It's Germany's turn now

The Indo-German Festival, which was inaugurated on September 30 at New Delhi, is an unusual one in the sense that it will go on for the next six months in various cities of India. Unlike other festivals, which were held only in the major cities, this one is going to 28 centres - large and small.

Another important feature is that it will not only cover certain aspects of art which we usually associate with festivals, such as dance, theatre, cinema (the performative arts), but also give us a glimpse of almost all aspects of the cultural life of Germany such as painting, sculpture, the crafts and literature. Apart from this, there will be programmes connected with sport, education and media. But the most salient feature will be the exchange programmes initiated along with the festival events in music, film, fashion, science, literature, sport, education and various other spheres. Even after the festival is over, the spirit behind the venture is going to linger on.

I was in Munich in October and had the opportunity to meet Dr. Georg Lechner, the Commissioner and the architect of this festival.

Dr. Lechner is well known to Indians not only as the head of Max Mueller Bhavan, India, for several years, but also as an Indologist and Indophile. The programmes which have come to India have been carefully selected. Speaking to some of the participants it was clear that one criteria to be fulfilled is that the participants are sympathetic to India and the Indian way of life and that they have connections or wish to establish connections with all aspects of cultural life here.

In other words, the end result of the festival will be a fostering of better understanding between the two countries through cultural exchanges. In the organisers' words, "The general criteria governing the choice of the programmes is their overall quality and status in Germany as well as their relevance for India. Programmes likely to foster cultural exchange through workshops, discussion panels and encounters have been given priority over single events. Special attention has also been paid to the meeting points of social, cultural and economic concerns and to matters relating to youth. VASANTHI SANKARANARAYANAN spoke to Dr.Lechner: Excerts from the interview:

COULD you tell me something about the background and history of the Indo-German Festival? Why an Indo-German Festival?

GEORG LECHNER: The formal reason for the festival begins with an understanding that late Prime Minister Rajiv Gandhi had with then German Chancellor Helmut Kohl that festivals showcasing the best in culture would be held in both countries. In 1991-1992 India realised this; a festival was held in Germany and with the experience that India has in conducting festivals, it was very successful from all perspectives. However, Germany took a longer time to realise this dream because of budgetary constraints resulting from reunification. However, the new Government in Germany and the Foreign Minister, Mr. Joschka Fischer, in particular, decided that this festival could not be postponed any further. Last year, in March, an appeal was made to German Industry. German companies, especially those who have had long relationships and exposures to India, such as Siemens, Merck and Bosch responded and promised support and thus began the process of working out the details for this festival.

But, the reasons are not limited to honouring the formal agreement signed by the Heads of two countries. There is a distinct affinity between the two countries which can be explained thus. The very structure of our thought systems have been based on a radical search for Truth. Thoughts of German philosophers such as Kant, Hegel, Nietz sche, Schopenhauer, Heidigger have connections with reflections of Indian philosophers and the idea of Dharma which has deep roots in Hindu philosophy. There is also the attraction of the opposites, India loving chaos as having an order of its own and Germany loving order with no chaos at all.

What is the criteria adopted to select programmes?

Each programme that has been included has a history and background of its own. Take for example, the dance Uber Kreus (Crosswise) by celebrated choreographers Susanna Linke and Reinhild Hoffman. The two, who are from the well known Folkwang School, have been working independently and this is the first time that they are coming on the stage together, exploring and exchanging their dance experiences over the years. Even in Germany, this is an event which is watched with great interest.

Susanna Linke has had great connections with India and dancers like Chandralekha and Kumudini Lakhia; Reinhild Hoffman has never been to India. For her, this is the first time and a time of anticipation. For Susanna it is a time for renewal and reaffirmation. This is an item which I would call having inter- German as well as Indo-German resonances. The Bhavarian State Ballet has many items which are interesting to India; classical items such as "Swan Lake" and the more modern items such as "Who cares", "Artifact II", "Sarcasms". Their repertory consists of a gamut of dance languages which will appeal to various sections of India. Theatre Triebwork was chosen because it won many prizes in Germany and its programmes such as "Boltan the Lion" and "Henry V" for children have resonances of Indian themes such as Panchatantra. Theatre Klange, with its mediaval mystery play again has similarities. Bertold Brecht's "Arturo Ui" was chosen, because it is the final production of celebrated director Heine Muller and because of the popularity of Brecht in Indian theatre circles. I could go on and on. All I can say is that the programmes are chosen to show the connections with India and Germany's own identity especially in the field of contemporary art.

What has been the reception so far in India and in Germany?

Reports in the German Press have been favourable. Three most important newsprint sources such as FAZ, Tages Spiel and DPA (Deutsche Press Agency) have given extensive coverage. In India, I have had two press conferences in Delhi and Mumbai at the time of the opening of the festival. We have had reasonable publicity, though I felt that Times of India and Indian Express kept a low profile. It is the response of the afternoon papers in Mumbai and the Statesman in Calcutta which was quite extraordinary and encouraging. I am sure that as the festival progresses, there will be more public interest as well as publicity. I do not expect the festival to be like fireworks. The programmes will slowly generate enough light and that is the kind of progress one wants for a festival of this kind. I look forward to go on the exchange programmes with the renewed interest created.

What are the kind of exchange programmes planned?

There are about 10 programmes in the fields of fashion, cinema, literature, education, sports, information systems, young researchers, music, theatre and dance. These exchange programmes are the ongoing part of the festival. A festival of this proportion will be held only once in a decade. But, we are very particular that the interest generated should not be temporary; the spirit should carry on. As most of the exchange programmes are aimed at young people, we hope that there will be a meaningful understanding of both the cultures among the young.

What is the future of the festival? Or what do you expect as the outcome?

India and Germany have had a meaningful relationship for a long time. A recent Indian Council for Cultural Relations (ICCR) handbook on Germany points out that from the 17th Century onwards fine work was done by German missionaries, geographers and indologists in making India's rich cultural heritage known to the West. Economic contacts also go a long way back. Siemens opened an office in India in 1867, Krupp even earlier in 1860 and the first German bank in India started operations in 1896. Companies such as Bayer and Ferrostahl have been doing business in India for a century or more and trade missions have existed even longer. Over the past 50 years, Indo-German cooperation has intensified in all fields. There are many institutions in Germany involved in Indian studies such as Institute of Indian Studies in Munich., The South Asia Institute in Heidelburg, the Museum of Indian Art in Berlin, the German Indian Association, the bilateral chambers of Commerce, the Indo-German Advisory Group and exchange programmes run by the German Academy Exchange Service, the Alexander Humboldt Foundation, the German Research Foundation and the Goethe Institutes. The vitality of these institutes is due not only to the venerable traditions but to each country's persistent curiosity about the other.

The festival and exchange programmes intend to nourish this curiosity and help the people of both countries extend/expand the frontiers of their respective heimats. The awareness that mankind has a great deal to offer will sink in if we expand the frontiers of our cultural heimats. We would not feel so left alone if we seek different ways to find answers to our questions and develop a criteria for dialogue between India and Germany.

Are you planning an evaluation of the festival after it is over?

Certainly we are. There will be a three day conference at Mumbai much like the East-West encounter we had some years back. Artists from both countries will be attending this workshop and discussing the event as well as the future.

What is the approximate budget for this festival?

Approximately DM 5 Million.

Dr. Lechner was appreciative of the cooperation and support by the Indian partners in this effort, ICCR The Cultural Affairs Ministry and the Indian offices of the Max Mueller Bhavan. He also commented on the aptness of this festival being held in the year 2000, as it is the 100th anniversary of the death of Max Mueller whose services to India were invaluable and as it is the beginning of a new century with new hopes, new parameters and new value systems.

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