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dreaminginthedeepsouth · 1 year

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PINA - "Seasons march" clip - amazing movie for Pina Bausch by Wim Wenders!

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3-D Tribute to Artistic Impulse

By A.O. Scott

Dec. 22, 2011

One of the interesting and unexpected film stories of 2011 is about 3-D, which simultaneously lost commercial potency and gained artistic credibility. Those who dismiss the format as the industrial gimmick (and excuse for price gouging) that it frequently is may need to reconsider now that a handful of certified auteurs have given it a try. Steven Spielberg and Martin Scorsese, grand old men of baby-boomer Hollywood, have made 3-D children’s tales (“The Adventures of Tintin” and “Hugo”), which is certainly noteworthy. More remarkable, perhaps even astonishing, is that Werner Herzog and Wim Wenders, stalwarts and survivors of the iconoclastic New German Cinema of the 1970s, have used 3-D in new documentaries.

Mr. Herzog’s “Cave of Forgotten Dreams” and Mr. Wenders’s “Pina” are explorations of the artistic impulse, primordial and postmodern. “Pina” is a tribute to Pina Bausch, the German dancer and choreographer who died in 2009. Her work has appeared on film before; Pedro Almodóvar’s “Talk to Her” uses the dance “Café Müller” as an emotional touchstone. That piece, an obstacle course of wooden chairs and wild emotions set to music by Henry Purcell, figures prominently in “Pina,” encapsulating both Bausch’s aesthetic and Mr. Wenders’s desire to replicate on screen the depths and distances of the staging. A Photo Slide Show of Bausch’s Work

The dances in “Pina” take place on traditional stages and also on city sidewalks and tram cars (in Wuppertal, the northwestern German city where Bausch’s company is based), in forests and fields and, thanks to an especially ingenious coup de cinema, in what looks like a portable box. Alternating between highly stylized, precise gestures — of hands, fingers and faces as well as torsos and limbs — and more flowing and expressive movements, the dancers enact dramas of desire, sexual violence and the passage of time.

The cumulative effect is exhilarating and also a bit frustrating, since so many dances are included and woven together the audience does not have the chance to experience any single work in its entirety. But the power and intelligence of Bausch’s approach, which at times seems more cerebral than sensual, is communicated. And there are moments when her discipline and Mr. Wenders’s visual instincts harmonize perfectly, so that instead of enduring yet another well-meaning specimen of “dance on film” you are experiencing dance and film, fully and simultaneously.

In addition to the performances, “Pina” includes interviews with dancers, their words dubbed over their silent, contemplative faces. Instead of talking heads, they are thinking bodies, reflecting on the influence of their mentor. Their devotion to Bausch is evident, though the glowing tributes they offer also suggest that, like many charismatic artists, she cultivated something of a cult of personality. Diverse in age, body type and background, the dancers — speaking French, Russian, Portuguese, Japanese and other languages — convey their awe and gratitude in notably similar terms. “Pina used to say, ‘Be more crazy.’ ” “Pina used to say, ‘Surprise me.’ ” This is touching, but it leaves any analysis of her creative process and the ideas that drove it shrouded in a mist of generality.

But criticism is not really what Mr. Wenders intends. Choreography is a notoriously perishable art. Dances often struggle to outlive their creators. And “Pina” is, above all, an act of preservation, a memorial that is also a defiance of mortality — completely alive in every dimension.

PINA

Written and directed by Wim Wenders; directors of photography, Hélène Louvart and Jörg Widmer; edited by Toni Froschhammer; music by Thom Hanreich; produced by Mr. Wenders, Gian-Piero Ringel, Wolfgang Bergmann, Gabriele Heuser and Dieter Schneider; released by Sundance Selects. In German, English, Russian, Italian, French, Slovenian, Korean, Spanish and Portuguese, with English subtitles. Running time: 1 hour 43 minutes. This film is not rated.

#Pina #dance #choreography #dancers #dancing #Wim Wenders #documentary

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claudiosuenaga · 2 years

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Tatunca Nara e a Crônica de Akakor

Parte 9 - Tatunca Nara, um assassino serial chamado Hans Günther Hauck

Por Cláudio Tsuyoshi Suenaga

O encanto do “conto de fadas” de Akakor começou a quebrar no final dos anos 80, quando o Federal Criminal Investigation Office (Escritório de Investigação Criminal Federal) alemão informou que Tatunca Nara era na verdade Hans Günther Hauck, um cidadão alemão nascido em 5 de outubro de 1941 em Coburg que havia fugido do país em 1967 para escapar ao pagamento da pensão alimentícia à ex-esposa e aos três filhos residentes em Nuremberg.

Christa, de quem Tatunca, ou melhor, Hans, havia se divorciado em 1966, foi trazida ao Brasil em 1989 pela revista alemã Der Spiegel e o reconheceu, mas Tatunca negou ser Hans.

Registros de Hans Günther Hauck na Alemanha e no Brasil. Reprodução dos vídeos de Wolfgang Brog e do Fantástico, da Rede Globo.

Em 7 de outubro de 1990, o programa Fantástico, da Rede Globo, em reportagem de Afonso Mônaco e Pedro Bial, denunciava Tatunca Nara como sendo o alemão Hans Günther Hauck, estabelecido na cidade amazonense de Barcelos desde o final da década de 60 como guia turístico e apontado pela Polícia como suspeito dos assassinatos do norte-americano John Charter Reed (1980), do suíço Herbert Wanner (1983) e da sueca Christine Heuser (1987). Os três saíram em expedição com Tatunca e nunca mais retornaram. Em 1984, um grupo de turistas suíços encontrou um crânio humano que análises forenses identificaram como sendo de Wanner.

John Charter Reed (1980), Herbert Wanner (1983) e Christine Heuser (1987): desaparecidos em expedições comandadas por Tatunca Nara, apontado como suspeito de tê-los assassinado.

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Em 1991, o ativista pelos direitos humanos e aventureiro alemão Rüdiger Nehberg (“Sir Vival”, 1935-2020), desmontava completamente a fraude de Tatunca em seu livro Der Selbstgemachte Häuptling (The Self-made Chieftain),[1] não deixando dúvidas de que ele era de fato o alemão Hans Günther Hauck que em 1967 havia abandonado a sua família em Nuremberg para instalar-se na selva Amazônia, o que explicava o seu alemão perfeito e o português arrastado com forte sotaque alemão.

Rüdiger Nehberg com sua filha Kirsten.

A ficha criminal de Hans Günther Hauck em Nuremberg revela que ele já usava a alcunha de “Tatunge Nare” em sua terra natal antes de fugir para a Amazônia brasileira, onde após realizar resgates heróicos de militares na selva, caiu nas graças do Exército e foi recrutado como informante pelos órgãos de repressão.

Um relatório da Procuradoria Geral do Estado do Amazonas apontou a ligação de Tatunca Nara com agências de Inteligência do Regime Militar.

Anita Beatriz Katz Nara, sua esposa brasileira que ocupava o posto de secretária de Turismo da Prefeitura de Barcelos e depois se tornou secretária de Assistência Social e Cidadania, confidenciou ao oceanógrafo, explorador e documentarista francês Jacques-Yves Cousteau (1910-1997) que Tatunca havia inventado a história de Akakor para motivar inocentes turistas a financiar suas buscas por pedras preciosas na Serra do Aracá,[2] onde dizia ter encontrado restos de uma antiga muralha.

Jacques-Yves Cousteau

Em 1999, os alemães Hans Barth, Hans Kemmling, Hernrick Trautschold, Hans Augustin, Wolfgang Schmidt, Horst Paul Linke e o guia Tatunca Nara foram flagrados pela Polícia Federal às margens do rio Negro, próximo a vila de Paricatuba, transportando 350 peixes ornamentais e plantas, pelo que foram indiciados por crime de biopirataria e citados no relatório de 2003 da CPITRAFI, a Comissão Parlamentar de Inquérito que investigava o tráfico ilegal de animais e plantas silvestres da fauna e flora brasileiras.

Teria Tatunca Nara engendrado uma da mais fantásticas fábulas de todos os tempos, um épico enormemente enredado, apenas para escapar de pagar a pensão alimentícia à sua ex-esposa? Se sim, devemos reconhecer o quão estimulante e inspirador pode ser uma situação dessas...

Ironicamente, Tatunca havia dito a Brugger que o seu povo “não acredita no divórcio. Se o homem e a mulher insistem, podem voltar a viver separadamente, mas sob a pena de serem exilados se tornarem a casar. Para quem conhece só um homem ou uma mulher a vida pode ser verdadeiramente feliz.” O controle populacional e os métodos anticoncepcionais já eram uma prática entre seu povo: “De acordo com as leis de Lhasa, cada família só pode ter dois filhos. Depois, o grande-sacerdote dá à mulher um remédio que a torna estéril. Deste modo, o Exaltado Filho dos Deuses, na sua sabedoria, evitou a miséria e a fome.”

Incidentalmente, A Crônica de Akakor não é mais do que um remake do mito da Atlântida e de Eldorado, com enxertos de lendas locais (as Amazonas), ficção científica (Duna), deuses astronautas (Däniken), teorias catastrofistas (Velikovsky) e distopias históricas (soldados nazistas), todas costuradas para “unificar” o “verdadeiro e elevado conhecimento dos Deuses que moldou a vida de todos os povos da Terra” do qual podemos apenas “reaprender e redescobrir”.

Tatunca desembaraçou-se de certos entraves e ousou ir muito além de outros autores do gênero, no que foi precursor ao falar de um sistema subterrâneo de túneis cortando a América do Sul e em “prever” o fim do mundo para o final de 2011 (recalculado depois para 2012) ao citar o Chilam Balam (chilam refere-se a um sacerdote que fornecia oráculos), os livros dos sacerdotes maias, segundo o qual a história teria começado em 3113 a.C., o ano zero de seu calendário, e terminaria em 24 de dezembro de 2011 d.C. (recalculado para 12 ou 21 de dezembro de 2012).

Elementos da Crônica de Akakor foram usados, sem os devidos créditos, por Steven Spielberg para permear o seu esdrúxulo Indiana Jones and the Kingdom of the Crystal Skull (Indiana Jones e o Reino da Caveira de Cristal), que se referiu a Akakor como “Akator”, apenas trocando o k pelo t. Transcorridos mais da metade do filme, a corrida pelos segredos dos deuses astronautas atinge a apoteose nas pirâmides da cidade perdida de “Akator”, recriadas digitalmente em pleno coração do Amazonas.

Na sequência final, Spielberg faz decolar das pirâmides um gigantesco disco voador que parte não para o espaço, mas para uma dimensão paralela.

O bilionário filme de 2008 teve um orçamento de US$ 185 milhões e rendeu quase US$ 800 milhões apenas nas bilheterias. Se Tatunca Nara enganou o mundo com suas fantasias, pelas quais pagou um alto preço, Spielberg foi quem mais lucrou com elas ao reciclá-las sem ter de pagar nada a Tatunca ou a família de Karl Brugger. Quem enganou quem?

Rumores acerca da morte de Tatunca circularam diversas vezes, mas sabe-se que ele ainda está vivo e reside em um modesto barraco em seu sítio a algumas dezenas de quilômetros de Barcelos, ao longo do rio Negro, onde cultiva diversas plantas frutíferas que comercializa com os comerciantes locais. Sabe-se também que ele tem um “filho adotivo”, um soldado de nome Francisco Alves.

Em 2003, para escapar das penas da Justiça, Tatunca declarou-se “mentalmente instável”, embora continue a oferecer seus serviços como um guia de turismo, devidamente autorizado pelo Ibama (Instituto Brasileiro do Meio Ambiente e dos Recursos Naturais Renováveis), para todas as partes dispostas, geralmente turistas ou exploradores mal informados e/ou mal intencionados querendo chegar à região montanhosa do rio Padauari, na fronteira com a Venezuela, onde estaria Akakor.

O mito de Eldorado nunca morre, mas todo aquele que o busca, sim, ainda mais se estiver acompanhado de Tatunca Nara.

Tatunca Nara em foto de Karl Brugger.

Notas:

[1] Nehberg, Rüdiger. Der Selbstgemachte Häuptling, Hamburg, Kabel, 1991.

[2] A Serra do Aracá ocupa uma área de 18.187 km², ou 15% dos 122.475,728 km² de área do município de Barcelos, sendo este é o segundo maior município do Brasil, menor em área apenas do que Altamira, com 159.695,938 km².

Leia todas as partes desta saga:

#barcelos #amazonas #floresta amazônica #exploração #aventuras #lost city #lost civilization #eldorado #assassinato #mitos #lendas #jacques cousteau #fantastico #rede globo #Youtube

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dingfest-literatur · 5 years

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Von überall erreichen uns nun schöne Rückmeldungen und Bilder von glücklichen all over Heimat– AutorInnen von und mit ihren Exemplaren. Das freut uns sehr! Demnächst werden wir an dieser Stelle noch einige von ihnen ausführlicher vorstellen.

448 Seiten Stories u. Friends Verlag ISBN-13: 978-3942181891 16€

Diese Anthologie versammelt 150 Autor*innen aus über 20 Nationen, darunter Österreich und die Schweiz, Belgien, Luxemburg und die Niederlande, Russland, Island, Tunesien, Italien, die USA und viele andere. Neben jungen Debütant*innen finden sich zahlreiche Autor*innen, die bereits bedeutende literarische Auszeichnungen erhalten haben.

Mit Lyrik und Prosa von Najet Adouani, Rodaan Al Galidi, Barney (Elizabeth) Bardsley, Roswitha Beer, Heinrich Beindorf, Gerhard Benigni, Oksana Beresuzkaja, Heide Bertram, Rolf, Birkholz, Marlies Blauth, Philipp Blömeke, Emeka Bob-Anyeji, Birgit Bodden, Bianca Boer, Hermann Borgerding, Gabriela Căluțiu Sonnenberg, Safiye Can, David Castillo, Ingo Cesaro, Orit Chazara, Carina Contreras, Volker W. Degener, Astrid Dehe, Larissa Dyck, Germain Droogenbroodt, Sigrid Drübbisch, Özlem Özgül Dündar, Eva von der Dunk, Matthias Engels, Achim Engstler, Patricia Falkenburg, Judith Faller, Nico Feiden, Armin Leonhard Fischer, Kerstin Fischer, Jürgen Flenker, Kersten Flenter, David Fox, Cornelia Franken, Doris Franzbach, Karin Friedle-Unger, Anke Fuchs, Martin Furtkamp, Velina van der Gaag, Clemens Bruno Gatzmaga, Thomas Geduhn, Daniela Gerlach, Anke Glasmacher, Marianne Glaßer, H. D. Gölzenleuchter, Axel Görlach, Annette Gonserowski, Tobias Grimbacher, Julia Grinberg, Dinçer Gücyeter, Lütfiye Güzel, Christin Habermann, Annette Hagemann, Aylin Rosa Hanka, Sören Heim, Paul Heinrich, Horst Hensel, Hans-Ulrich Heuser, Ghiath Hobbi, Claudia Hummelsheim, Klára Hůrková, Infrarot, Christa Issinger, Diana Jahr, Monika Jarju, Stefanie Jerz, Thomas Kade, Zarina Kanukova, Harald Kappel, Adrian Kasnitz, Chiara Nadine Kauffel, Manfred Kern, Irlan Khugaev, Christoph Kleinhubbert, Michael Köhler, Anne-Kathrin Koppetsch, Matthias Kröner, Josef Krug, Kathrin B. Külow, Axel Kutsch, Mariusz Lata, Fabian Lenthe, Monika Littau, Marc A. Littler, Sophie van Llewyn, Una López-Caparrós Jungmann, Britta Lübbers, Sylwia Ludas, Petya Lund, Alexander Makowka, Patricia Malcher, Hamdi Meça, Kerstin Meixner, Sophie Modert, Sudabeh Mohafez, Pega Mund, Anca Neubauer, Ngo Nguyen Dung, Jutta von Ochsenstein, Ragnar Helgi Ólafsson, Hellmuth Opitz, Birgit Ottengraf, Laura M. Pellizzari, Ester Naomi Perquin, Heinrich Peuckmann, Martin Piekar, Gerd Puls, Dennis Puplicks, Judith-Katja Raab, Ángel Rebollar, Andreas Reichelsdorfer, Torsten Reters, Daniela Rieß, Wolfgang Rödig, SAID, Fethi Sassi, Wolfgang Schiffer, Norbert W. Schlinkert, Sigune Schnabel, Janine Schneider, Katja Schraml, Tessa Schwartz, Matthias Schwincke, Anita Seo Dornbach, Richard Sleboe, Derya Soytut, Peter Spafford, Carsten Stephan, Markus Streichardt, Werner Streletz, Ralf Thenior, Maria Topali, Imre Török, Kinga Tóth, Thorsten Trelenberg, Emanuil A. Vidinski, Nataša Vukelić, Tom Weber, Werner Weimar-Mazur, Stefan Wieczorek, David Wonschewski, Inge Wrobel, Sascha Wundes, Wolfgang Wurm und Péter Závada.

All over Heimat -international- Von überall erreichen uns nun schöne Rückmeldungen und Bilder von glücklichen all over Heimat- AutorInnen von und mit ihren Exemplaren.

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wildwechselmagazin · 3 years

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Open-Air-Kino in Paderborn: Sommernachtskino des Pollux by Cineplex in den Startlöchern!

Open-Air-Kino in Paderborn: Warme Sommerabende mit guter Unterhaltung vor traumhafter Kulisse. | (c) Pollux by Cineplex Paderborn (Paderborn) Wenn warme Temperaturen und späte Sonnenuntergänge dazu einladen, schöne Sommerabende unter freiem Himmel zu verbringen, ist es Zeit für das einzigartige Open-Air-Kino in Paderborn: Das Sommernachtskino! Vom 29. Juli bis zum 9. August öffnet das Pollux by Cineplex kurzzeitig seinen 10. Saal unter freiem Himmel und lädt zum Open Air Kino vor traumhafter Kulisse ein. Auch in diesem Jahr findet das cineastische Highlight des Sommers wieder auf dem Marstallgelände im Schlosspark in Schloß Neuhaus statt. Wie im letzten Jahr wird es zusätzlich an beiden Montagen einen Überraschungsfilm in der aus dem Pollux bekannten Reihe »Sneak-Preview« geben, bei der die Filme bereits vor ihrem eigentlichen Erscheinungsdatum gezeigt werden. Der Clou daran: Welcher Film läuft, wird vorher nicht bekannt gegeben.

Open-Air-Kino in Paderborn mit jungem, lokalem Kurzfilm!

Abgerundet wird das Programm durch die Veranstaltung »Junger Kurzfilm OWL«. In Zusammenarbeit mit dem Kulturamt der Stadt Paderborn findet am Sonntag, den 8. August eine Kurzfilmnacht statt, bei dem unter anderem die Filmemacher und auch eine Jury vor Ort sein wird, die die Filme anschließend bewertet. Der Einlass beginnt täglich um 20:15 Uhr. Für das leibliche Wohl wird in Form von Popcorn, Nachos und Getränken gesorgt. Das Filmprogramm startet bei ausreichender Dunkelheit. Tickets (Normal: 10€, Ermäßigt: 8,50€; Sneak Preview: 7,50€ und Junger Kurzfilm OWL: Normal 7€, Ermäßigt 5€) gibt es ausschließlich online und nicht an der Ticketkasse im Pollux. Weitere Informationen und Tickets finden sich unter cineplex.de/paderborn.

Wichtige Links aus dem Artikel

- Website des Pollux by Cineplex Paderborn

Open-Air-Kino in Paderborn: Die Termine!

Is this the real life...? 30.7.2021 | Open-Air in Paderborn | or is it Rami Malek? Die Antwort gibt der äußerst gelungene Film von Bryan Singer mit Malek in der Rolle als Freddie Mercury! - Webseite Sommernachtskino 2020 - Webseite Pollux by Cineplex Paderborn in Paderborn

Freitag 30. Juli 2021 Sommernachtskino 2020 • Bohemian Rhapsody 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Samstag 31. Juli 2021 Sommernachtskino 2020 • Cash Truck 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Sonntag 01. August 2021 Sommernachtskino 2020 • Catweazle 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Montag 02. August 2021 Sommernachtskino 2020 • SNEAK-Preview 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen Ahnunfürsich... 03.8.2021 | Open-Air in Paderborn | BAP heißt auf Kölsch Vater und MAM heißt Mutter. Jetzt wisst ihr, wohin es bei der Band richtungstechnisch geht. MAM sind eine Tributeband für die Kölschrock-Legenden. Die größten Ritterschläge kamen von Wolfgang Niedecken und Klaus "Major" Heuser selbst: Die beiden Mitglieder von BAP waren so beeindruckt, dass MAM beim Tourstart 2011 sogar den "Major" als Special Guest präsentieren durften. - Webseite Sommernachtskino 2020 - Webseite Pollux by Cineplex Paderborn in Paderborn

Dienstag 03. August 2021 Sommernachtskino 2020 • Mamma Mia! 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Mittwoch 04. August 2021 Sommernachtskino 2020 • Kaiserschmarrndrama 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen Das perfekte Geheimnis 29.7.2021 | Open-Air in Paderborn | Drei Frauen. Vier Männer. Sieben Telefone. Und die Frage: Wie gut kennen sich diese Freunde und Paare wirklich? Als sie bei einem Abendessen über Ehrlichkeit diskutieren, entschließen sie sich zu einem Spiel: Alle legen ihre Smartphones auf den Tisch, und alles, was reinkommt, wird geteilt. Nachrichten werden vorgelesen, Telefonate laut mitgehört, jede noch so kleine WhatsApp wird gezeigt. Was als harmloser Spaß beginnt, artet bald zu einem emotionalen Durcheinander aus - voller überraschender Wendungen und delikater Offenbarungen. Denn in dem scheinbar perfekten Freundeskreis gibt es mehr Geheimnisse und Lebenslügen, als zu Beginn des Spiels zu erwarten waren. (Quelle: Verleih) - Webseite Sommernachtskino 2020 - Webseite Pollux by Cineplex Paderborn in Paderborn

Donnerstag 29. Juli 2021 Sommernachtskino 2020 • Das Perfekte Geheimnis 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Donnerstag 05. August 2021 Sommernachtskino 2020 • Godzilla vs. Kong 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Freitag 06. August 2021 Sommernachtskino 2020 • Die Croods 2 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen

Samstag 07. August 2021 Sommernachtskino 2020 • Fast & Furious 9 20:15 Uhr Paderborn, Pollux by Cineplex Paderborn Typ: Open-Air Jetzt: Ticket kaufen Alle Termine im Pollux by Cineplex Paderborn! Read the full article

#Open-Air-Kino-Veranstaltungen #Paderborn #PolluxbyCineplexPaderborn

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uniteordie-usa · 7 years

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How NATO-linked Think Tanks Control EU Refugee Policy | New Eastern Outlook

http://uniteordiemedia.com/how-nato-linked-think-tanks-control-eu-refugee-policy-new-eastern-outlook/ https://uniteordiemedia.com/wp-content/uploads/2017/03/the-wall-The-EU-600x464.jpg How NATO-linked Think Tanks Control EU Refugee Policy | New Eastern Outlook A flood of uncontrolled war refugees from Syria, Libya, Tunisia and other Islamic countries destabilized by Washington’s ‘Arab Spring’ Color Revolutions, has created the greatest social dislocation across the EU from Germany to Sweden to Croatia since the end of World War II. By now it has...

A flood of uncontrolled war refugees from Syria, Libya, Tunisia and other Islamic countries destabilized by Washington’s ‘Arab Spring’ Color Revolutions, has created the greatest social dislocation across the EU from Germany to Sweden to Croatia since the end of World War II. By now it has become clear to most that something quite sinister is afoot, something which threatens to destroy the social fabric of the very core of European civilization. What few realize is that the entire drama is being orchestrated, not by German Chancellor Angela Merkel, or by faceless EU bureaucrats of the Brussels EU Commission. It is being orchestrated by a cabal of NATO-linked think tanks.

Last October 8, 2015 amid the great stream of hundreds of thousands of refugees flooding into Germany from Syria, Tunisia, Libya and other lands, a newly self-confident German Chancellor Angela Merkel proclaimed on a popular German TV program, “I have a plan.” She took the occasion to take a sharp dig at coalition partner, Bavarian CSU head, Horst Seehofer, a stauch critic of Merkel’s open arms refugee position since spring 2015 that saw more than one million refugees enter Germany last year alone.

Since that point, with iron-hard resolve, the German Chancellor has defended the criminal Erdogan regime in Turkey, an essential partner in her “plan.”

Most of the world has looked on with astonishment as she ignored principles of free speech and decided to prosecute publicly a well-known German TV comedian, Jan Böhmermann, for his satirical remarks about the Turkish President. They were astonished as the symbol of European democracy, the German Chancellor, chose to ignore Erdogan’s imprisonment of opposition journalists ands his shutting of Turk opposition media as he proceeded with plans to establish a de facto dictatorship rule within Turkey. They were puzzled as Berlin’s government chose to ignore overwhelming proof that Erdogan and his family were materially aiding and abetting ISIS terrorists within Syria who were in fact creating the war refugee crisis. They were astonished to see her push through an EU committment to give Erdogan’s regime billions of euros to supposedly deal with the refugee flow from Turkish refugee camps across the border into EU neighbor land, Greece and beyond.

The Merkel Plan

All of those seemingly inexplicable actions from the once-pragmatic German leader appear to go back to her embrace of a 14-page document prepared by a network of pro-NATO think-tanks, brazenly titled “The Merkel Plan.”

What the newly-self-confident German Chancellor did not tell her hostess, Anne Will, or her viewers was that “her” plan was given to her just four days earlier, on October 4, in a document already titled The Merkel Plan, by a newly-created and obviously well-financed international think-tank called the European Stability Initiative or ESI. The ESI website showed that it had offices in Berlin, Brussels and in Istanbul, Turkey

Suspiciously, the authors of the ESI plan titled their plan as if it had come from the German Chancellor’s office and not from them. More suspicious is the contents of The Merkel Plan of ESI. In addition to already taking more than one million refugees in 2015, Germany should “agree to grant asylum to 500,000 Syrian refugees registered in Turkey over the coming 12 months.” In addition, “Germany should accept claims from Turkey…and provide safe transport to successful applicants…already registered with the Turkish authorities…” And finally, “Germany should agree to help Turkey obtain visa-free travel in

2016.”

That so-called Merkel Plan was a product of US and NATO-linked think tanks and of governments of NATO member countries or prospective members. The maxim “follow the money trail” is instructive in this case to see who really runs the EU today.

The ESI

The ESI came out of NATO-led efforts to transform South East Europe following the US-instigated war in Yugoslavia during the 1990’s that resulted in the Balkanization of the country and establishment of a major USA and NATO airbase, Camp Bond Steel in Kosovo.

Current ESI Chairman directly responsible for the final Merkel Plan document is Istanbul-based Austrian sociologist, Gerald Knaus. Knaus is also a member of the European Council on Foreign Relations (ECFR), and an Open Society Fellow.

Founded in London in 2007, the ECFR is an imitation of the influential New York Council on Foreign Relations, the think-tank created by the Rockefeller and JP Morgan bankers during the 1919 Versailles peace talks to coordinate an Anglo-American global foreign policy. Significantly, the creator and moneybags for the ECFR is American multi-billionaire and Color Revolution funder, George Soros. In virtually every US State Department-backed Color Revolution since the collapse of the Soviet Union, including in Serbia in 2000, in Ukraine, in Georgia, in China, in Brazil and in Russia, George Soros and offshoots of his Open Society Foundations have been in the shadows financing “democracy” NGOs and activists to install pro-Washington and pro-NATO regimes.

The select members, called Council Members or associates, of the London-based ECFR include ECFR co-chairman Joschka Fischer, former German Green Party Foreign Minister who arm-twisted his party into backing Bill Clinton’s illegal 1999 bombing of Serbia without UN Security Council backing.

Other members of the Council of Soros’ European Council on Foreign Relations think tank include former NATO Secretary General, Xavier Solana. It includes disgraced plaigarist and former German Defense Minister, Karl-Theodor zu Guttenberg; Annette Heuser, Executive Director Bertelsmann Stiftung in Washington DC; Wolfgang Ischinger, Chairman, Munich Security Conference; Cem Özdemir, chairman, Bündnis90/Die Grünen; Alexander Graf Lambsdorff, German Liberal Party (FDP) MP; Michael Stürmer, Chief Correspondent, Die Welt; Andre Wilkens, Director of Mercator Foundation; pederasty defender, Daniel Cohn-Bendit of the European Parliament. Cohn-Bendit, known as “Danny the Red” during the May, 1968 French student riots, was a member of the the autonomist group Revolutionärer Kampf (Revolutionary Struggle) in Rüsselsheim, Germany along with his close ally, now ECFR chairman, Joschka Fischer. The two went on to found the “realo” wing of the German Greens.

The Open Society Foundations is the network of tax-exempt “democracy-promoting” foundations created by George Soros on the collapse of the Soviet Union to promote “free market” pro-IMF market liberalization of former communist economies that opened the doors for the systematic plundering of invaluable mining and energy assets of those countries. Soros was a major financier of the liberal economic team of Boris Yeltsin including Harvard “Shock Therapy” economist, Jeffrey Sachs, and Yeltsin liberal adviser, Yegor Gaidar.

Already it becomes clear that the “Merkel Plan” is the Soros Plan in fact. But there is more if we wish to understand the darker agenda behind the plan.

The ESI Funders

The European Stability Initiative think-tank of Soros-tied Gerald Knaus is financed by an impressive list of donors. Their website lists them.

The list includes, in addition to Soros’ Open Society Foundations, the Soros-tied German Stiftung Mercator, and the Robert Bosch Stiftung. ESI funders also include European Commission. Then, curiously enough the funder list for The Merkel Plan includes an organization with the Orwellian name, The United States Institute of Peace.

Some research reveals that the United States Institute of Peace has anything but a peace-loving background. The United States Institute of Peace is chaired by Stephen Hadley, former US National Security Council adviser during the neo-conservative war-waging Bush-Cheney administration. Its Board of Directors includes Ashton B. Carter, current Obama Administration neo-conservative hawkish Secretary of Defense; Secretary of State John Kerry; Major General Frederick M. Padilla, President of the US National Defense University. These are some very seasoned architects of the US Pentagon Full Spectrum Dominance strategy for world military domination.

The “Merkel Plan” authors at the European Stability Initative, in addition to the largesse of George Soros’ foundations, list as “core” funder, the German Marshall Fund of the United States. As I describe in my book, The Think Tanks, the German Marshall Fund is anything but German. With its seat in Washington, as I noted in the book, “It’s an American think tank with its headquarters in Washington, D.C. In point of fact, its agenda is the deconstruction of postwar Germany and more broadly of the sovereign states of the EU to fit them better into the Wall Street globalization agenda.”

The German Marshall Fund of Washington has been involved in the post-1990 USA agenda of regime change around the world in league with the US-funded National Endowment for Democracy, Soros Foundations, and the CIA front called USAID. As I describe it in the think tanks book, “The major focus of the German Marshall Fund according to its 2013 Annual Report was to support the US State Department agenda for so-called democracy-building operations in former communist countries in eastern and south-eastern Europe, from the Balkans to the Black Sea. Significantly their work included Ukraine. In most instances, they worked together with the USAID, widely identified as a CIA front with ties to the State Department, and the Stewart Mott Foundation which gives funds to the US Government-funded National Endowment for Democracy.”

Notably, the same Stewart Mott Foundation is also a funder of the ESI-authored Merkel Plan, as is the Rockefeller Brothers Fund.

This all should give pause for reflection as to who and for what goals the Merkel-Erdogan deal for dealing with the EU refugee crisis is intended. Does the Rockefeller-Bush-Clinton faction in the United States intend to use it as a major social engineering experiment to create chaos and social conflict across the EU at the same time their NGOs such as the NED, Freedom House and the Soros Foundations are stirring things up in Syria and Libya and across the Islamic world? Is Germany, as former US presidential adviser and Rockefeller crony, Zbigniew Brzezinski called her, a “vassal” of US power in the post-1990 world? To date the evidence is pretty strong that that’s the case. The role of US and NATO-linked think tanks is central to get an understanding of how the Federal Republic of Germany and the European Union are actually controlled from behind the Atlantic curtain.

F. William Engdahl is strategic risk consultant and lecturer, he holds a degree in politics from Princeton University and is a best-selling author on oil and geopolitics, exclusively for the online magazine “New Eastern Outlook” https://journal-neo.org/2016/04/27/how-nato-linked-think-tanks-control-eu-refugee-policy/

Read More: journal-neo.org/2016/04/27/how-nato-linked-think-tanks-control-eu-refugee-policy/

#Angela Merkel #EU bureaucrats #European Stability Initiative #Libya #pro-NATO #Refugees #Soros’ European Council on Foreign Relations #Syria #think-tanks #Tunisia

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