"Cultural diversity"?

I have need to react on two points published here around term “cultural diversity”, one in contribution of Ingrid Commandeur in “Globalization of the Art System” (although I realize it is meant as a provocation) on the "the whole idea of a spontaneous cultural diversity" and the other, there is a poll set at the n.e.w.s. web site asking visitors and contributors to vote for: How should we try to define “cultural diversity”?: 1) each contributor should write a definition, 2) visitors to the site can be given access to the “book on cultural diversity” to add their definition. Before writing any definition in more/less participatory frame, discussion around meaning of the very term needs to be initiated and carried out. This goes in direction that Renée Ridgway and me once shortly discussed over email.

The concept of “cultural diversity” should be approached carefully. It has appeared on stage, hand in hand with terms such are multiculturalism and anti-discrimination, as a legislation - an official discourse of respect for cultural difference and diversity, which ceded the economic ground entirely. It is a concept that has been easy to deliver as policy and it suits actual political trends quite well. The paradox is that policies both establish and support development in this direction but, at the same time, lead to further ghettoisation of diversified cultures. Further, this construct often appears as a direct consequence of the government's social inclusion agenda and where is inclusion mentioned, the next one will relate to the process of “integration” and that becomes very tricky field... Žižek sees multiculturalism as a disavowed, inverted, self-referential form of racism which empties itself of all positive content. According to Manuela Bojadžijev, appeal for “integration” is nothing more then service which represents a mixture of incentives and coercions to deal with the constant recomposition of migration within and to Europe. The diffusion of this new “neoliberal Newspeak” (and not to forget some older vocabularies: ‘flexibility’, ‘minority’, ‘ethnicity’, ‘identity’, etc.) - “from which the terms ‘capitalism’, ‘class’, ‘exploitation’, ‘domination’, and 'inequality’ are conspicuous by their absence, having been peremptorily dismissed under the pretext that they are obsolete and non-pertinent”, according to Bourdieu and Wacquant, while they are speaking of a “cultural imperialism”, in order to justify “the deliberate dismantling of the social State and the correlative hypertrophy of the penal State, the crushing of trade unions and the dictatorship of the ‘shareholder-value’ conception of the firm, and their socio-logical effects: the generalization of precarious wage labor and social insecurity, turned into the privileged engine of economic activity.”

“Cultural diversity” has also become one of the major issues concerning arts funding in the public sector. Such concerns have a background in the 1970s, and some think that the current development of policies and initiatives related to “cultural diversity” have their place in an agenda of process of social inclusion. Significant sums of money are asigned and spent in terms of “cultural diversity”. In that sense, it becomes more of an obstacle than supporter of arts and social development.

Can we turn over the perspective and try to define what could possibly “cultural diversity” represent to us? Is it possible to take over and appropriate it? Where emancipatory moment in this comprehension of “cultural diversity” could be seen and what kind of emancipation it could be?

Comments

emancipation of 'cultural diversity'

Dear Branka Curcic,

I couldn't agree with you more on this point. Especially concerning the following:

' “Cultural diversity” has also become one of the major issues concerning arts funding in the public sector. Such concerns have a background in the 1970s, and some think that the current development of policies and initiatives related to “cultural diversity” have their place in an agenda of process of social inclusion. Significant sums of money are asigned and spent in terms of “cultural diversity”. In that sense, it becomes more of an obstacle than supporter of arts and social development.'

In the Netherlands trying to find a balanced interpretation of terminology like 'multiculturalism' and 'cultural diversity' is still a hot topic within the art world. Our contribution to the last Venice biennial, a project by the Dutch artist Aernout Mik consisted - next to this presentation - of a series of public lectures and talks and a lengthy critical reader compiled by amongst others curator Maria Hlavajova (director of BAK, basis voor actuele kunst), called 'Citizens and Subjects: The Netherlands, for example'.
See: http://www.bak-utrecht.nl/?&click[id_projekt]=44

Apart from that, the Mondriaan Foundation invented a special subsidy/prize for museums so that they could compete with each other to deliver the most interesting exhibition concept on the subject of 'cultural diversity' (to use the term as they formulated it). It resulted in a big project/exhibition organized by the Van Abbemuseum called 'Be(com)ing Dutch'. See for more information: http://www.vanabbemuseum.nl/engels/tentoonstellingen/becoming-dutch_e.htm. Although the highly politicized exhibition was critically received up until so far, i must say that this project resulted in an immense public reading program with scholars from all over the world, and in that sense the subsidy fulled up an interesting intellectual debate and exchange of information about the subject in the Netherlands.

Metropolis M, the magazine i'm editor of, also published an issue on the subject, called 'Us'. (see http://www.metropolism.com/magazine/2007-no4/english. We published a column written by a young philosopher that i would like to contribute here, to start thinking of the emancipation of the term 'cultural diversity'

'Loyal Interests' by Tina Rahimy (Metropolis M, no.4 2007, Us)

With the rise of the ‘Pim Fortuyn movement’ in Dutch politics and following the attack on the Twin Towers, the relationship between the individual citizen and politics has been put explicitly on the Dutch agenda. This tension has, however, not led to emancipating discussions among the public about economic and social conditions, but has primarily crystallized in specific themes, including migration, refugees and the cultural and religious differences between the Muslim community and the rest of the Netherlands. An atmosphere evolved in which the murder of Theo van Gogh became an incentive for questioning the entire Muslim community. A few years before that, when Pim Fortuyn was killed, that in no way had led to doubting the loyalty of large groups of indigenous Dutch. The suspicion of disloyalty seems to have further expanded into the simplistic concept of the Other, so that such diverse groups as Antilleans and refugees who escaped Islamic regimes because of their own religious secularism are also under suspicion. Due to criticism of dual citizenships in the Turkish and Moroccan communities, the campaign against Muslims has, for example, also led to criticism of atheist Iranian refugees who, entirely against their will, are likewise blessed with dual nationalities.

While the fear of terrorism and radicalization raises real questions, the demonizing of an entire community by some Dutch citizens has led to concern about associations with the Second World War. According to Nazi doctrine, the Jewish community, identifiable by both race and religion, posed a threat to Western society. It formed a danger to the future, a danger that had to be resisted. An analysis of Hannah Arendt’s The Origins of Totalitarianism (1951) can cast some light on the real fear that this history could, in one way or another, repeat itself. I refer here primarily to Arendt’s account of the ‘objective enemy’, which she distinguishes from the suspect. Guilt is attributed to a suspect on the basis of evidence and a confession. In extreme cases, the accuser forces a confession not based on truth. In any case, legally and morally, a confession of guilt is required. The ‘objective enemy’ is potentially present as a harbinger of future catastrophe. This enemy is not so much guilty as dangerous, in the sense that a carrier of a contagious disease is dangerous. In public space, these suspected carriers, regardless of their behaviour, are avoided or systematically subjected to control: it is up to them to prove that they are not contagious. In time, this aggression becomes socially habituated. Society is then convinced of its own assessments. Nothing whatsoever that is intended to eliminate the ‘objective enemy’ meets with any criticism.

In Arendt’s time, these enemies were Jews, homosexuals, communists and Gypsies. Now, it is apparently ‘the Muslim’ who is the objective enemy. Purely through his supposed external characteristics, he is a danger to society. The criticism is not exclusively directed to those who misbehave and also happen to be Muslim, but to the faith itself. Hate, terrorism and the repression of women are not attributed to individuals in circumstances with variable characteristics and widely divergent histories, but to the religion as such, with the result that the right to freedom of expression implies a double moral standard. Statements made by Theo van Gogh and Pim Fortuyn did fall under freedom of expression and did not incite extreme and violent behaviour. Some statements by imams, however, apparently do.

This inherently contradictory morality is justified with such terms as disloyalty and disrespect (for Dutch society and democratic values and norms). How is someone to be respected if they are not completely loyal? This question presumes a given perception of loyalty. Is loyalty unconditional? Are there then no more critical questions to be asked, as is the case for military personnel, who must blindly follow orders, or for obedient subjects? Here, there is no question of reciprocity, just mindless allegiance. This form of loyalty is exclusive. It shuts out other forms of loyalty. Or does allegiance to loyalty implicitly mean trust, of the kind that is present between two friends? Here, by definition, loyalty cannot be forced on demand. It is achieved by mutual respect, and always at varying levels. Do immigrants, the children of immigrants and refugees suffer from their double loyalties, or do they enjoy them? Loyalties are not bound to passports. They are supported by given bodies of thought. Consequently, one can be loyal to a specific background, with its tradition of hospitality, and also fight for freedom of expression, doing everything possible to uphold antidiscrimination laws. These loyalties are not contradictory. They bear witness to a multiplicity of trust.

Only exclusive thinking claims that different loyalties – by definition – must pose obstacles to one another. History shows us that almost every body of thought runs the risk of becoming literally exclusive. Indeed, any group that, because of an absolute conviction of being utterly right, no longer tolerates any other political or religious truths, is not only fundamentalist, but also leans toward militant extremism, of the kind, for example, demonstrated by Guantánamo Bay or the car bombings in Baghdad. To justify this exclusivity, an image of an enemy is required in order to have an object onto which to graft an illusory, immovable we, an identity of one's own. The objective enemy is of vital importance for this sense of we. It is created by construing fixed identities, which as a rule are based on ethnicity, religious conviction, sex and political or sexual preference.

This, however, does not mean that the minorities referred to do not have a ‘we’ feeling of their own. Every individual experiences the concept of we, based on different foundations and arrived at by way of different stories or histories. For many articulate third-generation newcomers, this sense of community generally seems to be a mix of right-minded autonomy and unconditional loyalty, even towards those inclined to condemn them. Perhaps this is more a question of integrity than of loyalty. There is a lack of understanding in reactions that literally exclude a community that shares the same roots. Active and involved, these young people engage in debate after debate in order to vent their communal disappointment and to shore up and reinforce that self-evident loyalty.

Another, more ‘fleeting’ loyalty is one I recognize in the work of the Rotterdam artist, Jorge Kata Núñez. The proposal sketch he submitted for a mural painting, made on the invitation of the Centrum Beeldende Kunst in Rotterdam, shows a trotting trotamundo, a world-travelling horse whose markings are a map of the globe. Time after time, this ever-in-motion creature escapes being closed in to join up with yet another ‘we’ that opens its arms to him. In response to a society at odds with itself, one individual demands reciprocity that has been lost as a basic right, while the other abandons that dubious space the moment that the reciprocity of loyalty no longer exists. The Iraqi writer, Al Galidi, lost his loyalty to the Netherlands when he was forced to choose between his dying father and a residence permit. In order not to forfeit his right to the permit, he needed permission to leave the Netherlands to visit his dying father in Jordan, one last time. Repeated visits to the Dutch Immigration and Naturalization Service (IND) proved fruitless. In the end, Al Galidi put his rights at risk by seeking a false passport. Alas, the damage was already done. His father died in a strange country without seeing his son. Now, following a general pardon, Al Galidi has his residence permit, but for him, it is nothing more than a ‘massage for a dead body’.

This description of the ‘we’ feeling certainly highlights the problem of the multicultural society. How do we define it today? Is the multicultural society one in which ethnic and religious groups are isolated and distinguished, in order that one be able to force these groups to assimilate? That would mean that the different characteristics of that society must be sacrificed on behalf of a-one-and-the-same identity. In The Human Condition (1958), Arendt offers another political option. To her way of thinking, differences are not bound to fixed identities, but are unique to each individual. The plurality that every individual already happens to be is precisely that which must be preserved in the political arena. Arendt’s political concept rejects thinking in terms of identities and refers to the relationships and interrelationships that each individual has with others, and they are constantly shifting and reforming themselves. It is a demonstration of interest, of being literally in between. This is no longer a multiculturalism in which monolithic cultures end up standing eye to eye, facing one another off, but an intercultural space of relational plurality. This different intercultural focus shifts the perspective of groups with specific identities towards networks that can move through those identities. If there are then still autonomous individuals in this network, they are junctions, points of intersection.

How, in the light of this analysis, should we respond to commentary in which homosexuals, women, Muslims and other minorities are rejected and excluded? Are such remarks justified by freedom of expression, or do they more resemble the behaviour of the biggest brat in school, who bullies the smaller children? Does not freedom in fact signify the furtherance of spontaneous interest, a kind of interculturalism? When critical thinking turns into humiliation instead of providing encouragement to the awakening of interest that must precede judgment, then freedom is far beyond the horizon. Political space, as Arendt argues, is the open space of respect, in which one does not condemn on grounds of racial and religious characteristics, but where sincere discussion can genuinely take place.

Reconstructing and Constituting

I found your both comments interesting and I think there is something in common in both of them: you presented a look at this problem/paradox mostly from the perspective of artists who are belonging to this so called "minority culture" in certain cultures and European states. Examples that I gave before are referring to connection of "cultural diversity" to official governments' and supranational bodies' policies, also trying to take a grasp of the background of the problem (laying in the economic neoliberal agenda predominantly) - therefore, these are examples of approaching and constructing the problem "from above"... This is what I find in common to both your comments: that perspective needs to be changed and the whole issue should be discussed "from bellow". I would just add that paralelly with building our understanding of the issue, we should also give our best to try to comprehend this paradox entirely.

In order to contribute further to discussion and understanding of the paradox, I'm posting a link to one interesting text by already mentioned Manuela Bojadžijev entitled - Does Contemporary Capitalism Need Racism?, which gives larger picture to the problem. In this essay, Bojadžijeva tries to put some light to today's relationship of capitalism and racism associating it with today's migrations and labour force mobility, commenting also different agenda of multiculturalism, integration and diversity. But, what is interesting is that she appeals for creation of relational theory of racism: "A relational understanding of racism takes as its base the struggles against racism, and not the subjects that have been constructed by racism. It is for this reason that I prefer to talk about struggles of migrants, as well as struggles of migration. A historiography of those struggles has to take the form of subjectivisation into account – namely in a twofold sense: first, in the sense of the reconstruction of the persistence of migrants, constituting themselves as subjects in social conflicts. Second, a historiography of migrant struggles must take into account the history of their racist oppression. To be a migrant is to exist exclusively under circumstances that define one as a migrant. While they exist as such, that is as migrants, their struggles remain. Only by understanding this connection we will be able to learn from the powerful effects that emanate from the history of struggles of migration. (...) A relational theory of racism aims at providing evidence that it is the struggles that force racism to reorganise itself. To be clear, what I am suggesting here is nothing less than a reorientation in how we conduct our research into racism: that we must understand shifts in the organisation and development of racism by way of a focus on the perspective of resistance and struggles of migration." (M. Bojadžijev)

Some practical comments...

It’s seems to me that you are looking to the terms of “cultural diversity” and “multiculturalism” from a very theoretical point of view. As for me, I am Russian by passport, but have 4 Slavic bloods (Polish, Ukrainian, Byelorussian and Russian), my partner is Korean and we have 2 kids with quite complex identity. It is usual story for my native city Almaty and for Kazakhstan – a former Republic of Soviet Union. Before the Soviet times it was a land of ancient Silk Road – the road of goods exchanging in between Asia and Europe. During the Soviet period it was a polygon for different experiments with nuclear weapons, space technology, agricultural revolution, turning of the rivers and so on. The most fantastic experiment was the Stalin’s idea of moving the people from their native places by force. Kazakhstan became an experimental platform of such force-mixing of nations, cultures, tragedies. Nobody told people, why they have to leave their houses within 24 hours. Soldiers just loaded trains with Chechens, Koreans, Georgians, Polish, Germans other nations and moved them into various places of Kazakhstan, without any means for survival. Right now there are 138 nationalities in Kazakhstan and they all together have created a multicultural community.

Kazakhstan was also a place of former Stalinist camps, where the most intelligent and creative people of Soviet Union, Germany, Japan, Poland were kept imprisoned from 30ies to 50ies. You can imagine the scope of tragedy, if you know that in Karlag camp’s club, it was possible to perform ballets just using prisoners as performers, for example “Bahchisaraisky Fountain”. Sterligof, Chizhevskiy and Ermolaeva were amongst prisoners in these camps. People with academic degrees worked as schoolteachers at Kazakhstani schools in the 50ies and 60ies. That’s why we have a strong cultural infrastructure as the heritage of the Soviet period. We have a few museums, which keep in stock along with Socart masterpieces paintings by Vanguard. That’s why we have an interesting Contemporary Art and our artists take part in Venice and Istanbul Biennial and have presented their art in many famous art spaces all over the world. But every artist has his/her own history of violence in the past and everybody asks: ”Who I am?” and “Where do I come from?” We feel ourselves as parts of ashes of the burnt Silk Road. As the famous literature hero Till Ulenshpigell we can say: “The ashes of Silk Road beat against our hearts”.

Actually it is not a unique situation in the global humanity and cultural history. The history develops through violence. Furthermore, I can say that up to this violent activity of Stalin we have more or less tolerant cultural climate now-days, in comparison with Afghanistan or Russia. It’s a paradox, but I think sometimes violent strategy brings humanistic fruits. I agree that sometimes “developed” societies try to “use” right terms for their own, not so right goals, but usually they have completely opposite result from this double standard games…

The Culture Game

I would like to recommend Olu Oguibe's "The Culture Game" as a text that has relevance to this thread, particularly on the paradox that Branka writes of. If I recall correctly, Oguibe refers to this as "Double Dutch", also the title of a series of work of Yinka Shonibare. The "policies both establish and support development in this direction (of multiculturalism) but, at the same time, lead to further ghettoisation of diversified cultures" (Branka) are described by Oguibe through the work and experience of one artist.

A link to the essay can be found at:
DOUBLE DUTCH" AND THE CULTURE GAME

a "book page" on "cultural diversity"

May I suggest that we start a "book page" on the topic of "cultural diversity" -- it's clearly a very contentious term, and this may be an occasion to attempt some collaborative writing. The software we're using for the n.e.w.s. website, Drupal, uses the category "book page" as the place for developing the equivalent of what is a "wiki".

We could consider a series of book entries -- culture, diversity, cultural diversity, multiculturalism, and the list goes on, and we can critically articulate each term.