SPEECH DELIVERED BY SOPHIE TORTLADZE at FESTIV-ALL CONFERENCE
Auditorium Di Museum e Real Bosco di Capodimonte, Naples. Italy
1st and 2nd of July 2022
Good Moring Ladies and Gentleman,
Glory to Ukraine! Glory to democratic, freedom-loving countries! Let me express our condemnation of the Russian violence and express solidarity with those who are suffering as a result of the incursion. This is how every Georgian begins its statement, announcement or appeal for 128 days already since the beginning of Russian –Ukrainian war. (Thank you)
Just a few years ago (2016-2020, 31 January) a civil society organization founded in the United Kingdom, to campaign for the 'Remain' option during the 2016 United Kingdom European Union membership referendum, described itself as “a progressive perspective" who came together to work "across party political lines to campaign for democracy, human rights and social justice”.
But it was clear soon that it received support from the Labor pressure group MOMENTUM and by the way, from the European Cultural Foundation. Even though I personally have no ideological, or hypothetical connection with them, and generally saying I am way too far from going deep into the matter, I must confess I was fascinated how perfectly they formulated what I have always aimed to say:
ANOTHER EUROPE
IS POSSIBLE
And for far reaching reforms to break the austerity economics and develop a new strategy for a new cooperation with assigned countries for EU membership in the process of becoming, this appeal I believe should grow into the discussion topic at any gathering or conference like this. As we, a group of countries from wider black sea region: Ukraine, Moldova, Georgia need to advocate each before our European Peers, as generally the festivals do, because the cooperation and exchange, and importantly our efforts to assist each other in the times of conflict is paramount for any festival seeking to determine its social role and benefit the locality in turn. This is a true power of festivals in the country.
But how sure we are that the festivals from the wider black sea region of South East Europe, a new group in becoming a part of the European festival family, can handle, practice, manage, program, rule or run their festivals in the same way like our European peers do today?
Yes, we are seeking to be a part of EU, Georgia submitted its application to accede to the EU following Ukraine and alongside Moldova. As it is known to many this historic decision to apply for EU membership has become practically realistic only after the Russian-Ukrainian War crisis, to protect us, protect our security and freedom. But what would have happened with us if this drastic war never happened?
Thirteen years already 20% of Georgia's internationally recognized territory is under Russian military occupation. Russia does not allow the EUMM monitors to enter South Ossetia and Abkhazia in violation of the Six Point Ceasefire Agreement after 2008 Russian-Georgian war. The populations of both have become more isolated and susceptible to Russian disinformation and propaganda. Regretfully no festival or any culture institution from Georgia is capable to reach them, to invite, to cooperate, to present their creative work at our festival or work on any kind of exchange. The only thing what we can do as Georgians is to fight in Ukraine against the Russian aggressor, so your solidarity is fundamental. As for advancing the causes of peace, reconciliation, democracy and human rights in Europe is fundamental for any festival, which is a truly authentic mode of human expression, the artistic and cultural respond to the conflict.
May I reserve the rights to ask: would we be able to pay the membership price to be the part of European Festival Association, ISPA International Society for the Performing Arts, Association of Performing Arts Professionals (APAP) (Washington), IETM and many others all together from our hardly fundraised budget incredibly treasured to import the best of European art to Georgia under the same budgetary terms (paying the same amount of production costs etc) as our leading European Colleague festivals do? Therefore creating a new system of Cultural grants are essential, while International concession yet remains crucial.
Would we be able to foster our national achievement to European festival platforms at every new edition or even now and then to be integrated, to be introduced, to share, exchange and finally prove that by philosophy we have, by the aesthetics we chose, by the topic we bring to dialogue, or by the talent and professionalism we deliver for your test, we indeed are a sufficed part of Europe? Therefore your attention and interest is vital! Because in times of struggle, supporting peoples’ collective creative output helps to generate hope and resilience. Yes, I totally agree with Libyan Artist, Tewa Barnosa, who believes that a war that is not documented artistically or culturally, will sort of be denied or forgotten by the world.
Yes, today UKRAINEAN FREE ORCHETSRA is taking part into the Edinburgh International Festival; CHORNOBYLDORF - “opera aperta” directed by Roman Grygoriv and Illia Razumeiko, which is dedicated to the culturological post-apocalypse to recreate a lost civilization is being shown in Vienna, Rotterdam, Venice and Bilbao; Ukrainian film on Donbas conflict, Maksym Nakonechnyi’s directorial debut "Butterfly Vision", is screened at Cannes Film Festival as one of several Ukrainian films this year; Fountain of Exhaustion - "Acqua Аlta" project for the 59th International Art Exhibition at La Biennale di Venezia, is the first and foremost attempt to address the present from within the Ukrainian context in order to retrace and reveal how a local concern eventually grows to echo the global conversation.
But no Georgian Art has been promoted or introduced anywhere.
Given the current political climate, we (GEORGIA) want to reflect on the role of art not only as a form of resistance but as a vivid documentation how do we define ourselves, how we perceive the world and how we are shaping our truly European identity. Please forgive my anxiety to remind you that a high reason to act rests aside for so many years. Since we were bombed and nearly extinguished in 1990-es and later in 2008 with the same or worse ferocity than horrors you’ve seen in Bucha.
SO WHY DO FESTIVALS EXIST?
And WHO KEEPS CULTURE ALIVE?
Let me remind you some examples:
EXAMPLE 1: EDINBURGH FESTIVAL
To the end of the World War II, the idea to initiate the Edinburgh International Festival occurred. Due to destructions and poverty left behind by war, Europe was needing a center that would join music, theatre, opera and ballet enthusiasts. Each year, over 400,000 people from across the world come to this, generating Scotland revenues of millions of pounds, and what is the most important is that they manage to achieve their overall goal - to join into the cultural context nations torn apart by the political hate.
EXAMPLE 2: GUERNICA
On 26 April 1937, the Nazi Germany’s aviation, Luftwaffe, attacked the Basque town of Guernica. According to the international opinion, it was a war crime, whereas there were no military targets, but only civilians. Guernica was a town with no air defence. Shortly after the bombing occurred, Pablo Picasso painted a monumental painting on this topic, which subsequently became famous. The picture reveals people’s suffering caused by violence and chaos during the attack. After its return to Spain, and the restoration of democracy, Guernica was exhibited in Prado.
EXAMPLE 3: ARMENIA CREATING A HOME
While a Russian brokered peace deal remains precarious, the status of Armenian and Azirian heritage sites on lands are of a growing concern… In the summer of 2018 the National Mall in Washington, D.C featured "ARMENIA: CREATING HOME" within Smithsonian FolkLife festival. Where people experienced living traditions, learned about Armenia and its cultural identity through tasting Armenian food and wine. Armenian cooks tought visitors to cook lavash in tonir, make cheese, and grill khorovats. Besides, people were able to engage with Armenian designers and artisans, learn and try their hand at weaving, embroidery and carving.
EXAMPLE 4: SHIRIN NESHAT
Her art Is both Political and Personal. Shirin Neshat’s work touches on topics like exile, political revolution and Iran’s past and future. She left her native Iran as a teenager in the 1970s, before the revolution and ended up studying at the University of California, Berkeley. She became one of the most distinct practitioners in the media of photography, exploring cultural taboos through video and film. Her first series of photographs, Woman of Allah, 1993–97, combines images of women with written words taken from religious texts. In 1999, she won the 48th Venice Biennial prize for her film Turbulent, which contrasts a man singing in front of an all-male audience, with a woman singing to an empty concert hall.
In conclusion, We need to unite as a family festival and set the integration as our mission. Here I stand as an example of Napoli International and Georgian International Festivals association. We plan to work on a greater exchange next year and in 2023 present our festival focuses at Georgian International Festival and Napoli International in consequence due. We hope that this will take us into a fascinating future, as a cooperation and exchange of contemporary writing, new dramaturgy, contemporary music, dance, theatre is an undisputable investment which guarantees peace on our continent and of the execution of its human constitution.
Some facts about Georgia:
Georgia is bounded to the west by the black sea, at the crossroads of Westerns Asia and Europe. It covers 69,700 square kilometres and has a population of 3.7 million excluding the occupied territories.
Georgia’ territory consists 11% of Ukraine
Georgian population 8% of Ukrainian Total
With 15% active personnel of Defense Forces
Active personnel 37, 00 Defense Forces of Georgia 15%
Active personnel 245 000 Armed Forces of Ukraine
The EU should grant candidate status to Ukraine and Moldova, bringing them a step closer to bloc membership, while Georgia still has some homework to do, the European Commission said on Friday