The Pro-EU Artistic Bubble Goes From Pitiful To Sinister

Act for Democracy - artists European Union bias propaganda

European artists prepare to “act for democracy” by deploying their talents to subvert democracy in the service of European political union

Having been spat out of the British educational system knowing virtually nothing of history, classical music came to serve as the primary window through which I discovered nearly everything I now know, love or am fascinated about culture, art and history.

For instance, after discovering the music of Dmitri Shostakovich and learning about the composer’s life working under threat from the Soviet state, I came to appreciate with horror the inevitable toll taken by authoritarian communist governments on the psyche and artistic output of composers striving (under orders) to produce works reflective of socialist realism. Indeed, knowing its history, who can listen to the opening Nocturne from Shostakovich’s first violin concerto and not feel a chill reflecting on the circumstances in which it was written, and then suppressed until the death of Joseph Stalin?

Perhaps naively, from then onward I always believed that a healthy artistic community was one which kept government firmly at arm’s length, which at its best sought to challenge prevailing dogmas and policies, or at the very least refrained from acting as a willing shill, promoting establishment doctrine. Though more democratic countries have also blurred the line between artistic expression and government policy – one might think of the Public Works of Art project during depression-era America – participation is typically voluntary and the messages generally far less scripted.

How wrong I was. It should be evident to anyone with a functioning neocortex that the contemporary artistic community in Britain in particular (and the West more generally) long ago gave up any desire to seek truth or offend establishment sensibilities, opting instead for fawning repetition of modern centrist orthodoxy and acts of ostentatious virtue-signalling intended to flaunt an artist’s holding of the “correct” views. Witness superstar Lorde’s oh-so right-on cancellation of her concerts in Israel and call for a cultural boycott (while happily continuing to perform in other countries such as Russia). Even so recently as the 1980s, major stars were willing to court controversy or take a stand against official policy – witness Paul Simon’s concerts in apartheid-era South Africa – but such independence of mind seems almost entirely absent from today’s artists.

Indeed, since country group The Dixie Chicks torpedoed their career by denouncing the Iraq War during a London concert, later issuing an humiliating apology under duress, few artists (popular or otherwise) have dared give voice to any heterodox opinion they may hold. When it comes to finding pop or rock stars willing to say kind things about Brexit, one has to turn to 1970s icons such as Morrissey or Sex Pistols frontman John Lydon – the younger generation of stars either subscribe to the holding-hands-beneath-a-rainbow view of enforced European political union or else maintain a fearful silence.

While the instinctive pro-EU bias within the arts world is well known, what still retains capacity to shock is the proactive willingness of some artists to proactively praise and promote the nascent European government. The European Union has form when it comes to holding competitions or doling out grants and awards contingent on the creation or performance of works of art flattering to its own self-image; that much is nothing new. However, we reach a new level of fawning servility when artists arrange the production of tributes to the EU of their own accord and with no direct financial inducement. Yet this is precisely what we are now witnessing:

An open call for ideas to re-brand the European Union has been issued by artist Wolfgang Tillmans and architect Rem Koolhaas. ‘The brief is to send us proposals for communicating the advantages of cooperation and friendship amongst people and nations,’ they write, adding: ‘We need messages, how the Union works and how life would be without it. And we need ideas how to challenge the organisation itself, how to make it better.’

Vocal pro-EU advocates Koolhaas and Tillmans are part of the group Eurolab which is participating in a four-day forum titled ‘Act for Democracy!’ taking place in Amsterdam from 31 May – 3 June: ‘Eurolab is a fact-finding mission of what went well and what went wrong in the last 25 years of communicating Europe’ their statement says.

‘Eurolab wants to collect ideas about how cooperation and solidarity can be spoken for in a fresh and compelling way to large audiences. How can the European Union be valued by its citizens and be recognized as a force for good, rather than as a faceless bureaucracy?’

If I were an artist, I would be ashamed to be associated with such tedious, worshipful bilge – not because it is supportive of the EU, but because the reasoning behind it is so dreadfully unoriginal and derived purely from well-worn establishment political talking points. Like the centrist politicians in Britain and the EU who were shocked by Brexit’s disruption of their normally-unchallenged worldview and smoothly planned-out pathway toward deeper political integration, so these artists think that the only problem with the European Union is a lack of effective branding.

They begin by regurgitating the asinine notion that opposition to the European Union inevitably means a rejection of the very idea of “cooperation and friendship amongst people”, which is as insulting as it is moronic. They go on to express a desire for more messaging about how the EU works, which is ironic since an understanding of the EU institutions and the history behind the push for ever-closer union is quite closely correlated with a healthy dislike of the entire project. Of course there is the obligatory throwaway line about challenging the EU to be better, but it is very clear from the project brief that its originators see public dissatisfaction with the EU as a function not of a flawed project or horrendously antidemocratic execution, but rather an ignorant, benighted population who lamentably fail to realise what a wonderful blessing the EU really is.

This is why pro-EU forces have utterly failed to regain the initiative in Britain and elsewhere – they are so utterly divorced from the broad stream of EU-agnostic sentiment within their countries that they truly believe that those who dislike the institutions of Brussels also reject the human values of cooperation and solidarity. Worse, they are so politically tone-deaf that they admit this publicly, seemingly without any idea how insulting it is to Brexit supporters and other opponents of the EU (and deleterious to their own goal of winning over public support).

The project’s sponsors are involved in the risibly-titled project “Act for Democracy!“, part of the Forum on European Culture, which seeks less to celebrate the rich cultural heritage of the various countries of Europe than invent ever-more tortured ways of pressing art into the service of agitating for continental political union.

The event’s programme includes such gems as:

A 4-day Eurolab during which initiators Wolfgang TillmansRem Koolhaas and Stephan Petermann will make a start to rebrand Europe.

A unique Spoken Beat Concert with two artists from across the Channel: Madi Maxwell-Libby & Jacob Sam-La Rose.

Debate programmes in which we come to the core of populism across Europe. With among others Jan-Werner MüllerUlrike Guerot and Flavia Kleiner

The centrepiece of the whole event seems to be a symposium laughably called “An Independent Mind” in which exclusively pro-EU essays are discussed and celebrated ad nauseam.

A more saccharine, groupthink-infused circle-jerk you could not imagine. These creative types are gathering with pre-ordained conclusions in mind, based on the crudest and most insulting caricatures of their opponents, with the plan of using their diverse talents in service of a childishly naive conception of what the EU actually is and what it represents.

But all of that is fine compared to the fact that they are gathering under the banner of supporting democracy when in fact their entire movement is an upper middle-class, elitist howl of outrage at popular disillusionment with the European project. They are effectively adopting the classic Karl Rove-ian tactic – where George W. Bush’s hatchet man guided his candidate to success by successfully accusing W’s opponents of his own glaring weaknesses, these pro-EU artists do the inverse, claiming possession of the very virtue (support for democracy) which they are desperately seeking to corrupt.

Particularly disconcerting is the self-chastising tone of the project’s announcement, in which Tillmans and Koolhaas come close to outright suggesting that it is A) the job of artists to serve as organs of the state and that B) they failed in that duty by proselytising for European political union with insufficient vigor.

This resembles nothing so much as the fawning forced apology given by Shostakovich following the communist party’s denunciation of his opera “Lady Macbeth”, entitled “A Soviet Artist’s Response To Justified Criticism”, with one key exception – nobody is making these artists do anything. They choose to exalt the supranational European government they so adore of their own volition. How much more debased is this?

More fundamentally – do artists have a responsibility to speak truth to power as a cacophany of different voices questioning the existing orthodoxy, or to cheerlead for the status quo? Should they produce works of art or sleazy government commercials? Tillmans and Koolhaas make their position quite clear:

In workshops and interview sessions we aim to compile a comprehensive toolbox of arguments, strategies, and ideas that can be applied to campaigns across different demographics and used by different professional groups (e.g. ‘Teachers for Europe’ ‘Scientists for Europe’ ‘Farmers for Europe’).

This is literally a project to brainstorm and create propaganda. What self-respecting artist talks of their work process as one of creating “toolboxes” and “strategies” for the use of astroturf political campaign groups? None. This is the language of marketing professionals or management consultants, not aesthetes or artisans.

Yet while these die-hard activists may not yet represent the broader artistic community, with vanishingly few exceptions (see the heretical new group Artists for Brexit) they all share the same unthinking, instinctive pro-EU impulse. The difference between your average pro-EU orchestral conductor, pop singer or modern artist and the people who will shortly be assembling in Amsterdam to create pro-Brussels communications strategies is one of degree, not kind.

If European artists want to deploy their talents to promote supranational government then it is their prerogative. I may find it distasteful, but it is certainly well within their rights. What is upsetting is the lack of fresh, critical thinking they seem to bring to bear to the question of European political union, instead either parroting simplistic pro-EU political talking points or else challenging themselves to come up with their own propaganda pieces.

And I can’t help thinking that legions of brave artists whose works were suppressed and lives disrupted because of an unhealthily close relationship between arts and government throughout history are turning over in their graves at the willingness of their latter-day colleagues to do this work of glorification unbidden and uncoerced.

 

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Stephen Hawking vs Jeremy Hunt: The Insidious Cult Of The NHS

BRITAIN-POLITICS-HEALTH-DEMO

Stephen Hawking vs Jeremy Hunt, a beloved national treasure going up against somebody who actually knows a thing or two about healthcare systems – in NHS-worshipping Britain, this could only end one way

If your car breaks down in the middle of the desert, who would you rather have come to your aid – the world’s most famous and accomplished concert pianist, or a fully equipped mechanic with a bit of a bad reputation?

Unless you particularly want to die of dehydration amid the sand dunes you pick the dodgy mechanic every time. At least he has some experience with the subject matter at hand, after all. And would you listen to angry protestations from other people who said that the concert pianist was equally entitled to tinker with your car, just because he has been driven around in many cars throughout his career? Of course not. Making use of the functions of an automobile is not the same as understanding how a vehicle works or being able to diagnose technical faults with the engine.

And yet as soon as the national conversation turns toward Our Blessed NHS, this kind of common sense goes out the window. So desperate are many British people to receive confirmation bias-affirming propaganda about “Our NHS” that when theoretical physicist Stephen Hawking got into a debate with Health Secretary Jeremy Hunt on the subject of healthcare, people essentially chose the concert pianist over the mechanic. Proudly and unequivocally.

This is the mental poison spread by the Cult of the NHS. It warps thinking, is impervious to reason and transforms what should be a measured, rational and unemotional debate about how best to provide healthcare services to a country of 70 million people into a frenzied orgy of emotionalism and unconditional praise for government bureaucracy, combined with a seething intolerance of anybody who dares to question the status quo.

Most unbecoming for a scientist, Stephen Hawking leaned heavily on emotional rather than empirical arguments to make his case, writing in the Guardian:

Like many people, I have personal experience of the NHS. In my case, medical care, personal life and scientific life are all intertwined. I have received a large amount of high-quality NHS treatment and would not be here today if it were not for the service.

The care I have received since being diagnosed with motor neurone disease as a student in 1962 has enabled me to live my life as I want, and to contribute to major advances in our understanding of the universe. In July I celebrated my 75th birthday with an international science conference in Cambridge. I still have a full-time job as director of research at the Centre for Theoretical Cosmology and, with two colleagues, am soon to publish another scientific paper on quantum black holes.

Whereas in France, Germany, Australia, Canada or Japan he would have been left to die in the street? This is misleading, emotionally manipulative balderdash of the first order. Newsflash, Stephen Hawking – the NHS did not save your life. Doctors and nurses and technicians and administrators did. And all of these professions can be found outside of our own creaking nationalised healthcare system.

Universal healthcare and treatment free at the point of use are not innovations unique to the United Kingdom. Other countries manage to do it too, using a variety of different delivery models – many of which achieve better healthcare outcomes (ultimately the only thing that matters to patients) than Our Blessed NHS.

And Stephen Hawking knows this full well. Yet he is happy to take advantage of the British public’s sentimentality for the NHS and lack of awareness of healthcare in other countries to create a false impression that motor neurone disease patients such as himself – indeed, people suffering from any disease or injury – are somehow left to die on the street in other countries, and that it is only in socialist Britain that people enjoy modern healthcare. This is the kind of dishonesty and low skulduggery that belongs in the field of politics, not science. Hawking should be ashamed of himself.

But he isn’t done yet. He continues:

Last year my personal experience of the NHS and my scientific life came together when I co-signed a letter calling for healthcare policy to be based on peer-reviewed research and proper evidence. The specific issue addressed in the letter was the “weekend effect”. Jeremy Hunt, the health secretary, had claimed that thousands of patients died unnecessarily because of poor hospital care at the weekend, and used this to argue that we needed to implement a seven-day NHS. I had mixed feelings about the issue. Having spent a lot of time in hospital, I would like there to be more services available at weekends. Also, it seems possible that some patients spend more time in hospital than is necessary because certain diagnostic tests can only be done on weekdays.

However, as we showed in the letter, Hunt had cherry-picked research to justify his argument. For a scientist, cherry-picking evidence is unacceptable. When public figures abuse scientific argument, citing some studies but suppressing others to justify policies they want to implement for other reasons, it debases scientific culture. One consequence of this sort of behaviour is that it leads ordinary people to not trust science at a time when scientific research and progress are more important than ever.

Yes, we wouldn’t want to cherry pick evidence now, would we Stephen? Like resolutely pretending that the only alternative to the NHS is “a US-style insurance system”, conveniently ignoring the wealth of other examples out there?

But even more asinine than this is Hawking’s assertion that healthcare policy should be based on “peer-reviewed research and proper evidence”. This is all well and good as far as it goes, but we are talking about designing complex human organisations here, not conducting a controlled physics experiment.

The only peer-reviewed research and evidence that can possibly be brought to bear on the question of how to design an optimal healthcare system for a medium-sized advanced economy will come from the social sciences, which are inexact and often unquantifiable by their very nature. What’s more, in academia the social sciences are populated almost exclusively by leftists and are effectively locked into a self-perpetuating purity spiral. When there is no diversity of perspective or political thought in the field, how can one have the slightest confidence in the outcome of the resulting studies?

Do you really think that scientists check their political opinions at the door of the library or laboratory? If so, where were all the economists during the EU referendum declaring in TV interviews that Brexit might be bad for the economy but still worthwhile overall? They were nonexistent. Why? Because they all started from a place of liking the European Union and wanting Britain to remain a member. Facts and evidence which contradicted this desired outcome were determinedly pushed aside, again and again.

Oliver Norgrove gets it right on this point:

The other issue I have with Professor Hawking’s comments is that they essentially capture the nauseating emotional connection that Brits have with healthcare provision. It is odd because healthcare needs are, by their very nature, private and oughtn’t represent bargaining chips for politicians at election time. ‘Groupthink’ surrounding the NHS is rife and poisonous. I particularly loathe the term ‘our NHS’. In using it we promote unhealthy tribalism, which blockades against meaningful debate about how we improve a stagnant system of healthcare. Diluting this poisonous emotional attachment is perhaps the first step to achieving a market-based system, similar to those seen all around the continent.

Notice also the reliance upon using the American healthcare system as some kind of stick with which to beat free marketeers in Britain. It is as if there are only two structures globally, and we must protect one from becoming the other. Professor Hawking, a clever man, knows full well that by instigating comparison with the United States he can more aptly generate support for the maintenance of the NHS. Which I believe, given changes to demographics, life-expectancy and population-induced strains, is bad for our healthcare outlook.

Increasingly, academics believe that, almost by right, they are entitled to transfer their authority in a particular field to other fields, often for the sake of making noise and boosting their own public profile. This became especially apparent during Britain’s referendum on European Union membership. Of course, I am not saying that academics should not have the right to speak and be heard. Nobody values the importance of free speech more than I do. The issue is that by association alone they are afforded disproportionate exposure and their words a special (and often unwarranted) significance. This is damaging to debate as it promotes laziness and useless conventional wisdom.

And besides, Stephen Hawking doesn’t really want to design an optimal healthcare system. No, he is attached to the present system for emotional reasons, and is busy corralling facts and figures which confirm his own biases and preferences. A rational scientist would start with a blank sheet of paper, not a crayon drawing of the NHS logo with girlish hearts scribbled all around it, à la Hawking.

Yet Hawking preposterously claims to be a dispassionate observer in all this:

A physicist like me analyses a system in terms of levels of approximation. To a first approximation, one can see the situation facing healthcare in this country in terms of forces with different interests.

Quite. So let’s talk about the NHS Industrial Complex, that byzantine and interconnected web of special interests from pharma companies to suppliers to logistics providers to medical schools to clinical staff on the taxpayer dollar, to the army of administrators and bureaucrats required to run what is – astonishingly – the fifth largest employer on the face of the Earth. All of these actors have a vested interest in the current system perpetuating itself – it’s how they get their pay cheques and make their profits. Disruption to steady-state operations is therefore unwelcome and to be resisted at all costs, even if there are potential windfalls for patients.

But these are not the malevolent forces that Stephen Hawking wishes to discuss. He wants to go on a generic leftist rant about the “multinational corporations, driven by their profit motive” – forgetting that the profit motive he so despises helped to spur the development of many drugs and healthcare technologies which save lives every day. He also takes the economically illiterate view that there is a fixed amount of money in the economy and healthcare system, and that shareholder profit necessarily means less funding available on the front line. This is nonsense, as any sixth-form economics student could have explained.

Hawking ends his cri de coeur with this rousing message:

If that all sounds political, that is because the NHS has always been political. It was set up in the face of political opposition. It is Britain’s finest public service and a cornerstone of our society, something that binds us together. People value the NHS, and are proud that we treat everyone equally when they are sick. The NHS brings out the best in us. We cannot lose it.

Isn’t it funny that if you want to make an establishment leftist sound like a frothing-at-the-mouth Ukipper all you have to do is whisper the letters “NHS”, at which point they will immediately start ranting about British culture and values, the importance of our unique island history and our unquestioned superiority over every other country.

And yet we see smug, superior headlines from the likes of the Independent, sardonically declaring “It’s brave of Hawking to take on an intellect like Hunt“, as though Stephen Hawking’s brilliance when it comes to physics somehow automatically translates to the complex political and organisational considerations involved in healthcare reform. This is basic, superficial thinking of the first order – and yet nearly every newspaper clapped along like trained seals, without stopping to think whether Hawking really has any credentials to be pontificating on the future of the NHS. He doesn’t.

Stephen Hawking is little more than an NHS Ukipper, with no more right to meddle in British healthcare reform than your garden variety Ukipper should be allowed to go up against Michel Barnier in the Brexit negotiations. But his ignorance and emotional manipulation are given cover by a bovine public raised to worship the NHS unquestioningly, and by a sycophantic media who prefer to make smartass headlines about Jeremy Hunt’s intellectual deficit rather than stopping to question who makes the better argument.

And as it happens, both men are wrong. Stephen Hawking is busy trying to reanimate the mortal remains of Aneurin Bevan, while Jeremy Hunt is tinkering around the edges of a failing system which needs redesigning from the ground up.

This is what passes for a debate about healthcare reform in this country, and the cost of all the virtue-signalling, NHS-worship and half-hearted reforms can be counted in human lives.

 

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What European Identity? Part 2 – Classical Music Edition

European Union Youth Orchestra

How can we possibly continue to enjoy Beethoven or watch touring European orchestras perform in evil, isolationist Brexit Britain?

Today’s Peak Guardian article is an account of an interview recently given by the legendary pianist/conductor Vladimir Ashkenazy to the Observer newspaper, in which Ashkenazy urges classical musicians to “keep up British links with Europe in the face of Brexit”.

A distilled summary of the Guardian’s breathless spin: Brexit gravely threatens Britain’s continued participation in the international arts and culture scene, but if enough brave musicians come together in a spirit of cooperation then it may be possible to ride out the gravest threat to Europe since World War 2 and the Cold War.

From the piece:

Vladimir Ashkenazy, one of the most revered figures in classical music, has called on musicians to strive to keep up British links with Europe in the face of Brexit. The great Russian conductor and pianist, who made his name as a soloist in the 1960s and 70s, spoke passionately to the Observer about his continued faith in European culture.

“Music will win in the end,” he said, speaking publicly on the subject for the first time. “After all, music is not just an exercise in making sounds. It is a reflection of our joint spiritual endeavours.”

Comparing Britain’s impending split with Europe to other political schisms of the 20th century, such as the rise of fascism and the cold war, Ashkenazy, 79, said he was optimistic that those who love making music together will find a way to keep connections going across the Channel. “I am sorry about it, and I know it will be difficult to get used to a totally different situation, but for musicians many things will remain the same, simply because we will work to find a way to make agreements for the sake of music,” he said.

Many British classical musicians expect Brexit to set up new travel barriers and present fresh difficulties for orchestras receiving EU funding. The potential threat to free travel for working musicians has already prompted the European Union Baroque Orchestra to announce a move to Belgium this summer. It has been based in Oxfordshire since 1985. Meanwhile, the well-regarded European Union Youth Orchestra (EUYO) is considering a move to the continent after 40 years in Britain.

Of course, this feeds nicely into the Guardian’s (and the entire British metro-Left’s) little conceit that by extricating ourselves from a dysfunctional and failing supranational political union we are also somehow hacking away at the cultural and historical ties which bind us to the continent, and so naturally they seize on the Ashkenazy interview as a perfect example of how enlightened artists can help to save Britain from the brutish and self-destructive decision made by the Evil 52%.

Now, Vladimir Ashkenazy is not particularly to blame for any of this. If you want somebody to play a Rachmaninov prelude in such a dazzling way that it makes your hair stand on end and brings a lump to your throat then Ashkenazy is your very man. If, however, you want somebody to give you a good overview of geopolitics and assess the relative failings and merits of the European Union, then you are probably better off turning to someone else. So the point is not that Ashkenazy is wrong (and even he is generous enough to admit that Brexit is slightly less evil than Soviet communism, which is very kind) – that much is entirely forgivable, given that he is operating far from his natural competencies.

No, the problem is the entirely predictable way that the Guardian picks up this narrative and unquestioningly burnishes and amplifies it without stopping even for a moment to consider the validity of the point being made. Where they could take a step back and actually seek to educate their readers about a whole bunch of issues touching on this story, instead they strut and pose and play to the gallery, feeding them the self-affirming story that they expect rather than the hard dose of reality that they might actually benefit from hearing.

The Guardian could have dwelled for a moment on exactly why cross-border co-operation in classical music is supposedly imperilled by Brexit (giving more concrete examples than the unspoken and unprovable suggestion that Britain would deliberately make it harder for talented musicians to tour or work here). But instead, they uncritically write about how musicians will bravely “find a way to keep connections going across the Channel” without stopping for a moment to consider the fact that British orchestras and ensembles tour numerous non-EU countries in the world without the protective shelter of political union, while many non-European ensembles somehow make it to the BBC Proms and give numerous other performances in Britain despite their musicians lacking EU passports.

But the ulterior motive soon becomes clear when the article bemoans the relocation of the European Union Baroque Orchestra and the European Union Youth Orchestra, two EU propaganda outlets funded by taxpayers to instil in us a sense of European identity which still stubbornly fails to materialise. In London, with so many preeminent ensembles already located here, did we ever really need these two explicitly political additions to our cultural scene? No, of course not – and the Guardian’s duplicitous attempts to upgrade these obscure ensembles to “major orchestra” status is straining the boundary of journalistic integrity. Their sole purpose was to indoctrinate the young and cause us to associate the European Union with benevolent funding of the arts rather than their tawdry, relentless attacks the nation state.

(The EU Baroque Orchestra has a slightly more successful legacy of seeding other baroque ensembles with past alumni, work which can continue in their new Belgian home.)

None of this is to deny the value of youth orchestras – I was a member of one myself for several years, and greatly enjoyed the opportunities for performance and collaboration that it afforded me – but the EU’s propaganda outlets are neither central to the British classical music scene nor an essential bridge to Europe. Take them away and nothing really changes.

Compare the EU’s musical propaganda outlets with a far more worthy exercise in cross-cultural bridge-building, Daniel Barenboim’s West–Eastern Divan Orchestra, and I know which I would rather preserve – the one which seeks to promote peace and cross-cultural understanding in the turbulent Middle East, not the one which uses European taxpayer funds to shore up a creaking, failing 1950s regional super-bloc.

The United States, by contrast, does not need to keep itself together by funnelling federal money into youth orchestras in a desperate attempt to inculcate a sense of American-ness. And while many pertinent criticisms can be made about funding of the arts in America, it must also be acknowledged that many of the finest ensembles and artistic companies in the world – the Metropolitan Opera, the New York and Los Angeles Philharmonics, the New York City Ballet, as well as the feeder schools, companies and institutions which mould the next generation of artists – are based in the United States and do not have to suckle at the teat of taxpayer funding in order to survive.

When government does not try to do everything, private initiative and private philanthropy are often able to step in to do the job far more successfully and lavishly. They need only be given the space to do so – but the EU has no interest in getting out of the way and allowing the arts to flourish on their own, because then the results would not bear the imprimatur of Brussels and thus would have zero propaganda value.

Is the threat posed by Brexit to the European Union Youth Orchestra a good reason to scrap the whole endeavour and remain part of the EU? Of course not.

Has the European Union Youth Orchestra done anything to meaningfully shift the sense of European identity among those who are not directly involved, or the misty-eyed eurocrats who profaned Beethoven’s Ninth Symphony by co-opting the final movement as their anthem? No.

Does Britain’s departure from an explicitly political union necessarily or inevitably mean that artistic links between the United Kingdom and the continent must be weakened? No – or at least, the Guardian have given us no good cause to believe that there is a danger.

(Incidentally, Vladimir Ashkenazy himself lives in Switzerland, which is also famously not a member of the European Union, and yet seems to be able to maintain a fruitful international career including many concerts and residencies in Britain).

The whole Guardian article hangs together only if one is content to take the most superficial view of Brexit, skating around on the thin ice of metro-left shibboleths about how international cooperation and peace only exist thanks to the benevolent hand of Brussels. To take the threats spun from the Ashkenazy interview seriously, one must actually drink the Remainer Kool-Aid and believe that Brexit means isolationism, and in all its forms – economic, social, cultural. To be that cretinous, one must be an unapologetic bubble dweller, proud and stubborn in one’s ignorance of the opposing side.

But then that’s the Guardian for you: a newspaper tailor-made for poseurs who believe (or at least want to signal to their friends) that they already know and understand the nuances of every issue, and that the One True Way just conveniently happens to lean in the same stridently left-wing, pro-EU direction as their pre-existing beliefs.

Among Guardian journalists and readers alike there is zero intellectual appetite to actually get under the hood of any issue and talk about the meaning of democracy and self-determination, whether state funding or private philanthropy does a better job of funding the arts or any other substantial question that is ripe for debate. They just want to take a glib headline and serve it up as red meat to their metro-left, superficially culturally literate peer group (see last year’s uncritical, months-long homage to the NHS).

And so what could have been a useful jumping-off point for a real discussion about the future of the fine arts, the best way to foster cross-border co-operation and whether existing mechanisms of funding are a) effective, and b) a good use of taxpayer funds instead becomes just another wobbly-lipped ode to the Brave Artists Resisting Evil Brexit.

The only result of this “journalism” is that everyone is left slightly more attached to their pre-existing bias, while the opportunity to enrich the public discourse is squandered in favour of yet more left-wing, pro-EU virtue-signalling and alarmist Brexit catastrophisation.

Mission accomplished once again, Guardian. Great job.

 

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No Amount Of ‘Education’ Will Make Sceptical Europeans Love The EU

What to do when the continent’s biggest military power and second-largest economy decides to leave your crumbling, tarnished and perennially unwanted supranational political union? Finally consider meaningful reforms? Engage in a sincere listening exercise? Devolve power back to nation states and local communities? Do anything, anything at all, to signal that the European Union might be something that works for the people rather than something which is done to them?

Of course not. When faced with incontrovertible evidence that citizens are starting to rebel en masse against the idea of shared sovereignty, dissolving borders and supranational government, clearly the correct thing to do is to declare that European citizens simply don’t understand the wonderful gift bequeathed to them, and then pledge to funnel more money towards their re-education.

From the Guardian:

The European commission will spend tens of millions more euros promoting the ideal of the EU citizen, in defiance of British ministers, under plans drawn up by officials in Brussels in the wake of the Brexit vote.

Officials for the European parliament claim there is now a clear need for a significant increase in spending on the Europe for Citizens (EFC) programme, which aims to foster the notion of an EU citizenry. The programme had its budget cut from €215m (£185m) to €185.5m (£159m) after a request from Britain in 2013.

“Considering the current political climate, in which an increasing number of citizens question the foundations of the EU, decisive action is indispensable,” an assessment of the programme by officials in the European parliament reports.

“It is for this reason that the reduction in funding for the EFC programme is a serious handicap to successful implementation: to reiterate, the budget for the current EFC programme is €185.5m (down from €215m under the previous programme), which amounts to merely 0.0171% of the EU multiannual financial framework.”

The aim of EFC is said to be that of developing “a better understanding” of the EU across all its member states, to fund remembrance events for key moments in European history and combat scepticism about the EU project.

The assessment document says that funding “which promotes and enables citizens to engage in European matters is of vital importance, especially in times when Euroscepticism is on the rise”.

This only emphasises the degree to which the European Union is an answer to a question which was never even asked. If the various peoples of Europe had gradually come to realise over the course of the 20th century that they shared such a common heritage of laws, language, culture and strategic interests that they wanted to institute a shared common government then the EU or something like it would have developed organically.

But of course no such thing happened – the idea of supranational political union was artificially imposed on European people largely by stealth and in secret over the course of many decades. And while many members of the European political elite get misty-eyed over the EU, the majority of its citizens tolerate rather than welcome this extra layer of government. The flag and the anthem are utterly meaningless to most of the EU’s 510 million citizens – the spine does not stiffen nor the heart quicken at the sight of the twelve stars or the strains of “Ode to Joy”. And unlike the American founding fathers, the secretive “founders” of the EU are unknown, unloved and languish in richly-deserved obscurity.

The hard truth for the euro-federalists is that no amount of money spent on “education” will make people fall in love with the European Union. Love of family, community and country is something which must well up from within; it cannot be successfully imposed by external agents. And likewise, if people do not feel instinctively European over and above their distinct national identities, a true European demos cannot be created – despite the best efforts of the European Union’s architects to defy both human nature and democracy.

Double the peak budget and spend another €215m on idealising the European Union and creating uncritical, misleading propaganda and it will still make no difference, save lining the pockets of opportunistic “cultural” and “artistic” parasites who will happily take taxpayer money to plaster the EU logo over their concerts, plays and workshops.

In other words, it is the perfect EU project. Just don’t expect it to make the slightest bit of difference to anything at all.

 

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Any Artist Worth Their Salt Should Abhor The Insidious, Antidemocratic EU

Save EUYO - European Union Youth Orchestra - Propaganda

The British artistic and cultural community’s almost reflexive support for the European Union and disdain for reclaiming our democracy should be a source of great shame

Like this blog, the Telegraph’s Allison Pearson is surprised that a conclave of the nation’s most successful creative types seem to prefer the dull conformity and supranational managerialism of the European Union to the democracy and freedom which could potentially flourish outside the EU.

Pearson writes:

What they really love, then, is a platonic ideal of Europe, of solidarity between friendly nations with each other’s best interests at heart. Marvellous idea, darlings, until you look at Greece. Punished, fearful and running out of medicine, the Greek people had to be sacrificed for the greater European ideal. Orwell was right. All animals are equal, but some animals are more equal than others.

Why do all these senior cultural figures support the rotten EU status quo when they should be leading the revolt against it? Munira Munzi, who was in charge of cultural policy in London under Boris Johnson, claims that many arts people agree with Brexit, but “they are worried about their careers and what people might think of them. They assume that everyone who wants to leave the EU must be anti-immigration”.

Still, not all creative types are too mushily politically correct to understand what’s at stake on June 23. Take the actor who said: “There’s so much in the 21st century that’s stymied by bureaucracy and mediocrity and committee.” His name was Benedict Cumberbatch.

The “platonic ideal of Europe” – that’s exactly it. Not the reality.

There are two factors at work here. First is the immense groupthink and social pressure within the cultural elite to hold right-on, progressive political opinions, and the potential ostracisation (or worse) which could befall particularly young artists and actors trying to make professional connections, build a network and establish their careers if they associate themselves with a movement lazily assumed to be all about xenophobia and nationalism.

Many of the key people and institutions are rabidly pro-EU beyond all reason. Classical Music magazine spent most of Friday pumping out endless “Save the EU Youth Orchestra” propaganda on Twitter, regardless of the sentiments of their readers about the coming referendum, and utterly oblivious to the fact that moments like these are precisely why the EU funds orchestras and the like in the first place – so that they have a guaranteed praise chorus ready to spring into action as soon as the hand which feeds finds itself threatened, in this case by Brexit.

(The EUYO is under threat because of a recent withdrawal of funding from Brussels, and not specifically because of Brexit).

Say you are a young orchestral musician and a supporter of democracy. Knowing that a majority of your colleagues, the trade publications and the key influencers with the ability to help your career are all passionate defenders of the EU, are you more likely to say “the hell with it!” and publicly campaign for Brexit anyway, or quietly swallow your political feelings and go with the crowd? And who could blame such a person from choosing the latter, quieter path?

The second factor leading to the infamous Britain Stronger in Europe letter is good old fashioned woolly thinking – the idea that the warm, platonic ideal of Europe in the minds of the EU’s supporters in any way actually resembles the snarling, antidemocratic beast which exists in reality.

I took this apart yesterday:

This referendum is serious business. So can Remainers please stop projecting whatever they desperately wish the EU to be onto an organisation which has never really been about friendly trade and cooperation, but is actually all about slowly and inexorably becoming a supranational government of Europe. And which is not going to abandon that long-held goal just because the British are now expressing a few doubts.

Right now, too many of our cultural leaders and elites are letting short term financial greed and/or wishful thinking about the EU’s true nature get in the way of their responsibility to think and act as engaged citizens.

Sure, if one buries one’s head in the sand and ignores the stated intentions of the EU’s founding fathers, the trajectory of integration since the 1957 and the imperative for further integration if the euro is to survive, one might successfully convince oneself that the EU is just a harmless gathering of countries who come together to trade, tell jokes, save the Earth and advance human rights. It takes near Olympian levels of denialism or apathy to maintain this self delusion, but clearly a great number of our most prominent actors, directors, producers and musicians are willing to do what it takes.

Pretending that the EU is a benign club with no pretensions or aspirations to statehood is ridiculous, and increasingly untenable. But even more unforgivable than that is being willing to overlook this reality in the grubby pursuit of grants and funding from EU bodies, or out of a desperate desire to appear forward-thinking and progressive.

And the unedifying sight of so many “household name” artists lining up to sing the praises of an explicitly political construct which falsely attempts to take credit for the cultural achievements of an entire continent is, frankly, sickening.

It has been claimed by some people that democracy is killing art. Others claim that it is liberalism which is destroying art. I disagree with both theories.

Though repression can occasionally produce its own kind of tortured beauty (see Shostakovich), generally speaking the extent to which an artist is not free and is required to make their work conform to certain external directives, requirements or purposes is the same extent to which their output falls short of greatness.

Real artists care about freedom, and cannot function without it. Unlike Benedict Cumberbatch and Sir Patrick Stewart, they don’t actively collude in suppressing freedom in order to protect the integrity of their EU begging bowl.

 

EUYO - European Union Youth Orchestra

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