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Arts Under Attack Jahrbuch Jahrbuch Yearbook Yearbook 2017 2017 Jahrbuch Yearbook

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Arts Under Attack Jahrbuch Jahrbuch Yearbook Yearbook 2017 2017 Jahrbuch Yearbook 2017 ARTS UNDER ATTACK JAHRBUCH JAHRBUCH YEARBOOK YEARBOOK 2017 2017 YEARBOOK JAHRBUCH ARTS UNDER ATTACK Internationales Theaterinstitut Zentrum Bundesrepublik Deutschland German Centre of the International Theatre Institute 2017 JAHRBUCH YEARBOOK 2017 ARTS UNDER ATTACK Internationales Theaterinstitut Zentrum Bundesrepublik Deutschland German Centre of the International Theatre Institute 02 FREEDOM AFTER EXPRESSION To continue our focus on Europe, which has been the emphasis of our projects for the last two years, this yearbook examines social frictions and rifts that are generating increasingly difficult conditions for the creation of art. Manufacturing these highlights has revealed the contradictory nature of such an approach. Our still (and mostly) enlightened public expects candid analyses of social realities by intellectuals and artists – who also, and primarily, originate from countries that are combating open societies. But in our protected biotopes, we often carelessly offer a platform for open but also public discourse without really being able to protect those who are taking part within the public sphere of their countries. We invite them to a cultural exchange that requires them to return back home on schedule after having delivered their critical statements. If this turns out to be back to their domestic torture prisons, then the next online petition is easily and quickly written. “If we have the freedom of expression – do we have the freedom after expression?“ This is how the Swedish UN human rights expert Alfons Karabuda, citing his colleague Paul Brickhill, an Artists’ Rights activist from Harare, Zimbabwe, summed it up three years ago.1 In the midst of the European unification euphoria at the beginning of the 1990s, the French doctor and political scientist Jean-Christophe Rufin2 declared the ideology of political universalism and global economism as finished. In 1989, according to Rufin, it became clear that the primacy of EDITORIAL defining all local conflicts as surrogate ‘first world’ conflicts had ended. An ‘ideology of Limes’, which he called “diplomacy of apartheid on a world- wide scale” – and which anticipated the reality of the European fortress – bans the internal threats and barbaric moments in Europe to an ‘exterior’, EDITORIAL the Global South; it is an act of exorcism. “The ‘ideology of Limes’ allows the North, which is reunified and sees itself as a guarantor of the values of democracy and law, to forget that the path to reach its ideals remains a long one.” With a perspective onto a multipolar world from precisely this Global South, the South African cultural activist and playwright Mike van Graan determines in this yearbook “that ‘populism’ among white citizens in countries of the Global North… is only a symptom of deeper lying economic, political, military, social and cultural rifts that permeate our current world and that are founded in our collective past.” In the course of the last year, the number of registered attacks on artistic freedom has more than doubled, as the Freemuse network has determined. This includes murder, kidnapping, imprisonment and censorship. Freemuse founder Ole Reitov, in a keynote on this year’s freedom of JAHRBUCH ITI YEARBOOK JAHRBUCH ITI YEARBOOK the press day that is published here, demanded to finally invest in measures to protect artists and the freedom of artistic expression. It is a demand that the ITI World Congress supported with an unanimous resolution. “It’s not easy to discuss with someone who has a whistle in his mouth”, says Jan Klata, the theatre director from Krakow who was fired in the summer. “You can measure a country’s strength based on the condition of its art. If it has challenging art, then common values are strong enough to survive. In contrast, it is a sign of a fearful national identity if people need these public displays of shared identity.” And his discussion partner Senad Halilbasic predicts: “You need both: a national mobilisation of artistic power and simultaneously the pressure and influence from the outside. Especially those who decide what cultural politics are and aren’t can be strongly influenced from the out- side; paradoxically, far more than from the inside. One should take the situation very seriously; as soon as this system of censorship starts working, they won’t listen to anyone anymore.” Whatever we may describe and discuss in next year’s yearbook, the deeply rooted and rapid change in our societies and their discourses will continue to nourish the theatre – as long as it remains a vibrant medium of democratic consciousness, is committed and provokes. Dario Fo’s sarcastic hope – that the path to diminish theatre’s irrelevance is paved by powers-that-be who battle thespians – seems to produce the best results. Thomas Engel Director 1 UN Human Rights Council Report “The Right to Freedom of Artistic Expression and Creativity” Presentation 34th ITI World Congress – 17 – 22 November 2014, Yerevan, Armenia, https://artistsrights.iti-germany.de/news ). 2 Rufin, Jean-Christophe: Das Reich und die Neuen Barbaren, Volk und Welt: Berlin 1993. 03 FREEDOM AFTER EXPRESSION In Fortsetzung der Beschäftigung mit Europa, seit zwei Jahren unser Projektschwerpunkt, fragen wir in diesem Jahrbuch nach gesellschaftlichen Friktionen und Brüchen, die das Herstellen von Kunst unter zunehmend schwierigere Bedingungen setzen. Das Verfertigen dieser Schlaglichter hat die Widersprüchlichkeit eines solchen Ansatzes deutlich gemacht. Unsere immer noch weit- gehend aufgeklärte Öffentlichkeit erwartet freimütige Analysen gesellschaftlicher Wirklichkeiten von Intellektuellen und Künstler*innen – auch und vor allem aus Ländern, die einer offenen Gesellschaft den Kampf angesagt haben. Doch in unseren geschützten Biotopen bieten wir oft viel zu leichtfertig eine Plattform für den offenen, aber auch öffentlichen Diskurs, ohne diejenigen wirklich schützen zu können, die diesen Diskurs im Angesicht der Öffentlichkeit ihrer Länder austragen. Wir laden zu kulturellem Austausch ein, der dazu verpflichtet, nach der kritischen Stellungnahme fristgemäß in die Heimat zurückzukehren. Ist dies bedauerlicherweise der heimische Folterknast, ist die nächste Online-Petition schnell geschrieben. „If we have the freedom of expression – do we have the freedom after expression?“ brachte es der schwedische UN-Menschenrechtsexperte Alfons Karabuda, seinen Kollegen Paul Brickhill, Artists Rights Aktivist aus Harare, Simbabwe zitierend, schon vor drei Jahren auf den Punkt .1 Mitten in der europäischen Einigungseuphorie Anfang der 1990er-Jahre erklärte der französische Arzt und Politikwissenschaftler Jean- Christophe Rufin 2 die Ideologie des politischen Universalismus und des globalen Ökonomismus für beendet. 1989 wurde, so Rufin, das Ende des EDITORIAL Primats der Definition aller lokalen Konfliktlagen als Stellvertreterkonflikte der ,Ersten Welt‘ offensichtlich. Eine ‚Ideologie des Limes’, die er als „Diplomatie der Apartheid im Weltmaßstab“ bezeichnet – und die die Realität einer Festung Europa voraussah – verbannt in Europa die inneren Gefahren und Barbarismen durch den Exorzismus in ein ,Draußen‘, den Globalen Süden. „Die Ideologie des Limes gestattet es dem Norden, der sich EDITORIAL wiedervereinigt und als Wahrer der Werte von Demokratie und Recht sieht, zu vergessen, dass der Weg bis zu seinen Idealen noch lang ist.“ Mit dem Blick aus eben jenem Globalen Süden auf eine multipolare Welt stellt der südafrikanische Kulturaktivist und Dramatiker Mike van Graan in diesem Jahrbuch fest, dass ‚Populismus‘ unter weißen Bürger*innen in Ländern des Globalen Nordens „nur ein Symptom der tieferlie- genden ökonomischen, politischen, militärischen, sozialen und kulturellen Brüche [ist], die sich durch unsere heutige Welt ziehen und die in unserer kollektiven Vergangenheit gründen.“ Mehr als verdoppelt hat sich innerhalb eines Jahres die Anzahl der registrierten Angriffe auf die künstlerische Freiheit weltweit, stellt das Netzwerk Freemuse fest. Dazu gehören Mord, Entführung, Verhaftung, Bedrohung und Zensur. Freemuse-Gründer Ole Reitov hat in einer hier JAHRBUCH ITI YEARBOOK abgedruckten Keynote zum diesjährigen Tag der Pressefreiheit die UNO dringlich aufgefordert, endlich auch in Maßnahmen für den Schutz der Künstler*innen und der Freiheit des künstlerischen Ausdrucks zu investieren. Eine Forderung, der sich der ITI Weltkongress mit einer einstimmigen Resolution angeschlossen hat. „Es ist nicht einfach, mit Leuten zu diskutieren, die eine Trillerpfeife im Mund haben“, meint Jan Klata, der im Sommer gefeuerte Intendant aus Krakau. „Man kann die Stärke eines Landes an der Beschaffenheit seiner Kunst messen. Wenn es eine herausfordernde Kunst gibt, sind die gemeinsamen Werte stark genug, um zu überleben. Es ist hingegen ein Zeichen einer verängstigten nationalen Identität, wenn Leute diese öffentlichen Feste der Zusammengehörigkeit brauchen.“ Und sein Diskussionspartner Senad Halilbasic prognostiziert: „Man braucht beides: eine nationale Mobilisierung künstlerischer Kräfte, aber gleichzeitig den Druck und den Einfluss von außen. Besonders diejenigen, die entscheiden, was Kulturpolitik ist und was nicht, können stark von außen beeinflusst werden, paradoxerweise sehr viel mehr als von innen. Man sollte die Situation sehr ernst nehmen, denn sobald dieses System der Zensur erst einmal funktioniert, werden sie auf niemanden mehr hören.“ Was auch immer wir im Jahrbuch des nächsten Jahres beschreiben und diskutieren werden, der so tiefgreifende wie rasante Wandel unserer Gesellschaften
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