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””→
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”→
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.
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”→
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”→
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”→
Around 150 students are holding up sheets of paper in blue, white, and red. Rester avec nous, they shout, stay with us. In the moment the camera clicks to shoot the French flag formed out of sheets of paper, the sun breaks through the clouds again. A good sign for Europe? Maybe. What is sure, is that the pulse of Europe now also beats in Groningen.
On a Sunday afternoon, on the second of April, 2017, the first Pulse of Europe event was held in Groningen. Pulse of Europe is a pro-European movement that has emerged in Frankfurt, Germany, around the end of last year. Against the backdrop of the Brexit referendum, the election of President Trump, and the rise of nationalist sentiments all across Europe, the initiators aim at raising awareness about the many advantages European integration has brought to European citizens. They have been organizing weekly events on Sunday afternoons, first only in Frankfurt, then in an increasing number of cities in Germany, now all over Europe. (see http://pulseofeurope.eu)
The first Pulse of Europe event in Groningen took place on the square in between the University of Groningen’s main building, and the University library. Blue and yellow balloons distinguish the pro-European character of the event. An estimated 150 people gather around the stand that offers free lemonade, and on the stairs of the Academiegebouw, the main building of the University of Groningen. Most of them are students, and they seem to be mainly internationals. The German percentage remains unspecified, but might rise up to 70 percent according to the author’s educated guess. Possibly unsurprising: several generations of Euroculturers are seen amongst the supporters as well.
The event starts off with the European anthem, Freude schöner Götterfunken. As expected, nobody knows the lyrics. But this is no problem, because of Jeremy’s enthusiasm. Jeremy, who is the organizer of this first Pulse of Europe event in Groningen, is genuinely happy about the number of people that have showed up. After only eight days of organization, the turnout is a remarkable success. Jeremy invites us all to hold short, three-minute-long speeches about our opinions and attitudes towards the EU. Although the open microphone had been announced beforehand, students are reluctant to take stage. Nevertheless, many important topics are brought up by the students daring to speak to the crowd: Europe as a peace project, borderless Europe, the EU as a refuge in times of globalization, Europe as a space for diversity and exchange rather than close-minded nationalism. A lot of praise for the EU indeed, but students are, after all, those who benefit most from European integration.
After a couple of speeches, the organizers hand out the sheets of paper in white, red and blue. The reference is clear: the flag serves as an appeal to the French citizens to make a clear statement for Europe, diversity, and collaboration, and not for Marine Le Pen’s chauvinistic nationalism, in the upcoming Presidential elections. The next Pulse of Europe Groningen-event is scheduled, of course, for April 23rd: the day of the French election. That time the event will take place on the Grote Markt, the central square in the Groningen city center. Can more people be attracted than only the students who directly benefit from the EU and its Erasmus program, or who are regular international students? Let’s hope so. After all, rester avec nous should nowadays be pronounced in all European languages.
During my whole life in Europe, I did not know that I was white. I knew I had pale skin and light eyes, but this was because my father was a ginger. Then, when applying to an American university for the first time, I had to indicate my race and ethnicity in the official paperwork. I learned that I had to tick the box that said “White/Caucasian.” Then, within a couple of weeks on a Midwestern campus, Americans made me understand that I was white – not only in the literal, but in the racial sense of the term. Together with my fellow exchange students from Europe, we decided pretty fast: Americans are obsessed with race. Race is everywhere; in media and political discourse, in art, in peoples’ minds. In my classes, African American and Latino students repeatedly reported racial discrimination by white police officers or in job interviews. Friends advised me to avoid specific neighborhoods – black neighborhoods.
Before going to America, it would have never occurred to me to even use the term race. Race may apply to dogs, or horses. But humans? No way. To me, groups of people were rather characterized by their different cultures, traditions, values, and beliefs. For example, I knew that I, myself, was European. As such, I identified as an heir of centuries of European culture with its Greek and Roman heritage, Christian traditions, secular art, Enlightened thinking, modern science and technology, as well as the more recent belief in liberal democracy.
When looking at the actual ideological debates in Europe, I now wonder if Europe is not as obsessed with culture as America is with race. Just as most Americans take “the” five races (white/Caucasian, black/African American, Asian American, Native American/American Indian, Latino) as naturally given, most Europeans tend to think that one can distinguish between clear-cut and mutually exclusive cultural communities, such as the European cultural community, the Muslim cultural community, the… well, it often stops here. Against the backdrop of current issues such as the so-called refugee crisis, the term “European culture” is only used in order to contrast European culture with Muslim culture. In so doing, the speaker suddenly forgets about the cultural diversity within Europe, as well as the negative prejudices toward other European nationalities (e.g., the humorless Germans, the lazy Greek, the arrogant French, and so forth).
In Europe, the cultural category has very clearly replaced the racial category that is still used in America. Culture is hereby seen as something that is inborn in individuals or trained at a very young age, and therefore cannot evolve, transform, change. I often have the impression that it is understood exactly like race was conceived of during Europe’s darkest periods – as a biological determinism that decides good and bad, superior and inferior. As a consequence, Europeans seem to be experts in exercising cultural racism – they prefer to declare that a certain culture is not compatible with Europe, instead of a certain race or ethnicity. This wording might seem more lenient, but has the same meaning in the end.
So what is real, and what is a mere construction? Race? Or culture? Maybe neither. Or maybe both. Looking at the lived realities in the United States and in Europe, one has to conclude: in the US, race is real. It is real because it has real consequences on peoples’ daily lives, and entire personal narratives. In Europe, on the other hand, the belief in incommensurable cultural communities is gaining ground in a manner that this social construction is real as well, because it influences how Europeans perceive other parts of the world. Yet, with regard to current issues such as the refugee crisis, we could try to put our convictions into question. Is Muslim culture really as opposed to European culture as right-wing populists and racists want to make us believe? Are cultural values unchangeable?
What do The King’s Speech, Slumdog Millionaire, and The Queen all have in common?
Each one benefited from EU funds for artistic creation. Perhaps your first response would be, “Who cares?” After all, who really pays attention to the EU’s actions or even knows what the EU concretely does? Yet the three well-known movies I just mentioned are all British, and it’s possible none of them would have been produced without EU financing. In the light of Brexit, it seems worth considering whether the future of the British cinema industry is now at stake.
The EU’s subventions for British cinema could stop as soon as Brexit becomes effective. This is not an insignificant amount of money: in 2014 and 2015, the Europe Creative Media fund invested no less than 28.5 million Euros in the audio-visual sector of the UK. In 2016, the Palme d’Or winner I, Daniel Blake, directed by British filmmaker Ken Loach, received 100,000 Euros from that EU fund. With this money off the table, it is clear that British cinema won’t be the same.
The first affected would be independent British cinema, which benefits most from EU funds. But it would eventually impact the entire sector, as stressed in the letter signed before the Brexit referendum by 282 of the world’s biggest creative industry names– including Keira Knightley, Jude Law, and Steve McQueen – written in support of Britain remaining in the EU. The letter states that “From the smallest gallery to the biggest blockbuster, many of us have worked on projects that would never have happened without vital EU funding or by collaborating across borders. Britain is not just stronger in Europe, it is more imaginative and more creative, and our global creative success would be severely weakened by walking away.” This is not just a question of access to funds – this is also a question of access to the European market. The EU is currently the largest export market for UK movies, and Brexit may well mean the reinstatement of customs duties for exportation to Europe, as well as the need for work permits and potentially additional taxes. Furthermore, various European quotas are in place in the Union that would be affected; since the 1989 “Television Without Frontiers” directive, half of the content on TV has to be of European origin in every member state. Until now, British movies have been considered European movies… but this may soon come to an end, meaning that the UK is going to have more difficulty in distributing and gaining exposure for its shows and movies across Europe.
The consequences of Brexit are not only a business concern; it is also a matter for British culture. With the EU closing access to its funds, Hollywood will become the main financier of British cinema. The result may be more of a focus on business, and less on creativity. Moreover, it will have a detrimental impact on the rest of Europe, not only in terms of fewer British movies in our cinemas, but also fewer EU-Britain co-productions.
After the Brexit vote, Amanda Nevill, CEO of the British Film Institute (BFI), tried to reassure British people, arguing that Britain is “one of the most creative nations on Earth” and thus is strong enough to manage leaving the EU. However, not everyone was so confident. Producer Mike Downey, CEO of Film & Music Entertainment (F&ME) and deputy chairman of the European Film Academy, maintains that “from the overall UK industry perspective, this move is a disastrous one and the repercussions will resonate far and wide.” Downey argues that the only way for British cinema creativity to survive Brexit is to stay in the Europe Creative Media programme, pointing out that Article 8 of the regulationestablishing Creative Europe stipulates that countries other than EU Member States may participate in the programme.
It is clear that the consequences of Brexit could be tragic, not only for the film industry and for British culture, but also for European culture as a whole. However, perhaps it can also make European people realise that the EU is actively engaged in the promotion of art and culture, and that this is something we shouldn’t disregard, given its role in our daily lives. Thus, it appears high time we become aware of the EU’s cultural policy, and gain a broader understanding of what being a member state actually means in terms of culture. By leaving the EU, British cinema will lose a significant part of its financing, its access to the single market – including the free movement of people – and will therefore have to pay additional taxes and work permits. Even if the main production companies can survive, the independent British cinema will suffer greatly, and may be left on the bench.
Emilie Oudet is in her first year of the Euroculture MA at the University of Groningen, Netherlands. Her main interests are cultural and intercultural exchanges, and the promotion of cultural rights as fundamental human rights.