Symposium 2020 – What Keeps Societies Together

“Reconcile, don’t divide”: The motto of former German President Johannes Rau therefore seems more relevant today than ever with regard to democracy and social cohesion. What can cultural institutions contribute to this? Can attitudes be conveyed in art encounters? How much politics can the stage tolerate? And: How far does this topic reach beyond the field of music education? Cultural institutions have long since become players in the public perception, at the latest since some of them also adopted political positions. The Symposium will explore these and other questions.

Hamburg has been the meeting point for the international concert hall and music education scene every two years since 2008. At the invitation of the Elbphilharmonie Hamburg and the Körber-Stiftung, current developments and challenges in music education were discussed at Symposia entitled The Art of Music Education, with a special focus on each occasion. Topics discussed in previous Symposia have included “Role”, “Young Audiences”, “Alliances”, “Heritage”, “Concert Halls and Schools”, and “Multidiverse Urban Societies”

The theme of the seventh Symposium is particularly topical: in Germany, for example, an unsuccessful piece of satire is now sufficient for death threats, a “wrongly” composed podium incites riots, and an “incorrectly” cast stage programme invokes a storm of cancellations. It doesn’t take much to create a public outcry overnight. Unrest and irritability influence the social climate. At the same time, however, a good portion of common ground will be needed for the coming challenges.

“It’s all politics – where’s the art?”

Whether in cultural institutes, universities or even in daily life – life seems to be politicised in a way we may perhaps still remember from the early nineteen-seventies. However, much of this politics now seems to be more a fence-building exercise instead of a debate about designing community spirit and coexistence. Which new sensitivity does the current situation require from cultural professionals – and where does political caution impose restrictions on artistic freedom?

“Concert institutions as Active Citizens”

Society is not abstract, it begins in your neighbourhood. In an exemplary comparison between four cities, the focus will be on questions such as: Could institutions better “read” their social and their urban environment, and cooperate with it? How do they change their communication with the public? How is this reflected in educational activities? Which current social issues are brought into the institution and influence the game plan and corporate culture?

“How much politics can a concert tolerate? – About musicians’ perception of themselves today”

Quite a few artists today use their celebrity to speak out on current social issues. Others have chosen this artistic life precisely in order to distance themselves from society or to make an impact in another way. What does it mean when artists speak out on daily politics and take sides? How does one deal with topics such as climate change and travel in the touring business?

“More than perfection and harmony – music training for the 21^st century”

Those who aspire to play at the very top must devote their life to perfection and complete mastery of the instrument. The concert circuit needs to operate like well-oiled clockwork. Nowadays, however, many young artists demand more, and want to try out new formats, or found ensembles or festivals. How must training at music academies continue to develop? And what role can the “Music Education” discipline play in this respect?

“New tasks and opportunities for cultural institutions”

Much is asked of cultural establishments: they must be open to a diverse public, attract numerous visitors and generate revenues, while also acting in a politically relevant way. Many institutions see themselves as exposed to new political pressure at the same time: their social image is called into question, even attacked. Alliances, cultural-political pacts and lobbying groups help in these debates. The topics called for include: What can concert halls learn from other cultural institutions? Where are red lines being drawn, and from which sources can cultural institutions find the courage needed for “dangerous encounters” (Heinz Bude)?

“Learning from music? What could keep our society together.”

This part is intended as an impulse to take home with you, as a coda that expands the theme of the seventh Symposium with the question: “Learning from music? What could keep our society together.” Both interlocutors have campaigned for culture and democracy in the Federal Republic of Germany for many years, both inside and outside parliaments and governments. In the dialogue they will examine, among other things, the question of how democratic attitudes manifest themselves and what role culture can play in this.