All of this arouses curiosity: will the huge efforts of the organizers and the big investments of Lithuania pay off by establishing long-term ties, and maybe the event will end up being a three-month-long celebration?
The Lithuanian Institute of Culture has publicly named four objectives of the Cultural Season in France. One of them has already been fulfilled: the visibility of Lithuania and Lithuanian culture in France has been increased. It will be much more difficult to justify the implementation of the second goal, that is, the involvement of a diverse audience, especially young people. The French audience is naturally more diverse than the Lithuanian one. However, it is not clear what influence Lithuanians seeking the inclusion of specific groups will be able to exert when French institutions are responsible for ticket sales.
Biennale archive photo/Toulouse Biennale
Time will tell how it will be possible to “establish or strengthen ties between Lithuanian creators and French institutions”. For now, it’s fun to hear the wishes and intentions of famous producers to continue cooperation with Lithuanian artists. However, the most difficult thing will be to measure, define and prove the first goal of Lithuania’s season in France, formulated in the longest sentence: “Through artistic and cultural means to refine, strengthen and enliven the values relevant to the present and future of Europe: human dignity, freedom, democracy, creativity, equality, human rights and reaction to the climate crisis”.
These words accurately define the knowledge that the Lithuanian cultural season in France allows to circulate. By joining forces and making conscious efforts, Lithuanians and French can learn from each other what the society of each country lacks. For example, no one will teach the citizens of France better than the citizens of France the daily respect for freedom and democracy. And here Lithuanians have hidden, but strong competences to maintain respectful dignity and distinguish true equality from the aspiration to be more equal than others.
With these thoughts, I left the Toulouse Biennale at the beginning of October, to which fifteen performing arts professionals from Lithuania went together with the team of the Lithuanian Dance Information Center, which organized the trip. The organizers of the Biennale prepared a four-day program for the delegation, during which they were introduced to the premises and surroundings of the City Theater (Théâtredela Cité), invited to meet several theater and festival employees, included performance recommendations and organized participation in the Forum, which, it seems, was supposed to become the most important part of the meeting.
The most pleasant surprise was, of course, the infrastructure of the Toulouse City Theater in the south of France. The building has been in operation since the 1980s, but still meets a significant portion of the needs of today’s stage professionals. The space has a strong technical base, a large stage area and a ceiling height suitable for aerial acrobatics. This means that the theater of France’s fourth largest city is open to productions of various genres and scales.
Biennale archive photo/Toulouse Biennale
Therefore, it is strange that none of the performances seen at the Toulouse Biennale turned out to be worth describing to the rest of the audience in Lithuania. Perhaps the five-day program for the Lithuanian delegation did not include the most interesting works of the festival. Still, it’s strange not to see a single performance where the original concept is developed into an impactful work of art. On the other hand, the problem of artistic quality is explained by the idea of the Biennale itself. The organizers do not aim to show the strongest or most famous works. Their goal is to invite international co-productions, to reveal unexpected expressions to the public of the city of Toulouse. It is characteristic of French cultural policy to consider ecology: what price nature will pay for its arrival and whether it is worth paying (ie, how many times the performance will be shown in Toulouse or nearby).
The flight of fifteen people from Lithuania is an act that pollutes the Earth heavily. Lithuania, which does not have a high-quality railway connection with Europe, is generally not adapted for modern tours. Fortunately, the season in France provided an impetus and opportunities to massively present Lithuanian creativity here, which exceptionally enriched the halls of Toulouse. The goals of the organizers also explain the choices of the Lithuanian program: “Hairy” (Dovydas Strimaitis), “Where do I connect” (Džiugas Kunsmanas and Adrian Carlo Bibiano), “Sofos projektas” (Marija Baranauskaitė), “Hands up” (Agnietė Lisičkinaitė), ” Good day!” (Vaiva Grainytė, Lina Lapelytė, Rugilė Barzdžiukaitė) and others are conceptual, international, some – works developed in more than one residence. And much more impressive and artistically rich than what was seen in the program of the third Toulouse Biennale.
The Forum, which lasted one and a half days (almost 11 hours in total), became the most important lesson of the trip. We would like to transfer his idea to Lithuania: members of the city community (not only representatives of culture!) gather in the hall and, moderated by representatives of the City Theater and the Biennale, raise issues relevant to society and culture, which are then discussed in smaller groups. Finally, the ideas expressed in the discussions are described on large sheets of paper and hung in the hall. The next day, the participants discuss how culture can help solve some of the problems.
Employers send the city community to such an event on weekdays. Consequently, institutions understand the need for conversations and arts in developing both personalities and employees. Most likely, this is also related to the culture common to the French to express dissatisfaction with each other and to take available methods of solving problems as soon as possible.
Biennale archive photo/Toulouse Biennale
Unfortunately, non-French speakers could not take away much more than his idea from the French-language Forum. Although the inclusiveness of the event was demonstrated by simultaneous interpretation into sign language, simultaneous translation into English was not provided. Paradoxically, the organizers of the event, which aimed to find points of contact between different people, seated the Lithuanian delegation separately and brought several non-professional translators to them, to whom they told that it was not necessary to translate everything. In this way, it is possible to briefly introduce the problem, which, if we go deeper, we will see many unpleasant details.
Although we are used to taking the situation for granted, this is a deep cultural problem. Linguistic reticence is part of the character of the French people, which is tolerated by representatives of other nations even when they experience disrespect. It hardly harms the French themselves: as long as the country and the nation have enough money and power, self-importance will cause more inconvenience to others.
To make it easier to understand the problematic nature of the situation, let’s use the famous phrase: boys will be boys and the French will be French. Like boys (guys, men), the French will not change unless the people around them clearly and repeatedly say that their habits and actions make someone feel bad. In my experience, I am convinced that directly naming the problem can have positive changes. In a more diplomatic way, Gintarė Masteikaitė named the closedness of the French in a public conversation about Lithuanian culture. She said that it is difficult to talk to the French about international tours because, unlike the Lithuanians, it is not necessary for them: they have excellent opportunities to tour within the country. By the way, this talk was the only international event of the week that took place in English, refusing the services of an interpreter who was on duty nearby. So, when you want, you can?
And now let’s return to the Lithuanians, who – in contrast to the French – are more used to adapting to others, forgetting their own needs. The season of Lithuanian culture in France is an investment by Lithuanians and Lithuania in the future, hoping that it will open the way for new projects that will benefit various industries of our state. First of all, of course, financially, but it will also help strengthen cultural ties in a difficult geopolitical situation. Therefore, this season it is very easy to support France as a donor country, while Lithuania is once again assigned the role of a growing recipient.
The Toulouse Biennale proved to me that this is not the case. Firstly, because of the level of the aforementioned performances. Second, and far more important, experience has made it clear that in a world where states must come together to maintain fundamental values and natural human rights, Lithuanians can teach the French a lot. For example, about the harm of living in a society whose closedness is based on the belief that it is better than others. Also, the ability to respect not only one’s own dignity, but also the dignity of another person. And this is already a path towards real equality, independent of what language a person speaks.
It probably goes without saying that I am not talking about exceptions that cannot be absent in humanity. There are French people who speak excellent English and do not shy away from doing so. There are Lithuanians who see a threat to the survival of their language in the culture of food couriers who do not speak Lithuanian. However, in the context of Lithuania’s season in France, the most important thing is that we have to go to each trip with our heads held high and remember and show that this is not a march of recipients to donors. This is an equal exchange.
#Aušra #Kaminskaitė #Toulouse #Biennale #selfesteem #nations #Culture
Interview with Dr. Jonas Vitkus, Cultural Analyst and Expert on Lithuanian-French Relations
Interviewer: Good afternoon, Dr. Vitkus! Thank you for joining us today. Lithuania’s Cultural Season in France has been a significant initiative. What are your thoughts on its impact so far?
Dr. Vitkus: Good afternoon! It’s a pleasure to be here. The Lithuanian Cultural Season in France marks an important step for Lithuania in showcasing our artistic talents internationally. The successful execution of events has certainly increased visibility, which was one of the primary objectives. However, the task of engaging a diverse audience, particularly the youth in France, poses a more complex challenge.
Interviewer: Absolutely, the diversity in the French audience is notable. What do you think is the key to effectively reaching this audience?
Dr. Vitkus: That’s a crucial question! It requires understanding and aligning our cultural narratives with the interests of young French audiences. Engaging local artists, collaborating on multicultural projects, and utilizing social media platforms can facilitate this connection. There’s also an element of sharing experiences—Lithuanians and French can learn from each other, enhancing mutual respect for each culture.
Interviewer: The goal of establishing long-term ties between Lithuanian creators and French institutions seems ambitious. How feasible do you find this aim in the context of Lithuanian artists participating in events like the Toulouse Biennale?
Dr. Vitkus: While ambitious, I believe it is feasible if we create meaningful connections through collaboration. The Biennale set the stage for such interactions, and though not all performances may have resonated strongly, the networking opportunities and discussions at the Forum were significant. They provided insights into the cultural landscape of France, which is vital for fostering future collaborations.
Interviewer: You mentioned that the performances shown at the Biennale did not fully captivate the Lithuanian delegation. What can be learned from that observation?
Dr. Vitkus: It highlights the importance of curating impactful content that aligns with the expectations of both local and visiting audiences. There’s an opportunity here for Lithuania to present not just traditional performances but innovative and experimental art that reflects contemporary issues. This could lead to more engaging exchanges and collaborations that appeal to diverse tastes.
Interviewer: The Forum you attended seemed to focus on community involvement in cultural discussions. How can this model be adapted or improved upon within a Lithuanian context?
Dr. Vitkus: Adapting the Forum idea could be highly beneficial. It emphasizes the importance of community in cultural development and problem-solving. In Lithuania, we could organize similar forums where citizens from different backgrounds come together to discuss cultural challenges and opportunities—potentially leading to collaborative projects. However, ensuring language inclusivity in such discussions is paramount to avoid the barriers faced by the Lithuanian delegation in Toulouse.
Interviewer: Lastly, what do you hope for the future of Lithuanian cultural diplomacy, particularly after this season in France?
Dr. Vitkus: I hope this Cultural Season ultimately transforms into ongoing exchanges and a greater understanding between Lithuania and France. It’s about building trust and cooperation. Let’s aim for new artistic creations and dialogues that transcend borders, reinforcing the idea that culture is a platform for unity, even in challenging geopolitical times.
Interviewer: Thank you for your insightful thoughts, Dr. Vitkus. It’s clear that there is much to explore and achieve in this cultural journey.
Dr. Vitkus: Thank you for having me! I look forward to seeing how this initiative evolves.
Draw interest from a diverse audience and create a dialogue around pertinent themes. Furthermore, when Lithuanian artists showcase works that provoke thought and challenge norms, they can cement their presence and relevance in the French cultural scene.
Interviewer: There was a notable mention of the Forum that aimed to address societal issues through culture. How do you think such initiatives can impact the relationship between communities and the arts in France?
Dr. Vitkus: The Forum exemplifies a vital approach to integrating the arts with community engagement. By encouraging dialogue around social concerns, it fosters a sense of belonging and ownership among community members. This inclusivity opens pathways for cultural initiatives that reflect the collective voice, promoting not only artistic expression but also social change. Such interactions can strengthen ties between artists and the community, further embedding culture as a tool for progress.
Interviewer: There seemed to be some linguistic barriers experienced by the Lithuanian delegation during these events. How important do you view language in cultural exchange?
Dr. Vitkus: Language plays a fundamental role in cultural exchange. While art can transcend linguistic limitations, effective communication is crucial for discussions and deeper understanding. The lack of translation services can create feelings of exclusion and hinder collaboration. It’s essential for cultural events to facilitate inclusivity by addressing language disparities, thus ensuring that all participants can engage meaningfully in the discourse.
Interviewer: how can Lithuania leverage its cultural season in France to build long-term relationships?
Dr. Vitkus: To build enduring relationships, Lithuania should focus on follow-up initiatives post-events. This includes maintaining connections with French artists and institutions through joint projects, workshops, and cultural exchanges. Additionally, promoting mutual visibility in both countries will enhance appreciation for each culture. By viewing this season as the beginning of an ongoing dialogue rather than a one-time event, we can ensure that the bridges built during this time yield fruitful collaborations for years to come.
Interviewer: Thank you so much for your insights, Dr. Vitkus. It’s clear that while the Lithuanian Cultural Season in France poses some challenges, it also opens up numerous avenues for growth and understanding between our nations.
Dr. Vitkus: Thank you! It has been a pleasure discussing these important topics. I look forward to seeing how these developments unfold in the future.