This year sees the 5th Argentinean Film Festival in Leipzig! Starting on the 23 September and running until 2 October, the festival will showcase around 60 long and short films from Argentina and Latin America. Venues include: Cinémathèque in der NATO, UT Connewitz and the Schauburg. All films will be shown in their original language with either English or German subtitles. In addition to the large number of films on offer, there will also be an extensive programme of lectures and discussions with directors.
The Argentinean Film Festival team are looking forward to welcoming you to this event, and have 3 pairs of vouchers to give away to LZ readers and fans! The vouchers can be used for the film of your choice. Please email us at LZ (info@leipzig-zeitgeist.de) with your name and address and with 'Argentinean Film Festival Give Away' as the subject header by the 16th September. Winning names will be drawn from a hat (or something similar!).
You can find out more about the programme at the festival website:
www.argentinische-filmtage.de

"The first Frege came from nowhere to set up the business, the second Frege worked hard to maintain and expand the company, while the third Frege, born into luxury and immense wealth, took his foot off the gas and the company sank in international importance, if still remaining central to the city of Leipzig". The first Christian Gottlob Frege (1715-1781) was the son of a country vicar who came to Leipzig to start an apprenticeship as a merchant. He later received a loan to set up his own currency exchange business. The Leipzig Trade Fair was an important European-wide mercantile connecting point and, at a time when, in just the German-speaking world, there existed a vast multiplicity of currencies, a currency exchange business could prove lucrative. Frege re-invested his earnings in a variety of portfolios including mining, while the linen and flax trade became his prime business. "The first Frege was quite unusual in that he ambitiously traded directly with partners across the Atlantic in Cuba, Columbia, Mexico and the USA. He also married well, becoming betrothed to the inheritor of an important Leipzig merchant family", Weber tells me. "The second Frege (1747-1816) was, however, the most important and under him the family business joined the European business elite for a period. He extended the banking business and started lending money to state exchequers. He also bought land in Pennsylvania in the USA for speculative purposes, the size of which was the equivalent of a German Duchy". It is difficult to ascertain exactly how wealthy the second Frege became in modern terms. However, Weber supplies some figures, which may provide an indication. The annual personal (not business) finances of the second Frege was 40,000 Talers at a time when a German Professor earned no more than 1,000 Talers annually. Duke Carl August von Sachsen-Weimar-Eisenach, the financier of Goethe and the head of an important Duchy, had a similar personal income. With the coming of the third generation of Freges the family business sank in importance on a European level. "While the first two generations worked hard to establish and maintain their very existence, the third Christian Gottlob Frege (1778-1855) was born into great luxury and did not have this necessity. For example the first two Freges married strategically, within merchant circles. The third didn't bother with this". The family remained important within the Leipzig business and banking community until 1946 when their property and wealth was collectivised and they fled to West Germany.
So, why exactly were the Freges important for Leipzig during the 18th and 19th century? "Well, on a very practical level they saved the city financially on a number of occasions by giving the city loans. They were local patriots and saw this as their duty. They also set up philanthropic enterprises to help alleviate poverty, while in addition they greatly supported the local cultural scene by purchasing numerous works of art and engaged many artists". There are also numerous traces of the Frege family that are still to be seen in contemporary Leipzig, including the partly rococo (and wonderfully yellow) Frege town house opposite the Museum der Bildenden Künste, as well a stately home, the Rittergut Altnaundorf. The second Frege was also heavily involved in the mid-18th century restoration of the Nikolikirche to its present state, marked by a serene whiteness.
Weber also points out an interesting contrast between a family firm like that of the historical Freges and present day public limited companies that answer to shareholders. "While the Freges were undoubtedly patriarchs and authoritarian at times, they were also – again similar to Mann's Buddenbrooks family - very consciously rooted in their local area, did not engage in 'lazy business', often showed great moral integrity and took pride in looking after their employees. Family companies really did, in many ways, engage in a more responsible type of capitalism then, unlike the often blinkered, wholly profit-driven public limited companies of today".

In Leipzig, the three who originally started tossing the odd-shaped ball around in a park have multiplied to 35 club members. These guys and girls can now be found on a Tuesday evening from 7 pm at the Neue Linie sports grounds in Connewitz. James Duffy, an Irish guy who wishes to remain fairly anonymous, coaches the mixed-gender group who play what he refers to as a gentleman-like game. James, who grew up with the game, has been involved with rugby in Leipzig for 16 years. In the here and now though, the appeal and focus is very much social; touch games come with a BBQ in the summer and there's none of the macho bit you tend to get with rugby in Germany.
With around half a dozen ex-pats, German is the common language of Leipzig's touch players. This is in contrast to Berlin where the ex-pats dominate the touch scene. As neighbours, the twain do, however, meet – and relatively often. Among Germany's other touch towns are Cologne, Munich, Heidelberg and Frankfurt.
James would like to get the ball that bounces funny into as many hands as possible. Over the last seven years he's had over 120 people try out, and 2011 is a big year for the game from which touch has evolved. The 2011 Rugby World Cup will be held in New Zealand (go the All Blacks!!) from 9 September – 23 October, and James definitely has the competition on his radar – watch this space for local celebrations.
If you're aged 16 you're welcome to give touch a go in Leipzig (there's no upper age limit!). For just €8.50 per month (€6.50 if you're a student) playing touch is a good way to make connections socially, get hold of a smart rugby jersey, and enjoy the thrill of just running with the ball!

Get in touch!
To get in touch with Touch Rugby in Leipzig go to: www.okrugby-leipzig.blogspot.com

Leipzig's Mutterzentren seek to support families through a practical, communal model. The centres are designed to provide a welcoming and open meeting place for parents, carers, and those interested in investing in the wellbeing of families. The buildings resemble the layout of a home, with a comfortable living area, open kitchen, quiet rooms, and child-friendly outdoor areas. Dorothee Reimann, one of the two co-ordinators of the centre, describes the space as promoting "living together, in a community." The goal is to replicate a family atmosphere, across both generations and cultures.
Most centres are open for 28 hours a week, suited to the requirements of parents and carers. Visiting the centre is free with no appointment necessary. Although aimed especially at the 0-3 age-group, where the need for pre-childcare support is greatest, a range of courses and activities are also offered for older children. The centres are envisaged as accessible and easy points of contact for adults seeking professional advice. Referral to specialised assistance is mediated as is required. Additionally, experts and professionals visit the centre according to a set timetable. Seminars and workshops are offered for a range of needs and interests, including breastfeeding support from lactation consultants, child raising strategies, returning to work issues, parental rights and service provision, pre-birth classes, post-birth exercise and relaxation courses.
The Plagwitz centre encourages parents and carers to come and participate in a community environment. Baby massage and yoga for mother-and-child are offered weekly. The nature of parenting small children is exhausting, and the Mutterzentren recognise this, offering massage for parents, a dance group, special breakfasts, Spanish lessons, and a discussion group on Homeopathy. Antje Al Abbadi, one of the mothers involved in the Plagwitz centre, put it this way: "Parents also need to be nurtured and cared for – not just their children." A library with resources and reading for parents is available, along with a children's clothing exchange. Lunch can be pre-ordered and eaten, and the kitchen facilities are accessible to all. The goal of the centre is to care for the whole family, with an inclusive understanding of the range of family types within society.
One of the possible barriers to seeking support and entering into a new community is language. One goal of the Plagwitz centre is to overcome this and other barriers. Several playgroups have been set up with an intentional mix of languages. This diversity of cultural backgrounds is recognised as being valuable, and the Intercultural Meeting initiated by Antje Al Abbadi and Stefanie Ackermann was shortlisted for one of the city's 2010 Family Friendly Prizes. These gatherings started with breakfasts and the singing of songs in a variety of languages, and simply grew from there. The group is currently run by Stefanie Ackermann and Franziska El Makhloufi. The international playgroup is playfully called Coffee Clash, with more coffee than cultural clashes. Playgroups in English and Spanish also meet weekly. Diversity is recognised, and native languages do not limit but rather enrich the Plagwitz centre experience.
One current project on the horizon is the expansion of the kindergarten attached to the centre in Plagwitz. Construction is underway to enable a projected doubling of the current kindergarten places available from 40 to 80. Some children involved in the Mutterzentrum do go on to the kindergarten, "but unfortunately, not all have been able to, due to the shortage of places" says Antje Al Abbadi. "It is a wonderful transition to go from the centre to the associated kindergarten." The kindergarten extension at Plagwitz is due to open in November 2011. The centre in Paunsdorf also has a kindergarten on site. All of the Mutterzentren, however, offer assistance in arranging places with Tagesmütter (nannies).
As with any community based organisation, the Mutterzentren have their challenges. Dorothee Reimann explains "There are so many great ideas which we could do. It is difficult to find ways to implement them all, whether due to a need for more people or funding. We also try to articulate just how important this work is, because the potential is boundless if more people become informed of the possibilities!" The centre has a mixture of paid and voluntary staff, who work very hard to keep as many options open as possible for those who walk in. Antja Al Abbadi is now working for the Mutterzentrum e.V after having discovered herself the value of the support provided. She speaks for many when recounting her own experience: "The burden is lighter when you are in a community environment and no longer alone."

Uwe Scholz studied the piano, the violin, the guitar and singing, as well as dance at Darmstadt Conservatory. He had planned to fulfill his childhood dream of becoming a conductor, but life took an unexpected turn when John Cranko's muse, the Brazilian ballerina Marcia Haydée, invited the shy seventeen-year-old to choreograph works for the company shortly after becoming the artistic director of Stuttgart. In 1980, two years later, he abandoned dance to become the troupe's first resident choreographer since Cranko. Cranko had instinctively liked Scholz when at the age of 13 he came to audition for the ballet school. A month after that Cranko died.
When Scholz was 18 he went to New York for 5 months. This is where he saw the choreography of George Balanchine. Balanchine had specific requirements of his dancers. They needed to be thin, long legged and emotionless in their movement. He felt his unembellished choreography should show what he wanted to say. Scholz found his work a bit detached, but was fascinated by its clear structure.
"It seemed as if he was working with a very sharp knife," Scholz said. "He knew exactly when and where to cut, and everything he created is marked by an incredible musicality. The greatest compliment anyone can pay me is to compare my work to his and Cranko's, for they are the undisputed masters of the twentieth century. I would happily like to be considered as something of Cranko, plus a little of Balanchine, shaken up well and spat out a quarter of a century later!"
Uwe Scholz, who died in 2004 at the age of 46, came to Leipzig in 1991. This was a time of political turmoil. He liked that Leipzig needed to be rebuilt. It was a chance for him to start from scratch. Under his direction, the Leipzig Ballet awoke from its slumber and became the talk of the ballet world with people coming from all over Europe to see its performances. Besides it was the perfect place to express both his love of music and his musicality. "The history of Leipzig, Wagner's birthplace, is magical", said Scholz. "Many parts of the old city, including the Jewish quarter, have been restored, and you are surrounded by the atmosphere of the past, by the ghosts of Schumann and Mendelssohn."
Like Scholz, music also plays a key role in Mario Schröder's work. In "Chaplin" he uses songs written by Charlie Chaplin himself as well as other 20th century composers, namely British Benjamin Britten, and American Samuel Barber: all of whom had work that was either written for film or later adapted for film. He also completes the Leipzig connection by including music by Richard Wagner. He wanted to do a piece on Chaplin because indirectly he is the reason he is a choreographer. Not being very athletic when he was young, Schröder's mom asked if he wanted to take part in a dance class. When he asked what dance was, she replied, "You know, like Charlie Chaplin." That sounded like fun!
In "Chaplin", Schröder looks at the man behind the clown. He chronicles the challenges Chaplin faced when standing up for what he believed in and how the political climate at the time turned conservative America against him. A far cry from the ridiculous little swaggering man with the hat and cane, he shows Chaplin the martyr.
"Carmina Burana/A Dharma at Big Sur" is a monumental work of Schröder's musicality and artistic thinking. John Adams' A Dharma at Big Sur was originally written for the opening of the Los Angeles Walt Disney Concert Hall and is Adams' response to the landscape of the Pacific Coast with its contrasting of beach and sheer dropping cliffs. Schröder's choreography rolls and flows like the tides, exploring where life's waves might take us while the sound of the electric violin hauntingly ebbs in and out.
Carmina Burana unites the orchestra, choir, children's choir, set and dance in successful co-existence. Again Schröder uses music that has been made familiar through its use in film, but he brings it back to the way Carl Orff originally intended, choreographed and presented in the theatre. The choreography is a lively mix of old master and modernity much like the marriage of the old and new in Orff's 1935 work where  he set 13th century poems about the human condition to deceptively simple rhythms. In it we see the diversity of human nature; playfulness, eroticism, power, love, hate, betrayal.
I'm reminded of another quote from Uwe Scholz. "It's important for my dancers to have the experience of working with others, for it will also affect their interpretation of my ballets." Recently Schröder invited two guest choreographers to help him open his first "InterShop". I know the dancers really found the experience rewarding and I'm sure he did it partly for them, but I feel like Schröder was doing something for Leipzig as well.
The concept is based on the old shops in the GDR that had West goods. He remembers them as being special. "The word, "Intershop" immediately brings back colors and smells. These are wonderful memories," he says. Only 250 people can watch at one time. Because the audience is on stage with the dancers, it feels intimate….like we are in the shop. On special offer is choreography from International choreographers with unique voices and ways of working. For the first one he invited Mauro Astolfi (Rome) and Alex Ketley (San Francisco). The works are so different and exciting. I was very happy to be a shopper.
Schröder's use of music and biography is perhaps something else he took with him from working with Scholz whose work was never abstract. In an interview conducted by Patricia Boccadoro in 2000 he said, "Right now I'm working on Bruckner's Eighth Symphony, to be premiered in Leipzig on December 17th, so I'm coloured by his life. I live, think, and breathe his music."
In Schröder's "Jim Morrison" he looks at the man in relation to his music, but also his poetry. Who is this creature dubbed "The Lizzard Man" by the press? Like in "Chaplin" we experience events in Morrison's life.
What I see that is very unique to Mario Schröder is his sense of community. Like in InterShop I feel he is doing lots to involve us. Each performance has a "werkstatt" before the premiere where anyone can come free of charge and hear from the people behind the scenes. It could be anyone from Schröder himself to the costume designers. Sometimes there's even a little sample of the performance. The "Jim Morrison" werkstatt is Monday 2 May at 5.30. In conjunction with this piece there is also a showing of Oliver Stone's film "The Doors" at Passage Kino on Sun 5 May at 11.30.
I am very interested in seeing "Lizzard Kids" on Thursday 7 July. This is a performance resulting from project with local school kids being choreographed by Silvana Schröder. Like her brother, she started at the Palucca Schule in Dresden and danced under Uwe Scholtz at the Leipzig Ballet. She started choreographing ballet in 2003 and has since expanded her choreographic activities to working in Opera, Musicals and Youth projects.
In this particular project she is working with kids to explore the light and dark sides of fame. How do you find yourself in the uncertainty and chaos of everyday life? Through movement they can learn how to be happy with themselves and accept others while increasing their body awareness, experience news forms of expression and stimulate their imaginations.

May
2. Jim Morrison Werkstatt
13. Jim Morrison Premiere
19./21./25. Jim Morrison
26./28. InterShop
June
2./11. Die Große Messe from Uwe Scholtz
16./24. Jim Morrison
26./27. Carmina Burana/ A Dharma at Big Sur
July
2. InterShop
7. Lizzard Kids
www.oper-leipzig.de

On the afternoon of March 18, I was one of those visitors. It was my first time attending, and not knowing what to expect (other than crowds and books), I had hoped for an opportunity to preview a few new titles in English. Penguin UK had a large exhibition stand featuring both new releases and classics, and the U.S. Consulate presented a rather strange assortment of books donated by various U.S. publishers (and a cardboard cut-out of Barack Obama, but I won't get into that), but I was relatively disappointed in the selection of English titles. This disappointment was soon set aside as I wandered through the mazes of exhibition stalls and took in the crowds of happy book-loving visitors, and the diversity of books featured and publishers represented.
The following scenes stand out in my memory: Poetry readings in Serbian and German, teenagers and teenagers-at-heart dressed in elaborate costumes depicting their favorite comic book and Manga characters, rows of mini television and radio studios where passersby could stop to watch live tapings of author interviews and book readings, and crowds gathering as school children read from their own creations while their illustrations, done in a print-making workshop onsite, were projected onto a screen behind them. These events within the event are representative of what the Leipzig Book Fair has become over the past twenty years.
The Leipzig Book Fair is the second largest book fair in Germany and it is heavily attended by the general public. In fact, only about 36% of the visitors are trade visitors, meaning publishers, booksellers, librarians and teachers. The rest are simply people who love books. This large representation by the average reader is due in no small part to Leipzig Liest (Leipzig Reads), the literary festival that runs alongside the fair and includes author readings at the fair halls and at various locations throughout the city.
Leipzig Liest, which celebrated its 20th birthday this year, began in part to give the Leipzig fair a way to distinguish itself from the larger and more internationally recognized fair in Frankfurt, which also happens to be the largest book fair in the world. The two cities have long been competing for status of Germany's "Book City," with Leipzig having taken over that role in the 17th century after religious censorship hampered the Frankfurt publishing industry. Frankfurt grew again as the publishing center of West Germany after 1949, although Leipzig remained important for the GDR. After reunification, Germany was home to two major book fairs, and in order to maintain relevance in the shadow of Frankfurt, the Leipzig Fair had to find a niche market. Two new missions arose: first, to be a place to connect readers with authors, in the form of Leipzig Liest, and second, to feature and promote the literature of Central and Eastern Europe. The result is that Leipzig is now home to the largest literary festival in Europe and continues to serve as an important platform for promoting the literature of Central and Eastern Europe.
Serbia was this year's country of focus, and events included panel discussions on the status of literary culture and the publishing industry in Serbia and readings by 40 Serbian authors. The goal of the country of focus program is to introduce German readers to literature from the guest country. In preparation for this year's Book Fair, some 30 Serbian books were translated into German.
Another feature of the Central and Eastern Europe program is the international "Kleine Sprachen - große Literaturen" (minor languages - major literature) series, which began in 2003. Authors from Romania, Hungary, Serbia, Malta, Croatia, Greece, Estonia, Luxemburg, Poland, Ireland and the Ukraine presented their work at this forum. English and French represent the largest share of translation into German, and it was heartening to see a space consciously being made for those whose work is popular and well-received in their own countries but who have yet to reach an international audience.
What I found most fascinating about the fair was the incongruous mix of high literary culture, bibliophilia in the art books and antiquarian sections, forward-looking publishers with their eBook and print-on-demand exhibits, youthful liveliness in the children's section, and pure fun in the comic and manga section. The renowned librarian S.R. Ranganathan is famous (within certain circles) for his five laws of library science, the second and third of which are "every person his or her book, and every book its reader." This could be the theme of Leipzig Book Fair.

Since its launch at the University of Leipzig in early 2007, The Picador professorship has proven a big hit with both sponsors and participants. Each fast-paced semester brings scores of dazzling, new-generation writers to Mitteldeutschland to serve as professors and mentors – exciting learning and insight into the diverse cultures that employ and enrich the English language.
Picador readings by guest professor-writers are free of charge and open to the public. That's because the program's creators intentionally wish to foster a community-wide experience.
The program owes its existence and enthusiastic reception largely to the American Studies Institute – namely, Prof. Dr. Crister Garrett, PhD and Sebastian M. Herrmann, MA, along with colleagues like Prof. Dr. Anne Koenen (American Literature). Picador's continuation is made possible by sponsors Holtzbrinck publishing and the DAAD German academic exchange service. Not long ago, DAAD renewed its funding into 2014 – with the potential to extend beyond then – to demonstrate its appreciation of the program's quality and outreach.
Read on to learn just who these Picador Professors are – or explore in detail on the American Studies site: http://americanstudies.uni-leipzig.de/faculty/picador_chair

Picador pioneers and path breakers

As the first holder of this post, Winter 2006-07, Tristan Hughes, writes, " it hasn't escaped my notice that Leipzig produced its first book in 1480, and I'm obviously delighted to be in a city with such a venerable history of the printed word."
A novelist, short story-writer and scholar of American literature – born in Canada, raised in Wales and educated in England – Hughes works, while set in Wales, are a prime example of 'multi-culti' hybridization. No surprise that his talks to Leipzig audiences strike the theme of crossing both societal and linguistic borders. Winner of the Rhys Davies Short Story Award, he's authored three novels: The Tower (2003), Send My Cold Bones Home (2006) and Revenant (2008).

Summer 2007 features British novelist/story-writer, James Hopkin (PhD in Modern Fiction, Universities of York and East Anglia). Before landing in Leipzig, Hopkin has lived in Manchester, Krakow, Berlin, and elsewhere in Europe. His first novel, Winter Under Water (2007), set largely in Poland, garners him the Norwich Prize for Literature. According to The Independent, "few first-time novelists . . . have an ability to conjure language to such magical effects." His "Georgian Trilogy" is subsequently broadcast on BBC Radio.
An innovative sort, Hopkin cleverly arranges a visit by Anglo-Indian-Kenyan writer Priya Basil. She reads with him from her comic novel Ishq and Mushq, then both join in a lively discussion – eruditely led by frequent Picador moderator, MDR journalist Julia Kastein.

Winter 2007-08. New York-based writer John Haskell brings urban finesse to the Picador chair. His credits include a short story collection, I Am Not Jackson Pollock (2003) two novels, and a third mask as a performance artist who once worked with legendary playwright David Mamet. Haskell holds an MFA (Master of Fine Arts) in Creative Writing from Columbia University and studied playwriting at UCLA (University of California, Los Angeles). His work appears in Granta, The Paris Review and Conjunctions. His debut novel, American Purgatorio (2005), is deemed an enthralling pastiche of road movie, detective novel, psycho-thriller and metaphysical quest, followed by his second novel, Out of My Skin (2009).

Summer 2008 brings a lively upbeat of tempo – American pop art chronicler Chuck Klosterman, author of: Fargo Rock City (2001); Sex, Drugs, and Cocoa Puffs (2004); Killing yourself to Live (2006); Chuck Klosterman IV (2007); Downtown Owl: A Novel (2008); and Eating the Dinosaur (2009). His work as a journalist, blogger and cultural critic nets wide praise. As novelist-horror icon Stephen King notes, "Writing about pop culture doesn't get any better than this, or any funnier." Klosterman enchants Leipzig listeners with his incisive observations and personal ease – making it a three-beer night at the Leipzig podium as discussion flows.

Prolific sci-fi author Nancy Kress transports sizzle and suspense to a chilly Winter 2008. Her output – over a dozen science fiction/fantasy novels, 60-plus short stories and three books about writing – has won her major awards in her genre and translation into 15 languages. Her 2008 Dogs fictionalizes the dangers of terrorism and biological weapons. Her most recent novel is Steal Across the Sky (2009). Called "devilishly inventive," by CNN, "her characters are more than cardboard cut-outs, and they wrestle with important issues – medical and ethical – every step of the way."

Summer 2009. Up-and coming author Catherine Chung brings international élan to the Picador post. A mathematics undergraduate with an MFA from Cornell University (USA), she's taught creative writing in Germany and the United States. Her many fellowships include a stint at the MacDowell Colony (National Endowment for the Arts), as well as a "waiter scholarship" from the Bread Loaf Writers' Conference – yep, she waited on tables for the lunching literati.

Nominated for a Pushcart Prize, she's been published in Quarterly West, Guernica Magazine and The Journal. Her work often centers on themes of resettlement and assimilation, as in her first novel, Forgotten Country, about a Korean family emigrating to America, or her novel-in-progress, Burial. Here in the former East Germany, Chung loves being "where people retained a cultural memory which resonated so well with everything I was thinking about" (Granta, "New Voices" emerging writers series, April 2010).

Winter 2009-10. Not letting up on the intrigue, Picador welcomes American spy novelist Olen Steinhauer. Cited by the New York Times as one of best modern writers in his genre, Steinhauer has seven novels and numerous short stories to his credit. His Liberation Movements (2006) and Victory Square (2007) were short-listed for the Ian Fleming Steel Dagger Award (UK).

While he's in Leipzig, Warner Brothers along with actor George Clooney buy the option to film and star in Steinhauer's 2009 bestseller, The Tourist. The book, published in 20 languages, is part of an espionage-thriller trilogy that touches upon events in a country not unlike post-Cold War Romania (not to be confused with a 2010 film set in Venice and bearing the same title). Quite the feather in Steinhauer's cap and a warm glow for Leipzig students, faculty and Picador audiences who "knew him when," that is, before he achieves international cinematic acclaim.

Background: Holder of a BA in English from the University of Texas/Austin, an MFA (Master of Fine Arts) from Emerson College/Boston, and a Fulbright Fellowship, the Virginia-born Steinhauer has lived in San Francisco, Brooklyn, Romania, Italy and Hungary (Budapest, along with his Rumanian-born wife and daughter). Despite being a dynamite writer, Steinhauer discovers at the Uni Leipzig that his teaching skills need some brushing up. He gladly takes input from his students on how to make great spy novelists like John le Carré and Graham Greene spring to life, and borrows a "group spy novel" classroom exercise from a sage colleague.

Christian Hawkey, Summer 2010, becomes the first poet to hold the Picador chair in Leipzig. A professor of Creative Writing at the fine arts-oriented Pratt Institute of Brooklyn, NY since 2004, Hawkey is widely published in Chicago Review, Denver Quarterly, Best American Poetry, Die Zeit, et al. noted for his fascinating blogosphere dialogues with fellow international artists.

Hawkey tops off his visit with a public reading at the Deutsches Literaturinstitut (sponsored in part by the US Consulate), along with his poet-spouse and frequent translator, Uljana Wolf, whose name means 'liebling' or dearest in Polish. The two of them engage in collaborative wordplay, exposing the hidden time bombs of language, especially when it leaps from the Germanic to full-blast modern English. His passion for mining words for pure sound and feel, as well as meaning, has gained Hawkey a following for his "funny and eerie ... surreal landscapes ... and necessary obliteration of how we expect language to work" (to blend critiques from Boston Review and Publishers Weekly).

... and now, back to the future

Stay tuned to both upcoming issues of "Leipzig Zeitgeist" and the American Studies website for the latest Picador Professorship and readings of those authors' works. Lined up for Late Fall 2010-11 is international poet-playwright, writer-editor, Nathalie Handal.
Nathalie Handal
Picador Guest Professor for Literature
Room 3 5.14 | Phone: (0341) 973 7333
http://americanstudies.uni-leipzig.de/faculty/handal

Remember, there'll be more

Do yourself a big favor by attending a Picador reading. Check out the American Studies site to learn about the latest "word magician" and explore the program in detail at: http://americanstudies.uni-leipzig.de/faculty/picador_chair

OR

See also individual sites for the Picador lineup:
Tristan Hughes (Winter 06/07): americanstudies.uni-leipzig.de/faculty/hughes
James Hopkin (Summer 07): americanstudies.uni-leipzig.de/faculty/hopkin
John Haskell (Winter 07/08): americanstudies.uni-leipzig.de/faculty/haskell
Chuck Klosterman (Summer 08): americanstudies.uni-leipzig.de/faculty/klosterman
Nancy Kress (Winter 08/09): americanstudies.uni-leipzig.de/faculty/kress
Catherine Chung (Summer 09): americanstudies.uni-leipzig.de/faculty/chung
Olen Steinhauer (Winter 09/10): americanstudies.uni-leipzig.de/faculty/steinhauer
Christian Hawkey (Summer 10): americanstudies.uni-leipzig.de/faculty/hawkey
Nathalie Handal: americanstudies.uni-leipzig.de/faculty/handal

Leipzig's marvellous microclimate: How long is winter?
Christmas has just been and gone, and Leipzig positively glowed. New Year's Eve arrived, and the magic spell of a new beginning hung over the city. But now it is January; hangover mood, spring still far away. Now, if not already before, there is this question again, nagging and haunting: How long will this winter last?
Easy to answer, meteorologists proclaim: from 1 December to the last day of February. Astronomers say: from midwinter, 21 December, to 21 March; altogether about 90 snowy days. To me, as a former newcomer to Leipzig, such a statement is, at best, misleading.
When I moved from North Rhine-Westphalia's 'Mediterranean climate' to Leipzig's lowlands in 1990, the local winter was a shock. It felt like minus 20 degrees for weeks. People and streets in a permanently frosty state. As often as possible, I pressed myself against the warm tiles of our charcoal stove. There were times where I really felt that I'd fallen into a black and white telly. Was this what they call winter depression?
And today? Today, I am a winter expert. Through my kids, I have rediscovered tobogganing: easy glissades down the "Große Warze"(big wart) in the Clara-Zetkin-Park, enjoyed with mulled wine and hot children's punch at the cosy Glashaus; or racy descents in the small forest of Bienitz near Rückmarsdorf. Dreamy pirouettes while moonlight skating on the frozen pond in the Johannapark or under the roof of the Ice-Arena at the Alte Messe. Leipzig – a winter wonderland!
But of course, Leipzig's winter is affected by climate change, too. There are sometimes roses blooming in November. Winter certainly still baffles us: why is it that when it snows the people who clean the roads are so stunned that chaos rules the streets? Why is it that just when the flu season is upon us we are compelled to stand, packed like sardines, in buses and trams?
Who is the one to snap up all the grit in my DIY-store, of all places?
Yet, all of this is nothing, nothing at all. Because in February there is a happy ending: winter holidays! Relaxed, I take the Fichtenberg Express from Leipzig Central Station to Oberwiesenthal and strap on my skis. The world zooms past like a snowball through space. Time flies by. And then, only three more weeks left until the Leipzig Book Fair. This year's fair, from 17 – 20 March, falls almost exactly on what our calendars deem to be the beginning of spring. Rightly so, because it has always, always been like this: The last snow falls at the Leipzig Book Fair, and the first hint of spring appears. Leipzig's microclimate! To be found nowhere else in the world!

I met with Oliver Meisel, the lead singer of the band at his usual drinking hole, Killywilly's, for an update on what the band has been up to in the sometimes ruthless and all-consuming world of music. Ironically, the band's name (sorry, I have to address this matter again) is inspired by a beer &lemonade girlie drink known in England as a Shandy and a downer known as Mandrax, which was popular in the 60's and 70's. For about 2 years now the Shandy Mandies have been making music; the band consists of American, Patrick Burkholder, two Germans, Jan-Andreas Helch and Sebastian Költzsch, and Oliver Meisel, a British-German mix. Over the last few months they have been busy producing and releasing their debut record, Pipe Dream Poetry, under their own equally new label Amen.
The band first began playing together in 2008, though each member has played with other bands in the past. Although none of them have a 'traditional or classic musical' upbringing, music has played a central role in all of their lives. They started out by playing covers and when I asked how the process of writing your own lyrics begins, Meisel answered "Over time it's a natural transition, and writing original music and lyrics just happens!" He also confessed to me that he really isn't too sure what else he would do with his free time, if it wasn't for playing music!
Meisel (lead singer) and Burkholder (bass) are the band's primary songwriters, and like all the music we know and love the Shandy Mandies tend to explore many of our favourite topics such as the effects of love, life, drugs and all those things which we mortal, discerning and delicate beings face on a regular basis! According to Meisel, the band has put a lot of effort into making this album happen and in his opinion "What makes the album so great is not that the album is the greatest thing ever recorded, far from it, but rather the fact that the music and the sound on the record is real. We want our music to sound authentic, like real instruments and real playing, unlike a lot of indie bands, which use a lot of loops and electronic, overdone sounds." According to Meisel, the Shandy Mandies style, which he hesitantly answered as he hates to categorize music, could be described as indie-rock with influences from Brit-pop bands from the 60's and 70's, but he emphasizes that many different elements have inspired their music. What they like is to keep things straightforward: indie-rock vocals, bass drums and guitar. The new album is now available in CD and LP formats. But a tip from the band, the best sound comes from the LP. The band members prefer to listen to and buy vinyl, as opposed to CDs, since the guitar, drums and music captured sounds more "alive". When asked to describe the concept of their new record, Meisel, like many artists, was resistant in revealing too much about the songs and their meanings, encouraging the listener to come up with their own interpretation of the lyrics. However, if you listen carefully he explained, you may notice that sounds and lyrics from songs within the album repeat themselves, evoking an element of connection and continuity, which reminds us that things always have a tendency to come around and work out in the end. The first song on the album; Fall into the Ocean is all about letting yourself go, doing your own thing despite what anyone says. Listening to the record myself I was impressed with the authenticity of its sound, as well as the emotion and intensity that comes through and which is then heightened by a little dose of 'Mandy'. Their passion for music and playing is evident.
Outside of the band, each member also manages to work a day job to support themselves and other musical endeavours. The band has also just recently established their own music label, Amen. By having their own label, Meisel says, they have a lot more freedom to do what they want and of course cut out the middle man. This way, they are able to promote their own shows, music and parties and maybe even in the future promote other indie-bands and musicians like themselves. So if you want to groove to some rock in Leipzig, watch out for these four cats and their guitar licks in and around Leipzig. You can get a listing of their live shows online.

The 10 Commandments of AMEN

THOU SHALT LOVE MUSIC
THOU SHALT MAKE MUSIC
THOU SHALT REFRAIN FROM PRETENTION AND INAUTHENTICITY
REMEMBER THY TRUTH AND KEEP IT HOLY
HONOUR THY RECORDS
THOU SHALT DETEST OPPORTUNISM
THOU SHALT STEAL NOT FROM YOUR LOCAL RECORD SHOP
THOU SHALT BELIEVE IN THE UNIVERSAL FORCE OF LOVE
THOU SHALT COVET THY BANDS
THOU SHALT LIVE
AMEN.

I met up with Michael Sperlich at Leipzig's main, and soon to be only, animal home, to find out how this particular 'charity' is doing given the economic climate. Leipzig's animal home currently has two locations –the main (and still under construction) site in Breitenfeld in the north of the city (housing dogs, cats and birds), and another in Schkeuditz (housing cats, birds, exotic creatures and smaller pets, e.g. guinea pigs, hamsters etc.). By the end of the year, however, all the animals will be housed in Breitenfeld – a large, modern-looking and impressive site. In fact, modern-looking is pretty accurate; constructed between 2000 and 2010 it is the biggest and most modern animal home in Saxony. 'Unfortunately,' sighed Mr Sperlich, heavily.
The reasons for animals ending up in animal homes in Leipzig are the same as those anywhere: neglect, poverty, cruelty, death of owner. "Ninety percent of the animals we rescue are here for these reasons," Mr Sperlich explained, "There is high unemployment in Leipzig, and so the animals are mostly with us because their owners have social problems." Occasionally there is a happy ending – sometimes pets get lost and are reunited with their owners within hours. But, for the most part, the Leipzig animal home handles around 1700 – 1900 animals a year that need to find new, loving owners, willing to give them another chance in life.
And, like any charity, this costs money. The animal home needs around €600,000 a year to cover all its costs (around €100,000 of that is vet's fees). "So far, since 1992, we have managed to reach this figure," Mr Sperlich acknowledged. 45% of the money comes from the city, and 55% needs to be found – mostly through donations, or from fundraising activities by the Society (e.g. membership fees, events), but a considerable amount also comes from wills. The buildings and the land belong to the City of Leipzig and are not part of the animal home's assets. Mr Sperlich, however, could well be considered a very valuable asset. Though he doesn't give the impression of being a hard-headed business man, his background is in the dog-eat-dog world of commerce. Five years ago, he made the decision to leave his successful (and well-paying) career, to run the animal home. "It's my mid-life crisis," he grinned. His decision, however, also underlines another point that he was keen to get across in our interview. "In order to survive, charities, like ours, need to be run as efficiently as a business. The interests of the animal home need to be addressed like any other business, if we are to survive. Crying over the 'poor little animals' will change nothing. Competing against all the other 'needy' sectors of society is the hard reality." Though obviously a lover of animals, and passionate about supporting their cause, Mr Sperlich also fundamentally believes that being 'passionate' is not really enough. "We need more professionals in the charity sector - people who understand tax, the law and business."
The lack of a lobby providing homeless animals with a voice is part of the problem, Sperlich conceded, especially here. "Regional businesses and politicians are not interested in the animal world. With all the social problems we have here, donating to animals is never considered."
Despite the grim words about the state of financial and political support, there is, happily, a lot of practical support out there in the community. The animal home has a core of volunteers who give up their time to come and walk, clean out and care for their furry friends. Trained full-time and part-time staff are also on hand to provide the crucial backbone upon which Mr Sperlich depends. "The volunteers tend to be older, and it can be hard to find people who will stick with us for years. Younger people often want 'projects' of some kind to complete, rather than being interested in helping on a long-term basis."
As I wandered around the site in Breitenfeld, I couldn't help but be impressed by the facilities and spacious grounds. The impression was not of a place desperate for money – but looks can be deceiving, and at the end of the day a cold, hard concrete cage, is a cold, hard concrete cage, not somewhere you would want to spend any time, with or without a furry coat. The animal home is, naturally, always happy to receive more help, whether it's helping hands, pet food supplies, or, your friend and mine – cold, hard cash. And if you're looking for a companion to make your life in Leipzig complete, Mr Sperlich and I have a request - please could you make your first stop Breitenfeld?

It is not just memories of Japan that remain, but a physical presence in the form of the young Japanese lady, Asagi Kawashima, who is now very much a part of Fritz' life in Leipzig.
Asagi herself spent an AFS year in a small village here in Germany from the summer of 2004 and has much praise for the young family who became her own during the exchange year, and who subsequently visited her in Japan. Culture shock there undeniably was for the girl from Tokyo, who suddenly found herself swimming in a vastly smaller pond. But happily she did learn to swim.
AFS does its very best to see that things run smoothly for all concerned, from an initial selection camp for potential exchange students to assess if they have what it takes to spend a year away from their families, to an emergency phone number for guest families. The term 'family' is used very openly in Germany; from same sex couples to solo parents. The most important requirement is a readiness to accept a young person into your home as if they were your own child.
The idea is that in order to understand another culture you have to live it. On a day-to-day basis, this means living with a host family, attending a local school, getting to know a new language and making new friends, and a whole heap of fun and adventures along the way.
As well as being one himself, Fritz has hosted a number of AFS students and reckons if you are open-minded, don't have too high expectations and do a lot together with your host family, you will have a great experience. Intercultural skills and personal development are tangible benefits for the 15-18 year-olds who step outside their familiar world for a school year. Of course the students are not the only ones to benefit, host families form international friendships that can lead to the kind of personal travel experiences which no travel agency can provide.
The impressive thing is that volunteers make the whole organisation tick. With over 60 years experience here in student exchange, the figures stack up considerably: 800 – 900 students from all over the world come to Germany each year, and around 1,300 German students leave to see the big wide world. English speaking countries are popular – the U.S.A tops the list – but South America is also a favoured destination and South-East Asia is up and coming.
Germany's AFS has around 4,500 members. On the ground, 104 regional committees make the hosting and sending of exchange students happen. Regular get-togethers and student camps make life busy for active AFS volunteers. While Fritz is not willing to tell me how many hours he devotes to the ultimate international relations cause, he quickly admits he has learnt a great deal of organisational, communications and teamwork skills through his AFS work. He enjoys the fact that it is not commercial, and an undeniable highlight is the huge amount of fun and shared experiences he continues to have with people from all over the world.

AFS – a potted history

If there was ever anything good to come out of the two world wars, then AFS could take this claim. With a mission of compassion rather than conflict, in 1914 the American Field Service was organised to transport wounded French soldiers. By 1917 AFS had grown to 2,500 drivers who had carried more than 500,000 wounded. During WWII, AFS was reorganised as a volunteer ambulance corps which served in France, North Africa, the Middle East and Italy.
After the war AFS continued its tradition of international service, and created the AFS international scholarships. The multinationalisation of the programme really took off in 1971 with student exchanges that criss-crossed the planet. Globally more than 400,000 people have participated in AFS, and 120,000 voluntary workers are involved world-wide.

Susan says it is not hard to attract volunteers, and that money is not a factor for the majority. When the timing is right – family responsibilities are in check, the garden is manageable – people, 450 Leipzigers annually, seek out where they can make a contribution, and the voluntary work becomes like a hobby. Like a hobby it provides social contact, helps one to develop skills, improves paid employment prospects, and rewards the individual with that indescribable buzz that comes from doing something worthwhile above and beyond monetary reward.
In providing a platform for those seeking voluntary work, and for the organisations seeking volunteers, the Freiwilligen-Agentur offers a range of advice to both parties. For example, if you are to work with children a police check is required, for which the State will pay. Then there are insurance issues. "These are things you simply have to know about", clarifies Susan. The legal framework as it applies to clubs and associations (Vereinsrecht) is another area where the Agency offers information and advice. Likewise, professionalism and financial matters are covered.
Even when people are working on a voluntary basis, situations can become tricky, as much publicised difficulties within Leipzig's Ronald MacDonald House and Buchkinder illustrate. "Voluntary workers also have their duties, and bad days on the job. It's not all fun." The Agency's manager since August 2009 emphasises that praise and recognition of workers' contributions is important, as is doing fun social things like bbqs, and covering basic expenses like travel costs. An Agency workshop on the voluntary coordinator/manager role within organisations has proven popular.
Not surprisingly, senior citizens are to the fore when it comes to voluntary work, but perhaps surprisingly men are more dominant than women – across the nation. The large number of sporting clubs and volunteer fire fighters even in small rural communities go some way to accounting for these statistics. Leipzig's voluntary authority has projects which seek to even the balance by making volunteering more accessible and attractive to youth and the long-term unemployed.
Prior to her current position, Susan worked for the foundation, Gute Tat, in Berlin. It was here that she came into contact with the world of voluntary work and recognised it as a good thing. Last year she landed here what she describes as her "dream job". "It moves me and has a positive effect on society". She is happy about returning to Leipzig, where she undertook German studies and onomatology (the study of names) at the University, and only misses the bigger smoke of Berlin "a little bit".
Money is a necessary evil, even in the voluntary world, and euros in the five figure region enable the Agency to employ 10 staff members. This money is amassed from a variety of sources including the City's administration, Sparkasse, Aktionsmensch, the ARGE (employment agency) and DHL.
Naturally Susan does not praise public spending cuts in the social services area. What she does recognise is that voluntary work saves the nation billions of Euros annually. And then there are the values to which a Euro sign can't be affixed, the ones that really give life meaning.

Opposition came from a multitude of political directions but recent internationally-oriented popular culture has largely engaged with the more politically conservative forms. The German film Sophie Scholl from 2005 starring Julia Jentsch achieved a certain amount of success not only in Germany but also worldwide. The film concerns itself with the Munich Christian-humanist Weiße Rose (White Rose) grouping that printed and distributed leaflets throughout 1942 and 1943, calling for an end to National Socialism, the Second World War and for a “new spiritual Europe”. The 2008 Tom Cruise Hollywood vehicle Valkyrie also brought the story of the aristocrat soldier Claus von Stauffenberg and the resistance of German traditional elites to a wide international audience. The wider Stauffenberg story also, of course, has an important Leipzig connection in the person of Carl Goerdeler, played in the Hollywood film by Kevin McNally, better known for his role in the Pirates of the Caribbean films. One is still reminded of Goerdeler when walking through Leipzig today.

Carl Goerdeler (1884-1945) was a jurist, a national-conservative career politician, as well as a distinguished exponent of liberal economics. He was also one of the civilian leading lights in the resistance circle that instigated the July 20 1944 plot to assassinate Adolf Hitler, carried out by Claus von Stauffenberg. Goerdeler was, besides, mayor of Leipzig from 1930 to 1937. He came from a rural Prussian family with a tradition of state service – a class that partly constituted the traditional intellectual and cultural elite in the late 19th century German Kaiserreich. In 1930 the conservative Prussian became the surprise choice for the job of Mayor of Leipzig, winning the mayoral election through the support of the traditionalist conservative parties and sections of both the SPD and the National Socialist party. Leipzig was at that time a growing and important trade metropolis of 700,000 people in the then centre of Germany and the acquiring of this position represented a massive increase in status for Goerdeler, who, until that moment, had led an impressive if rather uncertain and sporadic political life.

In the early years of mayoral office Goerdeler proved himself to be very able and he tackled various economic problems brought upon by the recent financial crisis of 1929, achieving national prominence due to his economic ideas. After Hitler gained power in 1933 Goerdeler remained initially quite ambivalent in relation to the National Socialist party and he appeared to approach them in a pragmatic if unenthusiastic fashion. Because he obviously retained the vast support of Leipzig’s inhabitants and was widely respected in all political quarters, he remained one of the few mayors within Germany who retained their position after Hitler’s assumption of power and who never joined the National Socialist party.

Goerdeler openly criticised the Nazi imprisonment of social democrats, socialists and communists for humanist reasons and he attempted to maintain Jewish cultural figures within the city of Leipzig, who, even in early 1933, were already coming under pressure due to the new racist National Socialist ethos. On 1 April 1933 the National Socialists orchestrated the boycott of Jewish shops and businesses throughout Germany. The Mayor of Leipzig, on this very day, conspicuously and demonstrably visited the Brühl area, then the centre of the fur and tobacco trade in the city and the business focal point of Leipzig Jewish life. Goerdeler simply walked past the SA guards posted at the entrances of the various buildings and even, apparently, ordered some members of the SA, as mayor of Leipzig, to cease their harassment. The period from 1934 to 1935 for Goerdeler was marked by increasing difficulties between the imprudent economic policies of Hitler’s National Socialism and those of the Leipzig mayor, the Nazis also planning and instigating a downgrading of the economic and administrative power of local government that would greatly restrict the powers of the mayoral office.

By 1936 the National Socialist attack on Jewish influence in German life had gained in force. In Leipzig this was most evident in the growing discussion regarding the Felix Mendelssohn Bartholdy monument in front of the Gewandhaus orchestra building. National Socialist elements, including those from within the town hall, called for the dismantling of the memorial as it depicted a “full-blooded Jew”. Through Goerdeler’s skilful diplomatic politics this course of action was initially resisted. While the mayor was on a lecture tour of Scandinavia in November 1936 the monument was duly destroyed however, to Goerdeler’s dismay. The Prussian-born politician officially resigned from the office of mayor of the city of Leipzig in early 1937 due to the monument’s demolition.

From 1937 to 1938 Goerdeler, financially backed by Robert Bosch, undertook an extensive lecture tour throughout the western world. Ostensibly the topic of the tour was purely economic but the former mayor of Leipzig also met with various political figures and warned them of the dangers of National Socialism. After his return to Germany Goerdeler came into contact with conservative opposition figures within the military surrounding Ludwig Beck. They formed a resistance grouping in Berlin whose aim was to overthrow Hitler and, after 1939, to stop the war. Goerdeler did not personally want to see the Führer assassinated but desired, rather, his arrest and public trial. Both the civilian and military wing of the resistance group were in favour of the former mayor of Leipzig assuming the office of German Chancellor in a post-Adolf Hitler state. Goerdeler’s constitutional plans for a post-Hitler Germany were, however, a mixture of social and national conservative policies, economic liberalism and stringently anti-Communist measures and served to isolate some members of another intellectual resistance grouping later labelled (by the Gestapo) the Kreisauer Circle, as well as socialist opposition elements. Shortly before the July 20 1944 plot to assassinate Hitler a warrant was issued for Goerdeler’s arrest. He managed to escape to rural Prussia, but was later captured, interrogated and eventually beheaded for treason in Berlin on February 2 1945. He was one of a tiny German minority who had given their lives in the active fight against National Socialism.

The courage and sacrifice of Leipzig’s former mayor still resonates in the urban landscape of the city today. A section of the ring road circling the inner city is, of course, named after Goerdeler, while at the new town hall a subtle ground-level monument, rich in stone-engraved text, also commemorates the bravery of its former incumbent who served the city as mayor from 1930 to 1937. The Mendelssohn memorial has since been rebuilt in accordance with its former splendour. While the city has, at various stages, maintained a number of Mendelssohn monuments at several places, the memorial now to be seen at the rear of St. Thomas’ Church was remodelled on the style of the monument destroyed by the Nazis in 1936; the act that hastened Goerdeler’s resignation as mayor of Leipzig.

The Association is a fine example of a grass roots initiative, where a few ladies decided that they would like to meet on a more regular basis and support each other as new Leipzig residents. Now they offer various forms of assistance and social connections over breakfasts in Rabet, Info-Cafes in the Gesundheitsladen, and picnics at the Statt Gardens on Ludwigstrasse. “At the beginning we did not expect that the idea of meeting occasionally for breakfast would lead to the formation of an association devoted to the support and integration of women of different cultures in Leipzig” says Anke Kästner, one of the association's founders. She continues the story, saying that the idea arose in 2006 when a few ladies came together during the Intercultural Dialogue Days in Leipzig, and wanted to continue meeting for breakfast and chats until they had decided on an official association. The structure and form of Internationale Frauen (IF) was discussed for over a year, and was finally resolved in 2008. Ever since then, the association has been working to fulfil its mission, which is providing advice, support in finding jobs, building up social connections, and helping women (especially older women) when it comes to dealing with numerous institutions in German.
Aside from monthly breakfasts, which are often combined with guest lectures about safety, women's rights etc., Internationale Frauen, in cooperation with GO - Gesund im Osten, has created the Internationale Frauen-Info-Cafés. These are monthly meetings that take place in the afternoon with tea, coffee and some cookies. Providing information about how families can live a healthy lifestyle is the focus. However, the IF’s biggest event is the Internationale Frauen Tanz in Rabet. “Last time around 100 women came with their children – and not a single man!” laughs Anke. “It is especially relaxing for Muslim women, who can take off their scarves, but to be honest it is a great experience for everyone to have a large group of just women partying together to music of all styles – starting with folk and ending with belly dancing”. I asked whether all the IF’s initiatives are aimed at women. Although the answer is mainly “yes”, in June the IF started something for the whole community; the Statt Gartens at Ludwigstrasse, next to its office. Here, the association is creating a garden with herbs, vegetables and fruit, a place for BBQs, and a playground. When we met Anke was looking forward to bringing the project to fruition, “We open the garden in June and in mid-autumn we are planning to have a herb festival. Produce from the garden can be made into tasty jams, oils, pesto and enrich the Info Cafes or breakfasts, but mostly the aim is to help people living in the same area to integrate by getting to know each other better”.
Initiatives of the IF are enriching Leipzig’s social landscape and fulfilling many gaps in the so-called “integration process”. “I think that women are more open to intercultural cooperation and better at social networking than men. Despite this, their chances of finding a job are worse”, explains Anke. Although working in such a diverse environment is sometimes difficult, she finds working with just one nationality too boring: “Luckily, the State has also realised that we need to use the cultural potential that immigrants bring with them to Germany, and not to separate them from the rest of society”. This optimistic prognosis definitively encourages me to participate in IF’s actions. So ladies, when shall we meet for a coffee or breakfast?

The name Mitteldeutschland was selected to redefine an economic region that had been divided by borders. Working together with Christian Ketels, the initiative and its early investors followed a Harvard Business School model in order to define the strengths of the region. This involved identifying clusters on which to focus their marketing energy. It is through the identification of these key clusters that the IICG, working together with its partners in industry and government, has put forward a strategy that aims to realise Central Germany as one of the, “...most attractive and innovative economic regions in Europe, combining dynamic growth with a high quality of life” by the year 2015.

Many successful clusters are already playing their part in the rejuvenation of the region, such as: the Automotive cluster (companies with factories in the region include, BMW, Porsche, and Opel); the Biotech/Life Sciences cluster (one of the youngest and most promising growth sectors, with research centres like BioCity in Leipzig and the Bio-Zentrum in Halle); the Chemical Industry and Plastics cluster (top companies include BASF, Bayer and research institutes such as the KuZ Leipzig Plastics Centre); the Food Industry cluster (a sector which is growing at a rate far higher than the national average, and which includes well-known products like, Rotkäppchen sparkling wine, Obstland fruit juice, and Halloren chocolates); the Energy and Environment cluster (the UFZ Helmholtz Centre for Environmental Research is just one of many research centres in the region exploring new options for sustainable land use and improved quality of life); and the Logistics cluster (in this sector, with DHL now based in the region, Central Germany truly is turning into the hub of Europe). And last, but by no means least, another central argument to this area becoming a major player as one of Europe’s most attractive regions is its rich cultural heritage and stunning and varied landscapes. Eight locations feature on the UNESCO World Heritage List, including Wartburg Castle, the town of Quedlinburg, the Luther memorials in Eisleben and Wittenberg, and the Bauhaus sites in Dessau and Weimar. And these are just the tip of a very large iceberg.

In order to join the IICG and obtain full benefits of membership, companies pay a joining fee of around €4,000 per year (at least). The reason behind these high fees is to make the initiative work without public funding. A wise move, as by 2019 there will be a third less of the budget currently coming from the federal government and the EU. The companies meet twice a year to discuss marketing strategies and develop networks, and the initiative now has around 65 members. However, the focus has changed slightly in recent years. Whereas at the start, large companies were courted for their influence with the ministries and their international clout, “The initiative is now seeking to help promote smaller companies in the region – in order to encourage the development of the middle class’’ Klaus explains. He goes on, “30,000 people are still leaving the region each year, and bold moves are required in order to maintain the high quality of life and to keep attracting young, dynamic people to move here. People like you, who want to settle here and start something new, like your magazine.”

It remains to be seen how the future of the region will pan out. The last few years have seen the worst global recession since the end of the second world war, and in the last few weeks events have played out which have seen enormous strain being placed upon the European Union and its single currency. Only time will tell whether the initiative will realize its goal in turning Central Germany into a desirable place to live and do business – but for this small magazine at least, we’re hoping they manage it!
If you want to learn more about the Mitteldeutschland initiative, then please visit their website at: www.mitteldeutschland.com

Being outside in the summer time means a lot to Thadeusz Tischbein and his gang of ad hoc football enthusiasts. At least that’s the feeling I get on a cold and rainy morning in May. There’s no summer to be seen, or even guessed at yet, as we anticipate this year’s world cup over a hot cuppa in Leipzig’s football café, Cantona.
Thadeusz has agreed to meet me to talk about “Jens and Olli”, an initiative he created four years ago in 2006, during the last world cup. Frustration about crowded locations and obstructed views of TV screens in Leipzig’s pubs drove him and a group of friends to the decision that it was time for a change. Football-watching had to happen in places where people could see and breathe, and not among drunks where grabbing a beer from the bar was a life threatening activity. At the same time, the social aspect of cheering, counting goals and having a beer and a chat or two was an unmissable part of football-watching for Thadeusz. So, he grabbed a TV set, a car battery, and a transformer, took the lot up to his roof somewhere near the city centre, and invited some people round. In the weeks that followed, social, open-air football-watching became institutionalised.

During the 2006 world cup, Thadeusz and a varying number of other people (usually between 5-15) gathered around ten times to watch one or two matches a night, drink some beer and chat. They chose “unusual places” to gather “that didn’t accommodate the act of watching football” says Thadeusz. Locations included, near to the Bundesverfassungsgericht (Federal Constitutional Court), Augustusplatz, the former mining region south of Leipzig, parks, and a disused fountain on the Ring near Roßplatz. For Thadeusz, the main factor for choosing a venue was that it was outside. As he did most of the driving and carrying himself, another element was that the venue was accessible.

Even before the first night, Thadeusz’s initiative was baptized “Jens and Olli” to mark the historical moment in German football history when the two candidates, Jens Lehman and Oliver Kahn, were up for goalkeeping. The so-called ‘T-Frage’, or ‘Torwart Frage’ (the question as to who should be the goalkeeper in Germany’s matches during the 2006 world cup) had been heatedly debated in the tabloids for over a year. Although the lot finally fell on Jens Lehmann, Thadeusz kept the name throughout the 2006 world cup and it is still associated with him. He is planning on reanimating “Jens and Olli” again this year and is currently on the lookout for venues. So, keep your eyes peeled!

Along with it’s busy life as a venue for many fairs, markets and events, The AGRA is also a major meeting point for MYRA. Founded in 2004, this Leipzig-based metal band, famous for its heavy guitar and bass riffs, raging drums, aggressive vocals and euphoric sounds, uses the AGRA for it’s rehearsals.
MYRA comprises five highly motivated and ambitious musicians: Sebastian Spillner (vocals), Ron Henkel (guitar), Henrik Zeltner (guitar), Felix Thyrolf (bass), and last but not least, Sebastian Schneider (drums). Since their first release in 2006, MYRA has steadily become an integral part of the European metal scene and does so while breaking the traditional boundaries of metal, trash and hardcore. With their first official release, done without support from any label or distributor, they sold over 500 copies and won positive reactions from both fans and press. 2007, MYRA saw the band on their first tour, and their debut album “The Venom It Drips” was finally released in 2008. Reviews were very kind - declaring the band to be one of Germany`s most successful newcomers. Along with several energetic live performances during festivals like, With Full Force, Mach1 and Sucks`n`Summer were also well received by fans of the scene.

Happily, I was able to meet MYRA in person for an interview to find out what they
had to say:

As Europe’s quintessential trade city, Leipzig has witnessed many milestones in the history of trade fairs. But you don’t need to delve into history books to admire the Messestadt’s glorious past: the past lives around us. Almost around every corner of Leipzig stand buildings that served important roles in the development of Leipzig - Messestadt. Today these landmarks of history stand quietly as parts of Leipzig’s cityscape, leaving us to imagine all the hustle and bustle that they once saw.
Arcades in the city center: During the second half of the 19th century, Leipzig’s trading world underwent a revolutionary shift. Instead of bringing goods for sale to the trade fairs, factory owners started to exhibit samples to their potential buyers. This practice developed into the world’s first Muster Messe (sample trade fair). To provide exhibition space for these sample fairs, 30 trade fair houses (Messe Häuser) were built in Leipzig around the turn of the century. Together these houses formed a complex network of buildings, courtyards (Höfe), and arcades (Passagen), resulting in an extensive exhibition space. What is today known as the Leipzig Zentrum consists largely of these former trade fair houses. Some of these, such as the Mädler Passage and Specks Hof, are still among Leipzig’s major tourist attractions and continue to pull in crowds from around the world.

Ring-Messehaus: Built between 1922 and 1926, Leipzig’s Ring-Messehaus, standing at Tröndlinring, was the largest inner city trade house in the world. During WWII, the imposing building was heavily damaged by bombing raids, but even in its dilapidated state the building hosted the first post-war Leipziger Messe on 8 May 1946. Full scale renovation was completed in 1948, and further expansion resulted in a total of 20,000 m2 of exhibition space. During the GDR, the building was mainly used to house textile and garment trade fairs. The Ring-Messehaus closed its doors in 1994.

AGRA Messepark: During the GDR Markkleeberg, a town located to the south of Leipzig, hosted the GDR’s annual agricultural fair. The venue for this fair was, and still is, known as the AGRA Messepark. Originally a landscape park, the AGRA hosted its first horticulture fair in 1948. This event was a large success and became a regular part of the Messe calendar, increasing in popularity. In 1952 the AGRA hosted the first combined horticulture and agriculture fair in the GDR. The fairground gradually developed and grew to be as large as 100 ha. with 90 exhibition halls. Today, the fairground continues to host various exhibitions and events, the most famous being the annual Wave-Gothic-Treffen, Europe’s largest Goth festival.

Alte Messe: For anyone visiting the Völkerschlachtdenkmal (Battle of the Nations Monument) or the National Library in the south eastern part of Leipzig, it is difficult to miss the gigantic double M sign standing alongside Prager strasse. The largest example of the Leipziger Messe’s symbol (standing for Muster Messe), this double M sign serves as the entrance to Leipzig’s old fairgrounds, the so-called Alte Messe. Of course in a city with over 800 years of trading history, “old” is always relative. And the Alte Messe is actually a relative latecomer amongst the trade fair buildings in the city. The building of the fairground began in 1913 for the International Building Exhibition. But it kept on growing until eventually it became the most important trade location of the city. Every year it opened its gates to welcome visitors to the internationally famous Leipzig Spring and Autumn Trade Fairs. The renovation of the Soviet Pavilion, the most iconic exhibition hall in the Alte Messe, was completed in 1950. Following reunification, the new Leipzig fairground was built (Neue Messe), and the Alte Messe closed its gates in 1996. Today the Alte Messe is enjoying a new lease of life - attracting investment and businesses from 3 major areas: entertainment, the automobile industry, and science.

During the Leipzig Book Fair this year, I had the great opportunity to meet Sebastian Wolter from the publishing house Voland &Quist. The company was founded in 2004 in Leipzig and Dresden by Leif Greinus and Sebastian Wolter. They publish Spoken Word Poetry, Reading Stages Literature and since 2006 the series “Sonar”:
Translations of urban, contemporary prose from Eastern Europe. The unusual name of the publishing house goes back to two different novels: Voland is the Mephisto figure in Bulgakov’s “The Master and Margarita” and Quist is the peace maker in Mulisch’s “The Discovery of Heaven”. The publishers had just been awarded with the famous Kurt Wolff Prize at the book fair, when I spoke to them to find out more about life from the point of view of both book lovers and book makers.