Dinner speech for delegates at symposium on "Promoting Freedom of Expression in the Cultural Field"

Akershus Castle, 14. september 1998

Dear guests,

I am honoured to host an event where people from so many European countries are gathered. 47 member countries have signed the European Cultural Convention altogether—and more than 35 are represented here today. I am sure that both the diversity of cultures, as well as issues of common concern, are reflected in the conversations around this table.

I am also very pleased to welcome you to these beautiful surroundings at Akershus Castle. I hope you took the time on your way here, to admire the view over the harbour. It should not be difficult to imagine that this castle holds a very special position in the heart of Oslo, and throughout Norwegian history. The castle was built in the middle ages, and will have its 700 years anniversary next year.

Akerhus Castle became the residence of kings and queens. Later, however, it was used for the humblest of military purposes – for storage of equipment, and as a granary. In the 19th century its basement housed the State Archives. At that time, occupying a tiny room downstairs, we could have met Henrik Wergeland, who was employed as the very first Keeper of Public Records in Norway. Wergeland is a very significant figure in the history of our nation. As a poet, a writer, critic and a rebel in his time, he played a crucial role in the construction of national identity in a country moving towards independence. Wergeland is also known for initiating the children's parade which to this day forms a central—and spectacular—feature in our Constitution Day celebration. A less known fact is that the poet also took great interest in world politics and the fate of other European countries. He wrote with passion about the liberated Europe after the French July Revolution —and wept with equal passion at the defeat of those struggling for freedom in other countries.

Wergeland is a splendid example of an artist taking an active part in national political events, and was, together with numerous other artists—painters, composers, and writers —crucial in the construction of a national community. He was also a man of strong social concerns, frequently in dispute with the authorities. His example can teach us something about the role that the arts and culture can play in uniting a country, formulating ideas and good practices of a whole national community. He also showed us the importance of teaching democratic values and practices to the very young.

Artists do make a difference, and their impact on a society may last long after they themselves are gone. All of you can, I am sure, point to examples in your countries that shows this to be true. Although the Norwegian poet was concerned with the creation of national values, he never fell into the trap of one-dimensional patriotism. While striving for Norway's independence, he never lost sight of the international community, never relented in his solidarity with the poor and oppressed—at home and in other countries.

I hope you appreciate this fascinating historical context. And I hope that you are enjoying your meal, and that the Symposium will be just as fruitful tomorrow as it has been today.