Recent articles
Issue #012 Published: 21-04-2017 // Written by: Chin, Lisette and Cjara
The living breathing lungs of ADM terrain westpoort
On the edge of an expanding industrial area in Amsterdam called Westpoort, a special development took place. A group of people created a forest. The forest functions as a natural filter for emissions from local industries. It filters particulate matter, which are small particles of toxic debris and dust from the coal, concrete and petroleum industries located in the nearby area. On the ADM terrain the trees and plants continually capture these small particles and hold on to them with their leaves and branches until they are washed away naturally by the rain. This is a pollution barrier at work. The ADM trees also work as a sound barrier to the activity in the industrial freight and coal terminals located in the area. The trees also capture and store CO2 gas. This sound barrier, natural air filter and CO2 storage works every day. At present the ADM forest forms a direct benefit for the surrounding living areas such as Westzaan and Zaandam, but also for the environment in a much bigger sense. Location and Surroundings The ADM terrain is situated next to some of the biggest freight and logistics companies in Amsterdam, such as OBA Bulk Terminal Amsterdam (coal, steel & chemical industry), Bp Terminal (petroleum wholesale) and Waterland Terminal BV (freight logistics). These are but a few of the companies who are situated within the range of the ADM terrain (3 km or less). These companies have to monitor all of their emissions, including CO2, and have to make sure they do not exceed their limits, even more so now that a new energy strategy of the Amsterdam Klimaatbureau for 2040 is in place. This strategy is an energy plan for the city and ports of Amsterdam. The City of Amsterdam Klimaatbureau operates within the policies that are set by the European Union, which determines limits for pollution; gasses; particulate matter production; the protection of nature; cleaning the water tables of rivers, lakes and seas for the whole of Europe. The Amsterdam Klimaatbureau scheme for 2040 states; “The Port authority has committed to (a reduction of) 40% of CO2 by 2025 and this includes inland and ocean shipping” and “in addition to cleaning up (coal and oil)… energy use in the port must be made more sustainable…. Sustainable innovative companies (recycling systems, bio fuels, transshipment and wind turbines) will set up business in the port.” We ask the Amsterdam Klimaatbureau this: How is it possible to clear a forest full of natural habitat (water, birds, trees, plants and shrubs), all of which are working to capture CO2 and filter emissions in an area which is constantly increasing in biodiversity with an active natural sound barrier, while at the same time boasting about reducing emissions in their new energy scheme? It seems that there is no awareness of what has been unfolding on the ADM terrain. The Amsterdam Klimaatbureau document clearly states that becoming greener is better and how companies have to be environmentally conscious if they are to develop at the port.  What are they doing to enforce this? ADM asks for support from the Amsterdam Klimaatbureau to recognize the importance of the 20 year old forest and what it actually does (CO2 capture; emissions and water filtration; sound barrier; nesting for birds, insects, pollinators and amphibians). The EU strategy for the protection of natural habitats is known as the Council Directive 92/43/EEC on the Conservation of natural habitats and of wild fauna & flora. This directive is an important legal standard that was set in 1992 to ensure the protection of biodiverse areas such as the ADM terrain. How is it possible for the Amsterdam Klimaatbureau and council to ignore Council Directive 92/43/EEC and grant a permit to a company which has a total disregard for nature and support the destruction of a natural nesting habitat with protected plants and wildlife? Birds like the King Fisher and birds of prey like the Buzzard are protected by the Birds Directive formally known as Council Directive 2009/147/EC on the conservation of wild birds. Amphibians like the Natter Jack toad are listed as well. All these animals have been documented and certified by ecologists to have nests in the area that was cleared. Again, how is this possible?  The ADM forest, trees and plants The front part of the ADM terrain previously consisted of a mix of mature trees, young saplings and plants and shrubs essential for wildlife and the cleaning up of local emissions. The above mentioned companies attempted to cut these trees during the nesting season, between April and May 2015. They were stopped by the residents of ADM and the police as they failed to present their permits. However, in August 2015 they cut around 2,000 trees at the front part of the ADM terrain illegally. Also, there was no compensatory C02 emissions plan for the area they cleared. This means that there was no effort made to replant trees and shrubs in the nearby surroundings. The animals and birds that were nesting were not considered with enough respect and also the Natterjack yellow stripe toad, which is a protected listed amphibian, was not taken seriously. Proof of this toad’s nesting habitat was clearly made and represented in several environmental reports. Shockingly, ADM owner Chidda and the company Koole Maritiem managed to receive a further permit to cut 470 trees which were over 10 cm in diameter and more than 1000 trees which were under 10 cm. They manged to receive this permit after they had already cut some trees which were not on the permit. Furthermore, none of the proposed building plans of Chidda were executed. This is a breach of the ‘Just in time policy’. This policy came into effect on 13th of May 2009. It serves to ensure that companies do not get the right to cut down trees and flatten wild terrain until they have clear building plans, which then have to be carried out. The policy also serves to protect animals and wildlife. This is a council policy which is notoriously difficult to access, although it does exist for the above reasons. Therefore it should be publicly accessible. Tree facts and info An area with 2,000 trees, where each tree has a potential to consume 45lbs of CO2 per year, should have an adequate replanting and regeneration scheme. This is known as a carbon offset and should be implemented by the company that is responsible for felling the trees.  This is common practice by companies that consciously look after the environment. The felling of 2,000 mature trees equals the loss of a cleaning potential of 90,000lbs of C02, which is 45 tonnes of stored CO2 per year. In October 2016 Chidda and Koole applied for a permit to cut 10,000 trees inside the gate of the ADM terrain. Currently the 10,000 trees that are left on the ADM terrain have the potential to capture 450,000lbs of C02, equal to 225 tonnes of CO2 per year (source: Arbor Environmental Alliance). Thankfully, the permit which Chidda and Koole applied for was rejected by the council on the basis of bad practice and the absence of a clear plan for development by the companies involved. If the companies receive the permits to cut down all the trees within the community, this would clearly indicate that there is no environmental policy enforcement being upheld in the Westpoort harbor of Amsterdam. The 20 year old ADM forest needs to be recognized and protected. In January 2017 Chidda and Koole received a permit to ‘prune’ the trees around the lake behind the ADM terrain. They abused their permit by tearing trees down with heavy machinery. Fortunately they were stopped by the authorities. In March this year they applied for another permit to cut the trees around the lake, regardless of the fact that the nesting season is beginning. Summary The nature on the ADM terrain shows us how recovery from industrial waste and destruction is possible. The forest grows and natural diversity is being generated every day. The community living there has supported this development. ADM is a beautiful example of the symbiosis between nature and humans and it is unique in many ways. It’s time to clean up, breathe fresh air, drink clean water and grow food on a cleaner, greener and, ideally, unpolluted earth. Join our fight against Chidda’s development plans and help support the cleaner greener environment that we should all live in. Any support is welcome.  More in depth info? Check these links: • The Amsterdam Kilimaatbureau publication on the 2040 Energy strategy • Here is a video from news station AT5 of the action that was made against the protection of the ADM on the 28th of August 2015. This is an illegal action by companies chidda and koole caught on camera where a persons life was put in danger. • Council Directive 92/43/EEC on the Conservation of natural habitats and of wild fauna and flora  • Council Directive 2009/147/EC on the conservation of wild birds  • For more information on European Environmental Policies  • There is a link below to an audio interview of the full story of what happened on the days chidda / koola decided they would take matters into there own hands and clear all the front part of the ADM terrain. • Arbor Environmental Alliance has a website with lots more information about why trees are so important. • For a more in-depth study of the biodiversity that exists on the ADM terrain made by Arda.
Issue #012 Published: 20-04-2017 // Written by: Nicholas Burman
Refugee Integration in Amsterdam
Why Integrate? In 2015 there were 45,000 refugees admitted into the Netherlands. According to the Immigration and Naturalisation Service (IND) this was twice the previous year’s figure. This increase signals the necessity for ongoing, long-term projects that aim towards integration between new arrivals and longer-term local inhabitants. A 2013 report on integration by the United Nations High Commissioner for Refugees (UNHCR) stressed the importance of good integration, initiated both by locals and new arrivals, in order “to avoid long-term dependency, marginalization and isolation.” And while many refugees would like to return to their homeland as soon as possible, many will end up staying within the country they claim asylum in. Keeping this in mind it’s important to not treat refugees as part-time citizens. Through the development of affordable housing, supplying communication and cultural tools, access to work programmes, and the emergence of platforms that give minority voices a platform, cities such as Amsterdam not only extend a welcoming hand but will receive multiple ones in return.  Residence The development of housing is something the Netherlands sets a good example for. There is currently a push towards creating mixed refugee-status holder and student accommodation, largely developed by either converting out-of-use office buildings or utilising land outside of the city centre, in Nieuw-West or Zuidoost for example, for the construction of container villages. Once an application for long term stay is approved by the government, the VluchtelingenWerk (the body representing the interests of refugees and asylum seekers in the Netherlands) assists refugees with finding and applying for this housing. With people currently finding places to settle, there is a general feeling that this accommodation programme is effective.  Communication NT2 courses focus on teaching Dutch as a second language, and usually also encompass information on the Netherlands’ culture and traditions, with an eye for participants to take the Staatsexamen. The NT2 course at the VU Amsterdam was founded over fifty years ago specifically for students, both refugee and those with student visas, and in the 90s it branched out to encompass applicants from the rest of the population as well. Ran by the VU’s Humanities department, with full and freelance staff combined the course has over fifty professors on its books and four hundred and fifty students participating per period split across the daytime and weekend/evening groups. The UvA, HvA, and ROCvA offer equivalent tracks, additionally there are also private institutions offering NT2 courses. Refugee status holders who attend these courses as part of mandated integration into the local culture pay for the course via loans, although in the case of the Staatsexamen the tuition fees for those classes are annulled if the exam is passed. There is, of course, some controversy around placing refugees into the same loan-based system as ‘regular’ students, and the financial pressures this system can apply upon the individual.  A good example of an independent organisation building upon communication tools is Migrationlab. Their ‘Welcome to the Living Room’ initiative, a collaborative project conceptualised between migrants, refugees, and locals through discursive workshops, is one that offers “a safe environment” where people can “build a new language and concepts of how we could look at the world and each other.” Attendees are invited to share stories and discuss a range of topics with each other in safe spaces. Founded in 2014 by Laura M. Pana, Romanian-born and now based in The Hague, Migrationlab operates in five cities, including Amsterdam, and is ran on the co-creation basis with which it was initiated, with the choice of topics covered, locations, etc., decided on by the individual community groups. Their 2016 impact report on highlights and insights obtained during the project in that year stressed the importance of building accessible communal spaces and also noted “that people are willing, eager and have the need to tell their stories and be heard in a safe environment.” Enterprise Bringing talent found within the refugee community to the Netherlands’ job market decreases dependency and also acts as another way to lessen the potential for marginalization. Refugee Talent Hub is one programme that utilises and expands on such talents, providing mentoring, job matching and networking opportunities to those enrolled in order for them to find work and put their skills to use. They are part of ‘Amsterdam Works for Everyone’, an initiative orchestrated by the local municipality which also includes involvement from Albert Heijn, Randstad, and C&A, among others. Meanwhile, Hack Your Future is a venture that teaches computer programming in order “to empower people through code and get them to work as a software developers.” Each six month programme is taught by volunteers, and has resulted in some students going on to gain employment within the tech sector.           Through the development of platforms for marginalised voices, new arrivals not only further integrate into their new home but longer term residents of that new home also find out something about them, encouraging empathy and understanding in the process. Developed under the supervision of the International Foundation Manifesta, Sonono Radio is a station founded by five Amsterdam-based Syrian entrepreneurs that launched at last year’s Amsterdam Art Weekend with a series of interviews with local academics. Following on from this, they recently hosted talks at Art Rotterdam Week 2017. Largely focused on developing shows in Arabic in order for refugees to navigate Dutch culture and society, they are also planning on integrating music and arts into the programming of a 24-hour stream, alongside debates with an academic leaning in English.  Integration programmes not only help to combat the pressures faced by refugees as outlined by the UNHCR, but also help highlight the active strength, diversity, and community-oriented spirit of the locations in which they operate. The above examples, especially those volunteer-ran, show that there is an appetite in Amsterdam and further afield for ensuring that new arrivals are not sidelined, and that empathy is built between different communities. The refugee crisis continues to unravel seemingly unabated; as the displacement of people becomes a more common theme the implementation of integration programmes in cities such as Amsterdam will continue to play a vital role in ensuring social cohesion. Links for featured initiatives:  Photo credit:  Welcome to the Living Room, The Hague © Migrationlab   
Issue #012 Published: 18-04-2017 // Written by: Eve Kalyva
Review on stillness and exploration
On 3 and 4 March 2017, Teatro Munganga presented a Butoh festival. With a history of twenty odd years, Munganga welcomes the alternative and the experimental. It is a small but potent site with a clear vision about socio-political engagement and artistic freedom. Butoh is an avant-garde Japanese theatre dance form. It emerged in the late fifties and sixties as a reaction to the national art establishment, and as a rejection of Western conceptions about dance, theatre and art more generally. In the aftermath of the Second World War and the occupation of Japan by what still remains the biggest concentration of American armed forces outside the United States, Butoh is an art form in search of the self. Through movement, stillness, gestures, props and audio-visual projections, one explores, experiments with and confronts ideas, feelings and conventions in their representation. It is a process of claiming and creating time and space as a means to claim body, presence and identity. This involves putting the self (and the spectacle) at risk.  A central premise of Modernism, which characterised the historical period of Butoh and which remains highly regarded today, is that of a “significant art form” capable of perfectly capturing an idea and transmitting it to the viewer. Contrary to this, Butoh seeks to open new channels of communication through forms which become meaningful in the moment of their staging. The dancer and, if successfully staged, the viewer undertake a journey of exploration and discovery which oscillates between condensed presence and abstraction, material weight and transcending form, control and un-control, vulnerability and strength. This also means that a Butoh performance is prone to failure. Ezio Tangini, the festival’s organiser, explains that one feels Butoh in the stomach and not the mind since representations often lie. A very humane art form, Butoh articulates a struggle between representation and embodiment aiming to surpass fear and to find truths in the corporeality of interpersonal communication.  The festival showcased 12 performances from professional and amateur dancers. Some tried to break free from their morphing bodies or cloth cocoons, and to find themselves while loosing sight of everything else. Trapped inside his skin and a play of light, shadow, organic forms and bodily sounds, another dancer sought to bring down the barrier that divided us from him, our gaze from his stare. It is a barrier that keeps everyone safe and secure; a barrier that limits expression and communication. Transformation is a key element of Butoh: the transformation of the relation between the self and the body, between the performer and the audience, the self and the other. In a rhythmic dissolution and re-condensation of presence, one seeks to find truth and to share that truth as a process rather than as an end-product. This requires honesty, patience and concentration. For Butoh is not simply about slowing down, the same way that classical ballet is not about managing 16 Italian fouettes. It may also be that, but it is certainly not only that.  Have you ever wondered that we might be wearing ourselves like a mask? A dancer rises from the floor, casting aside the double-headed fish monster she wears on her head and feet. A man follows with a puppet in hand. Is the puppet an extension of himself, or is it the other way around? The man mediated through a doll. In its fixed and solid state, the puppet explores the remnants of the fish monster and claims its discarded parts as a body. But nothing can really register with it. The doll is not real, you see. In another piece, the dancers struggle between fake and real entertainment while dropping, rather than falling, before standing up again and pushing harder.  Apart from the narrative of each piece, staging and dramaturgy are also important. There were instances when we could hear bodily sounds and movement but not see them, or asked to stand on the side of the stage which significantly limited our view. Butoh shares critical extensions with other avant-garde art forms regarding the rejection of traditional hierarchies and conceptions. These include the artist as producer and the spectator as consumer, and the artwork as something finite and concluded to be unproblematically received by the audience. In the performing arts, theatre has been explored as a site of confrontation, aiming to transform the way the audience perceives, and by extension reproduces, reality as a means of social and political change (compare Antonin Artaud’s theatre of cruelty (1940s) and Augusto Boal’s theatre of the oppressed (1970s)). There is often a fine line between acting, re-acting and re-enacting. It is the limit when dance becomes about what we don’t see. If the body of the audience shakes and convulses, then something is working.  Kees de Haan, I want to show you what I want to hide. Photo by Gaia M.C. Cittati  
Issue #012 Published: 12-04-2017 // Written by: Sandra Maat
Autonome atoomschuilkelder in het Vondelpark
Verborgen in het Amsterdamse Vondelpark, onder de brug waar tram 3 overheen dendert, ligt een oude atoomschuilkelder uit de Koude oorlog: de Vondelbunker. Het is een bijzondere, muzikale plek, waar sinds juni 2011 een gratis toegankelijke en gratis te gebruiken ruimte wordt beheerd. Een kleine groep vrijwilligers zorgt meerdere keren per week voor een dynamisch cultureel programma. De Vondelbunker is een onafhankelijk cultureel centrum, dat gerund wordt uit liefde voor de ruimte en de underground. We proberen een plek te bieden aan evenementen en programmeurs die moeite hebben om een locatie in Amsterdam te vinden. Alle donaties van ons publiek worden rechtstreeks ingezet voor het open houden van de deuren. Omdat geld buiten het proces wordt gehouden, blijft succes van een event een radicaal onmeetbare en persoonlijke ervaring. Daarom maakt de Vondelbunker graag gebruik van de slogan: mislukken is een optie! Voorbeelden van evenementen die in de bunker plaatsvinden zijn 16mm filmavonden, Teknorobics, bandavonden, theatervoorstellingen en Bunker Cinema met Jeffrey Babcock. Ook werken wij regelmatig samen met Geertruida, Free Fringe en het Sounds of The Underground Festival (12-16 april 2017!). Verder wordt de ruimte ook aangeboden als oefen- en vergaderruimte aan organisaties met verwante politieke opvattingen. Onlangs hebben we besloten een tweede contract te tekenen en daarmee nog minimaal vijf jaar op een onafhankelijke manier en met hernieuwde energie de Vondelbunker te runnen. Er zijn veel plannen voor de ruimte! In de afgelopen vijf jaar is er achterstallig onderhoud ontstaan wat nu aangepakt moet worden. Ook moest er bij het aangaan van het nieuwe contract een hoge borg aan de gemeente worden betaald en waren de andere onverwachte kosten een aanslag op de al minimale reservepot. Nu er geen middelen over zijn om overige broodnodige zaken aan te pakken en het opgeven van onze idealen in het beheer van de ruimte geen optie is, hebben we besloten om de hulp van ons netwerk in te schakelen> Daarom zijn we nu een crowdfunding campagne gestart. Waar heeft de Vondelbunker dit geld voor nodig? Wie wel eens in de ruimte is geweest kent het belang van ventilatie en verwarming; ons klimaatbeheersingssysteem moet grondig worden vernieuwd. Verder willen we eindelijk stromend warm water in de keuken, zijn we nodig toe aan een verfbeurt om schimmel te bestrijden, en moet ons zwaar belaste techniek en geluidsysteem ge-update worden zodat we artiesten en bezoekers de beste ervaring kunnen bieden. Ten slotte is recent door de gemeente besloten dat de Vondelbunker een exploitatie- en horecavergunning moet hebben, wat ook een grote financiële investering betekent. De Vondelbunker is van mening dat er JUIST in de binnenstad van Amsterdam de komende jaren hard nodig is om een cultureel centrum te behouden waar het niet om winst gaat. Een plek waar zowel kunstenaar, artiest als vrijwilliger op gelijkwaardige manier zorg draagt voor gratis toegankelijke cultuur. Naast de online crowdfunding campagne zal de Vondelbunker ook zelf benefieten organiseren in april en mei, en zullen ze daarna ook uit hun schuilkelder kruipen om in de stad en buiten haar grenzen te treden! Kijk voor het actuele benefiet programma en hoe je de Vondelbunker kunt steunen op onze website; of check de Facebook pagina! Crowdfunding project op Voordekunst >
Issue #012 Published: 04-04-2017 // Written by: Henk & de Sneevlietjes
Uitslag verkiezingen NL: feest, status quo of toename van ellende?
De opluchting voorbij De ‘partij’ van Geert Wilders is op 15 maart niet de sterkste politieke kracht van Nederland geworden. De opluchting nationaal en internationaal is groot. De vraag is echter of de uitslag van de Nederlandse verkiezingen inderdaad aanleiding geven tot optimistische inschattingen wat betreft de toekomst van het land. Zeker, de regering is afgestraft, ze is de helft van haar zetels kwijt. Maar toch kan Rutte hoogstwaarschijnlijk verder als minister-president. Dit betekent niks anders dan dat het doorgaat met de politiek van het neoliberaal marktvandalisme dat de kiezers in de armen van Wilders drijft.  Rutte heeft Wilders’ ‘verkeerd populisme’ met zijn eigen populisme verslagen. De verkiezingsstrijd was een treurig pseudo-politiek spektakel dat ertoe heeft geleid dat de neoliberale meerderheid in de Tweede Kamer groter is geworden. De sociale onzekerheid op de arbeidsmarkt, de woningmarkt en in het onderwijs gaat dus in de komende jaren nog meer toenemen. Een programma van meer chauvinisme, meer winst, minder belasting, meer asfalt, hogere huren, meer ongelijkheid. Het staat buiten kijf dat dit de voedingsbodem voor extreem rechts en vreemdelingenhaat alleen maar gaat vergroten. Een verkiezingsuitslag dus waardoor de komende jaren de onzekerheid, de ongelijkheid, de haat, de minachting, de angst voor alles wat niet ‘normaal’ is, verder dreigt toe te nemen. Amsterdam Het lichtpuntje van de verkiezingen is misschien de winst van GroenLinks. Terwijl de koopmannen van de PvdA met hun neoliberalisme light-politiek terecht de woestijn in gestuurd zijn, lijkt er aan de linkse kant een politieke kracht te ontstaan die tenminste in theorie de normen en waarden van de sociaal-democratie op eigentijdse manier nieuw leven in zou kunnen blazen. In Amsterdam is GroenLinks de sterkste partij geworden, gevolgd door D66. Ten opzichte van de laatste gemeenteraadsverkiezingen is de PvdA bijna verdwenen en de SP ongeveer gehalveerd. De nederlaag van de SP kan gezien worden als het gevolg van haar deelname aan het College van B&W, waarmee zij zich mede verantwoordelijk maakt voor een politiek die de stad en haar bewoners overlaat aan de wonderen van de marktwerking met de bekende gevolgen van onbetaalbare huur- en vastgoedprijzen en overlast door het ongetemde toerisme. Jammer genoeg zijn in de stadsdelen Oost en West, waar GroenLinks bestuurlijke verantwoordelijkheid draagt, weinig klaverblaadjes te ontdekken als het gaat om het tegenhouden van het gentrificatiebeleid.  Linkse lente? Bij alle opluchting over het uitblijven van de  PVV catastrofe moeten we toch ook beseffen dat dit niet het moment is om te feesten. De winst van de ‘Jessiah’, zoals The Guardian Jesse Klaver heeft gedoopt, geeft weinig reden voor de hoop op een progressieve lente in Nederland. De ervaringen met GroenLinks binnen het stadsbestuur en de stadsdeelbesturen in Amsterdam werpen de vraag op of de declamaties over een ander sociaal-economisch beleid meer zijn dan politiek theater. En stel dat GroenLinks de vierde partij wordt in een regeringscoalitie die verder bestaat uit VVD, CDA en D66: dan was het maar een hele korte linkse lente geweest.  Wat dan? Alt-Right of Alt-Left Zelf initiatieven nemen, het heft in eigen hand nemen. Onderlinge solidariteit vorm geven; de stad terug veroveren; collectieven en coöperaties rond onderwijs, werk, wonen en zorg opzetten. Niet als het zoveelste uberhippe bedrijfje met een prachtig business plan, maar als een sociaal initiatief waarin je zonder geldmotief samenwerkt, waar niemand privé beter van hoeft te worden, behalve wij allemaal. Traditioneel zijn dit de sterke kanten van progressief politiek activisme.  Door ons blind te staren op de ‘oplossingen’ van technologie en start-up cultuur hebben we het veld voor alternatieve politiek voor een groot deel aan extreem rechts overgelaten. Het momentele succes van de zogenoemde alt-right beweging heeft er alles mee te maken dat zij veel beter dan hun linkse collega’s begrijpen dat sociale verandering een luchtkasteel blijft zolang je met je visie op een betere wereld niet ook het oude machtscentrum van de staat weet te veroveren.  De komende vier jaren kunnen wij het beste wijden aan het bouwen van een vernieuwde alternatieve beweging, die protest en woede weet te verenigen met de veelvoudige emancipatorische projecten van de nieuwe generatie activisten. Uiteindelijk zou dit het meest effectieve middel zijn om buitenparlementair de druk op te bouwen die de komende Jessiah (of zijn potentiële opvolg(st)er) op koers naar een werkelijke linkse lente kan houden.  Wij hebben idealen van een betere, vrijzinnige, kosmopolitische, rechtvaardige, solidaire wereld; laten we die zoveel mogelijk concreet maken en ons niet laten intimideren door deze verkiezingsuitslag.