Latvia s international cultural relations

Transcription

1 Institut für Auslandsbeziehungen ˆ e.v. Foreign Cultural Policy in Europe Latvia s international cultural relations By Ambassador Ojars Kalnins, Riga The historical context For most Latvians, culture is the primary force behind the existence of a Latvian state. For many, it is the only reason. Latvia first achieved independence in 1918 because ethnic Latvians wanted to secure a permanent political place for themselves in their part of Europe the only place in the world where the Latvian language and culture had always had deep roots. The Latvian state was created nearly a century ago by ethnic Latvians who knew their culture was several thousand years old. It had survived the last 800 years of foreign rule, coexisting along with the cultural influences that came with the Baltic German, Swedish, Polish and Russian periods of rule that had shaped the political and economic development of the country. The creation of the Republic of Latvia in 1918 enabled the Latvian people to finally achieve political control in their native environment, so that their culture and traditions could flourish without foreign political restraints. The effort to define, develop and promote a Latvian national identity through culture was pursued vigorously by Latvian governments for 22 years, but was cut short in 1940 when the Soviet Union invaded and occupied Latvia. During the ensuing 50 years, expressions of Latvian culture were subsumed under Soviet ideological constraints, in some instances banned altogether and in others, reduced to empty symbolism. Just as before 1918, preservation of the Latvian culture during the restrictive straightjacket of Soviet rule became a cause in and of itself, as well as a rallying call for national identity and political movements which would play a key role in shaping the symbols and tactics of the non-violent national independence movement that began in the late 1980 s. It is no surprise that most mass political rallies during this period had a strong cultural component and together, the period from 1987 until independence in 1991 is popularly called The Singing Revolution. Since the restoration of Latvia s independence in 1991, the Latvian government faced a twofold task in regards to cultural policy. First to restore conditions for the free, democratic pursuit of all forms of traditional and contemporary culture of a national nature, i.e. strengthen Latvia s cultural values within Latvia and encourage their expression among the populace. Second, establish (or in the case of Europe, re-establish) international cultural forms of co-operation. Although the task of re-establishing cultural ties with Europe through the promotion of Latvian culture has been a popular priority, it has been limited in its scope and success over the last 12 years because of inadequate state funding. With the restoration of free market-oriented economic policies, artists and cultural professionals could no longer count solely on government subsidies and needed to establish new local and international relationships to support their work.

2 State funding for the development of culture has been limited over the last 12 years because it has coincided with the monumental tasks of rebuilding Latvia s democratic traditions and structures, economic relationships, foreign relations and social stability after 50 years of Soviet communist rule. Resources have, understandably, been focused on economic, infrastructure and social needs, and culture, while recognized as important, has not received the support needed. Of the state funding that has been made available for culture, the bulk has gone to supporting cultural endeavours and education within Latvia, and only a small percentage has been devoted to cultural projects of an international nature. Although the growing economic strength of the private sector has begun to contribute significantly to the promotion of the arts and other cultural activities, funding sources are limited and over solicited. Latvian cultural institutions home and abroad, and their missions The Ministry of Culture was established with the first post-independence government in 1991, and Latvia has had 10 governments, each with a different Minister of Culture, over the last 12 years. All governments have had nearly identical foreign policy priorities regarding Latvia s re-integration into Europe, membership in the EU and NATO, and a stable relationship with neighbouring Russia. Cultural policies have remained consistent as well, but have always been plagued by a limited financial base that has never reflected the importance culture plays in the mind of the Latvian populace. Latvia s present cultural policy is set by a document adopted by the Saeima (Latvian parliament) in 1996, called The State Culture Policy Postulates of Latvia and which serves as a joint public-private sector agreement on the goals, principles and guidelines of Latvia s cultural policy. Although the document deals extensively with the promotion of Latvian culture within Latvian society (education, infrastructure development, financing and administration), Section VII.5 outlines government policies in regard to international cultural co-operation. International policies are carried out by the Ministry of Culture together with the Ministry of Foreign Affairs, diplomatic services and other state and public institutions of various levels. They sign and implement international and bilateral cultural exchange and cooperation agreements, organize events, ensure state support in defence of intellectual properties and co-operate in fields of education and training. In 2003, Latvia s Ministry of Culture has a budget of 36 mil lats (62 mil EUR). While most state funding goes to supporting culture-related activities and projects within Latvia, the state offers limited financial support to ensure Latvia s participation in international cultural events (congresses, conferences, seminars, symposia, festivals, competitions). It also foresees support for artists, especially amateurs, seeking integration into the world cultural market (concert tours, travelling exhibitions, theatre guest performances). Most cultural figures in Latvia believe that state support until now has been wholly inadequate to meet the needs of culture, especially in regard to promoting Latvian culture to an international audience. The government s cultural policies are also guided by National Programmes, which are strategic sectoral planning documents. The National Programme Culture was 2

3 adopted in 2001 and lists the priority sectors of culture (heritage, music and dance, theatre, films, traditional culture, visual arts, literature, libraries and cultural education). Latvia s international culture policy operates with a variety of relationship models with different countries, but is designed to ensure that the whole spectrum of state, municipality and privately owned cultural institutions of all arts and heritage sectors is actively consulted and engaged. Given the size of the Latvian populace, 2. 3 million, and the limited number of active cultural figures and institutions to draw from, this system usually works in ensuring that most qualified individuals in the country have an opportunity to get involved in international projects. In addition to state financing, the government has adopted tax laws which provide advantages to commercial cultural undertakings (museums, libraries, galleries) and tax breaks for private sponsors of cultural events. The state also approves international credits and investments and guarantees investments into important objects and enterprises that are deemed culturally valuable. The most consistent and democratic source of cultural project funding has come from the Culture Capital Endowment (CCE), created in 1997 as a state-owned shareholding company that receives earmarked taxes from lotteries and gambling. It grants support on a project and competition basis, and has helped realize a wide variety of successful and valued arts and culture-related projects. Grants are distributed four times a year and approximately 5.5 mil lats (8.6 mil EUR) has been available annually While the purpose of the CCE is to encourage cultural activities within Latvia, projects are increasingly incorporating features to target them at international audiences as well. Many of the grants support translations, exhibit enhancement and travel expenses that allow Latvian cultural projects to extend across borders. The CCE finances the government programme Important International and National Events, which is administrated by the Ministry of Culture along with members of the National Board of Culture. The National Board of Culture consists of public and private cultural figures and advises the Minister. The government maintains and/or supports various agencies and socially-based organizations that deal primarily with the promotion of international cultural co-operation, including the Literature Information Centre, Music Information Center, Theatre Information Centre and Latvian Contemporary Art Centre. The Ministry of Culture also subsidises numerous arts publications in Latvian with English-language digests. They cover literature, theatre, music, film and the visual and performing arts. The non-profit Latvian Literature Information Centre, was founded in 2002 in conjunction with the Latvian Writer s Union. Financed in part from the state budget as well as CCE monies, the literature centre s mission is to support the translation and distribution of Latvian literature abroad. The Latvian National Opera is a unique cultural institution in that it is established and regulated by its own law and is guaranteed annual budget support. It is viewed as a national treasure and despite state ownership, operates like a professional commercial organisation. The LNO is not only viewed as a the gem in the crown of Latvia s classical cultural life, but has gained international attention because of its professional productions and outstanding artists (many of whom now perform in Europe s leading opera troupes.) Latvian radio and TV offer public broadcasting and are also primarily state-funded, although both depend on additional sources of income from advertising and are presently 3

4 undergoing changes in their legal status. Laws on public radio and TV are pending and could put these two institutions on an equal footing with the LNO. The Latvian Institute was created in 1998 as a non-profit state-funded entity, designed to provide information about Latvia abroad. The LI produces a web page, informational booklets, films, videos and other materials, and organizes foreign press visits to Latvia. Although the LI does not itself organize cultural events, it works with the international media, foreign embassies, international organizations and the private sector to promote awareness of Latvian culture. The LI works closely with all government institutions and social organizations in Latvia and participates in the development of conferences, festivals and other international events, and works directly with Latvia s embassies in coordinating promotion and media coverage. Although the LI provides general information about all aspects of Latvia (history, culture, economics, politics, society), it has produced a large number of materials focusing on culture, and routinely promotes Latvian culture and artists in its public relations work with foreign journalists. The LI s present budget does not foresee a presence abroad. Information about cultural activities is usually handled by embassy personnel, although very few Latvian embassies have full time cultural attaches. In many countries this function is handled by the ambassador or staff, or by resident émigré Latvians who serve as in-house volunteers. In those European countries where there is a well established émigré community (Sweden, Germany, the UK), local community groups actively work with the local embassy to organize and host cultural events. Local funding is also often provided. The largest and most effective émigré organizations promoting Latvian culture abroad, however, are found in the United States, Canada and Australia, primarily because this is where the bulk of Latvian refugees fled following the Soviet takeover of Latvia. Of the estimated 180,000 ethnic Latvians living abroad, nearly 150,000 live in North America or Australia. These organisations were actively engaged in promoting Latvian culture abroad during the period of Soviet occupation ( ) and organised local theatre groups, choirs, concerts, exhibits, museums and festivals. Since 1991 émigré cultural organisations have worked closely with the Ministry of Culture and Latvian cultural groups and now often undertake joint projects. The World Federation of Free Latvians (WFFL), an international umbrella group which represents Latvian organisations throughout the world, and is based in Washington, D.C., annually offers scholarships and grants to cultural projects in and outside of Latvia. The WFFL helps fund projects and also sponsors international tours by Latvian artists and performers. Coordination of work within Latvia On the state level, international cultural relations in Latvia are usually organized by the Ministry of Culture in co-operation with the Ministry of Foreign Affairs. The Culture Ministry s foreign affairs department undertakes the organizational duties, working together with institutions subordinated and supervised by the Ministry of Culture. The Ministry of Education and Science also works with the Culture Ministry in the sphere of cultural education and supervises participation in the Tempus and Erasmus programs. 4

5 The Culture Ministry works with associations of creative professionals, social organizations of cultural branches and national committees of international cultural organizations in writing legislation concerning culture. Municipalities in Latvia also have a right to introduce local taxes in order to finance culture needs. Co-operation with European institutions and organisations from member states. Since the restoration of independence in 1991, Latvia has joined several international conventions on culture, including The Bern 1886 Convention on the Protection of Literature and Art Objects, the Paris 1954 European Culture Convention, and The Paris 1972 Convention on the Protection of the World Cultural and Natural Heritage. Latvia became a member of UNESCO in October 1991 and in the following year founded its UNESCO National Commission. UNESCO has assisted Latvia in adopting laws consistent with international conventions, enhancing Latvia s ability to expand its international contacts. Riga s famous Old Town was included in the UNESCO World Cultural Heritage list in 1997, which has not only promoted the city internationally but has also influenced (sometimes stirring lively debate) decisions about future city development and renovation. The State Inspection for Cultural Heritage Values, created to protect Latvian cultural and architectural monuments, works closely with UNESCO and other international organizations to protect and promote cultural objects in Latvia. Three of the most active foreign cultural institutions in Latvia have been the Danish Cultural Institute (1990), the Nordic Council Information Office (1991) and the Goethe Institute (1992). Thanks to the Danish institute, Latvia has had extensive cultural exchanges with Denmark, while the Nordic Council Information Office has expanded this to other Scandinavian countries. Although the Swedish Institute does not have a physical presence in Latvia, it is actively represented by the Swedish cultural attache in Riga. The Swedish institute has participated in many bilateral cultural events, and played a key role in the establishment of the Latvian Institute in The Goethe Institute has promoted culture exchange in both directions, with a special focus on Baltic German roots in both countries. In recent years both the British Council and the French Culture centre have established a presence in Latvia and taken an active role in promoting cross-cultural exchanges with the UK and France. The British Council has co-produced internationa productions with the Latvian Radio Choir and supported a musicology master s programme and a bachelor s programme of modern dance at the Latvian Academy of Culture. The French Culture centre has promoted French art in Latvia but has also supported the publishing of a French- Latvian dictionary and co-produces cultural events at French-learning high schools and higher educational establishments. While welcoming expanded bilateral cultural ties with nearby countries, Latvia has taken a leading role in the promotion of regional cultural co-operation with its neighbouring Baltic countries of Estonia and Lithuania. In 1987, Latvia s Emils Melngailis Folk Arts Centre organised the first international festival of Baltic folklore. In 1989 it united the folklore societies of Latvia, Lithuania and Estonia to create the folklore association Baltica, which in 1990 was accepted into the CIOFF (Counsel International des Organisations de Festivals de Folklore et d Arts Traditionnelles). The Baltica festival is held every year and has become a popular regional tradition that attracts folklore groups from around the world. 5

6 Latvia is also actively engaged in various regional and multilateral co-operating structures, such as the Baltic States Cultural Committee, Council of Europe and Council of Baltic Sea States, and has participated in EU programmes such as Culture 2000, ICOMOS and ICROM. Ties with Baltic Sea regional countries are further strengthened by Latvia s active involvement in the Cultural Forum Ars Baltica, which was founded in 1990 under an initiative by Sweden, Denmark, Norway, Finland, Lithuania, Latvia, Estonia, Poland, Russia and Mecklenburg-Pommerania. Ars Baltica supports direct contact among writers and artists, participates in the organisation of mobile exhibitions and other enterprises. The Museum Association of Latvia, which works closely with the Ministry of Culture, is a member of NEMO (European Museum Organisation Network), enabling Latvian museums to establish direct contacts with other museums in Europe. International culture exchange in the sphere of music is undertaken by state and nonstate institutions. Several international chamber music, organ music and boy choir festivals the Music days of J.S. Bach, J. Vitols International competition of pianists and vocalists, among others, are held in Latvia. Exchange concerts and tours take place regularly as well as conferences of Baltic state musicologists. International co-operation in the fine arts is mostly organised by professional artists, due to lack of state financing. Latvia s artists have co-operated with the Belgian art museums, Art galleries of Modern Spanish and Finnish art, the Fund of Modern Regional French Art and take part in the program Council of Europe Art Exhibitions. Latvia promotes extensive co-operation between higher educational establishments. The Latvian Academy of Culture offers studies specializing in international cultural relations and in recent years has been a place of study for foreign students. The higher art education schools in Latvia have also been involved in high school reform, ensuring that courses are brought into line with European standards. Since 1996, Latvia has owned an art studio in the International Art centre in Paris, which is actively utilized by Latvian artists, musicians and other creative professionals. The Ministry of Culture provides funding so that selected artists can live and work in Paris for given periods of time. Problems and prospects Because of the state s heretofore limited allocation of resources to cultural activities abroad, awareness of Latvian culture has been largely brought about by the successes of individual artists, particularly in music. Artists such as violinists Gidon Kramer and Baibe Skride, composer Peters Vasks, opera singers Inese Galante, Sonora Vaice, Elina Garanca and Egils Silins, the folk ensemble Ilgi and pop stars such as the group Brainstorm and singer Marie N have established international audiences and attracted interest in other Latvian cultural spheres. While the government welcomes their involvement in national cultural events and programs, and showcases them whenever possible, they receive little, if any, state financial support for their work. The personal success of some artists has presented the government with the dilemma of choosing how to allocate limited funding between established artists who already have some international exposure, and amateur artists whose potential is recognised but still untapped. For many professional Latvian artists, international exposure is not only welcome in itself, but also economically necessary. With a population of 2.3 million inhabi- 6

7 tants, Latvia offers a limited market for artists who must survive entirely on their earnings within Latvia s borders. Some believe that successful artists should be able to fend for themselves, while state monies should be reserved for developing new talent. On the other hand, established stars bring benefits to the country at large, increase exposure to Latvian culture in general, and, with a little more government support, could do even more to bring exposure to other talent in Latvia. Yet in pursuing broader audiences in an international market, Latvian artists are threatened with being forced to alter their work in order to make it accessible and interesting to non-latvians. Fortunately, this process has not diminished the number of activities devoted exclusively to Latvian cultural expression, but has instead, gradually increased the creation of new works that take on a European or international dimension. Larger events that do receive government funding are often exclusively either internally or externally directed. Two major events in 2003 offer a good case in point. Because Latvian singer Marie N won the 2002 Eurovision Song Contest in Tallinn, Latvia was invited to host the event in Riga in Nearly 3.3 mil lats (5.6 mil EUR) was allocated to organize and host the show, although many in the Latvian culture and arts community questioned the value of such a large outlay of already scarce funding. Since Eurovision is directed at European audiences, the Latvian government decided it was a worthy undertaking to promote and encourage European awareness of Latvia, even in this narrow musical genre. Efforts were made to use the Eurovision venue (and the 1,500 journalists who attended) to promote all aspects of Latvian culture. Another 2.3 mil lats (3.9 mil EUR) was also earmarked for the 2003 Latvian National Song and Dance Festival, a central Latvian cultural event since the establishment of the Latvian national movement in the late 19 th century. The Song and Dance Festival is a massive logistical as well as artistic undertaking since it involves the participation of over 25,000 amateur singers and dancers from cities and rural areas throughout the country. The week-long Song and Dance Festival includes concerts, exhibits and other public performances, which are usually sold out at early stages. All events are broadcast on public television for those unable to attend the events. As a singular cultural event that both demonstrates and defines the widespread popularity of Latvian traditions in culture, the Song Festival would be a natural for international promotion. But the limitation of seating has prevented organisers from promoting it to a broader audience, including tourists. Opinions about the nature and direction the Latvian Song and Dance Festival should take creatively and organisationally in the future usually inspires passionate debate among cultural leaders and public at large in Latvia. Those who value it as a purely Latvian event for the entertainment and morale of the Latvian populace, fear that conscious international promotion of the event would change its very essence. The fear is that a largely inwarddirected grass-roots folk festival, involving amateur and professional performers will, under the pressure of marketing forces, turn into a professional show, packaged for international consumption. Promotion of Latvian cultural activities to the international audience has also been handicapped by a lack of a coordinated state image program. While the Latvian Institute was created to promote information about Latvia abroad, it has not been able to undertake broader co-ordination functions among government institutions due to a lack of funding, staff and authority. This year, the Latvian Institute undergoes legal restructuring and will 7

8 be proposing the creation of a National Image Council, which would be led by the Latvian Institute, but include representatives from the Ministries of Culture, Foreign Affairs and Economics, government agencies, NGO s and leaders from the business and arts community. The purpose of the National Image Council would be to provide oversight and co-ordination for all state information activities in the international sphere, make better use of available state resources and undertake long-term strategic planning. Through more systematic linkage to ongoing diplomatic and economic activities, it is believed that cultural activities can get broader, more effective exposure. Lack of financing has prevented Latvia from establishing permanent cultural representative offices abroad. As mentioned earlier, Latvian embassies abroad do not have full time cultural attaches, and none are foreseen in the future, since any expansion of diplomatic representation would more likely be focused on opening new embassies rather than expanding existing ones with additional specialized personnel. Although the Latvian Institute has considered the possibility of some day establishing liaison offices in other countries, present budget constraints make that impossible in the foreseeable future. Promotion of Latvian culture in Europe, and the re-introduction of European culture to Latvia is a key element in Latvian policy as it prepares to enter the European Union. Scepticism in Latvia about membership in the EU has arisen in part from an emotional fear that joining a new Union (Latvia had left the Soviet union in 1991) would threaten not only national sovereignty, but also unique Latvian values, traditions and culture. The government has faced an uphill battle in convincing citizens that membership in the EU will bring new funding and co-operative programs that will strengthen Latvian cultural values. The Euroscpetics have also overlooked the fact that in recent years, specifically because of Latvia s pending membership in the EU, EU member state interest in Latvian culture has grown tremendously. During the last 12 years of restored Latvian independence, Latvian politicians have focused on the politics and economics of rebuilding the country and re-integrating it with Europe. International relations have focused on establishing and strengthening diplomatic ties, expanding economic contacts and, to a lesser degree, promoting tourism. While cultural exchange with Latvia s European neighbours is deemed a value in and of itself, until recently it has not been strategically linked with Latvia s diplomatic and economic foreign policies. Latvia, like many restored democratic countries in Northern and Central Europe, is becoming image conscious, and is recognising that in a globalized world, marketing is now an essential element of good political and economic diplomacy. Culture is a powerful marketing tool, in both form and content, and will play an increasingly important role in helping nations preserve their national identity within the European Union. The challenge for Latvia, and many other European countries seeking to preserve their cultural sovereignty in the EU, will be to balance art for art s sake with art as an international communications and marketing tool. The second balancing act is between promotion/protection/ preservation of the national culture and exposure to international cultures. Many who seek broader contacts with the international community because of the cultural riches and diversity it offers, simultaneously fear that this avalanche of new cultural information will overwhelm and smother the local culture. 8

9 If culture was one of the key factors in the establishment of the Latvian state, culture is again positioned to help the Latvian state gain recognition and retain its identity in the European Union. 9