Guardian: Hungary’s rabid right is taking the country to a political abyss

“Most Gypsies are not suitable for cohabitation. They are not suitable for being among people. Most are animals, and behave like animals. They shouldn’t be tolerated or understood, but stamped out. Animals should not exist. In no way.” Zsolt Bayer, Magyar Hirlap, 5 January 2013

Zsolt Bayer, one of the founders of Hungary’s ruling Fidesz party and personal friend of prime minister Viktor Orbán, has been saying this kind of thing in public for many years. How has it become acceptable to openly express such sentiments in a European country? Especially a country which played so prominent a role in the 1944-45 Holocaust?

Hate speech has been a defining aspect of the Hungarian right wing since well before the transition to multi-party democracy in 1989. The “democratic opposition” to the communist system always contained elements sympathetic to the authoritarian pre-war Horthy regime, a semi-constitutional autocracy with a welfarist dimension that became less democratic and more antisemitic as the 1930s progressed, despite (or because of) the admiral’s raging Anglophilia and enduring fascination with the English aristocracy. Despite appearances, the communist system did not displace such widely held prejudices; rather, it tended to work around them, offering a world of fixed markers, casual bribery and calculated submission. By the late 1980s, communism had bred a kind of sullen torpor among many, best described, perhaps, in Laszlo Krasznahorkai’s recently translated novel Satantango.

guardian.co.uk

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An appeal for contribution to keep galamus.hu alive

Dear Readers of Hungarian Spectrum:

I hope you will consider making a contribution, however modest, to ensure the survival of Galamus. Zsófia Miháncsik, the journalist and translator who founded the news and opinion site, has a sterling reputation as a woman of high principles. Her sharp-eyed political analyses are almost always on target. She refuses to make compromises with the powers-that-be and jealously guards Galamus’s independence.

I was privileged to be one of the founding members of the Galamus Group and therefore its fate is close to my heart. Unfortunately, after a while I had to stop being a regular contributor. Writing daily articles for Hungarian Spectrum simply took too much of my time.

I am sure that you are all familiar with the names of the regular and guest contributors and appreciate the quality of their writings. But, in addition, Galamus’s contribution to the cause of free media in Hungary is enormous in other key ways. Thanks to the linguistic talent of Júlia Horváth, a new addition to the unpaid staff, readers of Galamus have access to articles about Hungary that appeared in the German, French, English, and Russian press. This is especially important today when MTI, the national news agency, is under government control and rarely reports on foreign news about Hungary.

hungarian spectrum

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Arte TV: Ungarn – Demokratie oder Diktatur?

Im April 2010 gewann die nationalkonservative Partei Fidesz die Parlamentswahlen in Ungarn mit einer in Europa beispiellosen Zweidrittelmehrheit. Ministerpräsident Viktor Orbán begann, das Land radikal umzubauen. Wichtige Posten in Kultur, Verwaltung und öffentlich-rechtlichen Medien wurden mit Regierungsanhängern besetzt. Eine neue Verfassung und ein restriktives Mediengesetz gerieten europaweit in die Kritik. Ihre Machtkonzentration begleitet die Fidesz-Regierung mit nationalem Pathos. Die neue Verfassung beruft sich auf Gott, Krone und Vaterland. Das Ausland wurde zum Feindbild. Ministerpräsident Orbán wettert gegen ausländische Banken, internationale Großkonzerne und die Bürokraten der Europäischen Union, die versuchen würden, seine Politik von außen zu diktieren.
Diese nationalistische Rhetorik verändert die Stimmung in Ungarn. Besonders das Zusammenleben von ungarischen Roma und Ungarn in den Dörfern der Provinz ist spannungsgeladen. Davon profitiert die rechtsradikale Jobbik-Partei, stärkste Oppositionspartei im Parlament. Sie ist vor allem auf dem strukturschwachen Land stark – hier herrschen Armut und Resignation. Jeder dritte Ungar lebt unter dem Existenzminimum. Demokratie oder Diktatur?
Steht Ungarn am Scheideweg? Die Dokumentation zeigt die Gründe für die besorgniserregende politische Entwicklung in Budapest.

(Deutschland, 2012, 52mn) NDR

arte.tv

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MMA: Vissza a rajtvonalhoz?

Az alapörvénybe is belefoglalt művészeti akadémia felállásakor (2011-ben) teljesen figyelmen kívül hagyták a ­Széchenyi Irodalmi és Művészeti Akadémiát. S hogy mi lehet egy MMA-t „elmeszelő” alkotmánybírósági döntés eredménye? Ferencz Győző, a SZIMA ügyvezető elnöke nem gondolja, hogy szükség van még egy művészeti akadémiára, arra meg sem szükség, sem lehetőség, hogy a meglévő két akadémia egyesüljön.

nol.hu

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“BÁTORSÁGBÓL JELES” – 168 Óra

Interjú szilágyis tanárokkal; 2013. január 31.

FB

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MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT – International Declaration

State of Affairs

Digital technology has fundamentally changed the way art is made. Over the last forty years, Media Art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, Media Art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.

As a result of rapid changes in technology, many major works made even 10 years ago can no longer be shown or are disappearing without a trace. If this situation is not addressed, we face losing an art form that is a central part of our post-industrial digital culture. To date, systematic global preservation and documentation campaigns do not exist.

mediaarthistory.org

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Dutch Arts Scene Is Under Siege

AMSTERDAM — The Netherlands’ national theater museum here contains about half a million costumes, masks, annotated scripts, photographs, puppets, props and other objects that tell the story of more than 300 years of theater in the Dutch language.

Founded in 1924 and refreshed with regular acquisitions, the museum is the primary repository of the nation’s performing arts heritage, and until now has always been financed by the state.

But on Jan. 1, the Theatre Institute Netherlands, or TIN, which houses and maintains the collection, was one of the first victims of sweeping new cultural budget cuts initiated by the conservative-led Parliament in 2011 and finalized last year. The TIN’s federal financing plummeted from €4 million a year, about $5 million, to zero, forcing it to fire about 70 full- and part-time staff, halt operations and close the museum indefinitely.

 

nytimes.com

 

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