(This letter is written in direct response to Daniel Karasik’s semi-satirical(?) post about the CPC’s arts policy. Which was in turn a response to Fannina Waubert de Puiseau’s open letter to the CPC.)
Thank you for your missive of September the 10th, re: the Unofficial, Unauthorized Conservative Party of Canada’s Policy Position on the Arts. It was an absorbing read, and, typical of the CPC’s remarks on such issues more generally, rather dazzling in the sheer volume of misremembered facts and obfuscated issues. In this, your party is truly Canada’s leader.
This is not to say that there is nothing of value or truth in the letter; far from it. I myself have long complained of artists’ general complacency in terms of advocacy or activism. It is certainly true that the artistic community at large has alienated itself from the political process for a long time. We have not made our case to the Canadian population with anywhere near the necessary urgency or verve. We do not pay attention to the key elections that can have the most meaningful long-term influence on the Canadian art scene – school trusteeship. In fact, the absence of artists who run for school board trustee positions is doubly glaring; it’s a well-paid, part-time job, after all, and who would say there’s abundance of those?
I concede that general point. It isn’t a small concession on my part. Nevertheless, the ensuing bouts of free-association in the, say, latter 3/4 of your statement require my attention as a Canadian citizen. Though I did not vote for your party, I feel an unfamiliar – if not unwelcome – stirring of patriotism in my gut, and believe it is my Canadianly duty to correct you on certain points with respect to the existing facts. My hope is that this will improve your governance overall.
Last month at the Edinburgh Fringe Festival, a group of 50 or so prominent Scottish cultural figures signed an open letter demanding that one of the Festival’s venues – the Underbelly – cancel a programmed run of an Israeli play. Their reasons were admirably explicit:
The current, brutal assault by Israel upon the people of Gaza, which is an appalling collective punishment, underlines the seriousness of this error in co-operating with a company which is funded by the Ministry of Culture of the State of Israel.
The state of Israel uses the international ventures of its artists to attempt to lend itself a sense of cultural legitimacy and to distract attention from the brutality of its illegal occupation. Some brave and principled Israeli artists oppose the Israeli state’s cynical attempts to use them for propaganda purposes.
The show was shut down soon thereafter (though, the influence of the letter per se is somewhat dubious).
There are many lines of argumentation at play here, some more sound than others, & all of which deserve rich consideration. I will say without further ado that I disagree entirely with the “Cultural Boycott”’s intent, though not necessarily its spirit – that, I promise you, is as discursive I’m willing to be with my own opinion w/r/t to the current situation in Israel & Gaza. This is a blog about theatre; anyone interested in my half-baked opinions on world affairs is welcome to buy me a drink at their leisure – around the third martini or so, my eloquence is unmatched.
Apropos of my post yesterday & my frustrations with Toronto Star editor Michael Cooke’s staunch (not to say callous) refusal to answer any questions that weren’t totally unctuous & self-serving (no fewer than six – six - questions on whether Robyn Doolittle & Kevin Donovan were eligible for Pulitzers), I’ve decided to post something of a parable today. I’ve been avoiding writing/talking about Rob Ford’s meteoric decline for various reasons; mostly because it’s been all anyone else has been able to talk about, & I didn’t think there was much for me to add.
But yesterday, after I sifted through the twelve (!) pages of Star coverage on our mayor & endured the secretions of Michael Cooke’s Q & A, I’m relenting. You get one post – one & that’s it. So here it goes.