Risks of world culture

On the one hand, while the gesture of solidarity is growing on the part of the world of culture, on the other hand, the conflict in Ukraine is provoking a dangerous attitude of “cultural cleansing” which is destined to crack a dialogue that would instead contribute to overcoming a historical event. The most difficult moment of recent times

Tugan Sokhiev

Demonstrations such as the response to the war and the need to take a stand outside “neutrality” are now on the agenda, even in the cultural arena. Claims. But apart from flying or flying flags in buildings and monuments, it so happened that Vladimir Opredlenov, the historical deputy director of the Pushkin Museum, had resigned; Or Russia will not be represented at the 2022 Venice Biennale due to the withdrawal of two artists, Russian Alexandra Sukhreva and Kirill Savchenkov, and Lithuanian curator Raimundas Malasauskas, who should have performed; Or there is active solidarity and financial support, as has been done by the Civic Museum in Bergamo and MAXXI in Rome, where ticket shares are donated to Caritas for humanitarian assistance to the Ukrainian population.
A series of positions against the war movement that now affects all spheres of culture, especially music and theater, including the resignation of Elena Kovalsky from the Vesvolod Meirhold State Theater and Cultural Center in Moscow; Or again, with repeated appeals from around the world, starting in San Carlo, Naples, where we have seen the Ukrainian mother and dancer with a Russian father, Karina Samoylenko, pleading for or embracing peace. Towards the end of peace between Ukrainian soprano Lyudmila Monastirska and Russian Mejo Ekaterina Gubanova Aida, A symbolic embrace between Ukraine and Russia that reminds us of how art and culture cross bordersA universal and peaceful language, and a “critical” assumption of responsibility can no longer be avoided, neutrality is no longer an option.

A “cultural cleanliness” risk

But unfortunately, in addition to these gestures aimed at renewing dialogue and building bridges, they are increasingly partnering with each other. Chaotic response to a dangerous “cultural cleansing” on the border against Russia and its vast cultural heritageTugan Sokhiev, musical director of Bolshoi Theater and Toulouse National Orchestra, has resigned immediately.Against Russia’s aggression in Ukraine, against Putin, against the war, but also against those who want to ‘fear’ musicians, composers, living and dead artists, without realizing that music and culture are not bridges, but walls.“But because”In the last few days“Sokhiev said.”I witnessed something I thought I would never see in my life. In Europe today I am forced to make a choice and my musical family is forced to choose one or the other. Soon I will be asked to choose between Tchaikovsky, Stravinsky, Shostakovich and Beethoven, Brahms, Debussy. This is already happening in Poland, a European country where Russian music is banned“An inspiration that brings to mind the case Paolo Nari And Dostoevsky’s course in Bikova. In this sense, the director said. Eike SchmidtHe spoke in support of the US Alliance, but said that maintaining some independence was important for Russia.Requests to demolish statues of Russian writers, not to send them to Russia as punishment for ten years, or to close the museum of Russian icons in Palazzo Pitti are completely unreasonable and contradictory.
So maybe war is closer than we think, and maybe we are already fighting in our own home somehow, and even more terribly because it is itself a context, a cultural one, that has to rise above war. A beacon, a dam of delirium: because the narrators of culture are the narrators of the life and events on which our civilization has been built and is being built. They reflect the values ​​we and others have, the ones we want to keep and the ones we want to spread (and the ones we have to put aside). They are the custodians of our collective memory and, as such, the shapers of the future. And a cultural heritage that falls under the bomb, or with isolation and denial, is a lost part of our identity.

“War is signaling itself in a context, a cultural one, which must rise above war.”

He remembers Pharaoh Convention, Which introduces rights, individual and collective, cultural heritage and shares its values ​​and transmits them to future generations. Ukraine approved it in 2014, and in 2020 there should be something about Italy and its money-sharing obligations. Russia has never approved it (like many other countries, on the other hand), but in the end it doesn’t mean much. Because we are talking about a common tradition, which has formed us, all of us. A central role in global development that the UN recognized just over a year ago, pointing to the key sector for restoring creativity and culture, “Which contributes to dialogue and understanding between people and at the same time a fertile ground for innovation and inclusive and sustainable growth.“However, many, many, seem to have forgotten about it. The tradition that falls is that of both sides, of both nations, so of all people (Even some of Italy) who risk risking their identity by a brutal, physical and ideological “cultural cleansing”: on the one hand, universities, theaters and museums are surrounded by barbed wire and Frisia stars. The heart of a terrain falls, historical monuments are uprooted and hidden or you are taken across borders (as in the case of the cross at Lviv Cathedral). And it falls on the other side with the forcible cancellation of historical cultural memory in a dangerous revisionist explosion. But our common identity, which in any case will be poor every day, is also falling more than anyone else.

Massimiliano Jane

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