industry, the question now is where the development is heading. There will hardly be a return to the status quo-especially since it was not a good one before the crisis. At the beginning of the pandemic, many musicians were happy to have escaped the »hamster wheel of global competition and competitive pressure«. Can't quantity leave the field to quality? In this way, the cultural sector could at the same time make its contribution to solving the ecological question. Read More Read Less
tag Klassik Musikbranche November-Lockdown Lagerbildung Lobby Sinnkrise Existenzkrise Quo vadis ars Stille Hamsterrad Music Bericht
Sündenfall Bamberg: Kulturrat sorgt sich um Etatkürzungen der Kommunen
The Fall of Bamberg: Cultural council worries about budget cuts of the municipalities
by Olaf Zimmermann (26 Oct 2020)
Original source: SWR 2
The financing of culture is a voluntary task of the municipalities. When funds become very scarce, the only solution for the treasurers is often to cut the funds for culture and sports. This week, the city of Bamberg hit the headlines in this regard: the city's administrative treasury is 45 million euros short, which is why the culture budget must be drastically cut. But if culture is missing, we destroy the inner life of a city. Making the treasurers responsible for this situation does not solve the problem. The managing director of the German Cultural Council, Olaf Zimmermann, is calling for joint resistance, because in this emergency situation only the federal government can support the municipalities - even if this is not yet legally possible.
Basically Zimmermann assumes that the beacons will survive in the cultural life of the cities. However, the many smaller institutions, some of which are privately financed and often located outside the major centers, are in danger as a result of the crisis. At present, the aim is not to subsidize institutions that were already at risk before the crisis, but to help those that are well supported in normal times to survive the crisis. Nobody doubts at present that this support is necessary. Zimmermann considers the observation that audiences have been hesitant to attend cultural events in recent weeks to be a temporary problem. At the moment, it is mainly the restrictions on social contacts that are putting people under psychological strain. He is convinced that "culture will blossom again" next year. Read More Read Less
Basically Zimmermann assumes that the beacons will survive in the cultural life of the cities. However, the many smaller institutions, some of which are privately financed and often located outside the major centers, are in danger as a result of the crisis. At present, the aim is not to subsidize institutions that were already at risk before the crisis, but to help those that are well supported in normal times to survive the crisis. Nobody doubts at present that this support is necessary. Zimmermann considers the observation that audiences have been hesitant to attend cultural events in recent weeks to be a temporary problem. At the moment, it is mainly the restrictions on social contacts that are putting people under psychological strain. He is convinced that "culture will blossom again" next year. Read More Read Less
tag Bamberg Kämmerer Kommunen Bund Kulturfinanzierung Etatkürzungen psychische Belastung Performing Arts/ Cinema Gespräch
Geld allein reicht nicht . Coronafolgen im ärmsten Bundesland
Money alone is not enough . Corona effects in the poorest federal state
by Felicitas Boeselager (02 Oct 2020)
Original source: Deutschlandfunk
An independent theater group, two art students and a small club were interviewed by Felicitas Boeselager for her feature about the independent scene during the Corona crisis in Bremen. What all actors are sharing is the joy of being able to offer events again. The audience at all events was also enthusiastic and grateful to finally be able to experience culture again. The independent scene in Bremen is closely connected by the pandemic, mutual support and exchange about new formats is highly appreciated by those affected. Nevertheless, all of the actors are currently una ble to make ends meet without public funding for culture.
Stephan Behrmann, freelance actor and dramaturge as well as spokesman for the »Alliance of Liberal Arts«, emphasizes that cultural funding in Bremen has been good for both the solo self-employed and the independent scene. However, he complains that the aid did not work so well in all federal states. He considers current scholarship programs that finance the artists' work on projects in an open-ended way to be good. He also rates the support provided by the "Neustart Kultur" program positively - even if one billion does not really seem sufficient considering the size of the industry. Whether the money actually helps the individual artists cannot be predicted at the moment - especially since the administrative effort involved in awarding grants is quite high. How many »silent deaths«, i.e. artists who have looked for a job in another branch, are to be registered, is currently not yet foreseeable. The situation will not improve in the next few years either. Since the municipalities are very much shaken, they cannot afford to support culture. Behrmann therefore considers it an inevitable consequence that the federal government will help out.
Read More Read Lesstag Bremen Kultursommer Bremen Freie Szene Clubszene Kulturförderung Neustart Kultur stiller Tod Insolvenz All sections Feature und Interview
Große Säle, wenig Plätze: Lohnt sich das ganze Theater? . Corona-Schutzbedingungen
Large halls, few seats: Is the whole theater worth it? . Corona protection conditions
by Marc Grandmontagne, Anne Schneider, Karin Fischer (05 Sep 2020)
Original source: Deutschlandfunk
The format "Streitkultur" at the German radio station Deutschlandfunk juxtaposes two opposing positions, which are represented in the dialogue. The aim is to give listeners the opportunity to examine a complex topic from different angles and then form their own opinions. The question of the current situation of the theaters in Germany offered little potential for debate for the two guests of the program - Anne Schneider, managing director of the Federal Association of the Free Performing Arts, theater director and festival organizer, and Marc Grandmontagne, man aging director of the German Stage Association (Deutscher Bühnenverein). Both agreed that the German theaters need to close ranks at the moment in order to jointly point out their situation and maintain public support.
The discussion thus offered insights into the current situation at the theaters. The demand of the Bühnenverein to allow the cast to follow the chessboard pattern in the theaters, since the danger of infection is demonstrably very low at cultural events with fixed seats, was also presented, as was the plight of the privately run houses. The funds to be distributed within the framework of the Neustart Kultur program will mainly benefit the non-publicly run institutions - however, many program areas have not yet been advertised, since the allocation of funds and the budgetary review of their use still have to be clarified.
Marc Grandmontagne pointed out that one should not be mistaken about the fact that Corona has hardly created any new problems, but rather acts as a catalyst that has brought to light the precarious conditions in many theaters and venues. The situation will not become any easier in the coming years when the public budgets are empty. Nevertheless, one must not forget that culture is a central task of the state. Public institutions such as day-care centers, swimming pools or municipal theaters must not be played off against each other because they are all important for society, its development and cohesion. In addition, no budget can be consolidated at the expense of culture. Rather, the potential that these facilities offer should be used and even unusual approaches should be pursued to shape the future. Read More Read Less
The discussion thus offered insights into the current situation at the theaters. The demand of the Bühnenverein to allow the cast to follow the chessboard pattern in the theaters, since the danger of infection is demonstrably very low at cultural events with fixed seats, was also presented, as was the plight of the privately run houses. The funds to be distributed within the framework of the Neustart Kultur program will mainly benefit the non-publicly run institutions - however, many program areas have not yet been advertised, since the allocation of funds and the budgetary review of their use still have to be clarified.
Marc Grandmontagne pointed out that one should not be mistaken about the fact that Corona has hardly created any new problems, but rather acts as a catalyst that has brought to light the precarious conditions in many theaters and venues. The situation will not become any easier in the coming years when the public budgets are empty. Nevertheless, one must not forget that culture is a central task of the state. Public institutions such as day-care centers, swimming pools or municipal theaters must not be played off against each other because they are all important for society, its development and cohesion. In addition, no budget can be consolidated at the expense of culture. Rather, the potential that these facilities offer should be used and even unusual approaches should be pursued to shape the future. Read More Read Less
tag Theater Schachbrettmuster Streaming Neustart Kultur Kulturförderung Systemrelevanz Performing Arts/ Cinema Interview
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
»Was in Berlin passiert, ist ziemlich einmalig« . Corona-Hilfe für Klubkultur
»What's happening in Berlin is quite unique« . Corona aid for club culture
by Laura Aha (20 Jul 2020)
Original source: Spiegel
Clubs were the first cultural institutions to close, and they will most likely be the last to be allowed to reopen. In Berlin alone, 140 clubs and as many club event agencies employ around 9000 people. In Berlin, Senator for Culture Klaus Lederer has launched a 30 million euro aid package for clubs. Cologne and Hamburg have also granted support to the scene at a very early stage. The situation is different in cities that have not yet promoted pop culture. Here, clubs are falling through the ranks of the various support models and are fighting for recognition as cultural institutions. Currently, the open-air season is making it possible to compensate somewhat for the slump in sales. But the scene needs a long-term strategy to avoid falling victim to the crisis.
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tag Clubszene Berlin Soforthilfe Konjunkturpaket Klaus Lederer Music Bericht
Nach dem Stillstand die Besinnung?
After the standstill, the recollection?
by Till Briegleb (07 Jul 2020)
Original source: Süddeutsche Zeitung
The corona-related closures mean millions in lost revenue for the major German museums in Dresden, Berlin, Hamburg, Munich or Cologne. Even the rapid reopening of the museums can do little to change this. If in one week there are as many visitors as before the lockdown on one day, the museums are already happy. People are still afraid of exhibition spaces with great appeal. Above all, the number of city travellers is still very low. However, the museum management does not appear to be alarmed so far. This is partly due to the fact that they currently have the feeling tha t they are supported by the state. In contrast to the wave of layoffs in America, at least the permanent employees can rely on government support. However, financing is not a very popular discussion topic at the moment. Instead, the realignment of the houses is being discussed. Many will make a virtue out of necessity and concentrate again more on content than on big names.
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