Instrumentalisation: a convenient mask. Part 4 of A Virtual Residency by Francois Matarasso.

Welcome to the fourth installment of François Matarasso’s virtual residency on my blog. Following on my virtual residency with François earlier this month, I’m hosting our second residency. Between 31 May and 4 June 2020, François is publishing guest posts here, offering a selection of his past writings on art and community that were originally published on his blog, A Restless Art, where you can read more about François’ work and download a free PDF of his book of the same name. Each blogpost is accompanied by a piece of music François has chosen.

On Thursday 4 June at 10 am MDT (9 Pacific, 11 Central, noon Eastern, and 5pm BST) François and I will host an online conversation about a burning question for artists who work in community: how will it be possible to carry meaningful community-based arts work forward if the venues, resources, and the nature of participation are drastically changed? If you would like to join us, please register on Zoom. There is space for up to 100 people.

This post is as elegant a refutation as I can imagine of the spurious charges of “politicization” or “instrumentalization” perpetually flung at community-based arts work. As François suggests, the charge implicitly inoculates those who make it against taking responsibility for their own political values and agendas. I’d like to think this post is the obituary for that sad old argument.

Instrumentalisation: a convenient mask

What is meant by instrumentalisation is that art is being used to serve a purpose other than the creation of art. In so far as it has any theoretical basis, it is a version of ‘art for art’s sake‘, the late 19th century appeal to aestheticism. But art has no meaning without people. Indeed, it does not exist without being recognised as art by human beings. Everything we do serves our needs, and art allows us to create, communicate and contest meaning. Among other things, it can move us, inspire us, make us think and give us pleasure — but these are all purposes leading to outcomes. So is using theatre to help people in the criminal justice system to reflect on their lives and choices. It is using art with purpose. Whether you think that is a good purpose or not is a political judgement, or perhaps a moral one. But it is not an artistic judgement.

Ministers congratulate galleries and orchestras when they accept sponsorship from multinational corporations and donations from oligarchs. Critics celebrate their exhibitions and concerts, seeing them as the apogee of culture, expressing the universal non-materialist values of art. Really? You could as easily see our public cultural institutions as instrumentalising art in the service of public relations, business networking and sustaining the structures of elite power, Whether you think that is a good purpose or not is a political judgement, or perhaps a moral one. It is not an artistic one.

There is an important difference between these examples. Artists who work with community groups, who care about the effects of their creative practice, do it by choice. They make art with social purposes because that is what inspires them, not because it is what a funder requires. The work and its purpose comes first, and then the attempt to finance it. No one got rich by being a community artist. Artists who do want to be rich hang about in the right places with the right people, like court flatterers and clowns. It is they who allow themselves to be instrumentalised, to be used in the service of power. Community artists choose to be engaged with society, to put their work in the service of those who have least. Again, what you think of that is a political judgement, but don’t pretend it is some high-minded artistic principle. It’s bad faith and self-interest.

Thanks to Geese Theatre for the photograph illustrating this post; you can read more about the company’s work in A Restless Art (pp. 70–71). The opinions expressed here are of course mine, not those of the company.

Bob Dylan, “Changing of the Guards.”

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