Are there really no innocent songs?

One of the speakers who caused the most breaktime-buzz at the IFACCA World Summit was Stojan Pelko, the State Secretary in the Slovenian Ministry of Culture. After a tour-de-force of Minister-as-tourism-advocate from the Jamaican Minister of Culture, this was a totally different kettle of fish. There may be other State Secretaries who end by exploring a metaphor from Gilles Deleuze, but I’ve missed them so far.

His topic was whether cultural diversity was the source of world peace or the root of all conflict. Coming from a part of the former Yugoslavia, as he put it, once you have known poets shooting from the hills it is hard to see culture as therapy or something than can overrule ‘real power’. Using a devasting clip from Goran Markovic’s The Tour, he suggested that in global capitalism ‘there are no innocent songs’, and that the discontinuities of history - where old certainties break down - are where the universalities emerge. (Certainly at that point, this seemed a world away from the ‘dodgy advocacy’ I mentioned yesterday, and suggests a positive outcome to recession.)

Where the arts could be ‘real arms’, Pelko argued, was in creating what he called ‘subterranean solidarities’ – by encouraging a sense of non-identity with the collective where people became ‘raw, free and vulnerable’. (As opposed, I take it, to the security of common identity and values that can, in extremis, lead to intolerance.)

He then concluded by exploring the central images of a short text by Gilles Deleuze, ‘Desert Islands’. (You can find this on Scribd here. It’s a very short essay and well worth reading - and not as difficult as much of his later work.) At the time this simply resonated as a metaphor, and I’ve yet to have chance to read the full text of Pelko’s talk, so I may have misinterpreted things. Deleuze sets out how islands are of two sorts, which I think now may be both two kinds of cultures, but also apply to different strands of artistic practice. There are he says, continental islands, ‘accidental, derived islands… separated from a continent, born of disarticulation, erosion, fracture; they survive the absorption of what once contained them’ and oceanic islands that ‘are originary, essential islands…display a genuine organism.’ (There’s no suggestion one is better than another.)

Deleuze says ‘Continental islands serve as a reminder that the sea is on top of the earth, taking advantage of the slightest sagging in the highest structures; oceanic islands, that the earth is still there, under the sea, gathering its strength to punch through the surface.’ That speaks to me of tradition and innovation, of growth and decay, of the power relations within culture over time. This is where Pelko seemed to take his talk, suggesting a need to ‘become the stranger’ on the desert island, before moving from solitary to solidarity, in the knowledge that songs will not save alone but must be seen in relation to real power. As he said, quoting Delueze in French, ‘il faut l’imagination collectif…’

Metaphors defy the need for practical conclusions, so I’m going to refrain from drawing any right now. I’ll end with an amusing and provoking quote from Deleuze’s essay Stojan Pelko didn’t refer to, but I’ve written down for future use as the epigram to a poem:

‘That England is populated will always come as a surprise; humans can live on an island only by forgetting what an island represents’.

How was 2008 for you?

Well, the only invitation to share my books of the year in a newspaper round up came from The Morning Star, courtesy of my friend and five-aside team-mate Andy Croft, so I thought I’d do a little round up here of ’things of the year’ – some personal, some serious, some less so.

Word of 2008: Excellence

New record of 2008: Fleet Foxes by Fleet Foxes
Old record/songs of 2008: Tell Tale Signs by Bob Dylan
Play of 2008: Pitman Painters by Lee Hall
Cultural Policy Document of 2008: Pitman Painters by Lee Hall
Poetry anthology of 2008: In Person – book and dvd of poets reading – edited by Neil Astley and Pamela Robertson-Pearce
Novel of the 2008: The Secret Scripture by Sebastian Barry
Exhibition of 2008: Unpopular Culture: Grayson Perry selects from the Arts Council Collection
Poetry collection of 2008: The Invisible Kings by David Morley (pedants: yes, came out late 2007 but I only read it this year!)
Mis-casting of 2008: Equity putting Peter Hewitt in the role of pantomime villain
Oddly exhilarating team-building experience of 2008: Arts Council England North East Management Team Ukulele Orchestra performance at the staff summer party. Oh yes, we walk the walk.
9 hour multi-lingual experience of 2008: TSF/Lepage’s Lipsynch at the Barbican

If They Could See Me Now That Little Gang of Mine Moment of 2008: Feargal Sharkey admiring my long-arm stapler story when I chaired VAN’s Our Creative Talent conference (see photo above from VAN's Flickr site of photos - this one by Paul Caplan.)

I love this job moment of 2008: lots to choose from, including some of the above, but probably all the 'backstage access' I enjoy was topped by a day in February spent with the Premier of the Eastern Cape in South Africa, and the signing of an MOU between the Eastern Cape Government and the Association of North East Councils, in Gateshead's Council Chamber. Sounds dry perhaps but it comes out of a deep relationship between artists and politicians and arts funders/developers in the two regions, mainly embodied through the Swallows Partnership. I read something I'd written when visiting the Eastern Cape in 2006. Our visiting colleagues, Premier included, responded by singing a fantastic Xhosa song, bringing their political and artistic tradition to the Council chamber. The moment caught the way the arts can work in a deeply political world. I definitely walked out of the room reminded of the worth and pleasure of my job.