The reflective approach to 'cultural identity' on the basis of value premises leading to the development of ideas about life by Britta Heinrich

There are typical ethnological approaches to identity; self reflections are based on the 'I' and the other. Often it goes over the object to include how the other views that object; it is put in relation to oneself as subject with values in confrontation with the values of the other. This presupposes a critical reflection of one's own values, in order to be able to communicate with the other. That is a typical approach in ethnology and implies that the question about 'identity' cannot be answered merely by a self-reflection, but has to include also a reflection about values (there are value premises, i.e. value concepts as they prevail in religions). Interesting is, therefore, what kind of life or culture evolves out of these value premises. In studies of particular groups, one tries then to understand what does this mean in terms of human relationships, relationships to work, concepts and perceptions used to express themselves. It is a matter of the manifold forms one can discover by studying closer the idea of life having been put into practice.

That is relevant both as an approach and as a form of understanding equally the Europe of Cultures. It requires a historical approach, in order to comprehend how things evolved over time. Ethnological approaches to the various cultures in Europe are thus most important, because of their interest in differences. That means the aim is not to categorize so much as to present first of all the kinds of life styles and different cultures prevailing in Europe.

Naturally such an approach is immediately confronted by questions such as does there exist a group identity, a regional identity or a national one? Is it possible to delineate identities in such a manner? Interesting in the case of regional identity, for example, is that this is not something given, but the result of confrontations between what is given (or made available) by a state and the value premises of a particular region, its particularities.

On the basis of such a confrontation, it is possible to say what are the common characteristics of a European identity, on what value premises does it rest. It can be looked upon only in a critical manner. Needed for that is a reflection of the social and cultural developments evolving out of a history of ideas, in short, 'intellectual history'. That has to be complemented by a closer look at specific dispositions, i.e. religion and the continuity of a certain tradition. There is a filtering process taking place despite secularization which does not allow all potentialities inherent in a specific culture and society to unfold, but rather continues along the traditional path of development.

Artists and other cultural carriers play a role in this process as mediators in both high cultures and practical evolvements on a daily basis. Through them material and spiritual aspects, forms and contents are brought together in a way that makes these liveable values accessible. They present the 'continuity of life' in relation to these value premises.

If one comes, therefore, to artistic and cultural exchange, there are two aspects to be considered. There is a special exchange between artist and audience which is specific to the region, locality and to the thematic approach to the overall subject. Then there is the other type of exchange, namely between regions and once artists come together at that level of exchange, then they experience, if positive, an enrichment in their potentialities of expressions.

Production and reproduction are being constantly developed. This does not mean towards a higher level, but rather in the sense of developing an idea of living and working.

Given this framework, the matter of identity and culture can now be extended in the form of questions at both a theoretical and a practical level:

Theoretical questions

How do acting subjects reflect themselves and to what extent is that reflected in cultural expressions?
In other words, what is the role of culture in the formation of identity via self-reflection and reflection of values?
The fact that identity and language is usually connected, yet equally questioned, it appears to be necessary to reflect theoretically the extension of the medium 'language' into what has become today the 'media'.
What then is the question of power in this context, and who is being controlled by this media power?
In any reflection about 'cultural identity' the location and situation of the subject within that media setting has to be considered, and it means to include in one's reflections about identity this new definition of power. The question has to be extended to what dimensions are involved, i.e. political ones, and does this still involve 'language'?
Once one talks about culture, then it is only possible in relation to how language is understood, i.e. 'language as my own personal expression' versus 'language as dissolvement of my personal self through language norms'?
Europe is constituted by various cultures and yet there is a unification of language under way, yet which does not lead to a dissolvement nor to the emergence of one unity or diverse regions of living processes, but rather to a cutting off 'self reflection' from the possibility to define oneself - what are the cultural implications of that?
Basic understandings are answers to geographical, hence regional artefacts, but despite these differences there do exist common denominators, shared value premises brought about by religion(s) and philosophy. How do specific cultural and regional identities respond to this commonness in Europe again in a differentiated and very different manner from other regions and cultures? What is the cultural specificity of a region in such a broader context of understanding?
How different are the answers then to European institutions still to be created by what kind of developments, so that these answers become concrete, that is liveable?

Practical Questions

What is important in the exchange between artists of Europe is that they use materials which requires a different approach to making possible acknowledgement of the others. For the selection of materials, as much as their usages, specific information is needed. This should be offered by a centre for artistic exchange. Important here is that the centre provides not only information as to specific possibilities of direct exchange, but how exchange within a context of learning about material selections contributes to understanding cultural differences.
There are different languages involved and thus the new technical possibilities of information networks can be used to comprehend what kinds of languages are involved in artistic exchanges.
A network for artistic exchange has to be provided, hence the mediation of information between artists by means of new technical options. Their usage has to be encouraged, in order to answer the wish for exchange.
Common and different interests are intertwined once such a network of exchange possibilities is installed with the help of an idea on how common values can be disseminated.
It is not a matter of merely improving existing information networks, but rather the search for what are the European ideas must be brought to bear upon this information flow.
That comes close to the ethnological idea, that is, an analytical approach to the lived experiences of how identities constitute and develop themselves. It is recommended to promote ethnological research into the question of European identity. Evaluation of such processes have to proceed further cultural actions. It must be based upon a 'spiritual centre' which without a hierarchy is capable of bringing about analysis and exchange in relation to what artists want and how their wishes for information have been fulfilled so far. This is not an institutional answer, i.e. how to shorten information paths, but rather how to promote learning from one another in acknowledgement and confrontation with differences.

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