By Sophie Sievert-Kloster
In these fraught times with so much talk of borders, walls and divisions, it feels more important than ever to read widely. As someone who basically grew up in a bookstore, I have made it my lifelong goal to do this. However, when I reflect on my reading habits, I am struck by just how overrepresented Anglophone writers are in the list of books that I have read.
According to Goodreads, I read sixty-two books last year and just nine of those were books that had originally been published in a language other than English. While that figure is quite low, it still pales in comparison to the national US average. In the US, just 3% of the books sold across the country are works in translation. This number is considerably higher in Europe. However, it remains the case that certain voices are grossly overrepresented. This is why I have decided to challenge myself to read books from each of the 28 EU member states over the course of this year and share with you my musings and recommendations.
Since I am currently studying in Strasbourg, I thought it apt to start with some French literature. I will shy away from discussing the classics that you have all probably already heard of and would like to offer you four recommendations of contemporary works that have been translated into English. Continue reading “A Literary Tour of Europe: France”
By Nemanja Milosevic
For a very long time the original programming of European TV stations had suffered from the dominance of US made TV content, and the discrepancy was mostly caused by the differences in budget. For a very long time, TV shows were seen as being of lesser quality in comparison to movies, and more successful actors would usually avoid appearing on a regular TV show. That recently changed, as several TV shows from the US got acclaim from critics and general praise by the audience, thus the status of TV shows slowly evolved. There has been more creativity involved in making a show and at the same time the level of production and artistic direction of some TV shows improved so much that they could compare to those of movies that usually appear in film festivals. There have been several established movie directors who directed shows and some award-winning actresses and actors who had major roles in some shows (the latest example being Nicole Kidman and Meryl Streep in Big Little Lies).
While all this was happening in the US, Europe started catching up, now that TV shows had a better reputation and an established market among a much wider audience. The European television program was traditionally based on imported content (films and sit-coms), adapted reality and game shows; and the only difference would be whether this content would be presented in a dubbed or original version. The original programming was usually national, it would rarely cross borders and every country had its own type of shows they specialized in. Except for football matches and reality show adaptions (a reality show Big Brother started in the Netherlands, but has experienced a worldwide success, as the rights for the production of the show were sold in many other countries, resulting in the show airing in almost every European country), there was no other content that was ‘pan-European’. That recently changed with the emergence of streaming platforms, such as Netflix and Amazon Prime. These services bought rights for many European original shows and for the first time made them available with subtitles in English and other languages, all across the globe. Continue reading “The Rebirth of European TV”
By Nemanja Milosevic
The period between late November and early March is generally known as a film award period, during which we have the opportunity to follow several national European ceremonies (most notably the BAFTA in the United Kingdom, the Goya Awards in Spain, the Deutscher Filmpreis in Germany and the Cérémonie des Césars in France). However, there is only one ceremony that helps us recapitulate all the movies produced and made in Europe during the year: the European Film Awards (EFA). The annual award ceremony started in 1988 and it changes the host city every other year, while during the year in between the event takes place in Berlin; this system was introduced in order to give equal representation to all parts of Europe. This year the award was given in Seville, Spain on December 15, 2018.
The main award, the European Film of the Year, was given to the Polish film Zimna Wojna (Cold War). The movie got 5 awards overall, just one less than the all-time record holder, The Ghost Writer, by Roman Polanski. Besides the awards at the EFA, its director Paweł Pawlikowski previously got an award at the Cannes Film Festival. The movie set in the 1950s tells us about a love story intertwined with the political and social landscape of the time, about love torn between identity, longing, and ambition. Continue reading “European Film Awards: What makes them European?”
By Nikhil Verma
The Hidden Indian ‘Apartheid’
In October 2015, two three-year-old kids were set on fire and torched inside a house along with eight adults of the same family in the Indian town of Ballabgarh, Haryana. 
Similarly, in 2010, a polio-stricken teenage girl was torched while she was sleeping, her elderly father who went to save her was also locked by an upper-caste mob until both of them were charred to death. The spokes of the rusty handicap tricycle which was meant to assist the polio-ridden condition of the obliterated girl laid darkened in the corner. These are not excerpts of stories from Auschwitz, these are everyday stories from Modern India – so-called progressive India.
These are narratives of caste-based violence and atrocities which occur without any fear of prosecution in India. In both stories, the perpetrators belonged to ‘Upper-Caste groups” i.e. the ‘Caste Elites of India’, whereas both the families on the receiving end belonged to the most socially stigmatised community of Indian society – “The Untouchables” which are now mostly recognized as “Dalits”. The word ‘Dalit’ means ‘broken’ or ‘oppressed’ (recognized as Scheduled Castes & Scheduled Tribes under the Indian Constitution).
In India, such heinous crimes against ‘Dalits’ are not an exception but rather a norm. Moreover, such crimes are committed with impunity which is made evident by the conviction rate which stands at 5.3%. ‘Dalits’ cover almost one-fifth of the Indian population with 200 million people which is bigger than the combined population of Germany and France. Such a large population experiences caste discrimination in forms of sexual assault, physical violence, forced prostitution, manual scavenging, and denial of most basic human rights. This is tribalism of the highest order and the international community is not paying enough attention to it.
Despite the fact that caste discrimination is outlawed in India since 1947, it is omnipresent in India and the situation is not showing any signs of progress as the crimes against Dalits have increased by 66% and the rapes of ‘Dalit’ women doubled between 2007 and 2017, according to the Ministry of Home Affairs. Continue reading “Why the “I” in “India” Stands For “Identity””
Towards a new generation of cultural funding
by Marje Brütt
The cultural and creative sector is the third biggest employer in the European Union being only excelled by the construction and the food sectors. Besides their rather underestimated economic importance, culture and creativity build bridges between people and positively influence various areas, e.g. education, well-being or democracy. Consequently, culture contributes to the objectives of the European integration. Therefore, it is necessary to foster our cultural and political identity, to preserve our diversity and increase the intercultural dialogue as it is mentioned in Article 167 of the Treaty of Lisbon.
In order to give credit to the cultural sector and to support its further development, the European Union launched Creative Europe in 2014 as the EU’s funding programme for the cultural, creative and audiovisual sectors. As such it is in place for seven years (2014-2020) and consists of two sub-programmes that used to exist independently before: MEDIA and CULTURE. While MEDIA is dedicated to the audiovisual sector and helps promoting audiovisual works, CULTURE covers funding for all other cultural and creative areas including amongst others performing and visual arts, literature, music, street art and cultural heritage. In total, 1,46 billion Euros are foreseen for the whole programme meaning for the whole seven years and all participating countries. Related to the amount of participating countries, this amount can change throughout the years. In addition to the 28 EU Member States, interested European countries can associate with Creative Europe and thereby increase the programme’s budget. In the past years, the list of participating countries grew continuously up to 41 countries in 2018, including amongst others Tunisia, Georgia, Ukraine, Albania and Armenia, boosting the intercultural exchange in the European neighbourhood. Simultaneously, countries can also leave the group as it was the case with Turkey in autumn 2016 and could be happening again with the upcoming Brexit in 2019. Continue reading “The Future of Creative Europe”
By Maeva Chargros
Besides reading all days long, summer holidays are also a perfect occasion to visit some museums… or enjoy some festivals. I had been willing to go to the Rencontres d’Arles for years: I finally managed to go there last month! This festival allows you to stroll through the streets of this centuries-old city while visiting various photography exhibitions. Art photography, photoreportage, experimental, contemporary art, light and sound, video artworks, you name it! If you’re a visual art enthusiast, Arles is definitely the place to go to during the summer! Here is a very small excerpt of what can be seen during this year’s edition (open until September 23!), as well as some comments about two other exhibitions I’ve been to, both in Villeneuve-lès-Avignon.
Continue reading “From Hope to Labyrinth: Summer Exhibitions Review”
By Anne-Roos Renkema
No country exists without its history. Or, perhaps equally as important, the specific way it deals with this history: its memory culture. These memory cultures tell us a lot about a specific society, as it tells us one important thing: how it chooses to deal with its past. Memory culture refers to all practices of memory and commemoration, as well as education about the past – and, especially, the darker pages of its history.
One such country is Sweden. Traditionally a militarily neutral country, its post-war memory culture was concerned with exactly that: its perceived neutrality, especially in Europe’s most traumatic experiences in the twentieth century. There has been a shift in Swedish memory culture since the late 1990s, with Swedish historians paying more attention to Sweden’s role in World War II, and its perceived lack of involvement in the conflict. The country now has its own institute for Holocaust commemoration, which uses the Holocaust as a starting point to discuss issues of tolerance, called ‘Forum för levande historia’ (Living History Forum). Why has Swedish memory changed so drastically since the 1990s, so many years after World War II? Continue reading “Collective Memory in Sweden: the Living History Forum”
By Maeva Chargros
Any decent human being knows this very basic fact: extreme temperatures exist so you can read without feeling too bad for not doing what you were supposed to do. In my case, I put the “extreme temperature” boundaries around +25°C and -25°C. When the weather gets warmer or colder than these, my brain automatically switches to the “non-stop reading” mode. Therefore, this summer’s heatwave gave me the very pleasant opportunity to drift away from Central European topics, back to my earlier shores for a few days. Let me introduce you to three amazing Nordic writers!
FINLAND & ESTONIA: Norma, Sofi Oksanen.
It is hard to be concise and objective when mentioning this writer whose novel Purge (Puhdistus in Finnish, Puhastus in Estonian) literally changed my life forever – and for the better. Sofi Oksanen is a Finnish-Estonian writer who likes to draw humanly touching portraits of women and their – usually complicated – past, present, and future endeavours. In Norma, we meet a young woman whose mother just killed herself without giving any warning sign of such psychological despair before this fateful morning. She struggles to understand what happened during the last few days of her mother’s life and starts realising the story behind this violent death dates back to decades, even centuries ago – and involves four different continents. Continue reading “Summer Exists So You Can Read”
By Roberta Ragucci
The European Union is home to 60 regional or minority languages which are threatened and risk to disappear. Language can constitute more than just a communication tool, as it can be regarded as a bearer of culture and traditions. In such a culturally diverse environment, where the EU can be seen as an engaging multicultural mosaic, is the diversity constituting a key point for our sense of communality? Or is the presence of multiculturalism representing an obstacle for a potential homogeneity?
One of the most varied and endangered linguistic minorities in Europe is the Sami. The Sami is an indigenous people living today in a territory which extends on four countries (Russia, Finland, Sweden and Norway), in a region called Lapland. Sami livelihood and economy was mainly based on the reindeer husbandry, coastal fishing, and hunting. Thus, due to their need to follow reindeers, they have never lived in one and only big community, setting up several smaller communities instead. Consequently, their nomadic life led to the development of different Sami languages, at least ten, which cannot be classified simply as dialects of the same language. Nowadays, the Sami language which counts the larger number of speakers is the North Sami, followed by the Lule Sami and South Sami. It belongs to the finno-ugrian linguistic family and it is commonly divided into three branches, depending on the grade of mutual intelligibility they can reach.
Since the establishment of borders in the Scandinavian peninsula and Russia, the Sami population quickly became a minority and encountered all the correlated difficulties as, for instance, the prohibition to speak their own language and the obligation to learn the new majority (“national”) languages. This was a consequence of the development of the agricultural activities, which implied a progressive settlement in the most Northern-most areas where the reindeers used to graze, and the wish to reach a certain homogeneity amongst the territory after the drawing of new borders. Thus the Sami people was considered a threat to the in-borders safety and homogeneity of the now “national” population. Continue reading “The EU & Minority Languages Promotion”
As the second semester approaches in the Euroculture master programme, there is another important decision to be made; namely, which track to choose for the third semester: professional or research?
Blessed with fairly good research skills, I would have been ready, willing and able to take a semester in Mexico City and improve my Spanish skills, or discover a whole new world in Pune, India while diving into one of the countless possible research topics the Euroculture programme offers. But for me the real challenge was to see how I would perform in a non-academic environment and solve problems not only in theory, but in practice as well. After all, this is what the Euroculture programme is about: stepping out of our comfort zones over and over again. Hence, I eventually had to let go of the more convenient research track. Half a year and a lot of paperwork later, I found myself working for a Hungarian NGO: Foundation for Africa. Continue reading “BLOG: One month on the job – what it’s like to intern for an NGO”