By Patrick Dewael, Community Minister of Culture (1992) *
Delving into the fascinating history of the Haagse Kunstkring, now 100 years old, one finds that this society has been, and for that matter still is, an important conduit of innovative artistic expressions from abroad.
As a Fleming, I am delighted by the fact that artists from here were regularly involved. Think of Henry van de Velde’s oeuvre and the “Van Nu en Straks” movement in its early days, and later the numerous confrontations between literary figures from “North” and “South”. Contemporary authors such as Hugo Claus, Jef Geeraerts, Paul de Wispelaere and many others were guests here. These spontaneous forms of exchange enjoyed ever-growing support from the government after World War II. A number of mechanisms were created to provide this cultural exchange with a financial basis. Thus the Belgian-Dutch Cultural Agreement was signed in 1946 and has proved its worth for forty years. This agreement has recently been increasingly called into question. I think rightly so. Not so much because the principles as such are outdated. Both the Netherlands and Flanders have several dozen similar agreements with countries inside and outside Europe. However, we want more than exchange alone.
Within our Dutch-speaking community, the discussion today is about cultural cooperation. Yes, more than that, about cultural integration. Especially in light of the European unification process, it is vitally important to address this fundamentally.
It is on this theme that I would like to elaborate in my contribution. So is this discussion so new?
The Language Union Treaty, concluded in 1980, already unconditionally assumes integration in the fields of language and literature. Admittedly, there is still a long way to go. But my thesis is that by intensifying partnerships in the broad cultural field and beyond, we will automatically achieve integration in this area. At the grassroots level, people have already realized that setting up joint projects is enriching for and in the interest of future-oriented cultural development. Not for nothing do our embassies count 1,000 exchanges in both directions every year.
In the fields of film, television and theater, we try to provide the necessary incentives in this by setting up co-productions and festi-vals. The fifth edition of the Flemish/Dutch Theater Festival took place in 1991 in The Hague and then in the Singel in Antwerp.
By the way, as an extension of this, I have decided that the Flemish Community will purchase works of art from Dutch people for a certain amount each year on the condition that the reverse also happens.
However, joint action abroad is still in its infancy. In this area, I would like to suggest some possibilities.
In 1993, the Netherlands had the honor of being invited to the Frankfurt Book Fair as a guest country. In the field of literature where cooperation and/or integration have proved to be enormously difficult and sensitive, this is an excellent opportunity to promote Dutch literature as a whole. This means that its preparation, now underway, should be worked on an equal basis by the Netherlands and Flanders.
The Venice Biennale still remains one of the most striking events in the window of contemporary art. Even now, preparations are in full swing for the 1993 edition. Besides the official, yet eccentrically located pavilions, wouldn’t it be interesting to rent a palace together with the Netherlands in the heart of Venice and unpack it with Flemish and Dutch contemporary artists? With two Dokumenta-makers Rudi Fuchs and Jan Hoet in charge, we would thus be able to offer a splendid calling card of contemporary creativity in the Netherlands in the visual arts.
This joint action at major events would demonstrate our cultural vitality in the face of the European challenge. As we know, we are facing a unified European internal market in early 1993. An evolution that all democrats welcome. A challenge, however, because with increasing competition, including cultural competition, each nation will have to prove how much it means to maintain its own authenticity.
In this regard, some concern is warranted about the pressures to which “smaller” cultures will be subjected in this European context.
In order to respond to this, I called for the inclusion of a cultural paragraph in the text when the European Convention is revised. The lack of a specific legal basis in the cultural sector has already been repeatedly perceived as a loophole. Smaller cultural communities in particular are in danger of being crushed under the crushing roller of the mastodons, driven by purely economic criteria.
We live at a time when we are finding that culture is at least as important to the flourishing of a society as economics. It goes without saying, then, that this must be recognized and translated at the European forum.
I therefore wish, and preferably together with my colleague D’Ancona, to advocate the introduction of a cultural paragraph in the EC Treaty. This cultural paragraph should include: underlining the non-material value of culture; the right of countries to pursue their own policies in order to guarantee cultural diversity; the role of the EC as a coordinator and as a stimulator of cultural diversity; complementarity with other supranational institutions such as the Council of Europe. In short, it will be necessary to establish what Denis de Rougemont already described as “ils s’unissaient pour rester differents.”
We are on the eve of a fundamental revolution for Europe. Much is expected of the ministers. Quite rightly, this historic opportunity must not be missed. However, this integration process is only possible if it is supported by what actually lives and happens among the population.
Artists have always played an avant-garde role in this.
Their artistic vision and drive for freedom is often authoritative. The Haagse Kunstkring has been able to successfully embody these ideals in the past.
I hope it will continue to play this signaling role in the new Europe.
Brussels, 1991
* The above contribution was written by Patrick Dewael in his quality of Community Minister of Culture. This office is now held by Hugo Weckx.
