[NetBehaviour] The privileged few are tightening their grip on the arts

Patrick Lichty pl at voyd.com
Tue Sep 16 17:55:13 CEST 2014


And, I also agree that the argument of "Why fund the arts and space missions
when we need to 'xxx' at home."
This is a ridiculous proposition, as these supposedly "luxury" expenditures
on a governmental scale actually want to be controlled by private foundation
which give significantly less, and the derivative payoff from public
initiatives like the ones above are usually massive, if sometimes indirect.
The culture of accountability is horrid and stifling.

From:  temp <pl at voyd.com>
Reply-To:  NetBehaviour for networked distributed creativity
<netbehaviour at netbehaviour.org>
Date:  Tuesday, September 16, 2014 10:43 AM
To:  NetBehaviour for networked distributed creativity
<netbehaviour at netbehaviour.org>
Subject:  Re: [NetBehaviour] The privileged few are tightening their grip on
the arts

Ruth,
This is true.  While we can make magic in the back alley, we must also
champion arts in the public domain, and the current situation is untenable.
So, I see this taking many shapes, as tactical media, strong lobbying with
the government, and the leveraging of powerful NPOs/NGOs that will join the
cause.
Of course, I see FF as one of the great bastions of this in the UK.
I always stand in solidarity and am ready to nip at the heels of the
behemoth when duty calls.

From:  ruth catlow <ruth.catlow at furtherfield.org>
Reply-To:  NetBehaviour for networked distributed creativity
<netbehaviour at netbehaviour.org>
Date:  Tuesday, September 16, 2014 7:36 AM
To:  NetBehaviour for networked distributed creativity
<netbehaviour at netbehaviour.org>
Subject:  Re: [NetBehaviour] The privileged few are tightening their grip on
the arts

  
 
Patrick - respect is due to you for your work and the impact of the many
tactical media artists (Yes Men, Etoy, Ubermorgen etc.) who address power
where it swaggers.
 
 However "recognition by the money elite" currently also impacts (through
money and mass-media ties) wider access to all kinds of arts (their creation
and appreciation) by more diverse people.
 
 It's not only about artists' working conditions, but about what kind of
society we want, and about how to provide ways for all of us to engage,
stimulate and "better ourselves" (individually and collectively). Shopping
is not enough.
 
 We can also end up arguing the toss about whether, when we are eeking out
the last few pennies from our stricken public coffers, whether we choose to
commission an artist or pay for life saving health care. The "a luxury or a
life" argument. But this ignores the fact that austerity ideologies justify
subsidy and support to many other more well heeled sectors of society. Which
I think brings us back again to Michael's post; ) "The marginalisation of
working class voices in the arts is a consequence of the fact that our
rulers believe they have us licked and under control in general."
 
 It's good to see a-n building up an argument from different perspectives as
part of their Paying Artists campaign.
 http://www.a-n.co.uk/tag/paying-artists
 
 
 
 On 15/09/2014 19:35, Patrick Lichty wrote:
 
 
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> Honestly, I think it just depends if you want to be recognized by money elite.
> We have been doing work that has gotten press for decades on a small budget,
> but I agree it gets tiring to do work continually that is never funded for
> decades.  It leaves you a little tired and with a lot less money than you
> might have had for retirement (I mean at 90, you gits!)
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> From: netbehaviour-bounces at netbehaviour.org
> [mailto:netbehaviour-bounces at netbehaviour.org] On Behalf Of michael szpakowski
>  Sent: Sunday, September 14, 2014 11:04 AM
>  To: NetBehaviour for networked distributed creativity
>  Subject: Re: [NetBehaviour] The privileged few are tightening their grip on
> the arts
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> It's interesting that the original article uses theatre as a starting point.
> Having started out in the late seventies working in the theatre and keeping a
> toe in that camp until very recently I can vouch for the change.
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> I remember on my second job ever in 1977 I asked one of the guys in the small
> touring company I was working for what he'd been before he became an actor. "A
> burglar", he replied. It was true -  he came from a poor working
> class area of a big industrial town and rebelled in perhaps not the most
> social of ways. He'd wanted out though & learned to play the bass, joined a
> band and then got into acting through the many connections and opportunities
> there were then ( and which were not tied to expensive training). He later
> became quite a celebrated TV performer playing a part that was related to his
> earlier life and authentically so.
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> Many of the people I worked with at that time came from similar working class
> backgrounds to my own - I myself am the child of a Polish refugee turned
> furnaceman in the Sheffield steel.
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> Now , unless it is someone who worked their way in through the soaps, working
> class accents are produced to order by the "skills" of the largely privileged
> cadre who can afford to make it through drama school. In the 90s I taught
> theatre to FE students one of whom (the daughter of a classroom teacher from
> Essex) went to RADA, through merit not connections. I went to see her rather
> star studded West End debut ( a triumph which gave her a good deal of class
> satisfaction) and she told me she'd spent three years at RADA playing "second
> secretary" or similar whilst the sons and daughters of those already in the
> "biz" or simply the well heeled and confident scooped the leads.
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> What is the timeline? - I can tell you exactly what it is - when the working
> class were fighting and winning in the UK, mid-sixties to 74ish, miraculously
> there were ways for us to "better ourselves" in other ways than struggle.
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> It took awhile for these gains to be chipped away but it has been downhill in
> proportion to the series of (often entirely unnecessary) defeats that have
> been the outcome of workers' struggles since the Winter of Discontent in the
> late seventies.
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> The marginalisation of working class voices in the arts is a consequence of
> the fact that our rulers believe they have us licked and under control in
> general. My greatest hope (and belief) is that sometime before I shuffle off
> we will show them how wrong they were.
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> michael
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> From: ruth catlow <ruth.catlow at furtherfield.org>
> <mailto:ruth.catlow at furtherfield.org>
>  To: netbehaviour at netbehaviour.org
>  Sent: Sunday, September 14, 2014 1:53 PM
>  Subject: Re: [NetBehaviour] The privileged few are tightening their grip on
> the arts
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> Do we care if our arts are increasingly practiced, disseminated and discussed
> in the media by a privileged few?
>  
>  Were the post-WWII gains in diversity an illusion? or did time really stop,
> and start going backwards?
>  If so when did this reversal start?
>  
>  Early 80s, mid 90s, early noughties?
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> 
>  On 14/09/2014 11:12, marc garrett wrote:
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> The privileged few are tightening their grip on the arts | The Guardian -
> http://go.shr.lc/1wsoLXu  <http://t.co/LqXQEQDy72>
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