![]() ![]() Since starting on 3 March, the piece has become longer and broader than what was initially intended, and is now an ever-evolving, super-fussy Hydra. This essay began life as a series of observations on the current state of music, politics, intercontinental preconceptions, funding models, education cuts, algorithms, public relations, and evolving notions of collective responsibility. Audiences are proving slow in their return in many markets the optics of doing the perceived “right thing” to convince them of the value of return has never been more pronounced. Things are not quite so clear-cut as some involved in the debate would believe, however the institutional motivations behind applying that pressure, and the decision to cancel Russian artists and music in some instances, are enmeshed within a tight knot of funding, education, location, history, access, and the effects of two years of pandemic on the arts landscape overall. There has been a heated reignition of the long-standing debate of how far one might (or should) separate the art from the artist. The pressures recently placed on artists to make a clear public statement, pressures which are being applied by various cultural organizations, have fomented resentments and created a whirlwind of controversy around the exercise of private and public opinions in relation to art and culture. ![]() ![]() ![]() Chasms in the classical music world are becoming increasingly obvious as a result of the war in Ukraine. ![]()
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May 2023
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