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Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts

Sunday, 30 September 2012

Michael Schumacher and the (Male) German Psyche



The news spread like a brushfire through the German media on Friday morning: Mercedes had fired their legendary Formula One driver, Michael Schumacher. Well, to be completely accurate, the reports were that they would not be renewing his contract beyond the end of this season, which amounts to more or less the same thing. Therefore the chances are good that, at the age of forty three, Schumacher will be retiring for the second time from the first division of motor racing – this time for good.

So what? Another overpaid top sportsman finally quits. Like Michael Jordan, Zinedine Zidane, Carl Lewis, David Beckham, and all the others. They entertained and were idolised by hundreds of millions, earned hundreds of millions and then rode off into the sunset, turning up occasionally as experts or “celebrities” on TV, their doings (particularly if there was even a whiff of scandal about them) being breathlessly reported in illustrated magazines and the more sensationalist of newspapers and (increasingly) web-sites. Big deal.

And the same is largely true of Schumacher. In 2010, one source estimated his net worth at around 830 million US dollars. That was the year he came back to Formula One after three years in retirement, Mercedes reportedly paying him around 30 million US$ annually to do so (not including what he earns from endorsements).

The argument often made with regards to the insane amounts earned by top sportsmen is that – in terms of returns – they are actually worth it, earning through their success much larger sums (through sponsorships, advertising value, TV-rights – especially TV-rights) for those who are actually paying them their millions. The irony about Schumacher is that success has eluded him and his Mercedes paymasters for the past three years; the best he has achieved in that period is one third place in a Grand Prix. 90 million dollars plus for that kind of performance? Nice work, if you can get it.

But maybe I shouldn’t be so small minded. Formula One is a global business where the millions are simply sloshing around, and Bernie Ecclestone, the geriatric Andy Warhol lookalike who actually owns the whole circus, is much richer than Schumacher. Economically rising and wannabe prestige-hungry countries like India, Russia, Turkey and Bahrain (to mention but a few) are all spending millions on purpose-built circuits just to attract this circus for an annual visit. They are also prepared – according to most reports – to pay Mr. Ecclestone handsomely for the privilege. And if there are human-rights or other such issues (as, most famously, in Bahrain recently), well, that kind of thing doesn’t really bother Bernie. Sport is sport and politics is politics and, hey folks, the show must go on. Bernie has been known to express some rather strange political views (about not everything being old Adolf’s fault, for instance) but then, there may be the onset of some slight senility here. His comrade in arms for much of his career, Max Mosley (boss of the FIA, the sporting body responsible for Fomula One), had the dubious distinction of being the son of the old British fascist, Sir Oswald Mosley – but then, we can’t choose our parents, can we?

Schumacher – to be fair to him – doesn’t really seem to be driven by greed; not as much as many of the others involved in his business/sport at any rate. He is quite a generous philanthropist, most famously donating $ 10 million in the wake of the Indian Ocean Tsunami/Earthquake of 2004. On the other hand, he moved his main residence from Germany to Switzerland, apparently for tax purposes. But then, a reluctance to pay taxes on their massive earnings in their native countries is a characteristic he shares with many of his racing colleagues, quite a few of whom prefer Monte Carlo as their place of residence. And from the beginning of his career up to a few years ago he was managed by the notorious, larger-than-life Willi Weber, a German impresario with a tendency to occasionally questionable business practices and a sharp eye for the best deal in every conceivable situation. Weber discovered the young Schumacher, gambling on his talent and bankrolling his entrance into Formula One in 1991 in return for a fifth of all Schumacher’s earnings for the next ten years, thus gaining him the nickname “Mr. Twenty Percent.” That deal gave Weber a powerful incentive to maximally market his client in every conceivable way, and he was diligent indeed.

No, no, no! I could easily carry on in this vein for the rest of the essay, the slightly supercilious tone of the university-educated, left-leaning, eco-conscious, culture-vulture, politically-correct intellectual I suppose I am, doing the usual condescending deconstruction of one of the favourite sports of the shallow, media-conned masses. This kind of thing practically writes itself. I could sneer about all the things that irritate me about Michael Schumacher, particularly his deification by so many ordinary German men, the kind who read the Bild newspaper, pin up Playboy centrefolds in their places of work, wash their cars every Saturday, go to Majorca with their mates from the bowling-club for a long weekend of boozing and tail-chasing every year, and dream of driving expensive cars with three-pointed stars or blue and white badges. Let me try another approach …

Benz Patent Motorwagen 1885
Germans have a particular fascination with motor cars. Although there were many people working on the concept of the “horseless carriage” in the second half of the 19th Century, it is generally agreed that the inventor of the automobile was the German Karl Benz, who took out a patent for it in 1886. Many of the other significant names working in the area were also German, Gottlieb Daimler and Rudolf Diesel, for instance. So from the very beginning there has been a deep connection between Germans and the automobile, something they themselves are well conscious of, frequently calling the car “des Deutschen liebstes Kind / the German’s favourite child.”

The argument I am developing here may be contradicted by many Americans, who can justifiably mention the central role the automobile has played in American consciousness for a hundred years, referring to Buicks and Chevrolets, Pontiacs and Chryslers and pointing out that Henry Ford was mass-producing Model Ts decades before Adolf Hitler ordered Ferdinand Porsche to design a “Peoples’ Car” / Volkswagen. And there is, of course, much truth in this.

However, I would contend that the essential difference between Americans and Germans in this regard is that the American fascination is fundamentally that with the road, while the German obsession is with the car itself. Both have to do with mobility, of course, but the meme of the road, as central to the understanding of the American psyche, goes far beyond the means of transportation to encompass all sorts of themes like freedom, frontier, adventure, leaving it all behind, a whole way of life and consciousness. The German preoccupation with the car has more to do with the object itself; its possibilities, its design, its engineering, speed and comfort. The car as a symbol of … status, power, even freedom.

For many Germans, the car itself quickly becomes an object of obsession, almost a fetish. While the dusty, battered pick-up is one of the cultural icons of a particular American rugged identity, the idea of driving a dirty, dinged car is almost physically painful to most German motorists. The following ad, highlighting one of the differences between the French and the Germans, illustrates the point I am trying to make very well:





For the typical German male, his car is one of his most treasured possessions. It is carefully looked after, regularly serviced, the smallest defect is immediately taken care of, and it is washed, waxed and polished regularly (traditionally on Saturdays, though for environmental reasons the private washing of cars is today generally prohibited). Even the smallest, most insignificant scrape between two cars will, in Germany, immediately lead to the police being called (so that questions of liability can be cleared up immediately, in case of possible dispute), where everywhere else people are quite happy to simply exchange insurance numbers. Though in many respects I have become completely “Germanised” after twenty six years in this country, in this case I am, and will remain, obstinately foreign; I regard an automobile as nothing more than a comfortable means of conveyance from A to B and still do not understand why nearly all modern cars are sold with bumpers painted the same colour as the rest of the vehicle.

While I don’t want to get into sexism or genderism here, I think it is generally accepted that an interest in the “mechanics” of things is more prevalent among the male of the species. Combine this with a fascination for speed, and a strong competitive instinct (also more typical masculine preoccupations) and you start to understand the seemingly mindless pleasure men derive from watching cars driving at speed around in circles, or – even better – driving them themselves.

Almost uniquely, the Germans – normally so uptight and controlling about things – actually allow everyone with a driving licence the possibility to live this out to an extent. On the German Autobahns there is no speed-limit, so that you can actually personally check out the top speed specifications the manufacturer claims for your car. Of course, large parts of the motorways do have speed limits for all sorts of safety reasons, but there are also enough long straight stretches where you can really let it rip. Despite a general acceptance of all sorts of “green” consciousness by Germans, none of the major political parties (with the obvious exception of the Greens) are prepared to put general Autobahn speed-limits into their programmes – it’s an absolute vote killer. And let me tell you, there is something viscerally very satisfying about driving at well over a hundred miles an hour, your concentration completely on what you are doing – and fuck the fact that you’re burning twenty per cent more fuel than you would be by driving more sedately. Need for speed, yeah!

But, of course, to do this at the really top speeds possible, in competition with others, demands a level of skills very few of us have, a willingness to risk one’s life continually in order to win, and the kind of motorised technology beyond the financial possibilities of most of us. Hence motor racing.

And then there’s that other thing, the thing we don’t like to admit to, that deeper truth which comes from that more savage, dark, primitive part of our nature. The thing that set our ancestors howling on the stands of the Roman gladiatorial arenas, hissing at medieval beheadings, or heretic or witch burnings, looking on with grim, self-righteous approval at 19th Century public hangings. That part of us which isn’t just appreciating the speed of the competitors, their skills in overtaking opponents, the clever strategy of a pit-stop judged just right. The cruel, bloodthirsty part of us which is just waiting for – to be honest, hoping for – the crash. Wreckage and maybe even blood and body parts flying all over the place. Burn, baby, burn!

Ok, so what about Schumacher? Get on with it!

A combination of circumstances can sometimes give rise to a situation where a figure of general public interest may become something more than this; an avatar of the hopes and aspirations of a whole group or nation. The most complete and perfect way to this kind of transformation comes through sudden, usually (though not always) violent death. Examples of this kind of apotheosis are Elvis, John Lennon and, of course, Princess Diana. But it happens to the living too, like a kind of aura which comes over them and lets them shine in an almost inhuman way for particular groups, nations or transnational groups for a while. It happened to Bob Dylan in the early sixties, and the Beatles soon after that. Muhammad Ali was one, so was Michael Jordan. Bob Marley (already before his death in his native Jamaica, after it worldwide).

During the 1990s Michael Schumacher’s popularity grew steadily in his native Germany, particularly after he won the World Championships in 1994 and 1995. In the 1996 season he moved to Ferrari and over the next few years worked with the Italian team to establish the combination of the best driver in the best car in Formula One. The result was an unprecedented period from 2000 to 2004, when Schumacher was World Champion for five years in a row.

This was the period when Schumacher became immortal for his German fans and an icon of the hopes and dreams of millions of German men. Ordinary men, what you might call “blue-collar” men.

At the end of the last century, many of the traditional self-defining characteristics of the ordinary German blue-collar male were coming under pressure. The increasing mainstream acceptance of much of the feminist agenda had much to do with this (as in the rest of the developed world), but there were also other, specifically German factors. The economic and social pressures caused by reunification were starting to make themselves felt, as were the effects of increasing globalisation. Immigrants were making up an ever more visible part of the human landscape.

The old social consensus of the Bonner Republik was in flux, the model according to which anyone prepared to work hard would find a job, be able to live a decent live with a modicum of comfort with his family and look forward to a happy old age, backed up by a secure contributory state pension. Tax money was flowing in billions into the former GDR, leaving less for the old West Germany, semi-skilled jobs were melting away, wandering into Eastern Europe or Asia where wage-costs were much lower. The old, relaxed, certain world of the work place was coming more under the turbo pressure of performance maximisation and targets, rationalisation, increased continual training and expertise requirements. Brain trumped brawn everywhere and it was the young business graduates with their suits and computers who seemed to be taking control of everything.

But against all this, there was Schumi, the kid from an ordinary working-class family, without privilege and attitude (or even much formal education), who wouldn’t even had had enough money and influence to break into the elite super-rich world of Formula One, despite his talent, if Willi Weber hadn’t financed him. But he did break into it and showed the world what an ordinary German man, possessing the characteristics of an ordinary German man, the ability to work hard, be dependable, and know motors, could do. He was the typical kid next door and allowed the fantasy that – had Lady Luck just tossed the dice a little differently – you or me could have done this as well. After all, every German man is secretly convinced that he too is an excellent driver. Not to deny, of course, that Unser Michael / our Michael is supremely talented, a consummate sportsman, and deserves every million he earns.

Unser Michael. For a particular segment of Germans, Schumacher became an embodiment of Everyman, a universal figure of identification. Even in the name the connection was there, the Deutscher Michel being a personified representation of ordinary Germanness, like John Bull or Joe Bloggs in the UK, or Joe Sixpack in the USA. All of this cannily encouraged by Weber’s comprehensive marketing and the fact that RTL, the most popular private TV channel in Germany and one whose strategy was to broadcast programmes for the “ordinary” German with a large dollop of naked tits, sensationalist reporting, Jerry Springer-like talk shows, and docu-soaps, had the franchise for Formula One. And it was this identification which turned Schumi into a figure of adulation; important enough to get millions of German men up before 6.00 a.m. on a Sunday morning to watch him race live in the Australian or Japanese Grand Prix. And win.

Such avatar phenomena are finite. Dylan gradually lost his after his controversial decision to go electric and Schumacher’s slowly faded after his (first) retirement in late 2006. The comeback was always going to be a risky business – of all such icons, Muhammad Ali was the only one who can be said to have managed it, and Ali was a special case because his retirement was forced at such a young age. And (dare I say it?) because his whole personality and character are exceptional in a way that Schumacher’s are not.

Of course, all this could just be pseudo-intellectual bullshit and Michael Schumacher may still really be the latest incarnation of Jesus Christ. Whatever, I still don’t like the lantern-jawed bastard!





Pictures retrieved from:

(Comments: I'll be away for the next few days and my internet presence may be sporadic, so don't worry if it takes some time for your comments to appear.)

Tuesday, 25 September 2012

Expletive F***ing Deleted



Fuck it. I wonder if others who write have often had that experience of roughly knowing what they want to say, but not being able to find the proper beginning. That bitch of a Muse of mine doesn’t seem to have got her lazy ass out of bed this morning. Shit!


I started thinking about this whole subject after reading something my fellow blogger, Lisa Golden wrote, “I'm trying to not curse. It's an experiment, an exercise in self restraint …” and where she went on to talk about “season[ing] every sentence with a sulfuric dash of that oh so versatile word fuck.”

Actually, I don’t. Or at least don’t very frequently, if only because of the fact that around 90% of the time I’m generally speaking German rather than English and cursing is different in German. Indeed, of around the half dozen languages in which I manage to be more or less incoherent, in none of the others can what is sometimes called “foul language” be so consistently and comprehensively integrated as in English.

Oh, there are certainly flowery and expressive expressions available in other languages. One need only think of the Spanish, “La puta madre que te pario!” or the Italian, “Stronzo! Figlio di puttana!” The Mediterranean languages seem to have a tendency to go beyond simply calling someone a bastard to directly stating that his mother was a whore. But English is the only language I know which offers the possibility of taking a vulgar word for copulation and then inserting it as an adjectival or adverbial qualification with almost unlimited frequency in every sentence.

It makes me wonder about how translators sometimes deal with this particular variety of colloquialism. Of course, colloquialism is always a difficult area for translation, since it involves a very good command of both languages as well as a healthy portion of imagination.

Many years ago, after first coming to Germany, I spent a while working as an English teacher. There is a German colloquial expression for extreme indifference, Scheiss egal. I remember a student once telling me with some pride that something was “shit equal” to him.

“No, Stefan, you can’t say it like that in English,” I told him.

“Ok, well then, how do you say Scheiss egal in English?”

I thought about it for a moment and then grinned. I had the perfect English equivalent.

“Right, Stefan, remember this one, because this is really good English. Though you wouldn’t say it to your granny, any more than you’d say Scheiss egal to her. The English for Es ist mir scheiss egal is … I don’t give a fuck!”

But on reflection, that one was easy. There are however other scenarios.

This is not working, at least not the way I want it to. There’re all kinds of ideas I have about this subject but they’re just not gelling. Fragments. No fucking flow

There is a nexus about bad language; it’s all associated with sex and digestive waste elimination, penis and vagina and anus, urine and faeces – fuck and prick and cock and cunt, piss and shit. And it all has to do with common, low, vulgar words. Calling a woman “you copulating vagina!” doesn’t really cut it, anymore than telling someone to urinate or copulate off does.

This is all very Freudian, of course, perhaps even a kind of practical proof that the old papa of psychoanalysis was onto something pretty basic with his categorisation of oral, anal and genital phases (though the oral phase doesn’t play any significant role when it comes to cursing). And in terms of national characteristics, the Freudian interpretation can also be carried through to an interpretation of the German psyche as based on linguistic characteristics.

Where in English bad language the copulatory “fuck” or “fucking” is the most common linguistic qualifier, in German it’s Scheisse or Scheiss-. And whereas in English probably the most common denigratory personal expression is “bastard,” in German it’s Arsch [arse] or, most frequent of all, Arschloch [arse-/asshole]. Which suggests that Germans are – in the Freudian sense – extraordinarily anally fixated. Which explains why Germany is a country where so much emphasis is placed on organisation, discipline, administration and efficiency (even if it often doesn’t work and is frequently counterproductive). Anally fixated, the whole lot of them, real controlling arseholes. Just ask the Greeks.

[If my memory serves me correctly (for it is many years since I read the book) Erica Jong’s Fear of Flying offers corroboration for this viewpoint. She describes a particular kind of toilet bowl, common in Germany at the time, which has a kind of porcelain shelf on which the turd lands after a bowel movement rather than landing directly in the water, so that it can be examined by its producer before being flushed away – another indication of anal fixation. However, I can also report that in the almost forty years since the book was published, such toilet bowls are becoming increasingly rare in Germany. Whether that is a deeper indication of a “loosening-up” in the collective German psyche is a judgement I’m not prepared to make.]

All right, all right, this shit is finally starting to go somewhere! Down the toilet. But, Jesus Christ, there’s that fucking wall again – just when I think I’m on a roll, my shite imagination runs out of fucking ideas and I have to start on another track. Bollocks!

There is also a tremendous amount of ambivalence, not to mention hypocrisy, about this whole subject. We were taught as kids (and, indeed, most kids are still taught today) that these are all naughty words, bad words, and that it’s wrong to use them. But of course children do, teaching each other all the words, whispering them to each other before they have an idea what many of them actually mean, giggling about them. Because they know that, somehow, they are words of secrecy and power, words which refer to that uncertain world of pleasure and danger which is adult and seductive and scary all at the same time. Sex, in other words. Ah, Freud, there he is again!

Bad language, it’s called; cursing or swearing. In fact, of course, it is neither of these. Cursing means a formal wishing or calling down of ill or evil on someone. Swearing is a formal declaration of the truth of something. Saying “fuck,” “shit,” “cunt,” “prick,” or “arse” has nothing to do with either of these activities. But, in my old-fashioned, early Catholic education, I was taught that this was “cursing,” and cursing was a sin. So you went to confession and said, “Bless me, father, for I have sinned. It’s two weeks since my last confession. I cursed twenty seven times.” And you got absolution for it, and a penance – maybe three Hail Marys, something like that.

Now, exclamations like “Jesus Christ!” or “Mother of God!” are something of a different case. From a religious point of view they could be conceivably called sinful on the basis of “taking the Lord’s name in vain.” On the other hand, their frequent use could also be seen as a sign of fundamental religiosity, an expression of a subconscious awareness of the continual presence and support of God and his saints in one’s life, so that one is constantly moved to spontaneous prayer, the repeated invocation of divine support in every moment. Calling on God, even in the moment of climax.

Oh God! That bitch of a Muse of mine is really fucking lazy today. I need a blow-job from her to finish this and I don’t even get a prick-tease. Cunt!

Our society has been loosening up in this whole area over the last fifty years or so. In 1960, the publication of the unabridged version of D.H. Lawrence’s Lady Chatterley’s Lover was finally allowed by the courts in the UK (a year earlier in the USA). Apart from the explicit descriptions of sex, one of the major complaints about the book was the use of the words “fuck” and “cunt” in it. Today, broad-band networks are being clogged with millions of downloads of Fifty Shades of Grey and no one gives a shit. You’ll find “shit” and “fuck” turning up even in quality newspapers occasionally – without conventional circumlocutory asterisks – particularly in interviews or quoted speech. In Germany, it was the young Green politician, Joschka Fischer (who later became Foreign Minister), who first broke a parliamentary taboo in the Bundestag in 1984 with his famous statement to the deputy speaker, "Mit Verlaub, Herr Präsident, Sie sind ein Arschloch.". ["If I may say so, Mr. President, you are an arsehole"] – using, one notes in passing, the polite Sie rather than the familiar du form of address.

In the list of 105 films which use the word “fuck” more than 150 times in Wikipedia, only five were made before 1990. Martin Scorsese makes the Top 30 twice (Goodfellas [1990] 11 – with “fuck” or its derivatives occurring 300 times in the course of the film – and The Departed [2006] 28 – 237 “fucks”). But the use of “explicit” language has even spread beyond cinema and into television. The Wire, in my opinion probably the best series ever made (though fans of Breaking Bad, and Mad Men may, with some justification, disagree), has a classic scene, where two cops, Bunk and McNulty, spend five minutes investigating a crime scene and solving a mystery in the process and in which the entire dialogue consists solely of “fuck” or derivatives thereof. It doesn’t get any better than this.

  “Bad” language is a characteristic of almost every character in The Wire, from the drug dealers on the street, to the politicians in City Hall and beyond. Worth mentioning particularly here is State Senator Clay Davis, with his marvellous, “Sheee-it!” And, speaking of politicians, it is reported that President Obama has stated that The Wire is his favourite TV show. Which gets me to wondering about how The Wire would have portrayed the president telling Secretary of State Clinton about the planned attack on Osama Bin Laden:

Yo, bitch, we gonna fuck that motherfucker Bin Laden, shit, we gonna waste his nigger Ay-rab ass!”

Though to be completely accurate, motherfucker would become mo-fuh in Baltimore project slang.

Well, fuck you, Muse, I’ve finally managed to get to the home stretch of this bitchin’ essay, Just goes to show that you haven’t left me entirely on my fucking own. Gimme a last little kiss, you cunt!

Nothing is as sensitive to inflation as bad language. My general philosophy is not to forbid myself its use – either in speech or in my writing here – but to use it very sparingly (with the obvious exception of this somewhat experimental essay). It works much better that way, retaining its original potency to emphasise, to shock, to pull the reader up suddenly and refocus her or his attention on what you want to say. It’s like the difference between the marvellously seductive promise of a skilfully erotic hint of a flashed nipple and the jaded tawdry tiredness of a spread-legged full-frontal cheap porn centrefold. Sometimes “fuck” is the only way to say it, more often you don’t need to.

And, despite all the authenticity and spontaneity of modern film and TV, our use of expletives is far more under our conscious control than we would often like to admit. Even the most habitual serial foul-mouthed punk will be able to control his expletives if he suddenly finds himself in the company of half a dozen nuns. We have a remarkable linguistic flexibility which enables us to instinctively almost completely adapt our language styles to the environment. Even people who in many situations cuss with an instinctive fluid frequency will automatically “tone down” their language in the presence of their children, or children generally. Not to mention in the presence of their mothers …

Shit! I’ve just realised my mother reads every fucking thing I post here.



* * *
 

[Note on the music: I usually put some music at the end of a post which has some kind of connection to the theme I’ve been writing about, and I usually don’t insult the intelligence of those who visit my blog by explaining the connection. But this one needs some background.

When John Lennon recorded Working Class Heroforty-two (!) years ago, the song caused some furore by containing the word “fucking” twice at a time when this kind of language in the music of a major star was almost unheard of. It’s a perfect example of an excellent use of “bad” language – “fucking” being used naturally and perfectly to give just the right emphasis to the mood and expression of the sentiments involved in their context. There’s not a hint of gratuity or prurience about it.

The two lines in question are:
“’Till you're so fucking crazy you can't follow their rules.”
and
“But you're still fucking peasants as far as I can see.”

Thirty seven years later, Green Day released an excellent cover of the song, as part of an Amnesty International Campaign about Darfour. In the official video the two “fuckings” are blended out. Ah, the eternal hypocrisy of the music business! If you prefer to listen to an uncensored version you can find it here]



Pictures retrieved from:

Tuesday, 11 September 2012

Dada wouldn't buy me a Bauhaus


It was a post by my blogger friend Gina about the Dada movement which got me thinking about a number of different cultural/artistic movements in the first third of the last century. I have nothing like Gina’s deep understanding and expertise in the whole area of art – a comprehension which always leads me to visit her Pagan Sphinx site with a delicious combination of anticipation and admiration – so it is with some trepidation that I dare to put my toe into this particular pond. And it is because I am intensely aware of my limited understanding in this area that I will endeavour to take a more historical approach here, an attempt to consider particular “artistic” schools or movements within the broader context of general societal and cultural developments, a stage (without meaning to be presumptuous) on which I feel more comfortable.

Moreover, it is probably inevitable that I further limit this essay (in the particular consideration of two artistic movements) to a largely German, or at least Central European in a somewhat wider sense, perspective, given that I have been living in Germany for the past quarter century and feel marginally more secure on this ground than on a wider one, encompassing a wider European, or even global perspective.

After all that the 20th Century subsequently brought, it is difficult for us today to fully realise how massive the cataclysmic shock the First World War was to the consciousness of those who experienced or were affected by it. In the more than forty years since the Franco-Prussian War, which saw the humiliation of France and the formation of the German Kaiserreich, the general atmosphere had been one of continual, apparently boundless progress. Indeed, despite some discrete, largely local upheavals, such as the revolutions of 1848, many would have regarded this period of progress as going back almost a hundred years, to the post-Napoleonic settlement of 1815. At any rate, the general mood of the world was one of optimism. Things just seemed to be getting so much better all the time; from Edison’s electric light bulb to those magnificent men in their flying machines, from motor cars and modern armaments to the spread of the benefits of civilization all over the world through enlightened European Empire and the spread of US manifest destiny from sea to shining sea. And if that meant the killing of millions of savage negroes in Leopoldian Congo, or the annihilation of the cultures and lives of the Plains Indians, well, those were just the inevitable results of Darwinist survival of the fittest and the unavoidable collateral damage of the spread of superior and more powerful cultures, nations and races.

Admittedly, the situation between the five major European powers (France, Great Britain, Germany, Austria-Hungary and Russia) was continually tense. But that had been the case for over forty years now and dealing with that continual tension was what professional diplomats were for. For decades they had moderated and orchestrated the complex, dangerous game of chicken the great powers continually played with each other, dancing defiantly to the edge of confrontation and war, threatening, feinting, pulling back, brokering new compromises with new promises of future confrontations and gains. The Tangier Crisis, the Bulgarian Crisis, The Agadir Crisis, etc., etc., etc.; then all as significant as the Bay of Pigs, the Cuban Missiles or the Prague Spring were to the Cold War generations, now forgotten except to professional historians.

The world of the early 20th Century culture was already much too complex to be encapsulated by the description of any one “movement.” An additional problem arises because the general cultural flavour of the time is generally classified as Modernism, a catch-all term which tends to describe everything by defining nothing and which, as generally used, is extended to include and go beyond WWI. But – generalising and simplifying enormously – pre-war Modernism was still characterised by an optimistic view of progress, despite deeper questions of meaning and sense raised by thinkers like Schopenhauer, Nietzsche or Kierkegaard, the abandonment of conventional form by the early Cubists, or Einstein’s demolition of the classical Newtonian universe with his Special Theory of Relativity (1905). The avant-garde might be challenging progressive Realism on the cultural edges; for the mainstream such challenges were generally seen as dilettantish.

And then in Summer 1914, in the wake of the assassination of the Archduke Franz-Ferdinand in Sarajevo, the diplomats finally dropped the ball and Europe collapsed into conflagration. Although propagandist jingoism, confidently predicting victory by Christmas, was generally believed on all sides, it was the British Foreign Secretary, SirEdward Grey, whose prescience in August 1914 turned out to be truly prophetic; “The lamps are going out all over Europe. We shall not see them lit again in our time.”


Raoul Hausmann ABCD (Self-portrait) Photomontage, 1923-24
In the German dominated cultural area of Central Europe, two artistic reactions to the incomprehensible carnage and destruction of the Great War emerged. At the Cabaret Voltaire in Zürich, a group of artists, many of them German exiles, were in 1916 the origin of a movement which came to be known as Dada. Dada was deliberately, almost despairingly provocative, one of the original group, Hans Richter, even describing it as “anti-art.” In retrospect it can be seen as an attempt to express the sensation of horror and loss of meaning and all moral foundation, all structure even, resulting from the experience of the war. Despite other possible etymologies, I personally prefer the explanation of the word “dada” as an expression of ultimate meaningless glossolalia. Dadadadadadadadadadada… But in German the word carries further connotations. Da in German means there. Dada is a kind of despairing showing, a pointing at the hopelessly shattered fragments of meaning, of decency, of sense; the rubble of everything governed and destroyed by the prevailing world order, acted out in the hopeless carnage of the trenches. There! And there! And there! And there! … Seen against this background, the frequent use of collage by Dada inspired artists takes on extra significance.


Max Ernst, Murdering Airplane, 1920
Dada was chaotic, unorganised, anarchic; it couldn’t be anything else. It was an outpouring of enraged creativity, not confined to art alone, but also finding expression in workshops and absurdist literature, like the writings of Kurt Schwitters (a good example is Anna Blume). As such it quickly surpassed itself; many of those who identified with it, such as Max Ernst, developing themselves further in Surrealism, which, at least partly, grew out of Dada.


Bauhaus building in Chemnitz
The Bauhaus movement also emerged as a reaction to the experience of the Great War, but took a very different direction – a new attempt to find meaning and order, to learn from the horrors of the war, to find an integrated approach to the individual and his/her place in society so that all the suffering would not have been in vain. The emphasis on form and structure is inevitable, given that Bauhaus was initially and primarily an architectural and design movement. Though its first leader, Walter Gropius, was non-political, many of those involved were left-leaning. Bauhaus was, by its own definition, radical: “The underlying idea of the Bauhaus, which was formulated by Walter Gropius, was to create a new unity of crafts, art and technology. The intention was to offer the right environment for the realisation of the Gesamtkunstwerk (total work of art). To this end, promising artists were to be taught in a school with an interdisciplinary and international orientation.”

Paul Klee, The Twittering Machine, 1922
Gropius and his successors, Hannes Meyer and Ludwig Mies van der Rohe, were at pains to involve various artists and craftsmen in the realisation of their concept and both Paul Klee and Wassily Kandinsky taught for years at the Bauhaus School in its successive homes at Weimar, Dessau and Berlin. Piet Mondrian, not unexpectedly, also lectured there. Identifying itself with the wider Modernist movement, the Bauhaus emphasised simplicity and functionality – an architectural and design expression of the “form follows function” aphorism, while not abandoning at any point a striving for aesthetic excellence. The interaction between art and design is well exemplified by Kandinsky, who taught both basic design for beginners as well as advanced theory at the Bauhaus during a period in which he himself was intensely exploring geometrical elements and relations in his own work.

The basic philosophy of the Bauhaus was humanist, egalitarian; it envisaged a cooperative equality of skilled workers, artists, artisans and architects, a democratisation of art, a demystification of design. This had political, revolutionary aspects, and there were many committed Marxists at the Bauhaus. But even without them, the whole direction of the movement was deeply suspicious to other, darker forces.

Ludwig Mies van der Rohe, The Brno Chair (1929-30)
On January 30 1933, Adolf Hitler became Chancellor of Germany. The Bauhaus was soon wound up, and in the following years most of its talent left the country. As did many of those who had been involved in Dada. For, although their reactions to the brutal lunacy of the First World War were in many respects antithetical, the attitude of the New Vandals who had taken control of Germany to them was essentially the same. According to the Nazis, both schools propagated entartete Kunst [degenerate art] and as such were subjected to bannings, persecution of those artists who had not left the Reich, and the destruction of some of their works.

Nonetheless, their legacies survived. The anarchic freedom, the celebration of apparent meaninglessness expressed by Dada bubbles up repeatedly ever since, exerting its spell on figures and movements as diverse as Josef Beuys, Ken Kesey and the Merry Pranksters, Malcolm McClaren and punk. The Bauhaus left a lasting influence on modern architecture ever since, as well as all sorts of areas of design. Just think about Scandinavian furniture – even that IKEA bookshelf you’ve got in your study. And, looking at the works of Andy Warhol, I like to think one can see the inspiration of both movements.

Note on the Title: Much as I would like to claim it as original, honesty forces me to admit that I first heard the phrase over twenty five years ago from my old friend, the philosopher Paul O’Grady, of Trinity College, Dublin.

The walrus was Paul
Pictures retrieved from: 
First image: Hannah Höch, Cut with the Dada Kitchen Knife through the last Weimar Beer Belly, 1919


Wednesday, 27 June 2012

Schland: Football and National Identity


In the course of the current European football championship, the exclamation, “Schland, o Schland!” can be heard and read frequently here in Germany – most commonly as an exclamation of joy by generally younger people on Facebook – after the German team has scored or won a game.

The word Schland was invented six years ago by the German TV comedian and personality, Stefan Raab. Raab is a difficult phenomenon to explain to non-Germans. He’s like a cross between Jon Stewart (though without Stewart’s absolutely biting political side) and Conan O’Brien, and is immensely popular, particularly with people between fifteen and thirty five. From his beginnings as a clown with an MTV-clone in the early nineties, he has become involved in all kinds of media projects, including a number of attempts at the Eurovision Song Contest, which his protégée, Lena Meyer-Landrut, won with the song “Satellite” in 2010.

In the course of the World Cup in Germany in 2006, Raab coined Schland as an abbreviation for Deutschland, as spoken by a drunk. When Meyer-Landrut won the Eurovision four years later, a student group from Münster, who called themselves Uwu Lena, covered her song in a spoof version as a statement of national pride in the German team playing at that year’s World Cup in South Africa. They replaced Lena’s lyrics “Love, o Love,” with “Schland, o Schland,” and landed a surprise hit.

All right, so now I’ve presented you with a load of trivia about German pop culture and you’re starting to wonder about where I’m going with all this. Actually, I see it as exemplary for the development of a new kind of national identity in Germany – an identity of a new generation which has finally managed to liberate itself both from the abomination of megalomanic Nazi racism and the cringing, ashamed self-doubt of the post-war generations.

I’ve lived in Germany for over a quarter of a century now. In many respects I feel completely at home here, yet there is a part of me which clings to my essential Irishness, that part which refuses to apply for German citizenship (though I would be entitled to do so), that part which still chooses to see myself as an outsider, an observer of the culture in which I today probably feel more comfortable, if I am to be completely honest, than in the Ireland I left in my mid-twenties. It is a Germany which – in common with most Western European countries – is becoming ever more multi-racial and multi-cultural, even if this process is (also in common with most Western European countries) accompanied by persistent teething troubles. Certainly there are nationalities and cultures which contain significant proportions who have major problems with integration into modern western societies (particularly those with an Islamic component), but the statistics now claim that nearly a third of all those living in Germany today have a migrant background of some kind, and in many areas the majority of children being born have migrant roots. If you look at the German national football team currently competing in the European Championship, five of the eleven players at the beginning of each game up to now have had a migrant background of some kind.

I’m back to football again. And this is no accident, for – in a very strange way – football has been one of the major catalysts for the formation of this new German identity.

By football I mean, of course, soccer – in common with most of the world. Sport seems to be an area in which the USA travels a different road. America may cling to that strange ritual involving quarterbacks, line-outs, touchdowns and other incomprehensible terms surrounding what seems to be some arcane form of rugby; most of the rest of the globe regards it as a weird eccentricity. And as for baseball … well, there’s no accounting for tastes, I suppose.

For Germans, at any rate, football (soccer) is very definitely a part of the national soul, and an important one at that. It is a generally accepted fact that the Football God moves in mysterious ways which cannot be divined by his countless millions of worshippers worldwide, but, in the case of Germany, football has played a significant role in the history of a country trying to redefine its national identity in the wake of the indescribable catastrophe of Nazism.

In 1954, the German Federal Republic (then in its initial West German iteration) was in its infancy, and very much under probation. The decision to grant a generous peace, to allow a rebuilding of Germany was controversial; while the American line, championed above all by Secretary of State George Marshall, prevailed, there were many among the allies (especially in France) who would have preferred to see Germany permanently politically and economically annihilated. And most Germans themselves were deeply traumatised; after having followed the ghastly Nazi chimera for over twelve years, they were profoundly defeated, dazed with guilt, uncertain as to their capabilities regarding the future, insecure about their very identity. Millions had died, millions more been made homeless and turned into refugees, hundreds of thousands of young men had disappeared as prisoners-of-war into the Soviet gulags. Numb, they had started to tidy up the rubble and take refuge in two of their most familiar qualities, their ability to work hard and organise well. The result was the beginning of the Wirtschaftswunder, the Economic Miracle.

As part of the post-war normalisation, a German team travelled to the World Cup in Bern in 1954. Against all expectations, they reached the final and defeated the highly fancied Hungarians 3-2. The Miracle of Bern became one of the defining moments of the fragile new (West) German identity. Suddenly, nine years after the end of the war, it became possible to be momentarily proud to be German. In the midst of all the guilty confusion there was an instance where there was a collective feeling of national oneness, one that was allowed, legitimate. It was a signal that things could move on, that the past – while not forgotten, never to be forgotten – could perhaps be surmounted; that whatever it meant to be German need not be exclusively, definitively and eternally defined by jackboots and swastikas, by fanaticism and Auschwitz – by shame.

It was, of course, only football. But football can be a lot – a channel where national pride, competitiveness, the innate, almost crazy human impulse to prove one’s group/clan/tribe/nation to be and be recognised to be the best, the greatest, can be ritualised, played out and expressed in a way in which nobody is hurt, exploited, made homeless, enslaved or killed. In the words of Peter Gabriel, “games without frontiers, war without tears.” In 1954, balsam for the traumatised German soul.

Thirty-six years later, in a period of less than a year, the post-war European (and world) settlement, stabilised and set in a concrete balance of fear between two blocs was swept away. In a historically unprecedented peaceful revolution, the hegemony of the Soviet Empire in Eastern Europe had basically dissolved and even in the USSR the Soviet system was winding itself up. The most concrete symbol of the Iron Curtain, the Berlin Wall, had been torn down and the reunification of the divided Germany had been agreed and was in the last stages of preparation.

1990 was once more a World Cup year and in Rome West Germany, playing in their final tournament before the accession of the GDR to the federal union established by the western allies in their zones of control after the war, once more became the world champions. Those were months of euphoria in Europe, and especially in Germany, where anything seemed possible, where everything seemed positive. Germany winning the world cup appeared, as it happened, to be almost inevitable, the Football God for once in accord with all the other portents and tendencies of history. The icing on the cake, the unity of heaven and earth.

Yet 1990 also marked the end of an era. The World Cup of that year was the last major global event in which West Germany appeared as a separate entity. It was not only the GDR which disappeared; though formally the states making up the former territory of East Germany simply joined the already existing Federal Republic of Germany, in fact this accession factually also meant the end of that entity in which Germans had proved that they could be good European democrats, what German historians today are increasingly beginning to call the Bonn Republic. Seen from this aspect, the victory of the West German team in the 1990 World Cup can be regarded as a final accolade, a way of proclaiming to a brave new world, “Mission Accomplished!”

These brave new world moments tend not to last. In the euphoria of unification, the elder statesman, Willi Brandt proclaimed, “Now let what belongs together grow together!” That growing together has not always been an easy process, economically, socially, culturally, and it is by no means complete. But in 2006 an event occurred which became a moment of coalescence, when a new kind of German identity first expressed itself.

In the months before the World Cup began in Germany there was a lot of the usual public worrying about the whole affair. No nation or culture (except possibly the Jews – that itself some kind of statement about the complex, close, fateful relationship between these two cultures) is as good at public worrying as the Germans. The opening ceremony had to be completely cancelled because of a row. There were warnings about possible dangers for blacks and orientals in particular areas of the former East Germany, because of neo-Nazi gangs.

And then the competition started and a month-long spontaneous party broke out. For the first time since the war, Germans started waving their flags, decorating their cars and themselves in the national colours of black, red and gold, simply cheering the fact that they were German – just as the visitors from all over the world were cheering the fact that they were Italian, Portuguese, Brazilian, Australian. The German team reached the semi-finals, with every game being watched by literally millions in public viewings in the major squares of every German city. The event became known as the Sommermärchen, the Summer Fairy Tale.

The phenomenon has been repeated biannually ever since, whenever the European Championships or the World Cup take place. And it has become even more than just a celebration of being German; the other nationals resident in Germany also celebrate their identities and German towns become a multicoloured carpet of German, Italian, Spanish, Portuguese, Croatian and Turkish flags – with good-natured rivalry and ribbing between the various nationalities.

Sixty years after the end of the war, young Germans finally seem to have become comfortable with their own identity – and the vehicle they choose to express it is football.

They could do worse.

* * *

This is all, of course, a very particular view. It is true but it is not the whole truth, for reality is more complex. Nationalism, in all its expressions, has a dubious pedigree and is, arguably, the most destructive ideology the world has seen in the past two hundred years. And German economic nationalism is a major component in the current complex of financial and economic problems currently facing Europe.

In an ideal world, I would hope we could go beyond those bloody, sterile, exclusivist expressions of nationality which have so shaped and malformed the world in the past centuries, to a more inclusive, sharing vision of our common solidarity on this planet which so many of us share. More and more thinking Europeans are beginning to see these deeper questions as a positive possibility resulting from the current Euro debt crisis. (Angela Merkel, the current German chancellor, seems unfortunately completely ignorant of these deeper questions.) But the need to belong, to feel part of a nation, and to express that identity seems to be very deeply rooted in us – probably part of our primate hard-wiring. And, for as long as a deeper feeling of fundamental human solidarity remains in a (hopefully growing) state of development, I’m prepared to see those expressions of nationalism like the German one I’ve described here as basically positive. Better by far than pogroms, marching armies and terrorist bombs anyway.



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