eurovisie
a publication of the study association for european studies a publication of the study association for european studies
europe & european redefining european humanism – discovering the underground – because it’s eurovision – map for the european flâneur – europe’s forgotten adventures... & many more
may 2021 / eurovisiemag.com / eurovise@ses-uva.nl
europe day special edition
IN THIS EDITION... 5 - REDEFINING EUROPEAN HUMANISM LARA KRISTJANSDOTTIR 8 - DISCOVERING THE UNDERGROUND ARIANNE ZAJAÇ 12 - BECAUSE IT’S EUROVISION STERRE SCHRIJVER 15- AN EVER-EXPANDING MAP FOR THE EUROPEAN FLÂNEUR ÓRLAITH ROE 17 - A GUIDE TO EUROPE’S FORGOTTEN ADVENTURES CARA RÄKER 19 - EUROPE’S CULTURE TRAIN JYRY PASASEN 23 - REWILDING EUROPE: DIFFERENT NATIONS SHARING A COMMON RESPONSIBILITY FREDERIQUE DE RIDDER 25 - FIX OVER THROW– A NEW RIGHT TO REPAIR FOR THE MODERN CONSUMER GEORGE BANDY 28 - THE BEAUTIFUL GAME, INTERRUPTED BY UGLY MONEY STERRE SCHRIJVER
page 2 | eurovisie | may
CONTRIBUTIONS FROM OUR FRIENDS AT EUROPEAN HORIZONS 30 - EMBRACING OUR DIVERSITY SOFIYA-HALYNA TRY– ZUB-COOK 32 - CULTURE, FOOD AND MEMORIES ROOS VAN DER LAAN 34 - THE CELEBRATION WHEREBY EUROPEAN NATIONS ARE UNITED WITHIN THEIR DIVERSITY TEODORA IVANOVA 36 - WHY SOLIDARITY IS AN ESSENTIAL COMPONENT OF EUROPEAN CULTURE BARBARA POLIN
Editorial
eurovisie Volume 16 Issue 4 May 2021
Jyry Pasanen
Dear reader, I am rather pleased with the topic of this special edition of Eurovisie. Transnational European culture is something that I think about often, as it is probably the best way for me to describe my own cultural background. Growing up in Luxembourg, with both my parents working for the European institutions and us kids going to the European School, we were practically surrounded by symbols of European unity. So, you might think I am a huge fan of Europe day. Not so. None of my memories of it are particularly positive. While my parents got a day off, we had to go to school. We would gather in the Salle des Fêtes to endure lengthy speeches by teachers, administrators and politicians and finish off the day by singing the Ode to Joy in three languages. None of these institutional celebrations, speeches or symbols could ever truly capture the experience of transnational culture. Europe day was, for the most part, a large faff, but the everyday experience of growing up in that multicultural environment was challenging, exciting and interesting. Whether it was about complaining about strict teachers, evading surly security guards, or joining a spontaneous game of football during recess, it was not difficult for us to find common ground based on shared interests. This is what I have fond memories of. Not flag-waving or ode-singing, but nice, simple conversations and everyday interactions, where we approached each other as friends, not as representatives of this or that nationality. That is real transnational European culture. It cannot be captured by any institution, but it is right that it should be supported, promoted and celebrated. I believe this edition of Eurovisie is a beautiful example of just this. I am immensely proud of our editorial team and our collaborators for the work they have put in to make this magazine into what it is: challenging, interesting, and exciting. I hope you, dear reader, agree, and enjoy this special edition. Alle Menschen werden Brüder, Jyry Pasanen, editor-in-chief
Imprint Editorial office: Kloveniersburgwal 48, room E2.04/2.05, 1012 CX Amsterdam Editor-in-chief: Jyry Pasanen Editors: George Bandy, Arianne Zajaç, Sterre Schrijver, Frederique de Ridder, Órlaith Roe, Nicolae Odagiu, Lara Kristjansdottir Design: Julius Sieburgh, George Bandy With contributions from Cara Räker and European Horizons at the University of Amsterdam
In collabration with...
...for the celebration of europe day 2021
eurovisie | may | page 3
Redefining European Humanism Lara Kristjansdottir t can without contestation be Idesignated stated that the additional time to the private sphere
and our inner circles over the past year has allowed for an alternative vision of engagement with culture. Traditionally, we would tend to associate such involvement to encompass enriching activities carried out within social functions or at least in relation to any sort of compound artistic production. We would imagine visiting concerts, theatres, cinemas, galleries or historic sites. In our present-day societies, our primary intake of cultural initiatives has surrounded a reinforcement of a personal reading culture, as well as, needless to say, the additional hours spent on large TV content platforms and streaming services. Despite what we may believe and declare, watching Netflix can, and should, be considered as much a participation in culture as the traditionally envisaged explorations. This analogy is not intended to make us feel better about spending our time binge-watching drama series and escaping reality, although it certainly may, but rather to shed light on what our immersion into a different social and cultural reality is able to facilitate.
“Not only is our sense of sympathy tickled, but so our imagination and creative strength as well.” Indeed, film language is universal. As a film or a series absorbs us, we come to identify and empathise with people who we will most likely never meet, and who we might have entirely disregarded as different or ‘other’. We gain insights into societies which we realise would on no occasion be able to become a part of if
not only for two hours through our laptop screens. We can even discover developments which occurred before, or (fictionally) ahead, of our own time. Not only is our sense of sympathy tickled, but so our imagination and creative strength as well. We become able to both broaden and deepen our conception of community and the world at large. Countless initiatives continue to be carried out by the European Union, as well as by Europeans themselves, which aim to reinforce a European identity as based on the integral values constituting the foundation of our common society and culture. With such objectives in mind, the advancement of the cultural sector, and the European film industry has played an indispensable role. In the past years, the EU has funded various networks for the promotion of European film and TV. More recently, it has legally required Netflix and other streaming companies to feature and promote 30% European content to ensure its operation within the continent. In the name of furthering integration, the EU surely does not fall short on initiatives hoping to make culture a cross-border endeavour. The underlying ideas behind such measures, however, in certain ways continue to miss refinement or clarification. Assuming the promotion of European culture abroad
is not our foremost desire, but rather the reinforcement of common identity based on shared values — is the focal point of all of this to secure that Europeans are watching European content instead of those of the American major? Surely, the countless films showcasing the dynamism of our common history may contribute to a heightened awareness of commonalities amongst us. However, we might want, and need, to contemplate more intimately on how an inclusive society, as based on the proclaimed European values, can be built through engagement with culture.
“the promotion of European culture abroad is not our foremost desire, but rather the reinforcement of common identity based on shared values”
Considering these values, along with the emphasis placed upon freedom, equality and democracy, the EU singularly renders a particular value to be inviolable, namely the respect and protection of human dignity. Placing high emphasis upon the agency and value of the human individual is inherent to the conception of humanism in European history. The ideological tradition can be traced back to Renaissance humanists who are known to have expressed how the individual’s constitution of ‘body, mind and soul’ could be matured and edified by the process of learning. Considering these values, along with the emphasis placed upon freedom, equality and democracy, the EU singularly renders a particular value to be inviolable, namely the respect and protection of human dignity. Placing high emphasis upon the agency and value of the human individual is inherent to the conception of humanism in European history. The ideological tradition can be traced back to Renaissance humanists who are known to have expressed how the individual’s constitution of ‘body, mind and soul’ could be matured and edified by the process of learning. Yet, contemporary European identity maintains at its heart the perpetuation of individual and collective human dignity, freedom, equality and prosperity. A building of a more humane society and culture became natural to official discourse on the launch and development of the European project. Nowadays, European humanist networks and federations primarily emphasise the need to recognise plurality and difference as a strength and retaining the rights of all human beings to live according to their own beliefs, provided those will not harm that of others. The idea of the ability of all human beings inhabiting our continent to have their rights recognised by virtue of empathy and cooperation surely may appear as merely a utopic ideal out of touch with reality. Nevertheless, it may not be condemned to such a po-
sition. The European humanist stance must continue to be redefined to represent the recognition and value of all people, of equality and solidarity as its ‘moral progress’ - maintained at the heart of the common European mentality and identity.
“The dominant humanist idea of reason alone being able to construct human virtue began to be contested by scholars during the 19th century.”
the European project, in a genuine manner as we become able to transcend national lines and cultural borders. Our common European culture is essentially, more than anything, built upon cross-cultural discourse, collaboration and solidarity – remember, Unity in Diversity – so what could be more important than furthering our path towards empathy and mutual respect? And why not start with heartening our humanist values from the comfort of our own living rooms?
Why consider engagement in culture as a catalyst for such change? An individual’s participation in culture influences the ways in which we approach others within our own and other societies. What’s more, the imagination fostered by art and film enables struggles towards change, besides cultivating empathy which cannot be equivalently advanced by political discourse. Watching film and TV from, not only Europe, but from everywhere in the world allows us to gain a deeper understanding and respect for human realities which ,in turn, can enable visions and discourses towards change, along with a reinforcement of a European identity based on (redefined) humanist principles. Art naturally has the unique power to critically challenge what is, and direct us to points of possibility. The potential of film, as an intrinsic and a particularly relevant element within culture in our present-day society remains undeniable as the stories represented are undeniably approachable to many. Although we should perhaps try to refrain from designating particular eminence to singular films, I believe a particular light should be shed on the multitude of migrant and diasporic cinema. Such content allows us to nurture the strive towards mobility and inclusion, which lies at the heart of
eurovisie | may | page 7
Discovering the Underground a look into the European Teknival scene Arianne Zajac
uropean culture is something Elation that is often thought of in reto high and lofty values
or messages peddled by the European Union to foster unity and cooperation across member states. Images of art galleries, inventors, and great discoverers all come to mind, but it can be forgotten that European culture emerges in many different guises. Trends within European culture cross borders and can feel like common knowledge to so many people, yet still fall under the radar for most. Teknivals are a unique aspect of European culture and a prime example of a cross-national underground. What are Teknivals? Not too dissimilar to a festival, they are large free parties in which anyone can participate; people can bring sound systems, play there as DJs, or simply just come to party. Teknivals can be found across the continent and are enjoyed by many, with each country forging their unique essence of what one is. Whether a teknival is illegal or not highly depends on a country’s laws, histories, and experiences but often there is not much which can prevent them from happening. Teknival is the combination of the words ‘tekno’ and ‘festival’ and characterising these events is Tekno itself; a fast, repetitive, and exciting music genre. Tekno has developed alongside the teknival movement which began in the early 90s and continues till today. Where are Teknivals Held? Teknivals have a rich history across many European countries, such as in Spain and Italy, but some of the most notable are in the United Kingdom, France, and the Czech Republic. The beginnings of the teknival scene began in the United King-
page 8 | eurovisie | may
dom. The movement grew out of the acid house raves of the late 80s, the travelling community, punk, and reggae sound system culture and ultimately morphed into its own subculture. As certain communities, such as the UK traveller community, became a target of political repression, these large parties became increasingly under fire from the police. The ‘legendary’ Castle Morton rave has been etched into history as the trigger for the Criminal Justice and Public Order Act. The gathering lasted a full week with 20,000-40,000 people attending. It made the national news and was ultimately debated in Parliament. The Criminal Justice Act made such outdoor parties illegal and has been criticised by many as draconian legislation. Since then, teknivals in the UK have been limited, in comparison to their European counterparts, however UK Tek has managed to carry on despite police repression.
“Teknivals can be found across the continent and are enjoyed by many, with each country forging their unique essence of what one is.” The French are often credited with truly forging teknivals into what they are with Frenchtek, also known as le teknival. Frenchtek has grown substantially over the past two decades with more than 100,000 people attending during peak years. The culture of political resistance that was inherent in the original forming of teknivals has not been lost during their development in Europe. Tekno Collectives in Fran-
ce often participate in protests and strikes and strongly oppose police brutality and repression. Currently, many French Tekno Collectives and their sound systems are protesting aspects of ‘lockdown’ which are perceived to be infringing on civil liberties.
“The movement grew out of the acid house raves of the late 80s, the travelling community, punk, and reggae sound system culture and ultimately morphed into its own subculture.”
The Czech teknival scene is somewhat unique as teknivals can exist within the realms of legality. The first-ever ‘Czechtek’ was held in 1994 and snowballed in size and popularity until 2005. In 2005, when the teknival began, riot police quickly arrived. There was severe repression and police brutality during the event.
“Political struggle — the essence of the Teknival scene remains to this day.” In the aftermath, widespread property damage to cars and electronic equipment became evident, while many attendees were severely injured during the clashes. The result has been that teknivals in the Czech Republic have been permitted and party-goers work alongside authori-
ties to be able to throw parties safely. While Czechtek, as it was in the mid-2000s, no longer takes place, the country has seen a flourishing teknival scene develop due to its unique position within the law. Who are Involved? Spiral Tribe (also known as SP23) are a musical and arts collective and a free party sound system. They are notorious for their involvement in organising parties, festivals, and raves in the UK and Europe during the 1990s. They have been involved in Castle Morton, thrown parties across France and Europe, as well as being involved in the first Czech Teknival. Spiral Tribe can be accredited with being a founding sound system of the European teknival scene. Another notable sound system of significance is Desert Storm Soundsystem. Headed by Keith Robinson, the collective threw parties throughout the UK in
the 1990s and became incorporated into the European teknival movement. Political resistance has been at the heart of Desert Storm Soundsystem since its conception; often hosting music at the front of demonstrations or partying under banners criticising government actions. Remarkably, Desert Storm even took a sound system and brought raves to war-torn Bosnia. Reportedly, they were so close to the frontline, at one point they were asked to turn their lights off as to not attract enemy fire.
“Currently, many French Tekno Collectives and their sound systems are protesting aspects of ‘lockdown’ which are perceived to be infringing on civil liberties.:” What Now? In light of the pandemic, most free parties and teknivals have come to a halt. Political struggle — the essence of the Teknival scene — remains to this day. In many cases, it has been argued that the dire situation the music and event scene has been left in, with lack of political and financial support throughout the pandemic, is simply a green-light for more of these (often illegal) events to take place. Especially as young people look towards different avenues for crucial life experiences they are missing out on. There is no clear view ahead and many European governments are facing public unrest in light of the pandemic, while other governments, such as the UK, are increasing police powers. Perhaps, a breeding ground is developing in which we will see the re-emergence of an alternative, resistant, underground culture.
“Because it’s Eurovision” A guide on how to watch our beloved Song Contest Sterre Schrijver
n this issue, we are celebrating Inotion, European culture. Now with this many might think of Europe’s exquisite palaces, its age-old paintings, or possibly the timeless traditional music coming all the way from the shores of Portugal to the Carpathian Mountains of Romania’s Transylvania (if any Hungarians are reading this, please do not feel triggered). However, the first and foremost thing that came to my mind when we started on this topic was the Eurovision Song Contest – and no, I am not ashamed of that at all.
Whenever someone asks me what exactly that thing called Eurovision is, I have always encountered great problems in giving a sufficient answer. In fact, there is no proper way of describing the rollercoaster of emotions you experience when watching the show, which takes place every May in the country of the winning participant of the previous edition. After hours of self-debating, I came to the conclusion that people just have to watch it, go with it, and embrace it.
Most importantly, whenever you notice yourself wondering why on earth there is a piano on fire, a half-naked man running in a human-sized rat wheel, a French-singing turkey from Ireland, or 90-year-old babushkas baking cookies on stage (and this is just ten percent of the examples I could possibly come up with), you just got to remember the famous words of Britain’s commentator Graham Norton: “why? Because it’s Eurovision.” So, whenever someone asks you for the tenth time why Australia participates in a European music festival, this answer should suffice. Still, many people uphold the idea that an entry should be, among others, well-sung, lyrically meaningful, and preferably radio-friendly. My own country, the Netherlands, is specifically guilty of that; the “oh he’s got a really good voice”, “the lyrics are very poetic”, “the guitar-solo is well-played” type of judgements. I am sorry to disappoint you, but the average Eurovision fan does not care about such things. They want something unique, some-
thing catchy, something fun, something inspiring, just something that is well…something. How come that the year after a Portuguese jazz and bossa nova singer, an Israeli woman wins that sings in a chicken-style manner about her Pikachu? Why’s that? Well, because it’s Eurovision. So, dear reader, I’d thoroughly advise you not to eschew away from watching this grand spectacle where all European cultures come together in a unique way – through music. Watching it has always felt like embarking upon an alternative universe where each and every European is incredibly happy and excited about everything and where everyone feels great love for one another, though not said directly but rather through the famous words “I give your country my douze points.” As I said, just watch it, go with it, and most of all, embrace it. I’ll guarantee you, you’ll love it.
An Ever-Expanding Map for the European Flâneur
How the European Capital of Culture fuses diversification and unity together Orlaith Roe n 1985, Melina Mercouri, GreeIsimple ce’s Minister of Culture, floated a idea to her European col-
leagues. Mercouri, along with her French counterpart Jack Lang, gave birth to an initiative that would in time flourish into a greater homogenisation, or rather, diversification, of European culture. The very first European Capital of Culture (ECOC), Athens no less, was designated thirty-six years ago. While in its early years ECOC was more symbolic than anything else, today it possesses the ability to transform local industries, platform diverse European cultures, and promote urban regeneration and renewal. With the post-millennium European Union (EU) expansions, it has consequently led to a much-needed broadening in what we perceive to be European, and the shaping of a shared culture. With travel on hold for most of the previous year and the foreseeable future, I have turned to the aid of travel literature and the tales of the flâneur to fulfil my longing for adventure. Walking through the eerily empty streets of Amsterdam has brought to my attention the gems of the historic city centre like never before.
Glancing my head upwards has unveiled architectural wonders, sitting on canal-side benches has been something a kin to a film unfolding before my eyes, and each and every street strolled down has presented itself to me in ways I never thought possible;
it is a small silver lining in what has been an incredibly dark and difficult year. While the pandemic has paused the cultural celebrations of the yearly ECOC festivities, I have nonetheless found myself marvelling at the possibilities of travelling in the company of a cultural map, dotted with both central and peripheral locations, regenerated destinations, and the presentation of a local history through an artistic lens. Recently I scrolled through the list of designated ECOC cities, from Athens in 1985, to the Croatian city of Rijeka and my hometown of Galway sharing the title in 2020, I was hit with a renewed curiosity to explore. As a continent, Europe possesses a sprawling cultural and linguistic diversity within a small geographic area. Indeed, the EU comprises an important part for some countries within Europe in regard to identity, but European culture extends beyond those select nations and institutions. ECOC in itself can act as the steppingstone for the European traveller to explore their own continent; through the recognition of ECOC destinations, one could find themselves branching out to regions and cultures that lie a long journey from Brussels.
“If one looks hard enough, wanders far enough, the joys of a hidden culture will reveal themselves” Initiatives such as ECOC and the Erasmus programme are all facets of a wider European culture, contributors to a shared diversity. The promotion of local culture
and art through the platform offered by the likes of ECOC further assists in the understanding and acquirement of empathy in relation to other languages, customs, and ideas. In a time of empty trains, ghostly streets, and quiet city centres, it is important to remind ourselves of the wonderfully colourful education that is on offer to us by travelling through the close-by worlds that lie on our European doorstep. For the modern-day flâneur, it is easy to get caught up in the growing commercial aspects and business-like nature of our surroundings, but if one looks hard enough, wanders far enough, the joys of a hidden culture will reveal themselves to you. The 1992 designated ECOC, Madrid, finds itself situated on the meseta, and has flourished in the years after 1992 into a leading cultural hub of Europe. Starting at the Plaza Mayor, you can stroll aimlessly through the city’s streets, moving through central shopping districts into quieter leafy areas, and winding up at the Museo del Prado to take in the works of Velázquez and Goya. Loop back around when the evening sun starts to feign and immerse yourself in the warmth of some churros con chocolate at the Chocolatería de San Ginés. There are countless exhibitions detailing life under the reign of Franco, and subsequently the burgeoning film scene that emerged against the cultural suppression of his dictatorship. Then again, one can simply lounge on a street corner with a cortado, soaking up the movement of the city amidst hot pavements. Roam with as much curiosity in Stockholm (1992), Avignon (1999), Patras (2006), or Sibiu (2007). The inspiration for train routes and
eurovisie | may | page 13
ferry rides are endless. I found myself mulling over the prospects of an adventure and education to Reykjavík (2000) or Stavanger (2008). How will I get there? What might I stumble upon? Who will I meet? What useful phrases can I equip myself with? During motionless times such are these, my mind considered every possibility. Stemming from the works of Charles Baudelaire, the flâneur is that very “kaleidoscope gifted with consciousness”, a sauntering wanderer in motion and in sync with its surroundings. With a little inspiration from ECOC destinations and student programmes such as Erasmus, the nudge of encouragement enables for adventure. With this journey comes a mosaic of learning and enrichment; in all its diversity, there is a unity to the ever-expanding culture of Europe.
What Mercouri floated as an idea back in 1985 has developed into a bridging of identities and communities in the form of ECOC. For many of us, the reaches of Europe’s geography are endless, and we can often feel overwhelmed by the many cultures, languages, and experiences. But to feel European does not have to mean to be the same as your neighbour or even the country situated at the opposite periphery to your own. Rather, the difference and diversity that is the inner makeup of Europe’s core should be embraced. That is perhaps the greatest uniting quality of a European culture, the glue that gently pieces together a collage of changing tiles. Skimming over the ECOC cities once again, you are suddenly guided through the vibrancy of Europe’s landmass, the hidden gems of an ever-expanding map for the flâneur.
Whether you will soon find yourself ambling over the River Lee via St. Patrick’s Bridge in Cork (2005) or marvelling at the beaty of the Old Town in Plovdiv (2019), the consciousness of Baudelaire’s kaleidoscope will surely help you find your way.
A Guide to Europe’s Forgotten Adventures From the Camino di Santiago, to the Iron Curtain Trail Cara Räker e do not know what the fuW ture holds for the travel and tourism industry ‘after’ COVID-19.
As stated by the World Travel & Tourism Council, considering that one out of ten jobs worldwide are related to tourism, 75 million people are at risk of losing their jobs while international travel is largely put on hold. While Europe has gotten a little bit out of fashion the last couple of years, certainly ranking behind Australia or Thailand amongst young travellers, there is certainly no shortage of exciting travel opportunities just around the corner. Of course, the hospitality industry does not have it easy these days. Hotels, museums, restaurants and other tourist attractions are forced to close, re-open just to immediately close again. A map of European countries shows most of them tainted in red or orange and travelling should really be left for the new year but, nevertheless, here is a list of 5 adventures you can embark on right now! Or at least very soon.
The E-paths I admit, the E-trails are for deeply committed adventurers rather than casual travellers, but they are definitely worth mentioning. Spinning its web all over the continent, the European long-distance path network consists of 12 individual long-distance trails, numbered E1 to E12, which have been maintained by the European Ramblers Association (ERA) since 1969. The E1, for instance, starts at Nordkapp in Norway and stretches over 8,000 km down to Capo Passero, Italy, covering a total distance of 8,000 km. Three of these paths E2, E8 and E9, pass through the Hoek van Holland close to Rotterdam and can lead you to all kinds of different places.
The Iron Curtain Trail
EuroVelo Routes
Eastern European students, listen up! The Iron Curtain Trail might be your (wet) dream come true. Running alongside the Western border of the former Warsaw Pact States, the Iron Curtain Trail enables you to experience European history firsthand. The trail stretches 10,000 km from the Barents Sea to the Black Sea and has been recognized by the European Parliament as a model for sustainable tourism in 2005.
The European cycle route network resembles the E-Paths but it’s for bikes! The EuroVelo project is supported by the European Cyclists’ Federation (ECF) which, in its own words, has ‘pledged to ensure that bicycle use achieves its fullest potential so as to bring about sustainable mobility and public well-being’. There are sixteen in counting, EV1 to EV16, bearing delightful names such as the Sun Route (EV7), which follows the above-mentioned E1 from Norway to Italy, or the Atlantic Coast Route (EV1), which stretches along the coastlines of Norway, the UK, the Republic of Ireland, France, Spain and Portugal. Can you imagine starting your journey in the deepest forests of Northern Europe just to end up with a well-deserved beer in hand on some beach in Portugal?
The Camino Routes Building upon already existing long-distance trails, the ERA aims to provide a trail network which brings the traveller closer to the European countryside and its natural heritage. The trails are reminiscent of a tradition of long-distance walks which has been present in Europe for centuries. A prominent survivor of this heritage is an existing network of pilgrim routes, the Camino de Santiago, whose origins can be traced back to the 9th century. While vastly travelled during the 10th to 12th century for religious pilgrims, the route steadily declined in popularity until its rediscovery in the 1970s to 1980s. In 2019, the paths attracted over 347,578 registered pilgrims alone. All of the Camino routes lead to Santiago de Compostela, a town in Northern Spain, where an impressive cathedral awaits all those who have successfully completed the journey. Nowadays, people walk the Caminos for all different kinds of reasons be it religion, the longing for an ambitious outdoor holiday or the love for Southern European flora and fauna.
Eurail Pass Of course, no guide to European travel would be complete without highlighting the popular opportunities presented by the European rail network. While the program is currently paused due to the risks posed by the COVID-19 outbreak, there is a good chance that travel within Europe will be possible again in the not-so-far future. A Eurail Pass can be purchased at rates as low as 185 euros and connects 40,000 destinations in 33 different countries. Different packages are available where the traveller can choose between fixed destinations or more flexible approaches including unlimited travel for an x-number of days.
eurovisie | may | page 15
Europe’s Culture Train An Interview with Anita Konkka Jyry Pasanen
Anita Konkka is a celebrated Finnish-Ingrian author who has written many books since her debut novel in 1970. Her work deals with feminist issues, Ingrian Finnish history, and the interpretation of dreams. One of her books – A Fool’s Paradise – has been translated into English. She is also my grandmother. The Literature Express 2000 was a train journey where 103 writers from 43 countries travelled across 11 countries, visiting 19 European cities between June 4 and July 16. Many events – readings, discussions, and festivals – were organised to celebrate European literary culture and the new millennium. JP: When we first discussed your experience on the Literature Express 2000, you talked about how it represented a sort of new era of hope and progress. Can you tell me more about that? AK: Yes, it was a very idealistic time. Apart from the collapse of the Soviet Union, the end of the Yugoslav Wars and the onward march of European integration, there was also great excitement about the internet. We could connect with people around the world, get to know and understand each other. People were so helpful on the internet back then. No one thought it could end up like this: full of hate speech and negativity. Although there were political extremist groups online,
page 16 | eurovisie | may
it was not like now. But I must say that writers were very suspicious of the internet simply because they feared people would stop reading books. A very correct fear of course. Russian authors were especially suspicious of it. I was asked to speak about the internet in many panels because I had been there for such a long time. I was even involved in pre-internet conversation forums in the 1980s. So, I had to speak about the internet and its relation to literature. I always said that I like to write on the computer. Some people disagreed and – already then – said that writing on the computer killed all creativity. So, there was clear opposition, but the young writers used computers with ease.
It was the sort of time where you always had to find the internet cafe in this or that city. And even that took time. It was difficult sometimes; I was already tired just doing that. In Poland, I found a nice internet cafe in some basement. The caretaker spoke no English and was completely terrified as I asked them to use the internet. One machine was reserved for that; the rest were for games. She did not manage to set it up for me as she was so shocked. So, these kinds of things. But yes, there was a great feeling of hope. A hope that everything would unify. That Europe would become this unified area, not only in terms of the economy or the absence of
borders, but also culturally. That was the main idea of this literature train: that literature belongs to the people. And that is why it was organised like it was. That is why the train went to European capitals and other cities. We did readings and discussions at railway stations. There were always lots of people. It was a part of these millennium festivities to celebrate the new millennium, and people were very interested. We believed that a good new millennium was starting, as the previous one was a bit difficult [laughs]. Now we could start a new life. JP: How were you chosen to participate? AK: There were different ways. Germany had the most complicated process. You had to send sample texts...it was different in every country, but in general, the final decision was made by the literary union of each participating country. There was a guideline that they would choose people who were under 40 years old. But most of the authors were old! France sent two writers over 70...I was chosen because I was already so “online”. JP: Were you already writing your blog back then?
AK: No, well actually I did start writing my blog then in English, for that train trip. But it was so difficult and time-consuming that I stopped soon after. And then – that one has disappeared as the platform went under – in 2002 I started my Finnish-language blog that became quite popular. JP: More about this language issue: is it right that there were authors from 40 different countries? How did you communicate? AK: I think there were authors from 45 countries – Turkey included. Norway was the only European country missing. But yes, at least 40 languages. JP: So, did you all speak in English, or how did it work? AK: Well, there were three “official languages” in the train: German, English, French...actually four because Russian was also one. And there was one language, I think Spanish, whose absence caused a bit of a ruckus. Some Spanish authors were complaining; they thought their language ought to be one of these main languages in the train. [laughs] JP: So, did “language cliques” form around these languages?
AK: Yes, mostly it worked like that. And the further the trip went, the further we divided ourselves into these groups. Nordic writers spent a lot of time together. And the Russian were completely isolated because they did not speak other languages. Except for that one Muscovite who was very active in defending all kinds of Russianness. And then, yes, there were these kinds of lonely ones, like one from Malta, who then allied with this or that language group – whichever they spoke best. And this Icelandic writer...ah yes, he had this fancy Nokia machine, with a little keyboard and everything. He used it to write articles and send them to a magazine back in Iceland, it was an incredible new technology at the time. JP: Where was the warmest welcome you received? AK: In Paris, there were lots and lots of people, but I think the most excited were the Germans. The press there had promoted the event a lot. The crowds were huge over there. In Portugal too... the railway stations were always full, but there were also smaller events. I spoke about the internet in the oldest bookshop in Portugal. And we had to speak
eurovisie | may | page 17
about what you will write, do you prepare somehow? And I answered: “No, it’s just like in speaking, I do not plan at all.” JP: I get this feeling when you speak about these language cliques that there was a kind of rift within the group: Russians against the “other” Europeans. Was it like this? AK: It was more like those Europeans who had never visited Russia or the Soviet Union, experienced a culture shock and were very open about it. Already in Kaliningrad for the first time. But St Petersburg was very European, well apart from that one thing in the Smolny Institute, where there was a little museum in Lenin’s old office. I asked the guide whether they could tell me where concentration camp number 2 was located because my grandmother was there for a time in 1919. And the guide was flabbergasted and said, “we did not have anything like this”. And yeah, there were always journalists around us, making stories, asking questions. This one television journalist came up to me immediately afterwards and asked me about what I had said. So, I told her the story of my grandmother and I made an appearance on television that night, but I missed it. Afterwards, this young Belarusian writer who spoke Russian and also Swedish came up to me and told me: Listen, you were on the television last night.” So, I asked what I had said, and she responded: “Well you were praising St Petersburg and saying how great a city it is”. [laughs] So I don’t really know what happened there or how they interpreted what I said. JP. After St Petersburg you went to Moscow. What happened there? AK: Yes, that is when we sent this petition to Putin where we demanded the end of the Chechen War. I just checked: 84 authors signed it. We were 107 so there were many that did not sign it. It was a political thing, the others... there was even one who signed it but afterwards crossed his name out. And then there was this extremely active political influencer who also spoke Russian (who, by the way, opposed everything inter-
net related as well) campaigning against this petition, saying how these Chechens were blowing up our buildings, that they had to be brought to heel and so on...like saying “do you not understand our situation here?” Many Russians are a bit like that; they like to play the victim and then blame others. The same thing...And now this Ukraine situation is difficult...it was already like that back then. This Ukrainian woman writer (whose name I can’t remember) started the petition and got the Russians mad at her. So, they don’t get along at all, even though they share so much. Ukraine has been so important...it was part of Old Russia, where the [Russian] culture began and grew. They had good writers there, even during the Soviet times, very good writers, especially in Odessa, but also in Kiev. JP: Did the Russians have anything to say about Finns? AK: Well, there was a guy from Azerbaijan, who had visited Finland and knew some three words in Finnish and four in English. He was a big fan of Finland for some reason. He always offered this very strong...whatever he had. He was in the Russian speaking group, a very joyous man. He wrote these crime novels, and he was very popular over there, selling millions of copies. He did not live with us in the decent hotels we were offered. He always had these – Europeiska in St Petersburg and… well, all the best hotels. He had a secretary who organised all his stays from Moscow. He was the only rich author [laughs]. But he was pretty generous, always sharing whatever he had. JP: I remember you mentioned there was some Russian author who said Western culture is worthless...can you tell me about him? AK: It is this same Muscovite who was so negative about everything, let’s not speak about him too much. I do recall this one Ukrainian writer, who had been to America on a Fulbright scholarship who said it was so great over there [in the US] as they only had one language, not like in Europe where there is a cacophony of languages – he enjoyed his stay over there.
eurovisie | may | page 19
He was a poet and he said that once the Soviet Union collapsed, against which he had campaigned and wrote this Samizdat poetry [underground publishing] – there was nothing to fight against anymore, so he became a linguist. He had not written after that. He was a pretty great guy, but even he had this anti-Russian sentiment. JP: And you wrote something in collaboration with this French author. Can you tell me about that? AK: Yes! This was also a sort of attempt to unite European languages and cultures, and also inventing ways to communicate. The whole train trip was about finding ways to communicate with each other. And then, this French writer. He belongs to a group of experimental writers called Oulipo. He is called Jacques Jouet. We had to write some kind of travel text: an essay, a diary, a poem, max 15 pages, right after the trip. So, we decided to write a dialogue. He would write in French and I in English. I understood a little French, I had studied it for three years in school. It became quite a funny dialogue. It was then translated into German, published in this 700page book where nearly all par-
ticipants had written something about their experience of the Literature Express. That book was supposed to be published in every European language but that never happened: Publishers can’t afford every kind of experiment... So yes, we wrote in French and English, and it was translated to German, that’s how it went. But it was also published in the US, in this magazine called Context. It was the magazine of a publishing house that brought a lot of European literature over there. So, I could read it in English, but they had unfortunately shortened it quite a bit. But this was my experience. It was interesting for sure. JP: Let’s talk about trains for a moment. Do you know why that route was chosen? AK: Yes, so this route, starting in Portugal and going to St Petersburg. It was important because Petersburgian nobles, writers, and others...Dostoevsky included, travelled many times to Europe on this line...all the way to Paris and then on to Portugal. Also, another reason: during and before World War Two, those Jews who decided, and could afford to leave, took this same track to Portugal and from there took ships to the US, saving their lives like this. So, it was like this;
a culturally and historically significant route. And every country’s train company gave us a special train with a few wagons: outsiders were not welcome. Portugal offered us a fantastic dinner on the train with many entrees and desserts and cheeses and fancy drinks for each part of the meal...white tablecloths and everything. I felt like a fancy Russian writer on the way to Europe [laughs]. Germany had found some ancient, really small train that they had painted yellow and written on the side in many languages – “literature train”. JP: From all this I get the feeling this trip represents a kind of lost future: trains going across borders, people from many languages getting along, literature is funded etc etc. There is a kind of interaction between people that is really positive. Have you seen anything similar lately? AK: No, nothing like this. But, of course, it was a special time, Europe wanted to celebrate the new millennium. And every EU institution, as well as UNESCO, national governments and others were funding it JP: But not much was born of it?
AK: No not really...other than that book that is only published in German. And now the organiser wants to put together an essay collection or something. But it was so long ago...I think he just liked the train trip so much he wants to relive it again. Although we are again building tracks everywhere, including Finland, and even across borders. Is it [train travel] not reviving again? And there is an extra incentive because trains are a more sustainable way to travel. I think there might be a return to the old ways. But they must be fast, like the TGV. JP: Do you think as positively of European political integration as you do of this train integration? AK: It is so difficult these days because of populism...it advocates this national isolationism. No more windows open towards Europe, like it was already in the 1920s, among leftist artists, who hoped and challenged others. But that ended and Europe closed itself in a really bad way in the 1930s. Populism is so strong
these days and I am wondering about ways to get through this. And if there is a post-pandemic recession in Europe then we are really in bad trouble – Populism will for sure gain even more momentum. JP: Do you see this kind of populism and nationalism in literary circles? AK: Not in Finland at least. There is one “True Finn” affiliated writer but apart from him...writers are not populists, no. And I think it’s similar in the rest of Europe, writers are generally more open. In Russia, some of the old guard are a bit nationalistic, but the younger writers are again more open. It is important that young people do not become populists. Writers have to think about things, I think they are not so susceptible to becoming populists. At least in Finland, populists are generally less educated, it is difficult to speak with them as they do not back their arguments with logic [word]. They do have smart women in that party [the True Finns] and I wonder what they are doing there, how did
they end up there? JP: Their leaders are usually pretty well educated at least, no? AK: Yes, that’s true. Even Halla-aho [leader of the True Finns party] is an expert in Old East Slavic and Church Slavonic. JP: So, do you see art and cross-border collaboration between artists as a weapon against populism? AK: It would be really important if we could do it more, yes. To see how things are in other countries...these kinds of common train trips...for the people too! And for sure we left some kind of impression on people. The audiences were so big, and we read these short texts that we had translated for each other. I am sure at least some people got something out of it. But yes, I think it is really important that artists and others in the cultural sector would integrate across Europe, but I do not know how this would be done in practice. It is again a question of funding.
eurovisie | may | page 21
Rewilding Europe
From the cultural construction of nature to the natural destruction of culture Frederique de Ridder With its characteristic mix of cosmopolitism and nationalism, Europe truly is a continent united in diversity. This is apparent in the different national approaches concerning the common natural environment. It is no news that wildlife has its prominent presence in European culture. Neither is it news that wildlife species in Europe are in strong decline. Consensus, however, about taking care of European wild animals remains far from being reached. The largest land mammal of Europe is not busy minding national borders. The European bison, whose population stretches from the ‘Kraansvlak’ in the Netherlands to the ‘Rhodopes’ located in Greece and Bulgaria, does not belong to a fixed territory. This particular case of European wildlife may be one of the most outstanding examples proving that nature can not comply to the limitation of man-made bounds.
ses in the ‘Bialowieza Forest’ was in 1919. The population of the gastronomic giant was namely never meant to shrink. On the contrary, the wisent has rather always functioned as a keystone specie on the European land, taking part in maintaining the ecosystem for the continent. Consuming over 200 different types of plants, dispersing their seeds across their natural habitat, they increase the biodiversity of the whole area. Even bark of trees is included in their diet. Hence, the wisent accidentally carried out the role of being a European natural firefighter.
The naturally occurring population of the European bison, also known as the lowland bison or wisent, mainly persisted its existence initially in the ‘Bialowieza’ Forest, which was a forest that once stretched across the European Plain, a patch of nature entailing the largest mountain-free landform in Europe. The importance of the nowadays wisents’ reintroduction, reveals the fact that the wisent being a target during the late 19th century hunts of the Russian Tsars and Polish kings, is still a bitter pill to swallow. The transfer of the bison all around the globe in groups of four (one male and three females) back then, was meant to function as an imperial gift. Unsurprisingly did the killing continue in the 20th century, when occupying German troops during World War l recognized the bisons’ high value for its meat, hides and horns. The last time a European bison was killed due to traditional hunting purpo-
The amount of effort Europeans invested in breaking down their natural environment is depressing, taken into consideration that the capability of restoring it structurally, is strikingly absent. Consequently, the protection of wildlife demands supranational recognition. Especially in post-socialist Central Europe, where protecting the environment has been interpreted as prospectless due to its densely populated areas and industrial aims. Understanding the driving forces behind the slightest changes is now more crucial than ever. In order to enforce rewilding in Europe, it requires series of measures which concerns the implementation of nature based economies, to preventing or supporting the spread of the smallest insects (new measures – ranging from the implementation of nature based economies to nurturing insect populations – are required.). The European natural habitat is damaged. Awareness
page 22 | eurovisie | may
“...globalisation fuels mankind’s disconnection from nature in growing cities of concrete,...”
should be created to promote human intervention, in order to repair it. When it comes down to signifying natural borders, there is obviously something to learn from the wisent’s interpretation. The European political patchwork is something Europeans’ fellow residents have never given consent for. Already for centuries, fragmentation imposed onto a general natural habitat is burdening creatures that can not articulate the captivity of going extinct. There are enough reasons to stand up for those that do not possess a voice and therefore should subjects of special care and attention. In other words, the limits that are natural should be prioritised over the limits that are invented by people. While globalisation fuels mankind’s disconnection from nature in growing cities of concrete, people tend to forget that there is a natural habitat to share with all other organisms that all play an individual role in maintaining ecosystems. What is the use of damaging the environment being a part of European cultures’ identification, if territory appears to play such an important role? When Europe’s natural environments can not be maintained, a fundamental reality of the European culture will drift off to an unverifiable history. Rewilding Europe brings hope for Europe’s nature to recover from being undervalued. A recovered nature brings the opportunity for Europe to benefit from sharing a habitat.
Fix over throw
A new right to repair for the modern consumer George Bandy allure of new, cheap, and Ttheheconvenient has slowly quelled desire for long-living, repaira-
ble, products. Whilst potentially not always a conscious decision by the consumer, we have come to expect that the electronic products we bring home will not live with us as long as we might like. That is not to say all tech lives as the mayfly – most can certainly think of a TV that is still going strong in its golden years, or a washing machine that looks like it could spin in perpetuity. Many products, however, are not built of such sturdy stuff and even those that are cannot always bounce back from the occasional accident. What to do then when our electronics start faltering on us? The sad story of current figures suggests that these items quickly find their way into the waste bin. Europe ranked first worldwide in the 2019 UN e-waste monitor in terms of e-waste generation, with 16.2 kg per capita. (E-waste meaning any products with a battery, circuity, electrical components or a plug, which have been discarded without the intent to reuse.) More than half of this is large household appliances like cooking stoves and washing machines, with the rest being made up of things like kettles, smartphones, bedside lamps, and all the other small gadgets we have around.
“Europe ranked first worldwide in the 2019 UN e-waste monitor in terms of e-waste generation, with 16.2 kg per capita.” There are many reasons for our apparent hesitancy to fix over throw – not all of which are in our control. For one, technology has
become increasingly complex. The idea of opening up your device (if you even can), and having a look to see what is wrong, can be quite daunting; there is the looming risk of making things worse, or not being able to stick it back together again. That leaves users with the option of sending units back to manufacturers to be repaired in-house, or, if they are fortunate to know one, stop by their local (“certified”) repair store. With pricier items such as laptops or refrigerators, and when within the warranty, it is likely that consumers will do just so, as it makes sense cost-wise. (Note, warranties on average last one to two years – after that, you can often find the price of repair heading closer to the region of buying a whole new item.) “Cheaper” purchases like string lights or a toastie maker from Amazon are less likely to be sent back if, or when, they stop working, even when there might be the possibility to do so – unfortunately it often may seem more hassle than it is worth. Two, companies are not necessarily making it easy for consumers to repair their own goods; in fact, many seem to be doing the opposite. We find ourselves with items that are glued, bolted, welded, spliced and fused in a plethora of inventive ways – that – whilst possibly cutting some costs of production – result in products that, by design, refuse to be repaired. On the occasion we do get a glimpse inside, we can be stunted by non-standard batteries or custom gear, for which the manufacture has no plans of selling replacement – not to consumers nor repair shops. It is also uncommon to find information from the company itself on how to go about repairing their products. Much of this is left to handy YouTubers or blogging hobbyists. What may sound the most vexing when trying to work out how to
fix your stuff, is instances of planned obsolescence, whereby the manufacture intentionally limits the life span of its products. Last year’s lawsuit against Apple highlighted this phenomenon; they stood accused of secretly slowing down older iPhones as they launched new models, to induce owners to buy replacements.
“we have come to expect that the electronic products we bring home will not live with us as long as we might like “ Consumers then face a dilemma when staring at their laggard electronics. Whilst appreciating that it may just be a faulty battery or loose connection, the costs and time needed to get something repaired may just seem too much of a burden. Long return times, pricey parts, or the glamour of a new version already being available, is often enough to push our purchases into early retirement. However, there may be a change in the air. As part of its Circular Economy Strategy, the European Union is pushing back against the current state of irreparability amongst our electronic goods. New ecodesign regulations have recently come into force. Since 2009, the ecodesign framework constructed by the EU has looked to tackle energy labelling, recyclability, materials usage, and now, with the latest wave updates – repairability. Since the 1st of March, companies that sell consumer electronics such as refrigerators, washing machines, lights, or TVs in the EU will need to ensure those goods can be repaired for up to 10 years after the company has discontinued the model. This means making spare
eurovisie | may | page 25
parts and repair manuals available, making sure that the products can be disassembled with common tools, and pushes manufacturers to integrate repairability into product design. It is a much-needed push back against the current waste-based economy. With spare parts and guidance easier to acquire, it hopes to rebalance the scales against encroaching producers and make repair once again not only possible but convenient and cost-effective for consumers. There are some catches in the regulation, which show that these are only the first steps to an actual “right to repair”. The requirements will only apply to certain, most often, large household products like washing machines and dishwashers. Notable exceptions are laptops and smartphones, which make up a considerable amount of current e-waste. The requirements will also not be retroactive, meaning they will only apply to brand-new products. The need to supply spare parts and repair manuals only applies for professional repair shops, meaning the consumer, or voluntary projects like repairs cafés, will not be entitled access. The regulation does not cover software issues, so “outdated” machines are not guaranteed the necessary updates. Finally, the issue of bundling was not included, so manufacturers could still refuse to sell individual parts and rather only issue spares as part of a “bundle” pack, meaning you would need to buy extra things you do not need to get the part you do.
“it hopes to rebalance the scales and make repair once again not only possible but convenient and cost-effective for consumers” So, small steps, but they are in the right direction. Acting alone, certain European countries are
page 26 | eurovisie | may
already pushing past EU requirements and demanding more from companies. France, for instance, introduced in January a repair index for consumer electronics. Currently, it is only applicable for laptops, lawnmowers, smartphones, washing machines and televisions, but there is a plan for quick expansion. The score is calculated based on criteria such as ease of disassembly, price and availability of spare parts, and access to repair information. New buyers can then see at purchase how easy the item will be to fix in case things break, which will hopefully play a role in deciding what to buy.
“It is a much-needed push back against the current waste-based economy.” Sweden has also taken steps by introducing tax breaks on repairs for household appliances carried out by technicians. Whilst in Germany, the Environment Minister, Svenja Schulze, has said that as the next step, ‘manufacturers should have to state how long a product is expected to work for and repair it if it breaks down earlier. This would encourage companies to build more durable products.’ These examples demonstrate the opportunities available to legislators to make repair easier and more attractive. Our relationship with repair may have dwindled over the years, though nothing that cannot be rekindled. As companies are pushed further towards eco-design, obligated into extended support, and required to relinquish control over spare parts and repair manuals, we can hope that the products we bring home today will be still be going strong in many years to come.
The beautiful game, interrupted by ugly money Sterre Schrijver
lthough the idea has been A discussed ever since the late 1990s, the concept of a European
Super League drew considerable attention after the Football Leaks debacle of 2018. This involved a series of European newspapers such as the German Der Spiegel or Spanish El Mundo revealing hundreds of documents exposing, amongst others, several tax evasions and illegal third-party arrangements. The leak included the disclosure of an apparent top-secret meeting between top European clubs, discussing the idea of a European Super League (ESL). This League was supposed to substitute the mighty Champions League and instead create a football league consisting of 18 of the best teams of Europe playing in a round-robin system followed up by a play-off round, much like the set-up of American sports competitions. Mid-April 2021, on a calm Sunday evening, football twitter suddenly erupted over the official announcement of the European Super League, made by twelve participating clubs. All of a sudden everyone with at least a slight passion for ‘the beautiful game’ seemed more united than ever, with even Boris Johnsen and Emmanuel Macron publicly opposing the idea of the ESL. Moreover, as a form of protest, FIFA, the international governing body of football, including its six continental confederations (CAF, AFC, CONCACAF, OFC, CONMEBOL, and UEFA), publicly rejected the concept by stating that “any club or player involved in such a competition would as a consequence not be allowed to participate in any competition organised by FIFA or their respective confederation.” A mere two days after the initial announcement, after multiple public outrages from all sectors of society, ten out of twelve of the ‘founding members’ had already offi-
page 28 | eurovisie | may
cially withdrawn. Nevertheless, though plans for the ESL might be on hold for now, the danger of money hungry presidents and CEO’s overtaking the world of football is still ever-present, lest these recent events be a warning for them. So why would clubs, most notably their owners, even support such enterprise? Well, for the same reason that clubs go to Dubai for their yearly training camp, play their domestic cup final in Abu Dhabi, or why top earning players in Europe’s top leagues go to China to earn even more: money. According to The Times, clubs could earn up to €360 million to join, followed up by €248 million a season. Especially now in times of financial hardship, clubs appear to be incredibly eager to take on every opportunity that could increase their revenues. Because even before the word ‘corona’ came to mean more than tasty Mexican beer, fans and journalists alike were shocked to learn about the high debt levels of clubs such as FC Barcelona and Juventus (€1.173 billion and €458.3 million respectively). Now with the pandemic, clubs around Europe face even bigger problems due to huge drops in match-day and broadcast revenue.
“Football is more than just a sport; it is supposed to bring people together.” Nonetheless, despite this significant need for higher income, “Unity can be lost when insidious ideas are pursued under the pretence of survival, growth and business needs,” as UEFA’s general secretary said it. The differences in wealth and power between big and small clubs have
never been greater, mostly due to insanely high sponsor deals and broadcasting contracts. This is the reason why in 2019, Ajax received 50% less Champions League prize money than Barcelona, even though they were both losing semi-finalists. The arrival of the Super League would only see these differences grow, with small teams and small competitions becoming even smaller, and the bigger ones bigger. In the words of Real Madrid’s German star midfielder Toni Kroos: “the gap between the big clubs and small will expand even more. Everything does not always have to be faster, with more and more money.” Football is more than just a sport; it is supposed to bring people together. A European Super League would merely push people further away from one another. The emotions that the sport generates, the passions that it brings, and the unity it creates is unique, and should forever be cherished. Without the Champions League as we now know it, we would not be able to witness half the city of Glasgow screaming their lungs out, drowned in litres of beer, because somehow their much beloved team just beat the almighty FC Barcelona. Even though their squad was nearly nine times less worth than their opponents’. Or what about those famous Champions League evenings here in Amsterdam two years ago, when Ajax did the unthinkable and beat respectively Europe’s apparent modern football giants and ‘founding members’ of the ESL, Real Madrid and Juventus?
Even besides these magical events, what about the excitement of finally watching the best teams coming from all over Europe to play against each other after a long four months drought, every year around valentine’s day. It simply would not be as exciting any more if such matches were played on a weekly basis. Imagine the Olympics being held every summer, or the Eurovision Song Contest being sung every month. Would we not just become sick of it then? All we would end up with is “meaningless matches that worsen football’s inequality,” as was perfectly summarised by The Guardian. Therefore, it should come as no surprise that fan groups all over Europe, though usually highly divided, voiced their highly negative opinion of the Super League in unanimity. These football fans are joined by another new and surprising player: the European Commission. EC’s vice-president Margaritis Schinas stated: “There is no scope for the few to distort the
universal and diverse nature of European football. The European way of life is not compatible with European football being reserved for the rich and the powerful.” When one could truly appreciate the power of football as a force of unity, bringing all sorts of people together who are bonded by tears of joy or sadness, you could such money-grabbing enterprises as the ESL. The splits have already widened too greatly and money has beaten fan interests too many times to count. So not only in the name of magical football nights, but also in that of European unity, lest we never allow a European Super League and forever celebrate the beauty of the underdog.
European Horizons “It is my great pleasure to introduce the European Horizons members’ submissions to the Europe Day special of Eurovisie. As the 8th May marks a day of the beginning of unity, we are thrilled to have forge a new connection with our fellow European-Enthusiast counterparts at SES on this worthy occasion. Over here at European Horizons we are a student-led policy incubator established in 2017 in Amsterdam. Since, we have formed 10 working groups on policy papers, written weekly news reviews, organised over 6 events and founded the Amsterdam Policy Prize.” Cameron Kennett, editor-in-chief European Horizons, Amsterdam Chapter
Embracing Our Diversity Sofiya-Halyna Tryzub-Cook often refer to a “EuroPoneeople pean Culture” similar to what may call “American Culture”, while in society today, no such unified cultures exist. This European Culture, as such, may have derived from the idea of a united Europe from the numerous European coalitions, businesses, and most notably, the European Union. However, despite having common agendas and alliances, it is important to realize that all European countries differ within their most rudimentary elements — their language, traditions, lifestyles, diet and cultures.
Europe geographically borders the Arctic Ocean to the North, with the Mediterranean Sea to the south, Atlantic Ocean to the West and Asia to its East. The continent comprises 50 countries, with at least 24 official languages and 25 currencies, along with the diverse religions, ethnicities, habits and mentalities that are spread across the continent. Indeed, historically speaking, what with the many wars that have plagued Europe and the consistent migrations of various tribes, clans and groups, have all caused European countries to be heavily intertwined with one another. Ho-
page 30 | eurovisie | may
wever, today with established nation states, Europe is forevermore diverse. To better grasp this European diversity from the different perspectives and nationalities, a survey was conducted on the topic. This survey aimed to explore the aspects of what a country within Europe consists of, while also investigating the topic of a “European Culture” and what one means by this. Below you will find extracted responses from participants who conducted within the survey: What is something you consider to be unique about your country? “France — Cheese, Wine, the city of love, having it all (the Alps, the countryside, the city)” “Spain — We have a very laidback way of living in the sense that we work to live and don’t live to work. This can be reflected in how late we have lunch and dinner, and in the fact that we are very family-oriented and fond of social interaction. Because Spain has been home to so many different cultures over the years. Addi-
tionally, Spain has been home to so many cultures over the years, it has been influenced by all of them and is very diverse in itself. Every region has its own traditions and is completely different to the rest, which I think makes it very special.” “Norway — The hytteculture” “Ukraine — Vyshivanka (Traditional Clothing — embroidery), Traditional peasant folk art, Festivals/Traditions, Food Culture” “Switzerland — Direct democracy and state mandated internet” “Portugal — It’s colors” “UK — British Humor” “Poland — The combination of the Western and Eastern culture due to our central location in Europe” “Netherlands — How the majority of the population speaks quite fluent English (even though it’s a second language)” What do you believe is a stereotype of your country?
“Spain – That we nap all day and love partying (which I admit may be true)” “Poland — Heavy drinkers, everyone is very conservative and that Poles emigrate to steal jobs from local people (especially present in the UK)”
true if you ask me)” “Portugal — People are lazy.” Do you think European Culture is diverse? If yes, how so?
“Ukraine — Are Russians? Always drink vodka… (Not True!)”
“Different parts of Europe have different histories, which results in differences which are still present and very vivid in many domains. Some cultures are more open, some more reserved; things that are considered normal in one country would be considered odd in another. There are a lot of things that most European Cultures share as well — it is easy to point out differences between generally speaking European culture and e.g. American culture, but different parts of Europe differ significantly from one another.”
“Czech Republic — That we’re nothing more than a post-Soviet satellite state, still very communist, that the people are mean and that we only care about ourselves and beer (not entirely un-
“Different European countries have different religions, traditions, languages, whatnot. Indeed, there are certain general overlaps stemming from certain historical overlaps and religions, ho-
“France — Being a snob, rude, eating croissants in a cafe or brasserie. “ “The Netherlands — Cannabis Smokers (weed)” “UK — Posh” “Norway — Socially awkward snobs with oil and salmon”
wever, today, the local traditions and celebrations are very diverse as citizens have different approaches to life and lifestyles.” “To sum up, the European culture is made of dozens if not hundreds of regional, national, local cultures. It’s a melting pot inside a melting pot.” Would you say that there is a vast difference in certain European Cultures? (E.g. The North and South, the East and West) How so? “I would say so, yes. I think that this is unavoidable when there are such socioeconomic differences, especially between the East and the West. We also have very different historical experiences, such as being on different sides during the Cold War, and I think that history hugely affects culture.” “I would say that the Mediterranean countries are pretty similar, but they are very different
to those in the North of Europe. This can probably be explained due to the different weather conditions and the historical background, both of which have played a huge role in shaping culture up to this day.”
“I think they are all quite globalized / multicultural at this point but hold very authentic to each nation’s values. I also believe that EU member states share a more open attitude towards cross-country cooperation.”
“Personally, for me the difference between the East and West is the most visible, most likely due to my background. I think the East is more family oriented and more religious than the West. The East is also far more conservative than the West. More day-to-day differences would be humour and approach to life and friends. Other than that, the division with North and South and North being far more reserved is also visible.”
What is something you believe all European Countries and Cultures diverge in? - Politics - Religion - Values - Finances - Linguistics - Fashion - Habits - Accents - Table manners - Architecture - Style of Cooking & Ingredients - Alcoholic Preferences - Daily Schedules
“Yes, coming from Western European cultures and having met many Northern Europeans at university I can safely say the culture is different. I think it’s about one’s relationship to nature/ one’s environment.” What is something you believe all European Countries and Cultures have in common? “High westernization relative to the world, shared histories” “A sense of community, being open-minded, inclusive (most of them), not ignorant.”
page 32 | eurovisie | may
What do you think is a misconception of a “European Culture”? “That because we are all from the same continent, we are the same. Of course when you talk about culture you are generalising, because you cannot include every single person’s preferences into a general map of the traditions and festivities of a nation, but I believe that something beautiful about European countries is how
different they are from one another and how much there is to learn from other cultures.” “That EU values = European Culture” “It’s all the same...” “That it’s extremely Westernized (ideals, values, democratic, liberal) and uniform, while it’s actually quite diverse.” “I think that especially with the rise of the EU, people think that with the term ‘European Culture’ comes from a perceived unification of all cultures present in Europe. Personally, in my opinion European Culture is the term encompassing all of those differences between smaller parts of Europe.” “That it exists as a whole.”
Culture, Food and Memories Easter around the dining table Roos van der Laan Tomás from Portugal: s a predominantly Catholic A country, Portugal’s Easter rituals still carry a strong religious
importance. In a COVID-19 free world, many devoted families host the Compasso, a small procession group that carries the crucified Christ for the faithful to kiss, while blessing the entered houses. Following the Compasso, families attend the Easter Mass, before going back home to start the Easter feast. The main course is usually roasted lamb with roast potatoes, accompanied by rice, and often some other vegetables. An interesting detail is that all the food is roasted – even the rice, after it is cooked! – in typical clay platters. However, some families often opt not to have roasted lamb, and instead have roasted veal, or even some other dish. The dessert is always at the discretion of the host and of the particular region of the country, but one thing cannot be missing: the pão-de-ló. The pão-de-ló is essentially made out of butter and eggs, and it can be dry or moist (with eggs). The clay platters always take me back to my beloved childhood memories at my grandma’s kitchen, waiting for the family to arrive. The roasted lamb with potatoes à la Nana Fernanda, is extremely popular among the fa-
mily, and everyone wants to fight for the best bits. I am not a dessert-person, frankly I prefer a caldo-verde before the lamb, but I cannot say no to some pão-de-ló! Martyna from Poland/Norway: Hi! So, I come from Norway however, I have a Polish family and therefore we have the pleasure to celebrate a bit of everything when it comes to Easter. The Polish traditions, which have stayed with us during our time in Norway, have been the yearly Easter traditions of making Easter eggs, Easter baskets, as well as my personal favourite; Śmigus-dyngus or Dyngus Day where you get to splash your family and friends with water. My favourite way of making Easter eggs is boiling the eggs in onion skins until the eggs turn to a dark brown colour, to which you can then scrape and carve your own personal intricate designs on them with a needle. Another tradition which I find lovely is the creation of the Easter basket. You create the Easter basket with bread, eggs, ham, salt, horseradish, a lamb-shaped cake and also chocolate. On Holy Saturday, you then take the basket to Church where the Priest blesses the basket with Holy Water. The best part is when you get to enjoy the blessed food for the Easter Breakfast!
In Norway, Easter is slightly less concerned with the Pagan and Christian traditions, nevertheless Norway has a rather modern and cosy take on Easter. There is a longstanding tradition of Påskekrim, which translates to “Easter Crime” and can be visualized as the whole nation coming together within their separate vicinities to read crime stories in the Easter sun. Arguably, the Easter sun is best enjoyed outside in the snow, and most people enjoy cross-country skiing, going to their cabins, normal skiing or tanning outside in the snow during the Easter holidays. Last but by no means least, having a chocolate cream egg in one hand, a sausage in Lompe within the other hand whilst listening to crime podcasts and happily riding upon your skis, well, that’s the perfect Norwegian Påske (Easter).
The Celebration Whereby European Nations are United within their Diversity How do Catholic, Protest and Orthodox Christians celebrate Easter? Teodora Ivanova
is one of the most exETheaster citing European celebrations. day is impatiently awaited
and celebrated throughout the whole continent by Catholic, Protestant and Orthodox Christians alike. Nonetheless, due to the ongoing 21st-century globalization movement, non-Catholics are also taken-in by the Easter magic, with them joining the festivities by buying chocolate eggs, sweet bread and participating in a variety of Easter games. Easter revolves around a vast number of cultural, culinary and amusing traditions. Nonetheless, at its core, Easter is a religious celebration. Therefore, this article provides a quick overview of the differences and similarities between Catholic, Protestant and Orthodox approaches to (religiously) commemorating and celebrating this important Christian holiday. There are two Easters? Overall, Easter is the day of Jesus Christ’s resurrection. With this in mind, you may wonder why the dates of the Catholic and Pro-
testant Easter(s) coincide, while the Orthodox one does not. The reason behind this is calendar-related. Catholics and Protestants engage with the celebration according to the Gregorian Calendar, while the Orthodox community bases it on the Julian Calendar. The Catholic Church At the end of the Holy Week, the Catholic Church celebrates Jesus Christ’s resurrection with services at midnight and during Easter day. The midnight Mass — referred to as the Easter Vigil — is usually well-attended and longer-lasting because it includes other religious procedures like baptisms. Nonetheless, its general duration varies and it begins on Saturday evening or on Sunday midnight, according to the Catholic religion. Adding to that, some Catholics begin their Easter Sunday with a mass in the morning. For the rest of the festive day, most Catholics spend their time preparing for the Easter lunch they share with their loved ones.
The Protestant Church A unique characteristic of the Protestant Church mode of celebration is the sunrise service on Easter Sunday. Protestants gather in the early hours of the day, with the services being usually located outside, in churchyards, gardens or even parks. The duration of the service is organized around the sunrise, with the manner of worship being marked by special songs and prayers. The Orthodox Church From Saturday evening to Sunday midnight, Orthodox families celebrate within the confines of the church. In terms of events, there is a Mass and after the service at midnight, the clergy announces the resurrection of Jesus Christ three times with the words: Christ is Risen. The church-goers respond with Truly, He is Risen. After the Mass everyone lights a candle, and with their burning candle the people go around the church three times. The candle should then be taken home.
United in diversity Although the religious traditions connected to Easter vary around the continent of Europe, notably with differences being attributed to the branch of Christianity and even the region where a certain branch is worshipped. Despite this, for all Christians around Europe, and the world, it is the day in which God proves that leading a humble, honest and charitable life will be rewarded. Above all, in the 21st century, this celebration is not only about religion. Easter is also about people having a reason to come together, to forget about their everyday struggles, to share sacred moments with their loved ones, and to feel as if they are part of a special community.
eurovisie | may | page 35
Why Solidarity Is an Essential Component of European Culture Barbara Polin From the seeds of economic cooperation... n 1957, the early days of the European Economic Community (EEC), the very concept of European solidarity seemed to be a mirage. Memories of the Second World War were still vivid, part of the continent was behind the Iron Curtain and the United States seemed to be the only reliable partner. Yet, the successful institution of the EEC proved that not only European countries could resist declaring war on each other, but also that they were able to cooperate on the same matters that once divided them.
I
...To the flourishing of a principled political association As the European Union (EU) was instituted in 1993, it provided a fertile ground where the seeds of economic cooperation could bloom into political association. With its background as a peace project, the newly formed EU chose to be consistent with a
principled approach both in internal and foreign policy. For example, the Member States agreed that third countries should comply with the EU’s standards and values in terms of democratic and legal institutions, economic model and overall political capacities. In this way, the new and old Member States shared a common political framework, as a result this mitigated existing differences and it enabled a deepening in terms of cooperation. ...Then, the pandemic dearth Upon the outset of the pandemic, European cooperation seemed to have abruptly returned to zero. In March of 2020, while military trucks transported coffins out of the Italian city of Bergamo, the Capitals scrambled to block exports of medical equipment, disrupted the Schengen mobility and created an impenetrable cordon sanitaire around Italy. Suddenly, the existence of a Union seemed to no longer belong to the Euro-
pean culture: as unity and culture appeared to be dissolving within the illusions of a temporary epidemic. A new season of cooperation A few months after the trucks left Bergamo, European cooperation rose from the ashes. In July, the European Council agreed to a sizable EU recovery plan, the NextGeneration EU, which is valued around 750 billion euros. This decision was crucial for continued EU solidarity: it is true that the pandemic hit globally, but some EU states were more vulnerable to its social and economic impacts, such as the larger Mediterranean countries. Without the NextGeneration, the EU would encounter fragility and risked credibility, especially when tackling new challenges. So, with the approval of the fund, European, the EU prioritizes and encourages solidarity through collective effort.
The blossoming of EU solidarity Another prominent example of EU solidarity was the donation of COVID vaccines to the Member States that necessitated more assistance. In late March 2021, nineteen Member States agreed to donate part of their vaccine supplies to five countries whose reserves were running low. To be clear, this was not a unanimous decision: three Capitals tenaciously resisted the prospect of sharing vaccines. However, these internal differences must not undercut the eventual success of the EU to achieve the donations of vaccines between its Member States. As a result, this underlines notions of solidarity and cooperation that are unlikely to occur upon a global scale. A fragile and precious flower Solidarity is vital to the EU and the key to its future. Yet, it is not spontaneous: solidarity requires diplomatic effort, a charismatic political spin and an external shock as powerful as it can be. In fact, once it is enacted, its implications can pull societies together and its meaning may overcome political divides. Indeed, it will be an essential source of energy keeping the EU afloat.
eurovisie | may | page 37
urov “Europe will not be made all at once, or according to a single plan. It will be built through concrete achievements which first create a de facto solidarity.” Robert Schuman
Paris, May 9 1950
WANT TO WRITE FOR EUROVISIE? SEND YOUR ARTICLE TO EUROVISIE@SES-UVA.NL
eurovisiemag.com
(c) studievereniging europese studies 2021
