Hier seht ihr Bilder aus verschiedenen Ländern, durch die der Crowdlitbus gefahren ist. Die Tour ist zwar jetzt zu Ende, wer aber gerne noch weitere Informationen hätte, Interviews mit den teilnehmenden Autoren lesen, oder sich Bilder und Videos anschauen möchte, sollte die Seite: http://crowd-literature.eu/ besuchen. Hier erhaltet ihr auch weiterhin aktuelle Informationen zu CROWD.
Von Finnland bis Zypern
Europas Dichter auf Bustour
Eine Bustour von Finnland nach Zypern mit insgesamt 100 Autoren aus 37 Ländern. «Crowd Omnibus Reading Tour», so nennt sich das von der Lettrétage Berlin, dem Forum Stadtpark Graz, dem Nuoren Voiman Liitto Helsinki und dem Ideogramma Nikosia – vier Veranstalter für zeitgenössische Literatur – ins Leben gerufene Grossprojekt. “ […] In der Originalquelle weiterlesen!
Gemeinsame Sprache Literatur
Von Leonie Hoeffner
Die Themen Kultur, nationale Grenzen und welche Kulturen sich hinter diesen Grenzen verbergen ist in den letzten Monaten, ja sogar Jahren, nahezu omnipräsent. Einige Organisationen haben sich als Ziel gesetzt, den internationalen Austausch durch Literatur zu fördern und somit die Reichhaltigkeit europäischer Kulturen zu zelebrieren. Mithilfe von Gegenwartsliteratur wollen sie einen Diskurs über europäische Identität ankurbeln.
Wie lernt man einen fremden Menschen kennen? Indem er einem seine Geschichte erzählt. So scheint es nur logisch, andere Länder durch Geschichten kennenzulernen. Darüber, wie sie leben, wie sie schreiben und wie sie erzählen. Es sind die alltäglichen Erlebnisse, die uns zeigen, wie andere Menschen leben; die sowohl Unterschiede als auch Gemeinsamkeiten hervorheben können. Das Wissen über persönliche Geschichten, Erlebnisse und Erfahrungen bringt uns anderen Menschen näher. Und was ist eine Kultur anderes, als die Menschen, die darin leben!?
Ein Netzwerk, das sich dem europäischen Austausch durch Literatur verschrieben hat, ist CROWD […]
„Auf zu neuen Ufern!“ María Cecilia Barbetta reiste mit 100 SchriftstellerInnen aus 37 Ländern 12 Wochen durch Europa. Ein Reisebericht mit Kindheitserinnerungen, internationalem Literaturaustausch und viel frischer Seeluft.
Schnell Koffer packen und los: Auf zu neuen Ufern! Das sagte ich mir vor einiger Zeit, als ich eine Anfrage der Lettrétage, des jungen Literaturhauses in Berlin-Kreuzberg, per Mail bekam. Ob ich mir vorstellen könne – hieß es da in englischer Sprache –, Teil der CROWD zu werden, eines Projektes, das 12 Wochen andauere und bei dem mehr als 100 Schriftsteller aus 37 Ländern streckenweise beteiligt seien. Man sei in Gruppen zu acht unterwegs und werde nach sieben Tagen von den acht nächsten Bereitwilligen abgelöst. Die Autoren kämen zusammen, um sich auf Englisch auszutauschen, in den jeweiligen Muttersprachen Lesungen abzuhalten und einige der insgesamt 14 Etappen der Tour zu bereisen, in einem Bus – und das war für mich das Zauberwort –, der auf seinem Weg quer durch Europa etwas mehr als 50 Zwischenstopps einlege […]
Hier stellen wir in einem Repost die Partner unserer CROWD-Bustour vor.
mehr Infos zum Projekt gibt es hier:
Zur Zeit befindet sich unser Crowdlitbus in der Türkei. Dieser Abschnitt wird von Ideogramma organisiert.
Lisa Lettrétage sprach mit Nora Hadjisotiriou und Lily Michaelides von IDEOGRAMMA, dem zyprischen CROWD-Partner.
IDEOGRAMMA, the Cypriot CROWD-partner, is a non-profit cultural organisation dedicated to the promotion of all forms of culture. It is a platform for substantial cultural exchange between Cypriot and International culture. Cyprus is uniquely positioned on the crossroads of Europe, Asia and Africa and as a member of the European Union, situated on its south-eastern boundary, is offering a vehicle for increased interaction and intercultural dialogue between Europe, Mediterranean basin and the near East. IDEOGRAMMA believes that poetry as a verbal expression can transcended boundaries of language and other cultural and ethnic differences.
1.) IDEOGRAMMA emphasises and supports cultural exchange between Cypriot and International culture. How does literature enable or facilitate such cultural exchange?
Ideogramma believes that one’s language is an inherent part of one’s history, culture and past and the preservation of all languages is one of Ideogramma’s objectives. For this reason all writers and poets at Ideogramma’s events are encouraged to read in the original language and / or dialect that the text / poem is written in. The same is true of all the publications which are trilingual; the text in the original language and in translation in Greek and English.
While translations are projected on screens, during the various events / readings, the audience is however encouraged to hear / listened to the reading and absorb the musicality of the language, much like one appreciates music.
By getting the audience used to the strange and unfamiliar sounds of other languages, the language itself and subsequently the person and subsequently the nation of that language gradually becomes familiar, it is no longer strange or foreign or threatening. Familiarity with the sound of language is the first step towards communication between the various ethnicities, peoples, cultures, nations.
2.) Why is it especially important for Cyprus, a country with a unique location and unsettled history, to reinforce communication between cultures?
An Englishman once said ‘Cyprus is a beautiful woman that everybody wants to have as a mistress but nobody wants to marry’
We have had numerous conquerors over the 5,000 year history of the island, all of which have left their mark making the people of Cyprus a very unique nation indeed.
Despite the fact that we are a small nation and the number of Cyprus’ inhabitants is just under 1 million, the people are however, open minded to new experiences, inquisitive, tolerant and very hospitable. There are two main religions on the island Christianity and Islam that have for the most part lived very harmoniously with each other for long stretches of time. Judaism, another big religion is just round the corner in Israel.
Cyprus has learned that peace can only be achieved with respect and acceptance of the difference. Communication is paramount in achieving this.
3.) What role does hospitality play in cultural exchange? How can this be transferred to literature or literary activities?
Hospitality makes one respect and accept the difference in the other. Hospitality offers unique opportunities for creation, for transferring knowledge and experience further afield, creating a domino effect
4.) In October and November 2015 you organised the 2nd International Literary Festival in Nicosia. Apart from the CROWD project, what are your plans for 2016?
Ideogramma is working on two projects, the first one is short term and the other one longer term
2nd international festival for young poets @ the first step that will take place in November 2016, with poets not only from Cyprus but also from Italy, Wales / UK, Malta, Switzerland, Germany, Greece,
This festival is open to young poets aged between 15 and 30, who are encouraged to come and recite / read their very first poems.
At the festival established poets are also invited to participate in order to present to the younger ones the many different forms that poetry can take; written, performed etc
We also publish an anthology edition, which invariably is the first time that the young poets are published.
Publication of the anthology Cyprus ~ a Literary Destination. In 2011 and 2012, Ideogramma hosted in Cyprus writers from various countries, who were asked to write short texts (up to 10 pages long) and or a long poem / or a series of poems, inspired from their visit to the island. We are currently in the process of getting the texts translated into English and Greek.
5.) What do you find inspiring about Berlin’s literary scene?
The fact that it is the home of a wide variety of art forms, artists and writers, from all over the world; all interacting with each other, all absorbing from each other, but without the ‘push / need’ to melt into one homogenous pot. Each person keeps his / her individuality within the family of otherness.
Wir gratulieren den PreisträgerInnen des diesjährigen Ingeborg – Bachmann – Preises (30.6. bis 2.7.)!
Sharon Dodua Otoo gewinnt den Bachmannpreis, Dieter Zwicky den Kelag-Preis, Julia Wolf ist 3Sat-Preisträgerin und Stefanie Sargnagel gewinnt Publikumspreis.
Übrigens am 17.6. las Stefanie Sargnagel im Forum Stadtpark in Graz beim Syposium „text-world-world-text“ im Rahmen von der Crowd Omnibus Tour. Hier ein Interview vom 30.3.2016 mit der Publikumspreisträgerin:
Who are you as a poet/writer/author/artist?
I see myself as a humorist. Somewhere between poetry, comedy and cartoon. You could also call me a social media personality. A subculture It-Girl.
What kind of literary tradition, authors or concepts have you found inspirational for your work?
I enjoy realistic fiction, laconic storytelling, tragic comedy and very dark humour. I’d say that’s very Viennese in general. Everything that’s influenced me has these charasteristics, no matter if it’s music, friends, comics or literature.
Please name several contemporary authors who you think are most significant – in any possible sense – and why?
I’m not a big reader.
What do you think about the current state of the relationship between the author and the reader? Is there a mentionable shift in that relationship through new media in terms of being alienated on the one hand or being enlivend on the other hand?
All of my texts came about through social media. I wouldn’t write at all if it wasn’t for speaking to a direct audience. I feel kind of autonomic from the literacy scene, art world or journalists because of that.
There have always been interactions and disputes between the discourses of poetry and politics. Do you see possibilities of emancipatory strategies concerning contemporary interactions between poetic and political discourses and agendas? What can/should/do these literary strategies look like?
Mehr Informationen findet ihr hier:
(by Jule Schiefer)
The sixth week (out of 12) of the OMNIBUS tour has started! After resting in Prague (…), the bus will stop in Ústí nad Labem, Sulzbach-Rosenberg and Munich during the week. And as important, the crew of the OMNIBUS has again changed almost completely. Read what the authors told CROWD in a poetic diagram. And stay tuned for the next travel log.
You speak of my destiny like you own it
or have seen stones set,
like my path is yours to pervert.
You speak of my youth like it’s yours to gorge on,
like a sweetness that quenches only your thirst,
eases your pangs, without a delay of gratification.
You speak of my sexuality like it is yours to mould,
when really the malleability lies with me
and my lovers, the ones I chose at least.
Why do we call them lovers, when they pass on their spiritually infectious disease
with a carelessness as in denial as their toxicity
and a disregard just as damning?
With hindsight it is easy to spot the groomers.
With experience it is clear that I was a crutch for your addictions,
but there was never anything co about that dependency.
All prior sexual exploitation made your conquest easier.
All the lies they told made yours sound sweeter.
All this experience eventually made me free.
You romanticise your own remembrance,
your manipulation, perverse mind’s eye.
I venerate my vigilant vengeance.
Against your delusions, your pestilence,
sustain upkeep of stains, silence their bleeds;
You romanticise your own remembrance.
My youth and prime never your possessions.
I dug graves big enough for both of us;
I venerate my vigilant vengeance.
My being bereft, your pointless penance
aid not my destiny, model of strength;
You romanticise your own remembrance.
My ability to heal – transcendent
like your lust to master and violate;
I venerate my vigilant vengeance.
Your righteousness, no room for repentance.
Your heart as black as my ancestor’s lungs.
You romanticise your own remembrance-
I venerate my vigilant vengeance.
Literature as a European mother tongue: In our series “One is a CROWD”, we introduce you to authors from all over Europe who will be involved in the CROWD OMNIBUS Reading Tour, taking place from May to July 2016, featuring 100 authors who will be travelling through 15 European countries. We asked them questions about text production, reception and mediation. In case you were wondering what a literary activist from Wales looks like, meet Rufus Mufasa! (Photo © instagram.com/weldmeshut)
Do you see yourself as an author? Are you the originator and main authority of your text? And if not, who is, if anyone at all?
We are all authors, be it through music, dance, graffiti, free running, political activism, poetry, photography. We are the heroes of our own story. A rap is a story; a poem is a story, so our creativity makes us authors.
I am the originator of all my own text, but we should never ignore our sources of inspiration. My work is full of calypso, reggae and beat poetry. It would criminal to not give a shout out to Harry Belafonte and Dylan Thomas, for example. Candy Royalle’s “Brother” blew me away and inspired me to write a performance poetry piece in response. It would be disrespectful to not acknowledge my inspiration, so I titled it “Ode to Candy Royalle”. We can take things we like, it’s unavoidable, inspiration is everywhere, but we need to be respectful of people’s ideas, hard work, and this breads a great creative relationship with others, and creative minds needs other creative minds to grow.
I suppose you could also say that my daughter is an originator. She inspires so much of my work just by being her, and her view of the world that she shares with me daily is the best education and truly fills me with so much hope. I also suppose that my daughter is an authority on/of my text, as my moral obligation/duty of care to content and cause is paramount in my role to give her guidance and best practice. I care about what she thinks and promote messages of hope, heritage and empowerment, that I hope will make the world a safer place for her long term. I wish this for all our children.
Reading is writing is reading is writing … – why, and if, how?
Reading is like gym training for writers. I also ask the writers that I admire what books they are reading. A writer should not only write every day, but also read every day. To be good at anything, sport, music, art, dance, you must read, eat books for breakfast. The greatest people are great readers. To become great at poetry you must read great poetry.
I was trying to find some information on a type of long grass that my Uncle John taught me to braid with, to include in a poem I was writing. I stumbled across a book called “Braiding Sweetgrass”, by Robin Wall Kimmerer, and it was totally meant to be. The author, of Native American decent, both poet and scientist, gave me so many beautiful blessing through her work. It was a time when I’d just become a new mother, and this whole new appreciation for trees, the land and sustainability, evolved to something next level. Kimmerer explains that when we become mothers, we also become dutiful daughters to the Earth. The book, demonstrating such fine lines between science and spirituality, shows us a loving earth that can support us in abundance, if we could only stop abusing it. The values and lessons from the book transpired in my poetry, music, attitude, relationship with my daughter and my journey through motherhood.
What is your favorite literary spot?
The Wells Hotel, Cardiff, is one of my favourite literary spots. The residents, a dedicated community of artists, run the venue, with a “safe space” policy, showcasing some the best acts from around the world. The Wells always allows you to engage on a donations based set up, but always offers free food (The Wells is home to Food Not Bombs) and you will always leave there with a full heart, a full belly and anything else you need can be found in their free shop. Yes a free shop!! Full of clothes, accessories, literature, resources… their ethos truly is spectacular. The venue nurtures local talent and offers us global artists, and allows diverse networking for world changing causes. The venue showcases art, poetry, music, debate, film… if you are a good cause, have good values, want to promote change, then you are very welcome.
Am 2.Mai fand die Eröffnungszeremonie in Helsinki statt, bei welcher auch die Lettrétage vertreten war.
Jule Schiefer berichtete auf dem CROWD-Blog über „The opening of Omnibus“:
„At the Koko Teatteri 14 authors assembled to give readings and to start off a tour of 12 weeks across Europe which involves over 100 authors from 37 countries. This is the introduction to our journey.
A common Tuesday morning which calls for the most homely duties. Shaving my legs (melon scent and pink razors) while drinking the German filter coffee made from beans roasted in Berlin with an Italian roasting which I kinda love recently. Ah, I am food-porning myself right now, I think. I take a picture. Nothing so intimate as taking a picture and not posting it on Instagram. This is when one comes closer to turning into a screen for public discourse. I am here as a perfect replica of the world outside the bathroom. Thinking about stuff everyone thinks about, people at work, food, melon scent coming from the shaving cream. It reeks of commonness, this Tuesday morning. If anything, I am an ordinary woman in an urban city area. Standardly being an outsider. This is all. This is everything. Everything.
At one point or another I go into wizard mode in real life. Lately – and this again always happens to me in spring – I have a strong longing to go to a foreign country. I literally feel the scent of that country; I see the different architecture around me in a reversible figure of the very environment which is before my eyes. I just have to tilt the picture a little bit. Just lift the lid a little bit and the steam comes out.
I walk the street and meet a friend before going to work. We talk about refugees and how they have been treated recently in Germany comparing it to the UK and the US. We agree on the historical challenge Germany has to face now, a fairly homogenous country so far. I tell my friend of an educational clip I had seen a few months ago which was issued by the German state in the seventies. It was about an old German couple that have parts of their broken domestic installation fixed by foreigners, that is, Turkish people. Step by step with fixing a problem after the other in the household the Turkish migrants gain the old couple’s trust which in turn ends in the offer if the Turkish migrant wants to take a room in the house and subsequently a big party. Notably the Turkish migrant has no accent whatsoever and is a saint in front of god’s eyes. My friend was quietly listening to the story and then said: “Yes must be good to have a Turk in the household.” I was astonished. A small sentence so fully poisoned.
Let’s be blunt about it, we are undone by each other. Staying intact is not always possible. One also makes contaminated remarks now and then. But still, the personal is the political; that very fact demands political and aesthetic education. Foreign languages matter. They are a natural resource for a differentiated discourse. This is not my mother tongue. Yet, to show a horizon, a proper and at the same time unconventional use of language – that is one of the reasons literature is here for. This is what the written word is protective of, both sides of language. The horrible, the beautiful, the strange, the vexed – it is all included in language.
But in the eye of technological innovation, and modern forms of communication, traditional ways of disseminating literature may no longer be sufficient to transport a sensitive approach to language. The book or the mere text has become one of many kinds of media among others.
Yesterday was the opening for the bus tour OMNIBUS going from Finland via Turkey to Cyprus, crossing multicultural Europe in big sections with authors on board who might bring regional and national discourse and sensitivity for language to capitals and even more remote places. First take Helsinki, then take the rest of Europe.“ (http://crowd-literature.eu/europes-calling-opening-omnibus)
Nur noch zwei Wochen, dann ist Halt in Berlin!