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German celebs fire at Pirates over copyright

Over 1,400 German celebrities and artists have signed an open letter protesting a new political culture that they believe sanctions the "theft of intellectual property" on the internet.

German celebs fire at Pirates over copyright
Photo: DPA

The letter, to be published in major weekend paper Die Zeit, is an indirect attack on several political parties who have responded to the rampant success of the Pirate Party by announcing initiatives to relax copyright law when it comes to the internet.

The letter had 100 initial signatories, including writers Charlotte Roche and Martin Walser, author and musician Sven Regener, and veteran actor Mario Adorf.

The letter describes copyright as an “historically won civil right” and the “material basis for individual intellectual creativity.” It also challenges the argument that the interests of copyright holders and so-called “hosts” – i.e. publishers, record companies and royalty collectors like GEMA – are automatically at odds.

This is a rejection of the view of some internet activists, that artists should bypass such companies and sell their work directly to consumers.

German artists have been campaigning against the political inroads made by the Pirate Party more vociferously recently.

A similar letter by 51 scriptwriters from Germany’s long-running cult detective show Tatort accused the “internet community” of attempting insert a culture of “everything for free” into German law.

Several artists also took out an advert in financial daily Handelsblatt in which they appeared under the slogan “My head belongs to me.”

Much of Germany’s creative community was also galvanised by a March radio interview by Regener, singer in the band Element of Crime, in which he ranted against the Pirate Party.

Christopher Lauer, spokesman for copyright issues in Berlin’s Pirate Party, responded to the artists on Twitter, “Regardless of how little we agree with the campaign in Die Zeit, we have to take it seriously. We need to reach out.”

But Leonhard Dobusch, blogger on netzpolitik.org was less understanding: “the attempt to suggest there is a unified front between copyright holders and hosts,” only proves that “that this unity is breaking down.”

The Local/DPA/bk

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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