When people think of Denmark one of the first things that
comes to mind is the communal aspect of the culture. Now this shows up across
the nation, but in one special case communalism has crossed over between the
worlds of art and business. With monetary support from the Copenhagen municipal
government the classic music venue Stengade 30 has been re-opened and is now
being run by volunteers. The present reincarnation of Stengade allows young
people with a passion for music the opportunity to direct their energy towards
making the venue a success while gaining valuable industry experience. Stengade has become an icon for communalism
and socialism on a micro level as profit isn’t the goal - promotion of art and
culture is.
Stengade 30, named
for the Street it resides on – Stengade, has been a hall mark venue for music in
Copenhagen for the past forty years. The building itself erected in the 1930’s has
enjoyed several different uses; initially it served as the hall for the
painter’s union, then a TV station, and even existed as a squat house during
the late 1960’s. Finally in 1973 it became the Stengade 30: a music venue and
rock club. In this incarnation the Stengade thrived for years housing major
Danish and international bands. Legendary Danish rockers Dizzy Mizz Lizzy as
well as international icons like Sound Garden have graced the stage. However,
after much success the new millennium was not so kind to Stengade 30. In 2009,
after financial woes throughout the decade, Stengade was forced to close its
doors because of debt and poor management. In the wake of this a major avenue
for Copenhagen music was closed, seemingly forever...
From the ashes of the original Stengade arose Stengade 18 a
new communal association not dictated by the greed of management and sticky fingered
bar man, but rather by the passions of volunteers. Led by general manager Aslak Balle Hansen volunteers completely staff the
Stengade since it’s reopening and fill all aspects of the venue’s operations. Departments
have been opened for management and band booking, communications/ marketing, technology/sound,
and bar staff. Decisions are not handed down as decrees, but rather made
through consensus.
The volunteers are the
engine that drives the Stengade. When asked why he works at Stengade,
marketing strategist Alexander Lange had the following to say. “Working at the
Stengade gives me the opportunity to see culture grow in Copenhagen and to give
non mainstream bands a chance.” This
type of sentiment was echoed by band booker Nicolai Winther when asked why he
was a part of Stengade. He answered passionately: “... because I love music,
and I want to be part of a place that cares about music too.” Volunteers at the
Stengade are concerned about the whole organization, because they are more than
a cog - they are truly part of it. Success of the Stengade has become part of
their identity as they have formed together into a dynamic group connected in
purpose.
As
a Canadian writer having visited the Stengade I have never seen employees in
this type of venue step away from their own interest for the purpose of seeing
the group succeed. From the people I spoke with employees of the Stengade seem
to get personal enrichment from the venues success. Without a top down
hierarchy the volunteers feel like they are part of what is happening; their enthusiasm
is not sucked away by monetary incentive. They choose to be there and for them that
is incentive enough.
When you enter the venue patrons are immediately amongst the
volunteers – they’re at the door, behind the bar, in the venue office. In a
progressively more isolated world of social networking and individualism run
rampant the dynamic in the Stengade is a breath of fresh air. There is a sense
of unity here that is undeniable and something totally Danish.
