Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-27T09:26:56.009Z Has data issue: false hasContentIssue false
  • English
  • Français

In Between: Cultural Exchange and Competing Systems

Published online by Cambridge University Press:  08 October 2020

DÖRTE SCHMIDT
Get access Rights & Permissions [Opens in a new window]

Abstract

After the Second World War, cultural politics has become a central medium for international relations. Owing to the particular conditions of their development, the relations between Latin America and Europe constituted an interesting case study in which the positioning of different nations in the realm of two competing political systems and the politics of memory concerning the recent war are intertwined. This article highlights five ‘moments’ in West Germany with respect to the relationship between Europe and Latin America in the field of music: the papers of the German Federal Foreign Office, the Berlin Festival week, the Darmstadt summer courses, the DAAD Berlin Artists Program, and the Horizonte Festival in Berlin. These sources invite an observation as to how – from the perspective of cultural politics – contrasting notions of the ‘international’ have tended to ‘fade out’ after the end of Cold War polarizations, leading to a more or less common acceptance of a notion of the ‘global’ as a privileged concept in contemporary cultural debates.

Type
Articles
Information
Twentieth-Century Music , Volume 17 , Special Issue 3: Musical Trajectories between Latin America and Europe, 1970–2000 , October 2020 , pp. 347 - 359
Copyright
Copyright © The Author(s), 2020. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

This article emerged from the keynote to the third Trayectorias conference in Santiago de Chile in March 2019. I was grateful for the invitation to attend, and to travel to South America for the first time. I would like to thank Daniela Fugellie, her wonderful conference team, and my colleagues from the Trayectorias initiative, especially Christina Richter-Ibanez and Matthias Pasdzierny, who made this possible. For substantial help with archival research I owe thanks to Susanne Heiter, Yorick Lohse, and David Hagen. And last but not least, Jacob Rekedal's editing of the language made the text much better than I could ever have written it myself.

References

Allende-Blin, Juan. ‘Musik von anderen Planeten? / ¿Música de otros planetas?’. Magazin Horizonte’ 82 (1982), 86–101.Google Scholar
Castro León, Franziska. ‘Studien zum Horizonte Festival 1982’. BA thesis, University of the Arts Berlin, 2020.Google Scholar
Conze, Eckhard, Frei, Norbert, Hayes, Peter, and Zimmermann, Moshe. Das Amt und die Vergangenheit. Deutsche Diplomaten im dritten Reich und in der Bundesrepublik, 2nd edn. Munich: Karl Blessing Verlag, 2010.Google Scholar
Elberfeld, Rolf. ‘Multimodernität. Vielheit der Modernen und die Freiheit der Künste’. Positionen. Beiträge zur neuen Musik 63 (special issue: Migration) (2005), 2–10.Google Scholar
Elberfeld, Rolf. ‘Moderne interkulturell. Tradition und Traditionsbruch im Horizont der europäischen Expansion’, in Tradition und Traditionsbruch zwischen Skepsis und Dogmatik. Interkulturelle philosophische Perspektiven, ed. Bickmann, Claudia et al. Amsterdam and New York: Editions Rodopi, 2006. 383–92.Google Scholar
Fugellie, Daniela. ‘Hanns Stein’, in Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit, ed. Zenck, Claudia Maurer, Petersen, Peter, and Fetthauer, Sophie. Hamburg: Universität Hamburg, 2018. www.lexm.uni-hamburg.de/object/lexm_lexmperson_00002666 (accessed 10 April 2020).Google Scholar
Gielen, Michael. ‘In Conversation with Reinhard Kapp’, 9 November 2003. CD Supplement to Man kehrt nie zurück, man geht immer nur fort. Remigration und Musikkultur, ed. Köster, Maren and Schmidt, Dörte. Munich: text + kritik, 2005.Google Scholar
Heißenbüttel, Dietrich. ‘Entfernung taucht die Dinge in anderes Licht… Gespräch mit Andile Khumalo und Alvaro Carlevaro’. Positionen. Beiträge zur neuen Musik 63 (special issue: Migration) (2005), 34–8.Google Scholar
Kenzler, Markus. Der Blick in die andere Welt. Einflüsse Lateinamerikas auf die Bildende Kunst der DDR, 2 vols. Berlin: LIT, 2012.Google Scholar
Langenkamp, Harm. ‘Cosmopolitan Counterpoint. Overt and Covert Musical Warfare and Diplomacy in the Early Cold War, 1945–1961’. DPhil diss. Utrecht University, 2014.Google Scholar
Ridley, Hugh. ‘Relations Stop Nowhere’. The Common Literary Foundations of German and American Literature 1830–1917 (Amsterdam and New York: Rodopi, 2003).Google Scholar
Schmidt, Dörte. ‘Artistic Exchange between Europe and Latin America after World War II as Mirrored by Sources from the Archive of the German Federal Foreign Office’, in Trayectorias. Music between Latin America and Europe 1945–1970 / Música entre América Latina y Europa 1945–1970. Ibero-Online 13 (2019), 9–16, www.iai.spk-berlin.de/fileadmin/dokumentenbibliothek/Ibero-Online/Ibero_Online_13_Trayectorias.pdf (accessed 10 April 2020).Google Scholar