Dachzei le 1/07 culturE RepoRt cultuRe RepoRt Прогрес Европа Fortschritt Europa Progreso Europa Be- Progress Europe Progress Culture and cultural policy are of strategic signifi- sivystanti Europa Progres- cance in the process of European unification. The t R question is, what use is made of them? What is the state of cultural relations within Europe? How can so Europa Napredek Evro- epo European cultural policies contribute to the for- R ming of a European identity? e R pa Framsteg Europa Fejlõdõ The culture report “Progress Europe” attempts to find answers to these questions. Among the Európa Edistys Postęp Eu- authors are cultural policy makers, journalists, cultu education experts, theatre and film-makers, festival organisers and scientists from all over the ropa Progress Europe Ev- world. ropa Pokrok Eurooppa Pok- rok Europa Vooruitstrevend Europa Πρόοδος Ευρώπη L’Europe en marche Europas Fremskridt Progrese Europa Euroopa edusammud Culture report progress europe Culture report progress europe preface Europe Needs emotions By Ingrid Hamm 4 Culture on the rise By Kurt-Jürgen Maaß 5 I. europe - CoNtineNt WIthout CoNtours? 1. The Perception of euroPe 1.1 Self-Perception Invisible public? By Bo Stråth 10 Brand europe By Simon Anholt 18 1.2 Perception of oTherS Who is schopenhauer? By Atsuko Onuki 30 Museum europe By Andrew Ian Port 35 The pale Continent By Rajendra K. Jain 38 Farewell to europe By Adjaï Paulin Oloukpona-Yinnon 4 Identity pitfalls By Leopoldo Waizbort 50 Paradise europe By Sergej Sumlenny 53 2. culTure in EU Policy Key element or ornament? By Enrique Banús 60 New territory in sight? By Olaf Schwencke 71 Structure nurtures Culture By Christine Beckmann 8 3. foreign culTural Policy Not promotion but partnership By Michael Bird 90 Escape from huntington’s scenario By Traugott Schöfthaler 97 EUphoria in Croatia By Marija Pejčinović Burić 103 Bread and games (panem et Circenses) By Gyula Kurucz 107 II. Culture in europe – europe in Culture 1. The Media The Continent of No Communication By Peter Preston 116 Europa on screen By Deirdre Kevin 13 2. filM Reconciliation in lieu of Division By Michael Schmid-Ospach 13 Curtain for Niche Cinema By Dina Iordanova 137 The power of Images By Wim Wenders 143 table of Contents 3. educaTion The end of the National education Fortress By Guy Haug 150 Learning over time By Andreas Schleicher 156 Higher education without Frontiers? By Franziska Muche 166 4. language Do You speak european? By Ulrich Ammon 178 Fortunate Babel By Etienne Barilier 185 5. MuSic The sound of europe By Jean-Francois Michel 194 Feeling the Blues? By Jonas Bjälesjö 199 6. liTeraTure Europa reads By Albrecht Lempp 06 A house (of literature) for the Continent By Florian Höllerer 15 7. TheaTre A stage for european theatre By Bernard Faivre d’Arcier 224 Visionary opera By Xavier Zuber 31 8. arT, archiTecTure, faShion Europe – Work of Art By Ursula Zeller 38 Fashion shapes europe An Expert talk between Ingrid Loschek and Sibylle Klose 49 Fashion World – World Fashion By Daniel Devoucoux 63 Europe – a shell? By Hans Ibelings 76 Imprint Publisher: Institut für Auslandsbeziehungen (ifa) and Robert Bosch Stiftung, in cooperation with British Council Germany, Schweizer Kulturstiftung Pro Helvetia and Stiftung für Deutsch-Polnische Zusammenarbeit Editors: Sebastian Körber, Jenni Roth (ifa); Detlef Thelen (British Council) Collaboration: Dr. Stephan Hollensteiner, Claudia Judt, Kornelia Serwotka Design: Eberhard Wolf Photos: Bettina Flitner Address: Charlottenplatz 17, 70173 Stuttgart Print: Offizin Andersen Nexö Leipzig Translation: Barbara Andrunik, Agna Baranowa, Małgorzata Gula, Dr. Stephan Hollensteiner, Krystyna Kopczy ska, Marielle Larré, Jenni Roth, Henning Schimpf, Angelika Welt, Birgit Wittlinger ń 3 preface europe Needs emotions hen I was a boy, I dreamt of a europe the robert Bosch stiftung has without borders. Now I am travelling launched this Culture report in W across europe – virtually and in rea- cooperation with the Institut für lity – without showing my passport. I even pay Auslandsbeziehungen. I would with one currency, but where is my emotion?” like to thank the authors who Wim Wenders asks himself in this report. Many have dealt with these questions citizens of europe – particularly young people from various points of view. And who neither feel represented by the institutions of I am delighted that our projects the european union nor see their needs addressed partners - British Council ger- – feel exactly the same as the german film direc- many, the schweizer Kulturstif- tor, which does not surprise Wenders. According tung (swiss Cultural Foundati- to him, nobody loves their country because of its on) pro helvetia and the stiftung politics or its market strategies. In its external re- für Deutsch-polnische Zusam- lations and its internal interactions with its inha- menarbeit (Foundation for ger- bitants, europe always uses economic or political man-polish Cooperation) - sup- arguments. emotional aspects do not feature. ported the publication of this however, the representatives of the european report in english, French and institutions in Brussels have long understood that polish. they have to revive the concept of european unity. “A soulless organism is dead. A unified europe Ingrid Hamm needs a soul“, was the presumption the former Executive Director, Robert Bosch Stiftung president of the EU Commission, Jacques Delors, made once. his current successor José Manuel Barroso even goes one step further: “europe is the cornerstone for the sense of cohesion required by europe“, he stated at the Berlin Conference in November 006. europe – “having ‘invented’ to- lerance towards individuals, their opinions, con- victions and differences – has to make its special voice heard. Culture and cultural policy play a vital strategic role in the european process of unification. Yet what is their practical use? What is the situation of cultural relations in europe? Which contributions can european cultural policy make to form a eu- ropean identity? In order to find potential answers, 4 preface Culture on the rise hat do some have and do not want any perts, theatre and film-makers, longer and others long for so much? festival organisers and scientists WWhile most Americans admire europe from all over the world. I would as the museum of high culture – even if they have like to thank all these authors emptied their Bordeaux bottle down the drain with as well as the robert Bosch stif- ostentation – as Andrew Ian port describes wryly tung – which enabled the reali- in his contribution to this report – europe is still sation of this book together with looking for an identity. even fifty years after the the ifa. And I would particularly foundation of the european union, pan-europe- like to thank the many transla- an media projects are still progressing slowly and tors who enabled its publication even urgent transnational problems are mainly in four languages. their work discussed in a national context. Is europe really – largely taking place quietly be- just “an agglomeration amiably arranged – but la- hind the scenes - is not only an cking any wish or ability for deeper conversation”, essential requirement for a pu- as conjectured by the British columnist and former blication of this kind, but also editor-in-chief of the “guardian”, peter preston? for a europe that does not only even if one does not agree with this pessimistic communicate about each other, view, one thing is certain: those who think that but above all engages in direct the european union would only need a bit more dialogue. PR to explain its agreements better are on the wrong track. those who take the project of eu- Kurt-Jürgen Maaß ropean unification seriously perceive a stronger Secretary General, Institut für Auslandsbeziehungen ifa challenge for european cultural policy than ever before to shift the actual substance of european unification to the foreground; europe has a lot to offer to this world. It represents enlightenment, belief in progress and tolerance. It has a lot of ex- perience with the transformation of countries and societies into democracies, constitutional states and market economies. It offers attractive scho- larship programmes, international libraries and a rich world cultural heritage in the arts, in music, literature and film. this report examines the constituents of cul- tural europe very closely. Among the authors are cultural policy makers, journalists, education ex- 5 Europe – Continent without Contours? 6 Women with Visions Portraits of 48 European Women For two years, Bettina Flitner travelled through Europe to take photographs of “Great European Women“. She sat in Miep Gies living room in Amsterdam – the woman who hid Anne Frank and rescued her diary a long time ago. She stood in the laboratory of the German Christiane Nüsslein-Volhard, who was awarded the Nobel Peace Prize. She accompanied Franka Potente to her ballet school in Berlin-Kreuzberg, visited Marion Dönhoff in Hamburg-Blankenese shortly before her death and went to the fiercely fought over olive fields in Calabria with Baroness Cordopatri, who is threatened by the Mafia. She created 48 portraits of great European women from the worlds of culture, economy, politics and society. The culture report Progress Europe introduces 12 of these personalities. The Portraits: 8/9 Marion Gräfin Dönhoff, journalist • 28/29 Franziska Becker, cartoonist • 48/49 Christa de Carouge, fashion designer • 58/59 Maria Lassnig, painter • 82/83 Irene Khan, director amnesty internatio- nal • 114/115 Kati Outinen, actress • 148/149 Inge Feltrinelli, publisher • 176/178 Lea Linster, cook • 192/193 Judit Polgar, chess player • 222/223 Pina Bausch, choreographer • 236/237 Magdalena Abakanowicz, artist • 254/255 Dörte Gatermann, architect Europe – Continent without Contours? 7 8 9 InvIsIble PublIc? For the author, there is no doubt about the existence of a european public sphere. he however identifies a gap between public sphere and institutional practice. Debates mostly mirror controversial issues nationally and are not addressed at european institutions.