The culture sector, which employs over 30 million people globally, has been hit much harder than expected by the coronavirus pandemic and its fallout, the UN Educational, Scientific and Cultural Organization (UNESCO) has said, urging targeted policies and actions to help it weather the crisis.
The film industry, for instance, could lose about 10 million jobs this year, while a third of world’s art galleries could cut their staffing by half, data collected by the agency shows. Similarly, a six-month closure could cost the music industry over $10 billion in lost sponsorships, while the global publishing market could shrink by 7.5 per cent.
“The sector, which accounts for 30 million jobs, is struggling to survive and needs our help,” UNESCO Director-General Audrey Azoulay said on Monday.
“Culture has helped us out of the crisis. Now we have to help culture and support the diversity to which culture owes its strength,” she added.
It is not only the sector itself that has been hit hard, people have also lost access to cultural events.
Since COVID-19 hit, concerts, art events and festivals have been taking place online. However almost one in two people globally cannot access them due to issues such as lack of internet connectivity, according to UNESCO estimates.
In response, UNESCO developed a practical guide to help governments and policy makers address the challenges artists and cultural professionals are facing during the pandemic. Culture in Crisis: A Policy Guide for a Resilient Creative Sector also offers advice on strengthening resilience of the creative industries in the future.
The agency is also urging specific action to address the gender dimensions of COVID-19 impact on the culture sector, as women – who hold a higher proportion of precarious jobs in sector – are particularly vulnerable to social and economic insecurity.
The guide presents three key actions for governments: direct support to artists and cultural professionals; indirect support to cultural and creative industries; and strengthening the competitiveness of cultural and creative industries.
Specific measures outlined in the policy guide include commissioning and purchase of works; providing compensation for loss of income; promoting programmes to develop new skills; providing temporary relief from regulations and tax incentives; promoting national content; stimulating demand; and making available preferential loans.
The guide also includes best practice examples from numerous countries.
Arguing Over Petty Things: Turkish Pop or Poop Art?
Talking about the relationship between art and politics corresponds to an intellectually provocative action for the vast majority. When we view history, we can see that art in Nazi Germany legitimized the position of high culture and added many symbols and images to the cultural missions of the Nazis. According to Walter Benjamin, fascism can be called as “aestheticized politics“.
Art in Turkish context has been instrumentalized by the ruling elites most of the time so far however this time it also seems that art is also used as a tool by the unaudited local governments. This article is an attempt to address the current debates around controversial sculptures dominating Turkish social media. The headline of this article has been given as an inspiration from the recent debates circulated on Twitter.
Turkey is famous for its plethora of historical places and impressive monuments. However the controversial sculptures built in some cities raised debates. A prominent Turkish artist Gürkan Coşkun has defended sculptures and statues that mostly stand at the entrances of the cities depicting things those cities are known for, saying that they were “examples of Turkish pop art.” According to Coşkun, “these artistic works are popular and absolutely creative,” and “Turkish contemporary art must follow these works’ steps. These are the symbols of the people of this region expressing themselves in their own ways.”
Some people reacted on social media over the artist’s evaluation and called these sculptures and statues as “poop art”. There are quite bizarre sculptures and statues built in some particular cities. For instance, in capital Ankara there is a T-Rex dinosaur statue and researcher Mete Sohtaoğlu in an ironic way says that it replaces ‘Transformers’ robot.
Journalist Arzu Geybulleva argues that Turkey’s spectacular city statues raise questions about art and corruption. In a detailed news-analysis she wrote, she said that “The watermelon statue in Diyarbakir reportedly cost 4.4 million Turkish Lira (517,000 US dollars)… The budget for these statues is not transparent and is often associated with corruption at the local government level.”
UNESCO open exhibition “The World in Faces” at its Paris headquarters
On Thursday, July 8, at the headquarters of UNESCO (The United Nations Educational, Scientific and Cultural Organization) in Paris, the exhibition “The World in Faces” of the famous Russian photographer Alexander Khimushin opened. The author personally presented a collection of more than 170 artistic photographic portraits of representatives of different peoples of the world, shot in authentic national dress in places of residence. The exhibition is dedicated to the upcoming International Decade of the World’s Indigenous Peoples and Their Languages. It is a celebration of multiculturalism and our incredible ethnic diversity at its best.
“In the photographs from the project “The World in Faces” I express my philosophy of life, which has been formed over the years of travel. It was through meetings with representatives of different nationalities, contact with their cultures, that I came to understand that all of them – with an incredible ethnic diversity – are people just like you and me. They are simply trying to artificially divide us by borders and ideologies,” explains Khimushin.
The exhibition is a great way to tell the world about indigenous peoples and draw attention to their problems.
The people in Khimushin’s portraits managed to preserve their originality, traditions and former way of life. But it is more and more difficult for them to do this – small peoples are rapidly approaching complete extinction, the languages and traditions of their ancestors are forgotten. “The world in Faces” reminds how important it is not to let them disappear without a trace.
The idea to create a collection of photographic portraits of indigenous peoples in national dress and in their native environment was born in 2014, when Alexander had already accumulated a considerable amount of work done in the most exotic locations – from Samoa and Fiji to Swaziland. Since then, he has never stopped traveling around the world, and his project is growing and becoming a phenomenon.
“Initially, when I started working on the project, I had a dream – to exhibit at the UN. UNESCO is a UN structure that deals specifically with cultural issues and, accordingly, since I am engaged in the preservation of cultures, traditions, languages that are disappearing today – it was important and honorable for me to exhibit my works at UNESCO. I don’t know what will happen next. In principle, I think that these should be large international platforms, since the project goes beyond Russia. The project is worldwide. I’m not going to complete the project. I plan to travel and collect stories, photographs, from all over the world – and I will be glad to consider proposals for global exhibitions that would show us – humanity – that we live in this world are different, each has its own culture, traditions, we must respect people who belong to other cultures. At the same time, the general humanistic component is that the whole world is one and all people are brothers,” notes Khimushin.
In 2018, Khimushin went to the Russian Arctic – Taimyr. The result was a series of portraits of the region’s indigenous inhabitants – Dolgans, Nganasans, Enets, Nenets, Evenks.
“Taimyr is unique in that it is a distant, cold place. For me, this was not something new, since I grew up in Yakutia (the Far East of Russia is the cold pole on the planet), but it is the peoples living there – the Nenets, Dolgans, Nganasans, they have a unique culture, their way of life and reindeer husbandry have been preserved. It was interesting to visit, thanks to Norilsk Nickel (The world’s largest high-grade nickel and palladium producer), to get to these places. I would like to return to Taimyr, shoot more there, if there is such an opportunity,” the artist noted.
The Norilsk Nickel company, which takes an active part in the fate of the small peoples of the Arctic, supported the Khimushin project.
“Our company supports the work of Alexander Khimushin, because thanks to his work, the whole world can see amazing, beautiful people living in remote corners of our planet. Including representatives of the indigenous peoples of the North of Russia, who managed to preserve a unique, original culture and traditions. The preservation of nature, traditions and culture of indigenous peoples, support and new opportunities for the development of ancestral activities – these are the themes that bring countries, international and commercial organizations, artists and creators together, “said Tatyana Smirnova Head of Public Relations MMC Norilsk Nickel.
Khimushin became the first Russian photographer to have an exhibition at the UN headquarters in New York. Works from The World in Faces project were exhibited at the University of Lille in France, and for six months were broadcast on the screen of the world’s largest digital art center in Bordeaux.
The exhibition at the headquarters of UNESCO will run until the end of August 2021.
Russia, Egypt Launch the Year of Humanitarian Cooperation
Russia and Egypt have opened the next chapter in their bilateral relations as the Assistant Foreign Minister for Cultural Relations, Ambassador Mahmoud Talaat, described the launch of the Russia-Egypt Year of Humanitarian Cooperation as a “bright spot” in the history of joint relations.
Addressing the launch ceremony on behalf of Foreign Minister Sameh Shoukry, Talaat said the event comes within the framework of strategic relations between the two countries that reflected in a humanitarian exchange document, which was signed by President Abdel Fattah El Sisi and his Russian counterpart Vladimir Putin in Sochi.
Both officials reviewed Cairo-Moscow distinguished relations that have been growing in all fields, mainly at the political, economic, scientific, cultural and social levels. They pointed out to the close historic ties binding both counties and their peoples.
Russia’s Deputy Minister of Culture Olga Yarilova who led the Russian delegation in the meeting emphasized the strength of relations between Cairo and Moscow. She added that the agenda of the Cairo-Moscow year of human exchange will include several cultural, tourism, sports, youth and educational events and activities among the two countries’ cities and regions.
Culture Minister Enas Abdel Dayem and Russia’s Deputy Minister of Culture Olga Yarilova jointly launched the kick-off event at the Cairo Opera House, in the presence of Chairman of the Cairo Opera Magdy Saber, alongside a number of ministers, ambassadors and leaders of the Ministry of Culture.
Beryozka (Berezka) Dance Ensemble, one of the internationally renowned and oldest Russian dance troupes, presented a number of artistic shows on Russian folklore. The Ensemble is a troupe of female dancers founded by Russian choreographer and dancer Nadezhda Nadezhdina in 1948 in the Soviet Union which specializes in performing in long gowns and moving across the stage as though on wheels or floating.
It is worth mentioning that Russia has been chosen as the guest of honor for the Ismailia International Festival for Documentary and Short Films, set for June 16-22.
The Egyptian culture and foreign ministries and Russian bodies concerned have prepared an agenda, including 23 cultural and artistic events throughout the whole year, with the participation of the culture ministry’s sectors and authorities. The cultural programmes will run till May 2022, and as part of the preparations for the second Russia-Africa summit planned for next year in Addis Ababa, Ethiopia.
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