IN PERSPECTIVE #4: International solidarity.

In the series In Perspective, Erik Akkermans looks back and ahead at developments in cultural policy and practice. Today: international solidarity.

If Hans van Manen does want to host Russians

Scene 1. White House lawn

Walking on the lawn in front of the White House, first lady Pat Nixon¹ past the lined-up choirs singing to her. Suddenly, during a silent moment, a voice rises from the Dutch student choir: "Can't your husband stop that silly war?". The choral singing continued.

I could have been there too, joining the tour with the student chamber choir. But I didn't go, for reasons of principle because of the US war in Vietnam. I don't suspect that Mrs Nixon entertained her husband about the Vietnam War at the evening meal after a Dutch girl called out for it. But of my staying away on principle, I am really sure it did not bring about anything. Except that I had learnt a lesson.

Scene 2. Cartoucherie in Paris

In the attic of the Cartoucherie of the Théatre du Soleil in Paris, people sit in a circle on the floor. The renowned artistic director and theatre maker Ariane Mnouchkine addresses the group of European representatives of artists' organisations like a akela. Together with, among others, film director Claude Lelouch, she had initiated an action group to support politically threatened artists. That became AIDA².

Concerned people from other European countries joined. In the Netherlands, we founded AIDA Netherlands. Theatre critic Jacq Heijer and programmer Arthur Sonnen were some of the co-initiators. I had never heard of the Czechoslovak playwright Vaclav Havel, but he was one of our first 'adoption cases'³. Bram van der Vlugt staged his plays with the New Comedy.

Other censored and imprisoned artists included South African writer Breyten Breytenbach (for whom Adriaan van Dis campaigned), a Colombian pianist, several Chilean artists and 100 artists who had 'disappeared' in Argentina. AIDA usually conducted the actions by artistic means: a concert, an exhibition or art auction, an artistic parade. There was a fine European collaboration, even an American section.

Scene 3. The Academy of Arts in Prague

The theatre hall of the Academy of Arts in Prague is cheerful, festive, but above all beautifully decorated. A wind ensemble plays an intrada. Professors and lecturers wear colourful dressing gowns. Strolling down the aisle, in a beautifully designed velvet gown, is Czech President Vaclav Havel, to be appointed honorary doctor. An imaginatively designed ceremony follows. With a reception afterwards in the academy's sunny courtyard. There I was allowed to shake hands with the new doctor. I was moved afterwards. Hanging above my desk at home was a copy of the fax with which the writer Havel conveyed his warm thanks to PEN International, Amnesty International and AIDA for all their support. The Czechoslovak government had caved in and released him. No one suspected that this soft-spoken, brave man would one day become president.

I had been just one drop in the stream that brought about the release. But I knew forever that all drops count. And that support for artists abroad can sometimes be effective just like that. Havel was released and became president. Breyten Breytenbach was released and made himself heard again. But no, the 100 artists in Argentina did not return⁴.

An office or spontaneous actions

AIDA NEDERLAND received warm support. But it never acquired the large number of members and donors we had expected. Perhaps it was naive to assume that almost all Dutch cultural organisations and associations would join, and that at least ten per cent of professional artists would. But even taking into account already active involvement of many in PEN International or Amnesty International, one has to conclude that the overall response was disappointing.

AIDA subsequently applied for and received a grant from the state. (I was no longer involved and I certainly did not agree with it: it had to remain a responsibility of the art world itself.) Then it became part of the BIS bureaucracy, there was a negative opinion from the Culture Council and AIDA NEDERLAND disappeared off the radar.

Now I hesitate. First I wrote these sentences.

The cultural sector needs to see international cooperation and solidarity as an integral part of its work. This should include a permanent kind of 'task force' at which - in close consultation with Amnesty International - can respond immediately to acute situations of artists in dire straits. The 'task force' can also draw up a kind of standards framework so that we don't have to rethink what our stance on boycotts should be with every crisis. Dutch Culture in particular also plays a role in this, but essentially the responsibility lies with the art world itself.

And then came this text.

With every international crisis, like the one now surrounding Ukraine, initiatives arise spontaneously. These are often the most powerful and do not need to be long-winded. At most, they can fall back on Dutch Culture or Kunsten 92, for example, for some support and communication. This emergence of spontaneous initiatives is, I think, more effective than institutionalising something, perhaps even subsidising it, bureaucratising it and thus keeping it at a distance from artists and other direct sympathisers.

I go for the second variant.

Hans van Manen and the boycott

You can support artists who are trapped by their regime. You can also attack artists who are too close to their wrong regime. Like the Russian conductor Gergiev who is being chased away all over the world. With such types, it is pretty clear: they make their choices deliberately, out of self-interest, and you have to drop them. But a general boycott affecting sportsmen and artists who are not to blame, do not support their leaders, cannot or dare not speak out, and who bear the brunt of the situation?

Year-old Hans van Manen has criticised the boycott policy. He believes the Russian artistic community should be welcome within our borders. Art is pre-eminently a means to stay in conversation internationally. I agree, provided you actually use that means to engage in conversation and provided you can be honest. Even if it doesn't achieve anything.

Rather than stay at home, I should have opted for the White House lawn.