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Fair Cooperation

A New Paradigm for Cultural Diplomacy and Arts Management


Annika Hampel

European cultural policy is based on the exchange of artists. It has devoted decades to the objective of encouraging dialogue and enabling cooperative production; especially between the countries of the so-called ‘Global North’ and ‘Global South’. Cultural policy makers and agents in Europe, such as those working in cultural institutions and at the ministries responsible for cultural relations, constantly stress their claims of a ‘dialogue of equals’. However, if and how cultural cooperations really are in practice brought to life on equal terms is an open question.

Annika Hampel analyzes the working conditions of partnerships to understand how current artistic collaborations function, what structures and processes they involve, on what premises and within what frameworks the collaborators work, and what challenges they have to cope with.The foundation of her reflections are the experiences and insights of actors in cooperative projects who are responsible for the implementation of the goals of the European Cultural Policies in practice.

Annika Hampel uses five case studies, which offer insights across the spectrum of artistic cooperation, to display the wide range of Indo-German collaborations in the arts. From her analysis of the practical reality, Annika Hampel develops and proposes cultural and political measures to foster a new culture of international cooperation on an equal footing. The author shows how to minimize power relations, promote cultural diversity, and exploit the underused potential of cooperative work.

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This research and the English translation of Fair Cooperation would not have been published without the support of a large number of organisations and individuals. I would like to take this opportunity to thank some of them.

In the first place, my thanks go to the interview partners in Germany and India who patiently answered my questions. Their trust and openness allowed me a comprehensive insight into their cooperations, and their great interest in my research opened many doors.

My heartfelt thanks go to my doctoral supervisor, Professor Dr. Wolfgang Schneider from the Department of Cultural Policy at the University of Hildesheim. His critical feedback and his encouragement were always equally a support and an impulse for improvement, and that support has continued even after the completion of my doctorate.

I would also like to sincerely thank the staff of the Goethe Institutes in New Delhi, Bangalore, and Mumbai – in particular Heiko Sievers, Christoph Bertrams, Robin Mallick, Maureen Gonsalves, Farah Batool and Sigrid Mund. They were always open to my questions and placed their own network at my disposal for the purposes of this study. The institute also partly funded my travel and accommodation within India, and the Goethe-Institut in New Delhi provided financial support for the translation of my research.

My thanks go to the European Network of Cultural Administration Training Center (ENCATC) – in particular the President Annick Schramme, and the Secretary general Giannalia Cogliandro Beyens – for their financial...

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