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Wilton Park Conference: Europe: The Cultural Dimension

1VI: Cultural Programmes: how effective as a means to resolve conflict?

Culture: An Instrument Of Peace And Reconciliation?

By Wolfgang A. Brülhart, Cultural Counsellor, Embassy of Switzerland, London

A. Introduction

Transparency 1:
"L'Hebdo" front page 53/1998 "Chienne de guerre, la culture te vaincra" (Vile war, culture will defeat you)

This picture hangs in my office at the Swiss Embassy in London. It serves as a daily reminder of my two and a half years as Cultural Counsellor, from 1996 to 1998, at the Swiss Embassy in Sarajevo. During that period Switzerland contributed some 100 million Swiss francs to the reconstruction of Bosnia and Herzegovina, of which 2 million were allocated to the field of culture. With these resources, we pursued the following objectives:

A month ago I returned to Sarajevo. I attended the 6th International Film Festival of Sarajevo which was first held during the war. At the Festival in the company of Bosnian artists and intellectuals, my colleague at the Swiss Embassy and the Director of the Centre André Malraux, we considered the question: "Cultural programmes: How effective are they as a means to resolve conflict?"

Transparency 2:
This year's Sarajevo Film Festival featured a film by young Bosnian film-maker Srdjan Vuletic "Hop, Skip and Jump" which I showed yesterday. For those who have not had the opportunity to view this extraordinary film, "Hop, Skip and Jump" focuses on a Sarajevo couple who find themselves on different sides of the front line when war breaks out. In such an ethnically mixed city as Sarajevo, this was a common experience. The female protagonist is a Serb sniper, her ex-boyfriend lives on pigeons that he traps. Each time a pigeon approaches his trap, she shoots it, taunting him, playing upon his emotions. Eventually he walks to the window offering himself as a human target….

Culture also unleashes emotions. Vuletic's film affected me most deeply.

The film presents three aspects of the conflict:

In each phase, culture and cultural programmes assume different dimensions and functions. Our question "Culture: An instrument of peace and reconciliation?" can be answered in different ways for each phase of a conflict.

In earlier presentations and discussions we have analysed various views on the questions "What is culture?", "What is European culture - and what is its identity?". I won't add further to what has been said on these subjects. Virginia Crowe has asked me to focus on the essential antithesis between "war and culture" and to speak from my own personal experiences in Bosnia and Herzegovina concentrating on the many projects there. To quote a phrase by Jacques Waardenburg, "culture" is not just sunshine and clouds, it is also earth and dust.

B. Culture and War: an uneasy relationship

To return to the "Hebdo" picture in my office: The musician in this picture, Vedran Smailovic, now lives in Northern Ireland. Here is an excerpt from his CD "Sarajevo-Belfast".

CUE TAPE CD "4. Waltz" + Trans.

Pascal Décaillet, one of the authors of the report "Chienne de guerre, tu ne tueras pas la culture" (Vile war - you will not kill culture!) characterises the marriage of "culture and war" as follows:

It is the story of an unlikely couple: culture and war. These two are totally entangled. Accomplices, even lovers, since time immemorial. To the point that they have sometimes been projected onto each other: wars of culture, culture of war … we have seen how culture and war live together and sometimes draw sustenance from each other…

In his book "The Idea of Culture", Terry Eagleton expresses this more casually:

Culture and crisis go together like Laurel and Hardy. (…) Culture has passed over from being part of the solution to being part of the problem.

As for the phrase "culture builds bridges", we often forget that - culture also sets boundaries; - wars and crusades are often justified in the name of a particular culture; and that - war is a continuation of "dialogue" through a different medium - the medium of violence.

C. Disintegration of a multicultural state structure / Culture and Nationalism

After the death of Tito and the fall of the Berlin Wall, the peoples of the former Yugoslavia gained freedom. With this came a decline in ideology and the apparatus of power. Helmut Hubel in his "Internationale Politik", July 2000, states that:

Nationalism became the most important factor in the shaping of an identity (…) in the post-socialist crisis. Political power was asserted or won in such a way that socialists who held power became ultra-nationalists.

Culture (and cultural policy) was an instrument of the nationalists. They used it as a means to acquire and reinforce a new identity for their particular people; to strengthen their power base and incite hatred for other peoples:

In Bosnia (…) culture is not just what you put on the cassette player; it is what you kill for.
(Eagleton)

Anti-nationalists, multicultural individuals and families all came under pressure. Suddenly they had to favour one ethnic group, one culture ("The paradox of identity politics, in short, - is that one needs an identity in order to feel free to get rid of it. The only thing worse than having an identity is not having one" (Eagleton). The only other alternative for these people was to seek refuge abroad. Artists and intellectuals were no different. Some started to build the foundations of a nationalistic cultural policy or made major contributions to a new cultural exclusion policy. Others warned their compatriots - at an early stage - that Yugoslavia could disintegrate into a state of war. Many others sought safety and creative freedom abroad, finding, for themselves, a new home and identity.

* * *

The question remains: could the conflict in former Yugoslavia have been appeased or prevented, perhaps by a focused programme of "dialogue between peoples and communities"? The answer is neither "yes" or "no"! Culture and the promotion of dialogue and understanding are of immeasurable value. Diversity of dialogue - promotion of respect and peaceful understanding, constitute a utopia of culture.

Now I have a practical example to demonstrate that it is possible to resolve such conflicts democratically and peacefully.

Transparency 3:
The map of Switzerland and Article 53 Switzerland's New Federal Constitution

In Switzerland, not so long ago, a new canton was founded, the Canton of Jura. Through dialogue and referenda, Switzerland and the peoples concerned managed to find a peaceful solution to the conflict between the former region of Jura (now Canton Jura) and Canton Berne. The important thing to remember is that the Swiss constitution had this mechanism for the resolution of major disputes and that the people concerned were convinced that this mechanism would bring about a just and fair resolution.

* * *

To return to the former Yugoslavia. It has been said (Helmut Hubel) that Yugoslavia's disintegration into war did not stem essentially from a struggle between cultures and religions but from the collapse of the "Second World" and the associated problems of rebuilding a political order against a background of economic and social crises. - The author John Mueller goes one step further in an article entitled "The Banality of Ethnic War" (in "International Security", summer 2000). He argues that the causes of so-called ethnic wars should be sought not so much in ethnic or cultural differences as in the disintegration of state order which enables relatively small groups of common criminals to terrorise the rest of society and exploit their fears. They destroyed the whole fabric of dialogue, respect and culture exchange between peoples.

The exodus of several hundred thousand intellectuals and creative artists and the suppression of the (cultural) autonomy of Kosovo by Milosevic in 1989 heralded the forthcoming military conflicts. The international community should have been alerted to these warning signs at the onset and prepared for the possibility of war at a much earlier stage.

D. War: Destruction in the name of culture - Culture as a means of resistance

Icons and spiritual symbols representing the cultural history of every ethnic and religious group were also targets in this war: Mosques, Catholic churches, and Orthodox churches were intentionally destroyed. In Vuletic's film we saw the firing and destruction of the national library, we heard the "Waltz" that the cellist of Sarajevo performed in those ruins - a time-honoured symbol of Sarajevo itself and of the cultural, ethnic and religious pluralism in BiH. In Mostar the Bosnian Croat Army destroyed the 16th century (building commenced in 1566) bridge over the Neretva. These are only two examples from the wars. The aggressors justified war, massacres and the elimination of other peoples, like other oppressors before them - by so-called "ethnic cleansing".

* * *

The siege and constant bombardment of Sarajevo by the Bosnian Serb army lasted from April 1992 to November 1996. That's more than four years. As the besieged inhabitants fought to repulse their attackers, one of the instruments they relied on was culture. In 1993, Enes Kujundzic, Director of the National Library, told a Swedish Newspaper: "In addition to food, medicine and clothes, we need books as well as part of humanitarian aid. People very quickly realised that in war and crises, man needs not only bread and water but culture as well: nourishment for the spirit.

The Sarajevo Philharmonic Orchestra gave concerts, plays were performed and exhibitions organised. There was the first Film Festival. The director of this year's Festival said

Here was an act of resistance and our contribution to a very active cultural life in besieged Sarajevo.

All these cultural activities continuing in a state of war had an effect on the outside world.

27 May 1992 - a grenade was thrown into a bread queue at the bakery in Sarajevo. 22 people were killed. Every day after this tragedy, cellist Vedran Smailovic, played at that very spot, in full evening dress, at 4 every afternoon, risking his own life, performing in memory of the dead… A report by John Burns of the New York Times on this heroic musical declaration made more impact than any political statement of that time.

(From the introduction to the piece for solo 'cello' "The Cellist of Sarajevo" by David Wilde, 1992)

CUE CD "Sarajevo-Belfast: 5. Memento Mori - Albinoni Adagio" + Transparency

Swiss writer Franz Hohler recalls the conviction of that time when he says that "culture is the opposite of war". Franz Hohler and his Swiss fellow artists set up a real cultural bridge between Sarajevo and Switzerland. They supported and revitalised Sarajevo's cultural life during those four and a half years of war; their intention was also to support Sarajevo's cultural diversity.

Paradoxically war gave birth to so-called "war art". I have brought with me from Sarajevo some of the art works created at that time. Here we have daily life, staring death in the face. This was the "inspiration" of artists, living in Sarajevo through those troubled times, creating works of art and literature which cry out, admonish and exhort …

Transparency 4:
The ruined Oslobodjenie building in Sarajevo

E. Dayton Peace Agreement / Stability Pact/ Reconciliation through cultural programmes

The Dayton Peace Agreement, signed at the end of 1995, does not mention culture as an instrument of reconciliation. The Swiss Embassy in Sarajevo was opened shortly before the signing of the Dayton Peace Agreement. I joined the team at the beginning in 1996. I arrived with a gift from my friends in Switzerland: a "Swiss Cultural Task Force" helmet. (Transparency 5: Cultural helmet)!

My colleagues and I encountered the following cultural situation:

Based on this analysis and inspired by the words of Jean Monnet, "If I were to begin again, I would begin with culture", we supported the cultural reconstruction of Bosnia and Herzegovina from the very outset, and we also tried to make a modest contribution towards recon-ciliation through cultural programmes.

Projects with lasting benefits

Transparency 6:
Children from Sarajevo, Foca, Dvar and Jablanica

Transparency 7:
Quote from the journalist Matthias Frehner, who viewed Manifesta 3 (Neue Zürcher Zeitung, 14 July 2000)

But you do not have to be a masochistic art freak to experience a growing fascination with this exhibition. It is the ever-advancing impression of genuine commitment to social problems and personal experiences, a reflection about existence, which wins respect even if the formal expression of the sympathy and consternation is neither innovative nor original. The question of borderline experiences in the Europe of today (…) resulted, in the selection of the artists, in an obvious blurring of the line which separates art and documentation …

Art gives visible expression to life's experience. Culture is a fundamental necessity of life. Let us all endeavour to make it available to everyone in a difficult post-war phase.

Use culture as a means for peace and reconciliation - culture should be an instrument of reconciliation in the Stability Pact.

* * *

In conclusion, let us hear once more "The Cellist of Sarajevo" - and we will distribute some topics for discussion:

CUE tape / Transparency: Newsweek "The world at war: From Sarajevo to Sarajevo: a century of eyewitness."

Discussion group - Topics for discussion:

C. Disintegration of a multicultural state structure/ Culture and Nationalism

  1. Cultural activity and works by artists pick up underlying trends and should be taken into account more often in political agendas for security and conflict prevention. This can increase understanding of a conflict situation and assist in identifying possible solutions at an early stage.
  2. The preconditions for effective cultural co-operation between ethnic groups and peoples in order to prevent conflict are partners with equal rights and mutual respect. This requires institutional measures which the majority and minorities all respect and defend. Regional and international agencies should be called upon to introduce institutional proposals to resolve situations where conflict is possible.
  3. At international level, the theme of "dialogue between cultures and civilisations" has been recognised (eg. 2001 will be the UN ofYear "Dialogue Between Civilisations; 1999 was the OSCE conference "Culture Conflict Prevention" in Bergen, Norway; in 1999 the international conference "Dialogue between Cultures" took place in Berlin; in 1999 the World Bank/UNESCO conference "Culture Counts: Financing Resources and the Economics of Culture in Sustainable Development" was held in Florence; and in 1998 the UNESCO conference in Stockholm on cultural policy within the framework of development co-operation). Recognition is good, practice even better: on every continent "Global Art + Science Villages " should be established and supported by UNESCO and states: places where artists and scientists of different cultures and civilisations can work together for a limited period and exchange thoughts and ideas.
  4. To quote the cultural critic Zianddan Sardar, London: "It is necessary to free "dialogue" from its conceptual bipolarity and to extend it to an open "polylogue" in which people can speak not only as representatives of established cultures, but can alter given cultural contexts, shape their experience together and transcend historical boundaries."

D. War: Destruction in the name of Culture - Culture as a means of resistance

  1. I consider the recent signing of the Second Protocol to the Hague Convention of 1954 for the Protection of Cultural Property in the Event of Armed Conflict to be significant. (Article 11: Role of the Blue Shield Organisation). It should not be permissible for cultural heritage sites such as the national library in Sarajevo, the bridge in Mostar and many others to be destroyed in such a way. In The Guardian of 9 September 2000 ("A way to heal the Balkan wound") the Rev. Donald Reeves suggests that "Muslims, Jews, Christians, Buddhists, Hindus and young people of every persuasion could be invited from all over Europe to assist in the rebuilding of the Ferhadija mosque" in Banja Luka. At the same time a Catholic and an Orthodox church should be rebuilt.
  2. The support offered by cultural programmes can strengthen the resistance of peoples who are suffering. However it is also crucial to strengthen the forces of opposition close to the aggressors.
  3. The works of art coming from war can serve as memorials for the future. They should be incorporated into contemporary museum collections. Buildings destroyed in war can also be memorials and should be placed under cultural heritage protection.

E. Dayton Peace Agreement / Stability Pact/ Reconciliation through cultural programmes

  1. In my view it is wrong for Embassies and foreign cultural institutes to put only their own culture on show in former war zones. Instead the resources available should also be used to rebuild the cultural institutions and plurality of a devastated country and for cultural exchange (eg theatre project: Romeo and Juliet).
  2. When assisting in the reconstruction of a devastated country, the international community should also provide funding for cultural reconstruction. For example in the Office of the High Representative (OHR) - the executive authority for civil reconstruction BiH - a cultural department should have been formed from the very beginning.
  3. Based on my experiences I believe that it is possible to contribute to reconciliation between estranged peoples, ethnic groups and warring factions through cultural programmes. The support of peace-keeping troops is necessary to implement such programmes.
  4. The target group for such cultural programmes has to be the younger generation. There is a need for mutual exchange to heal the wounds of separation (eg schools). If young people and young adults can meet, then their parents will follow later (eg the Bosnian Youth Orchestra, Bosnian rock bands, Bosnian theatre groups).
  5. There should be free access for all to the Internet. The OHR and SFOR should have created "protected Internet access points" from the outset, where people could have communicated free of charge. Each citizen should have been given an Internet address from the very start. This strategy would have enabled bridges of communication to be built between ethnic groups once peace was restored. It would be good to follow the initiative of the FCO "The information society - bridging the digital divide".
  6. Many people suffer from depression after the end of a war and lose hope. Culture can improve the quality of life for all people. Art and critical culture can offer hope and vision.
  7. Art gives visible expression to life's experience. Culture is a fundamental necessity. Let us all endeavour to make it available to everyone in a difficult post-war phase. Use culture as a means for peace and reconciliation in the Stability Pact for the benefit of all.
  8. In conclusion: European culture also embraces: borderline experiences and the difficulties of multiple identity!

Wolfgang Amadeus Brülhart
Cultural Counsellor, Embassy of Switzerland, London
Wilton Park, 26 September 2000

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