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
»Es wurde zu viel abgesagt« . Kultur während Corona
»Too much has been cancelled« . Culture during Corona
by Axel Zibulski (26 Dec 2020)
Original source: Frankfurter Allgemeine Zeitung
Already after the spring lockdown, it was clear to many concert organisers of smaller events that they would be better off financially foregoing performances. The few places that could be allocated did not allow for cost-covering events. Nevertheless, many of them spared no effort to be able to offer events again, to bring artists on stage. The audience gratefully accepted the offer. The tickets for each concert were quickly sold out.
Karl-Werner Joerg, who is in charge of several subscription series in the Rhine-Main region, criticises the fact that many organ isers have cancelled concerts in anticipatory obedience. Especially with the smaller concerts, hygiene concepts could be taken into account very well, which is why - unlike with a big rock concert - a cancellation did not seem necessary. This also shows the support he has received. Subscribers have largely supported him, some concerts could be made possible with special public payments or private donations.
For a freelance concert organiser who does not have his own venue, the emergency aid and bridging funds were not available during the lockdown. On the one hand, he has few fixed costs, on the other hand, he also had income from subscriptions during the lockdown, which he was, however, not allowed to use to finance the new season until the autumn.
In the current situation, he demands above all that smaller events be allowed to take place again and that the industry show more solidarity. If large spaces were opened up for smaller organisers, this would not only help them and the musicians, but would also send an important signal to the »culture industry«: As in agriculture or retail, it should be about promoting smaller initiatives so that in the end it is not only the big chains that survive.
tag Konzertveranstalter Lockdown Planungssicherheit Solidarität Kulturindustrie 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
»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
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
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
Auch der Staat profitiert davon . Corona-Soforthilfe für Galerien
The state also benefits . Corona emergency aid for galleries
by Rupert Pfab, Gabi Wuttke (27 Sep 2020)
Original source: Deutschlandfunk Kultur
The Secretary of State for Culture Monika Grütters is going to provide 16 million Euros to support the galleries in the Neustart Kultur program. Only a part of this money will be used for purchases, whereas the larger part of the support will be used to support the work of galleries in the exhibition business, but also in the field of digitization. The Düsseldorf gallery owner Rupert Pfab is not convinced by the strategy of Monika Grütters. If galleries are to be supported in the current crisis, a reduction in the VAT rate would have the greatest effect. O verall, he considers purchases for the federal art collection to be sustainable. The works would go to museums and other public institutions, which would not only benefit the galleries and artists, but also the general public to whom these works are made accessible. The gallery owner, on the other hand, does not understand why the Federal Purchasing Commission can also buy directly from the artists, as this would circumvent the galleries as an important institution of the art market.
Read More
Read Less
tag Galerien Kunsthandel Ankaufsetat Neustart Kultur Mehrwertsteuer Monika Grütters Visual Arts/Design Interview
»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.
Read More
Read Less
tag Kabarett Berufsverbot Kulturförderung Soforthilfe Panikattacke Performing Arts/ Cinema Interview
Kinos in Not . Betreiber fordern finanzielle Hilfen – und blicken neidisch nach Bayern
Cinemas in need . operators demand financial aid - and look enviously to Bavaria
by Tim Spark (05 Sep 2020)
Original source: Handelsblatt
The film industry is suffering from the Corona crisis. Above all, German cinema operators do not see how they can maintain their program offerings in the long term. Michael Pawlowski, co-partner of the Filmpalast Group, reports a 50 percent drop in visitors in North Rhine-Westphalia. In federal states with stricter visitor regulations - in NRW only one seat has to be vacated - the decline is even more serious. This means that cinema operations are currently being run from reserves, as the revenues are not sufficient to cover them.
This is the situation that 68 med ium-sized, family-run movie theaters have to address in an open letter to Monika Grütters. The cinema operators need financial support and a relaxation of the hygiene rules. Since the movie theaters are well ventilated and the visitors do not speak during the screening, the risk of infection is lower in the cinema than in the office, according to a study by the Hermann Rietschel Institute of the Technical University of Berlin.
But it is not only the rules of distance that make life difficult for cinema operators. Film distributors are currently holding back on film releases because the number of visitors is currently not very attractive.
Although the German Minister of State for Culture has already released funds to support cinemas, these funds are tied to conversion, modernization and equipment measures and are therefore not helping to save the cinemas in the current liquidity squeeze.
In Bavaria, there is currently an aid program in place that compensates cinema operators for every visitor they have less than last year. In the other federal states, this model is seen as an opportunity to at least cover the fixed costs of the cinemas and prevent a cinema from dying out. Read More Read Less
This is the situation that 68 med ium-sized, family-run movie theaters have to address in an open letter to Monika Grütters. The cinema operators need financial support and a relaxation of the hygiene rules. Since the movie theaters are well ventilated and the visitors do not speak during the screening, the risk of infection is lower in the cinema than in the office, according to a study by the Hermann Rietschel Institute of the Technical University of Berlin.
But it is not only the rules of distance that make life difficult for cinema operators. Film distributors are currently holding back on film releases because the number of visitors is currently not very attractive.
Although the German Minister of State for Culture has already released funds to support cinemas, these funds are tied to conversion, modernization and equipment measures and are therefore not helping to save the cinemas in the current liquidity squeeze.
In Bavaria, there is currently an aid program in place that compensates cinema operators for every visitor they have less than last year. In the other federal states, this model is seen as an opportunity to at least cover the fixed costs of the cinemas and prevent a cinema from dying out. Read More Read Less
