Culture in Luxembourg has always been vibrant, explains Sietzen, but the first cultural year in 1995 was a game changer, as it created the conditions for the emergence of most popular cultural institutions today
The programme for each season is preselected autonomously by the institutions and often presided by a diverse commission, like in the case of the Grand Théâtre or the Théâtre des Capucins, for example, before it is reviewed by the college of aldermen. She describes her office as an intermediary for the various institutions, private organisers, associations and more, adding that the City also provides technical and financial support as required and has agreements with diverse cultural players.
Today “every cultural field is well represented,” she says, adding that the tendency of young cultural actors who studied abroad to return to Luxembourg these days is a sign of progress. She cites the further adaptation of offers to match the multicultural diversity of the public as areas that will always require effort, adding that the city already does this via several measures. For example, the “Kulturpass” initiative to facilitate cultural access, or cultural projects like Les Rotondes, which underwent a rebirth during the second cultural year in Luxembourg in 2007 and was co-financed by the City of Luxembourg and the culture ministry.
“Culture is a language that speaks to everyone and shouldn’t be seen as an elitist affair,” says Sietzen. With less covid restrictions, popular annual events like the Schueberfouer annual funfair and the Blues’n Jazz Rallye, for example, are making a comeback.
We bring people to culture, but also culture to people.
However, interaction with culture is a two-way street. “We bring people to culture, but also culture to people,” she explains, citing several exhibitions in public spaces as prime examples of how this is done to imbibe a cultural consciousness. The Boxes of Life project by Elisabeth Schilling and supported by the City is such a project taking place in the aftermath of the lockdown.
Luxembourg’s active participation in international festivals like the Rencontres d’Arles also points to dynamism of the sector.
“We work together for the same aim: to bring people together, forge projects that reinforce Luxembourg’s cultural image and [its] position as a cultural destination,” says Sietzen.