the Cultural need for a disaster recovery plan. Few are as exposed to the economic crisis, such as the new coronavirus, suddenly put us in as the country's cultural community. The employees of the institutions will be able, in the short term, it is hoped that the retention of the salary, but the future is uncertain for them as well. For kulturlivets a freelancer, it is already a fact of life. Avbokningarna happened in an instant, and with them were cut to the hand-to-mouth economy that is branschaktörernas the public a reality. This is true in all genres, from the culture writers at museipedagoger, from the actors to the photographers. The hole appeared, and everyone fell down into it.
the Society's crisis awareness is increasing with each passing day, and no one is opposed to that of the big companies will get help in a crisis, or that the small business owner is offered a deferral of the tax. Compassion would seem, however, does not so far include the kulturlivets prekariat. Secondly, there is, I think, is a fallacy of kulturarbetarens a privileged position, but it is also a strange idea that the cultural creativity, but also it is not a real honest day's work. And, as a consequence, it, therefore, it is doubtful whether those who do not have a job, in the eyes of society should be provided with compensation if non-work is snatched away from them. Minister for culture and sports John o'leary (MP), presented a solution at a meeting of the kulturarbetarnas need to Klys, just the other day, but none of them were directly applicable to the cultural sector.
during The great depression, which, of course, got its name only in retrospect that it was on its way to its very bottom, and the unemployment rate had reached 25 percent, while Franklin d. Roosevelt was out of the model, which was later to become the ”New deal”. Through the creation of simple jobs in the public sector, they wanted to raise the moral and give dignity to the men who have gone on welfare and unable to provide for their families.
in the beginning there was no intention to include other artists. As an artist at this point in time, in history, was seen as a real profession, they had to begin with lost their job in the normal sense of the word. Until Harry Hopkins, the member of staff, as Roosevelt, is set to manage the project, is supposed to have said, ”Hell, they've got to eat just like other people.
is that the freelancer and the project, and the blue-collar, and should also be covered by the unemployment insurance and social security, are very important. But those people are not going to work with what they are best at.
it was up and running in a matter of weeks. The artists took up a position on the basis of need and a skill and a most artistic decoration, and murals for public buildings. However, the project developed quickly, and came to include the / oil painting, photography, design, craft, and education. The state's criteria was simple; the artists would not be taken away from us-party add-ons, but the installation was free. Between 1934 and 1943 and had a total project of over 10,000 artists. Mark Rothko, Walker Evans, Dorothea Lange, Diego Rivera, and Jackson Pollock were just a few of the artists who began their careers in the program. This implies that övertydliga: This was more than just a social action program.
When the recession was over, it was the stories behind. Some of them were strictly factual, the other, had a stunning originality. For many americans, it was a revelation to realize that the country's artists to begin with, there was an art scene that could compete with the european in quality, and the concern of the state. It came to dominate american cultural life in the 1900's.
However, the crisis that we see in the Swedish cultural sector at the moment is likely to be already the worst in the modern era. It is a time of economic crisis for the individual kulturarbetaren, but it could very well develop into a crisis, it is the culture's task; to depict, portray and contextualize our collective time.
the Irony is, of course, the issue of culture and cultural operators are needed more than ever at the moment. There is a lesson to be learned from the american producers.
Without a Walker Evans photograph, we would not be understood as a widespread social crisis, really looked like or felt like. Culture plays a very important role to play in this very strange and tumultuous period of time.
But the lesson to be learned is that it is possible to do something.
in order to Support them to american culture, going through the channels. The Swedish arts council manages the largest amounts. Authority to funnel money to the regions through the Kultursamverkansmodellen in which they are being drawn by local funds. They are going to in turn, forward to the libraries, the theatres, the museums, and other institutions, but also, by extension, to the non-profit sector, and the freedom of the perpetrators. The arts council will also support, among other things, kulturtidskrifterna, arrangers, and publishers, and record labels.
the Cash of the individual members goes through, the Swedish arts grants committee, Författarfonden, Kulturbryggan, the Swedish Academy, and a number of other smaller funds, boards and trusts. Both state-owned and self-contained. In almost all cases on the basis of the fine arts assessments by groups of experts, composed of professionals in the cultural field.
While the staff of the institutions within the scope of the existing protection system is the freedom of the cultural operators are often completely exposed to financial ruin.
the Proposal, which allows the freelancer and the project, and the blue-collar, and should also be covered by the unemployment insurance and social security, are very important. But those people are not going to work with what they are best at.
This can be done with existing resources from future years ' budgets, in some cases, or, better still, with the addition, or the promises of extra money from the finance and kulturdepartementen. The infrastructure is already there, the skills to evaluate the quality and importance of the projects as well. Besides, the benefit, and the stipendienämndernas experts are often in the same boat as the candidates themselves.
if you Want to use specific criteria of the calls for proposals, they would be – just like in the 30th century kulturunderstödsprogram be able to relate to in an artistic freedom to document, portray and depict Sweden during the period of time. At the time of writing, a large number of Swedish mutual funds on the way to put things under the heading of ”Culture of the time.”
the Crippled institutions, it can also be a part of this project. With the temporary changes to the rules, can the laid-off employees to be placed in the gathering, writing, and consulting work.
• the State contributions to the funds and to mutual funds.
• Fast call, and preparation.
• the Flexibility and possible changes to the rules.
• Changes in the mission, and the directions for use of the publicly-funded institutions.
and can be run by a decentralized and work from home. The artwork can be adjusted to suit the prevailing conditions. If this were a reality, it would not only save the kulturarbetarnas financial position, it would, above all, to be able to result in the fantastic in the arts, literature, theater and photography; cultural, which could make a real and lasting impact on people's lives. To contribute to the collective story of our country, in an exceptional period of time.
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