The Frankfurt cultural scene, both free and institutionalized, breathes a sigh of relief.

It is true that in the previous electoral period there and there criticism of her behind closed doors, for example because the decision to allow children and young people free entry in all exhibition venues, which was associated with some publicity, and was dismissed as a symbolic policy.

It was said that there were already enough discounts and free offers.

But on the whole, those responsible at stages and in museums, in the music and literature business, freelance artists and art mediators, theater groups that are not tied to fixed venues and artistic initiatives certify a high level of competence.

Many say you can listen.

Stand up for them.

Be interested and open.

Michael Hierholzer

Culture editor of the Rhein-Main-Zeitung.

  • Follow I follow

    Now the second term of office as head of cultural affairs begins for the social democrat Ina Hartwig.

    And unlike other departments, the one she heads retains its shape.

    That means: She remains responsible for the zoo.

    But she has also acquired specialist knowledge in this field in recent years and has reached independent positions.

    The fact that, unlike the city councilors in the culture committee, she mostly had a clear opinion and knew what she was talking about, could be seen in every meeting of the committee.

    In the beginning she had some teething problems. After all, when she was elected Head of Culture in 2016, she was new to the political business. She had worked for the Frankfurter Rundschau as a literary editor for many years. And, as colleagues report, liked to close the door behind them when there was too much hustle and bustle. In politics it is difficult to withdraw. Public appearances are crucial, but also communication with the clientele who live on urban subsidies, but above all the enforcement of political will by first gaining allies within one's own ranks. The old and new city councilors succeeded in all of this. She took so much time for it that the institute directors became nervous. The happier most of them were later.But then came the great uncertainty before and after the most recent local elections: What will happen to the cultural department?

    Take care of freelancers

    Ina Hartwig had already prepared to have to look around for another activity. But then the surprise: It will not be a coalition with a hard core of the CDU and the Greens that will have the say in the future, but one with the SPD and the very party that already seemed to be firmly on the side of the Christian Democrats. But the green generation change caused a shift to the left. And during the coalition negotiations it became clear that there was no getting around Ina Hartwig as Head of Culture. The Greens poked around for reliable information on the subject, had little insight into the need to further develop established structures such as the Museumsufer - you don't have to worry about museums, it goes by itself, that is supposed to have been the tenor. Hartwig counteredHere, too, the city has a creative task.

    The head of the department is quite right that the Greens would like to take on the freelance artists above all: she, too, has focused on the free groups, the non-institutionally anchored scene. An important point in the coalition agreement just presented between the Greens, SPD, FDP and Volt is to further strengthen the free financially. And here too, social democrats and Greens meet: participation in culture should be made possible for all social classes. Ina Hartwig doesn't believe that all good things come from below. The cultural standards and the benchmarks set the large artistic institutions. Which is why it is so important to her to find a suitable solution for the new building for the opera and drama.

    As soon as she was in office at the time, the subject came up to her unexpectedly. It took a lot of time, and at times it seemed like everything else was overwhelming. She obtained professional advice and finally presented the “Culture Mile”, a solution for the municipal theaters that has so far been somewhat unrivaled. Two buildings, one on Willy-Brandt-Platz, where the double theater is located today, and one on the Sparkasse site, associated with an upgrading of the ramparts: this variant is now getting closer to a realization. The annoying insistence of the former coalition partner CDU to relocate the theaters to the Osthafen is off the table. And also the cultural politicians from the CDU and the old Green squad, who have given her a lot in the past, are no longer on the culture committee and are on her neck.The only question is whether the current coalition will not soon bring the cultural dreams to the sobering ground of the budget situation because of the financing issue and whether the question of the renewal of the theater will be reopened from the beginning.

    Ina Hartwig, in any case, exudes confidence. And there is strength in the calm that it brings. It is not volatile. And occasionally relies on the tried and tested because she doesn't really want to risk success with experiments. This is the only way to explain that she has extended her contract with Frankfurt's opera director Bernd Loebe, who has long since reached retirement age, to 2028. It moves with the times, but doesn't go with all the fashions. Gender is not easy for the language-conscious. But she knows how important this is to the green coalition partner. Therefore, slight adjustments are to be expected. But probably not the full politically incorrect program.