Åse Kleveland speaking at Norwegian Constitution Day, May 2007. Photo: Harry Wad
Wikinews is preparing for an interview in the upcoming weeks with Åse Kleveland, a popular Norwegian folk singer, who was the Minister of Culture in Norway from 1990 to 1996, and president of the Swedish Film Institute from 2000 to 2006. She is currently head of the Norwegian Humanist Organization. In addition to more professional endeavors, she is also known for representing Norway in the Eurovision Song Contest in 1966, and hosting Norway's first Eurovision in 1986.
Please add questions below, using the sections to indicate which project the questions are being asked from.
Now mentioned on the Wikipedia Signpost at en.wikipedia (link)Anonymous101 (talk) 20:02, 6 July 2008 (UTC)
To add questions, please make a subheader under your home project. If your home project is not listed, please make a normal header to list your project, and then make a subheader with your user name. From there, you can ask your questions.
How do you feel about the way the Eurovision Song Contest has progressed over the past ten years? Do you feel winning is no longer dependent on the quality of the song, but visual aesthetics and attention-grabbing gimmicks?
This year, in her quest to win the Democratic party nomination, Hillary Clinton said, "It ain't over till the lady in the pantsuit says it is." Considering you know pantsuits all too well (choosing to wear one instead of a dress at Eurovision 1966), do you feel it's about time for a woman to take the presidency in the United States, or do you think Clinton's failure to reach the nomination was because America is not ready for a female president?
A government commission in the Netherlands just two weeks ago proposed to extend foreign language teaching to 3 and 4 year olds, not just in English. They stated that they were convinced that children at this age could easily pick up three or four different languages without any problem whatsoever. As a former culture minister dealing with the preservation of a minority language in Europe, do you expect such small languages to eventually disappear altogether as the European Union evolves towards ever-closer "unity"?
On that note, do you feel that Norway should be a member of the European Union? If so, why; if not, why not?
Considering the complaints of decreasing quality and bloc voting, do you believe the nations of Western Europe should just split off from the Eurovision Song Contest and make one of their own?
As a former minister for culture how are your views on the European culture policy and what should the role of the European Union be in view of stimulating arts in general? What do you see as hindrances and challenges in this field?
How do you see the future of Europe in view of humanism and what role should be played by politicians and artists in creating a more tolerant and open atmosphere?
Both as a Wikimedian and as an artist, I strive for communication and inclusiveness and firmly believe in intercultural dialogue as the way towards a worldwide communication of cultures: knowledge is a process. I see an ongoing process of intercultural dialogue as a prerequisite for a world peace as well. What are your views regarding this, especially taking into account your view of the (in my opinion, outdated) second article of the Norwegian Constitution? How do you plan, as head of HEF, to foster intercultural dialogue?
Note for Åse Kleveland: These questions were asked by Elly Waterman, Chairwoman of the Board of Wikimedia Nederland
As a former minister of culture, and as the former president of the Swedish Film Institute, what are your views on copyright issues?
What is your opinion about the fact that all works remain copyrighted until 70 years after the death of the maker? What is the impact of this on the current culture through the new media such as the internet? Does this prohibit the exchange of knowledge between peoples?
What do you think should be the copyright status of works which are made through public funding?
What would be your advice on this to current policy makers in Norway or within Europe?
In the article we have on you, there is an image of you speaking at Constitution Day wearing a traditional Norwegian ethnic dress. What kind of connection do you have with traditional sacred music?
I should comment that the traditional Bunad is practically a Constitution Day uniform. :) What kind of sacred music do you mean? Christian, or before that? :) Toresbe (talk) 12:20, 2 July 2008 (UTC)
I asked him and he meant traditional folk music (as she is known for that). Mike Halterman (talk) 01:00, 3 July 2008 (UTC)
The civil confirmation organised by HEF is one of the the most widespread non-religions alternative to Christian confirmation in the world. What has made HEF so successful in Norway?
Sweden just passed a sweeping wire-tapping bill. As a humanist, what are your feelings about the increasing surveillance and other curtailment of freedoms passed in western societies in response to religious extremist attacks in recent years?
In what ways did World War II affect your parents? What lessons of life did they impart on you based on their World War II experiences?
What is the story that led to your becoming the Minister of Culture?
What do you feel were your greatest accomplishments as the Minister of Culture? In hindsight, what do you wish you could have done but didn't?
Did you have the opportunity to meet Ingmar Bergman? Do you think he ever recovered from the 1976 arrest? Has the Ingmar Bergman Prize been a successful venture?
What in your opinion continues to prevent most Swedish films from breaking through into U.S. cinema? What U.S. directors have been the most influential on Swedish filmmakers?
Is the tolerance movement regarding homosexuals a success in Sweden? What in your eyes still needs to be worked on?
What is Norway doing to address its rise in immigrant populations? What recommendations would you make regarding the issue?
What is the role of government in education?
When is the last time you sang as a performer and what did you sing? When will you sing as a performer again?
There are people who have expressed the opinion that Swedish cinema haven't really "recovered" since Ingmar Bergman stopped making movies, that there hasn't really been anyone that have been able to step into his place to produce movies with that high quality. Is this something you believe can change, or was he just one of those one-in-a-billion filmmakers and we are likely not to ever see anyone of that talent again?
How do you see in the future for Swedish cinema? Will there be overwhelmingly small-budget "kitchen sink dramas" or a move towards more big budget epics, like the Arn-films? Is there a viable international market for such films, that would justify their large cost?
As culture minister you oversaw the Norwegian Media Authority (Medietilsynet) which was then three agencies: Statens filmtilsyn, Eierskapstilsynet and Statens medieforvaltning. Do you agree with Tom Løland's 2003 decision to lift Norway's ban on violent movies? If so, why do you think it took so long?
I helped organize this interview, and in my interactions with the European users who know of your achievements, you were compared to the pioneering Greek Culture Minister Melina Mercouri by more than one person. As you have a similarly high profile in Scandinavia comparable to the late Ms. Mercouri's reputation in Greece, did you feel that your work as Culture Minister went more smoothly because you were a noted public figure in your own right beforehand, or do you feel that made your job more difficult? Did you feel you wanted to prove yourself as a Culture Minister and not have to rest on your laurels from your past career in music?
Relating to Melina Mercouri, she first envisioned the idea of the European Capitals of Culture. As you know, Stavanger and Sandnes were recognized by the EU as two of the three European Capitals of Culture for 2008. As this is only second year in which Norwegian cities hold this title, do you feel that Norway has been overlooked by the European Union in terms of the country's cultural heritage? Do you feel Norway's lack of member status in the EU is a factor in Norwegian cities failing to be chosen as often as cities in other European nations?
You helped give the singer Deeyah national exposure in 1992 while you were Minister of Culture. How do you feel about Deeyah's success despite the odds that were placed against her? How do you feel about Deeyah's choice to leave with her family to the UK from Norway after being physically harassed? What can be done for Norway to be inclusive of its Muslim community while still fostering dialogue and letting it known that death threats against Westernized Muslim girls like Deeyah is not acceptable?
As former Minister of Culture of Norway, and left-wing politician, have you heard or read something about the huge works of † Tron Øgrim (who you probably have known, maybe personnally), during the 17 months he has spent, as Bruker:Tronogrim, on Norwegian Bokmål Wikipedia?
Especially about the five thousands contributions(1) he has made during this time, helping to bring, day after day, more knowledges to Norwegian speakers, about Nepal politics, culture and administration, or about constructed languages?
(1) 95% of those contributions having been made in (main) namespace, which means for the encyclopedic articles, leaving a little space for discussions with other users, and keeping his energy for the “encyclopedic” works.
Then, what do you you think about this big wave of knowledges coming to all the people?
And, at last, what is your opinion about those who work to help this wave to come everywhere, and about their innervisions?
A month ago Varg Vikernes was denied parole after 14 years of imprisonment. What do you think about his sentence?
During your time as minister, members of the Norwegian black metal scene committed crimes like arsons, ending up in two murders. What led to this violence?
Among the Inner Circle of Black Metal musicians, homophobia, antisemitism and racism were widely spread. What were the reactions of the Norwegian public on this wave of intolerance? How is the situation in Norway these days?
Another main topic of the black metal scene were satanism and paganism. What is the role of religion and old religions in Norway nowadays?
There are notable efforts of pop musicians to include elements of traditional music. Is the music of people like Mari Boine, or even heavy metal groups like Finntroll or Korpiklaani a way to preserve folk culture?
How is the situation of Sami people in Norway and the other Scandinavian nations nowadays?
Would a membership of Norway in the European Union make it more difficult to preserve the local culture of Norway? Or even help preserving it? Is that a topic in the public discussion?
Copyright was a core theme of your study. What to you think on the future of intellectual property? How does the wiki principle influence the future of copyright and authorship?
Note for Åse Kleveland: This question was asked by Michael Bimmler, Chairman of the Board of Wikimedia CH (Switzerland)
When reading your biography, I learnt that you have started to perform on an international level very early in your life. Was this a positive experience for you? If a teenager (say, 14-17) asked you whether he/she should start performing (and travelling for performances) or whether he/she should complete secondary education first, what would your advice be? Do you think that participating in the global music/show business too early can have negative impacts, if yes, why do you think so?
According to the Wikipedia article on you, you are fluent in 5 different languages, amongst them languages as different as English and Japanese. What made you learn that many languages and how did you manage to do so?
The digital age bears some major challenges for the media industry. In the fear of piracy most media outlets have introduced techniques like copy protection, digital right management etc. which apparently do not work very well but restrict the ways in which the buying customers can use the media severely. Lately some companies have decided to get rid of such measures and provide e.g. music without any protection. Some artists also feel that piracy might not (only) be a threat to them but will also work in favor of their publicity which will ultimately even increase their sales numbers. Whats your stance on the whole issue?
What do you think that the ethnic music can offer in the spread of popular culture to the young, increasingly attracted by English-speaking music?
How do you think that the ethnic music of various nations, and especially Scandinavian and Italian, very rooted in the population, may partly counteract the "new music"?
Note for Åse Kleveland: These questions were asked by Marius Helgå, Chairman of the Board of Wikimedia Norge
In the current project "Hele Norge synger" (All of Norway sings), you're trying to get the Norwegians to sing. Do you feel you succeed at this?
Do you have any thoughts on the importance of the preservation of our audiovisual heritages through conservation and digitizing?
Do you have the impression that the Stavanger/Sandnes region has used their marketing potential from being European Culture Capital 2008 in a good way, or are there things they could have done better?
How do you, as leader of Human-Etisk Forbund, think the norwegian church will change after Stortingsmelding 17 (Staten og Den norske kirke) / Kirkeforliket ?
What do you think about the current connection between the Norwegian church, and the Norwegian schools?
Do you believe the Norwegian monarchy should be abolished? If so, what should replace it?
Where were you when Bobbysocks won the Melodi Grand Prix?
Was it difficult for Gro Harlem Brundtland to decide to divide the Culture ministry from the Church ministry when you came on board as culture minister? Were other alternatives considered?
The user who wrote these questions asked to remain anonymous.
You were born in a time where it was more usual for children to be baptized and maintain some kind of bond with the church. How did you go about becoming a humanist? Was it a long process?
In Norway, many cities seem to let older buildings (from the late 19th and early 20th centuries) fall into dereliction, label them not worth salvaging, and demolish them. These structures, in many instances, have been replaced by buildings constructed in concrete, steel and glass. Do you feel at least some of these buildings should be preserved on the spot they were built to give Norway a sense of ancestry? What more do you feel you could have done while you were Minister of Culture to preserve these older buildings?
From your knowledge as the former Minister of Culture, is there any co-operation between the Norwegian museums and the local Wikimedia community? Are the Wikimedians allowed to take photos of the exhibits (especially those in public domain) to be able to publish them on Commons and other projects?
I doubt she will be able to answer that as she was the Minister of Culture only until 1996! Toresbe (talk) 12:22, 2 July 2008 (UTC)
Having worked there (in the Ministry) for 6 years, she certainly still has some interest in this field and she may know this. That's my hope at least :) In fact we've been talking about this question at the mailing list of the Wikimedia Polska (Poland's local chapter), because we have a problem that the Polish museums don't allow this and we would like to know what's the situation in other countries. Anyway, that's just an idea and final decision what to ask about is up to the interviewer. Powerek38 (talk) 14:31, 2 July 2008 (UTC)
How can the current Russo-Scandinavian relations (especially between the Nordic countries and Russia's Northern European regions: Karelia and Murmansk) be improved?
Nowadays, Europe has many immigrants. They arrived from many countries which have their own unique cultures. What is the Norwegian government currently doing to make sure immigrants' cultures are respected?
Note for Åse Kleveland: These questions were asked by Lennart Guldbrandsson, Chairman of the Board of Wikimedia Sverige
You used to be Managing Director of the Swedish Film institute. What do you feel were the most challenging aspects of that job?
At the SFI, what kind of initiatives did you start? Which projects are you particularly proud of?
Some critics have claimed [weasel terms here, but I think that she knows what I am talking about] that the SFI have funded too many projects made by already established directors and producers, instead of trying to find new talents. Do you think that is a valid description? If so, what can be done about it?
During the 2005 Guldbagge awards, there was a big controversy. It turned out that the jury hadn't seen all the 33 films and thus only nominated three films for the awards. What are your recollections of these events? What happened internally at the Film institute afterwards?
Which of the Guldbagge winners for best film during your years as Managing Director did you like best?
