Dissonance and disharmony
IN our present state of suspended animation, it’s become increasingly difficult to judge how the cultural sector is really being reshaped by the massive changes going on within it. Cancellations, closures and job cuts are all indicators of alterations, but we will have to wait for life to get going again to understand properly what their effect will be and how institutions, and artists, will operate in the future. There are also external changes that could have a serious impact on the Arts, among them the effects of the recently completed Brexit deal.
This is a subject that garnered particular attention last week with an open letter signed by more than 100 celebrated musicians that was published in The Times. It responds to the fact that, contrary to the expectations and earnest entreaties of the sector, the Brexit deal has not secured the visa-free movement of artists between the UK and Europe. The letter does not mince its words: ‘British musicians, dancers, actors and their support staff have been shamefully failed by their government.’ The bureaucratic demands imposed by the present terms of the Brexit deal, it continues, will simply make many tours unviable.
Why so? Athena understands that securing visas will be a major headache, but so will many other details, including customs. Historic instruments, for example, contain prohibited materials, such as ivory. Moving them across borders will now require permits and travel via a limited number of entry points. Nobody knows yet what costs and complexities such changes will introduce, but they will clearly be onerous.
Let Athena assure the officials that no one is interested in fault, they simply want it sorted out
Athena wholeheartedly agrees with the signatories and would go further; this arrangement is demonstrably pointless and in nobody’s interest. These things can be said with absolute confidence because such freedom of movement has hitherto been a reality for decades. Over that period, it has underpinned the most extraordinary and vibrant musical culture in the UK that has inextricable ties to Europe. Why on earth change this? Rumours circulate that the negotiation collapsed because the British side demanded UK musicians free access to the EU, but refused to allow reciprocal arrangements for EU musicians. Athena hopes that this is not true. What dismays her, however, is the apparent determination of both the UK Government and the EU to blame each other for what has happened. Let Athena assure the officials responsible that no one is the least bit interested in whose fault this is, they simply want it sorted out. On balance, Athena is broadly optimistic that these problems will be overcome. What annoys her is the sheer waste of energy and resources that solving them will necessarily absorb. This waste, moreover, comes at a moment when reserves of both have never felt lower. If we can’t agree about music, what hope for all the rest?