A Message from Obama

Even though Slovakia's economy has still the highest growth (!) within the EU, the effects of the crisis are slowly being noticed around. Foreign and national investors are pulling out the plug - be it partially or completely, and some closing down of factories has been reported already. The negative effect on arts is therefore even harder felt. It is not so much that the audiences are no longer coming out of their houses to attend concerts or galleries. It's rather the attitude of the institution which is in charge of exactly these arts that is pulling out and many performances and exhibitions are simply smothered by the Ministry of Culture for not receiving any support any longer. One would perhaps argue that if there's no money, then the state can no longer finance. OK, point taken. But in this fact, the money is certainly there (meant for this purpose). The sad thing is, that the money goes into the wrong pot, while at the same time, it gives a wrong signal to the public too, causing even private sponsors to lose the little remaining interest, which was still left. And thus the downwards spiral is created.

Therefore, the election of Barack Obama seems to be a promising turning point. As the most powerful person on earth, who has all the media's close attention, he has not only openly and unequivocally criticised managements of the large corporations for their money-covetting behaviour. What is a most astonishing signal, is that Mr. Obama has openly demonstrated his concern about the state of the arts. Not just by mere mentioning in one of his speeches. He called in several managers of arts institutions to the state's capital (even before he was inaugurated) to discuss the problems.

As most US presidents have - perhaps to add a tiny extra boost to their image - invited various pop-stars, playing the saxophone with them, president Obama seems to have a different type of interest in arts. Not to mention, that during the inauguration we could witness even a few minutes of a classical genre music. Obama seems to see a clear link between the role of (quality) arts and the strengthening of social cohesion. A valuable lesson from FDR? The unifying bond of a society in times of crisis. Where, as I have repeatedly pointed this out, art i.e. culture is a public domain, which comes initially from the people itself. As we (i.e. the tax payers) finance our government offices, it is the responsibility of the government, to have a solid and an empirical understanding of the function and value of arts. If the government refuses to see these connections, it is slowly tending to a kind of misappropriating of funds (I repeat: for which we pay). When giving a positive signal on culture, it will influence the general attitude towards culture and the more funding from outside somehow will be a result. Culture as a prestige still works. And as we look with envy to culture hotspots like Paris, Rome, New York, Milan, we don't even consider the question; how these cities ever became such important centres. It is unfortunately that so few people realise that everything has a start somewhere. And not that "we are not, so we will never be!". Staying passive is never a good strategy to advance. It is especially in these times, that we need to be creative and try to make a difference.

Last weekend, there was an artist ball in Snina. Probably, you have never heard of this city. It's perhaps the most Eastern town in Slovakia (near the Ukrainian border) with a population of only about 40thousand. No highway going there. Yet many guests (included the undersigned) had travelled for many hundreds of miles to be there, while the capital of Bratislava was celebrating mostly commercial-tabloid-type balls. When chatting with various artists - from Slovakia, Ukraine, etc - you sense a positive energy and a certain optimism as well. Hopefully, the clear message of president Obama on the value of culture will reach other political leaders as well and we will realise that perhaps our materialistic days should be replaced by priorities with a more intrinsic value. It would enrich all of us.

Failing PR in the Opera

A few days ago, a news item appeared on the internet pages of the most prominent Slovak newspaper. Only on internet. It was an open letter from the previous General Manager of the Slovak National Opera Marián Chudovský, addressed to the present General Manager Ms Hroncová to step down for proven mismanagement, simultaneously appealing to the Minister of Culture to take adequate steps. The smashing facts - so obvious, that even a blind person could see them in the past few months - were fully justifiably summed up, and still in a courteous manner. The fierce discussion, which it unleashed afterwards - less courteous in some cases - revealed even further serious matters that lingered under the surface. It was a deed, which normally speaking demanded a reaction. Any rection would do.

I waited for a few days, till another article appeared... In my wildest dreams I couldn't have imagine this to be true. What was missing? Any official respons of any possible kind to the facts presented. Here we are slowly treading into a dramatically damaging situation. Ms Hroncová has managed the National Theatre (under which the National Opera falls) for 4 seasons. She holds an almost unique record of having used 5 managers in the Opera (which she appointed herself, then disposed off). What good does it serve? Especially the last 2 Opera Managers were the least successful - a conductor (Oliver Dohnányi) not paying any attention to his function of being a manager at all, then the renowned opera diva Ms Beňačková, who at the beginning perhaps did try to play the role of a manager, however, had no managerial skills at all and after only four months left, shrowded in deep mysterious silence. During her office, the Opera had the most performance-changes, replacements and/or cancellations in history (and not all because of indispositions of soloists...) The Guiness Book of Records can add another chapter.

Where people work, some disaccords or mistakes do take place. When we work with transparency, we have some extra credit to mend our wrong decisions. The Opera seems to live in a phantasy world, where management is convinced that deceit and lying will remain within its walls as long as you keep your mouth shut.

The discussion after the aforementioned article proved exactly how well informed people are, and thanks to internet, insiders have a way - even as anonymous discussion partners - to reveal inside information without limits. Ms Hroncová and the Ministry of Culture should be much at guard; exactly their silence, trying to ignore signals, will prove deadly. If Ms Hroncová - by way of her spokesperson - refuses to react because Mr Chudovský's accusations are "emotional", this exactly arouses the suspicion. Why is it so problematic to admit flaws and explain what your strategic planning is? One doesn't refute news or rumours by refusal to communicate. In short: Ms Hroncová is not able to prove Mr Chudovský's points being emotional (thus implying they are false) because they are correct and valid points.

Likewise, when Ms Beňačková left, not even a press-release was issued, the spokesperson was too busy "because of a première". What foul business must be hidden behind doors of Ms Hroncová's office? As the State Opera (c.q. National Theatre) is a public entity, government (tax-payers' money) goes there. But neither the Ministry has an interest in clarifying the matter. But in a country, where the Ministry pays the Slovak Philharmonic a budget, plus stashes additional sums (quasi for extra projects) into the pockets of its Director, meanwhile refusing to support other ensembles, which have even more to offer, it obvious how the political maffia systematically misappropriates funds. In other EU countries this is a punishable offense. In plain language; it's criminal behaviour. In Slovakia it's a sad reality. If we imagine how public broadly reacted on Emile Zola's newspaper article J'accuse, Slovak leaders are marked by an all present stiffening authism when fishy business is being addressed.

My recommendation; why doesn't the Ministry and its comrades-in-arms apply to go on a course "Basics in PR within Public Administration" (If it's too much of a luxury; you could request even EU-Funding for it!). There is still much to learn. Good governance is a rare asset these days.

A lost speech

Yesterday I arrived home too late to pay attention to the news. Just another day. As I opened my news-bookmarks this morning, I noticed an entry of a speech of the Slovak President in parliament. Oh yes, I vaguely remembered it was mentioned on the news. Just taking a glance, and just before clicking away, suddenly my eye fell on the sentence with the word "culture"! I began reading and fortunately there was a link to the integral text of his speech. Especially this section caught my attention:

"Our culture is the fundamental character of our Slovak identity. Its uniqueness is being strengthened, even through its openess, its moving towards and exchange of other cultural values. Our culture is our principal message to Europe and to the world. Today it lacks a bigger courage in its view on us and the surrounding world. We need timeless visions, refusal of trash and quick commercial fame. This is especially the case in creative arts, which has started to copy cheap foreign successes. Bussiness is nowadays cruelly trampling on the qualities of culture. We need to change this and support every attempt into this direction. ... "

One could not agree more. While the message of this excerpt is touching, and true, the context of the President's speech including the reactions of various parliament members gives it a grim after-taste. Cultural life suffers quite much - not only to mention the sheer implementation of funding culture (and I am not talking of the effects of a financial crisis here) but also the visible abuse of some of those involved, where the artistic quality seems irrelevant but what counts is one's political allegiance. In the event, he would have really cared, he could have intervened. He has the tools to do so. He never did.

Knowing - although I greatly regret having to say this - that the speech will land on deaf ears, the short-lived excitement of having read such frank truth on culture from a politician's mouth has slowly faded already. For such issues one needs a true statesman. One still hopes though.

Good governance (II) - Ministry of Cultural Destruction

After a short introduction on good governance, I would like to make an appeal to the Minister of Culture of the Slovak Republic:

You hold office because of a political consequence, where the public have elected you (albeit your party) into a position to form a coalition-government, which in numbers has a majority in Parliament, BUT it still implies there is political responsibility for the whole society.

You hold office at a Department, which is supervising among others a varied and interesting area in your nation's life: Culture, as we could all agree, is a substantial, unique and inseparable part of people's lifes. Although it happens today and now, some of the cultural strings go far back into history. Next to a specific national character it has also international connections, as culture has always gone over national borders, forming a symbiosis of colourful flavours to re-emerge as a innovated artistic expression elsewhere.

Our societies have changed over the years; while in the old days, governing was a purely "imperious" matter, our internet age has brought information closer to the public. Government decisions are hardly kept locked behind dusty cabinet-walls, but are sooner published and known to people than in the past. Not just because of unwanted information leaks, also because the governments' press departments publish decisions, which were officially not even made yet.

Concurrently, for the past few years we see an alarming mismanagement in public organisations like the National Opera, Radio Symphony Orchestra, even the Slovak Philharmonic. Nevertheless, non of the involved competent parties (as would be your Ministry for instance, as the highest organ) ever visibly implemented a change in order to come to a solution. Still the responsible people are held accountable. Rumours are spreading, discussions occur on different web-forums, and none of them are being seriously addressed (at least to clarify and take away the unrest).

You hold office, because you are entrusted with good governance. Indeed, it could be argued that governments should not interfere in cultural matters. This is true, up to the point, when cultural institutions are undergoing severe abuse from its managers. It is your responsibility to interfere in such a situation. Although Slovakia is a member of the EU, even within the Schengen-Area, yet one gets almost the feeling of living in an African country, where politicians do as they please. This is not the mandate of your society and it is not a behaviour which fits in the EU-setting.

As I set forth in my previous article, good governance needs a set of minimal requirements. Only then, the credibility of management and leadership can be restored. The media and verified sources unfortunately tell another reality. Good leadership requires adequate decisions. Or else, your Department might start considering a new name; Ministry of Cultural Destruction. I think, none of us would appreciate that.

Long live the internet... or...

A few days ago, I came across an article in one of the newspapers, which aired a critical outlook on Wikipedia. In short it was criticising the fact, that - although the basic idea is excellent - because of unlimited access to data (and therefore being fully editable by anyone who wishes to do so), the quality of information is at risk. True. While an incomplete article can be completed by someone, who happens to know additional details, the danger is there that an ignorant person could equally alter the contents in such a way, that the article will be incorrect, to say the least, or even manipulate facts on purpose (for whatever purpose, willingly or unwillingly). I must add, that this was referring to a certain language-branch of the Wikipedia, where such abuse was spotted.

The quality check, is therefore up to the reader in general, to cross check (never a bad thing anyway), but in the event you have not a specific know-how of the subject, you might take it too easily for the truth and simply assume you are well-informed.

This morning, I gooogled a bit and stumbled upon a clip, which was published by a recording company on YouTube. It was promoting a young soloist playing some Vivaldi's concerto's (I shall not reveal the name of the soloist, for it is not relevant). The presentation is juicy and illustrates the recording, an interview with the instrumentalist, and of course the usual excerpts of the said recording.

Needless to say: Vivaldi belongs to a certain period, and for about 40 years we already know how badly we have performed these compositions and we are attempting to put them back into their (more realistic) sound context, by means of research and new practices. What shocks me here, is that despite an arch-lute and a cembalo, nobody in the orchestra plays a period instrument, and neither does the soloist, and - of course - the full vibrato romantic sound....

If it was just like that, I wouldn't have bothered perhaps, only then during the interview, the soloist is making such statements as if this recording is finally the summit of totally understanding Vivaldi's music and his time. This is pure pretension and disinformation: none of it what and how it is played has anything to do with Vivaldi, and the soloist looks like almost like a silly text-reader, revealing little knowledge of her profession. When browsing through the comments, it is saddening to see shouts like "music as it should be" (really???), "better than any other recordings" (that's maybe subjective, but definitively not historically correct, and thus questionable).

Such promotional materials are maldeforming the image of music to the audience. And here is the risk again; the information, simply because someone bothered to put it online, is taken for valid, without being questioned. Our sense of being critical to information provided has shallowed over time. I admit, that the internet is a great tool for finding data, and perhaps I couldn't live without it anylonger. But such trends make me extremely wary. When reading, I sometimes cannot help but concluding that we have become very superficial and lazy. If we want to be entertained by Greek-mythology characters on TV in a Sci-Fi kind of setting and listening to a pseudo-Vivaldi like this.... it is too sad for words. It is presumably the Age of Information, but we have become almost void of knowledge. And yes, there are also very high quality performances, but take the effort to look for them.

Accepting authentic music

Since the emergence of historically informed music practises, in the early 1950s, the camps between the traditionalist and the new ‘rebelious’ or ‘alternative’ performers were somewhat polarised. For some odd reasons, a large group did not want to give in, and the other few would sometimes have the feeling they were the lonely voice calling in the desert. It was as if neither were to meet.

Throughout the years, many new ensembles sprung up all over the world, following the example of Concentus Musicus Wien, the English Consort, the Academy of Ancient Music, and the like, with astonishing results. A whole range of genres were lifted out from the neo-romantic gravy and newly re-performed, with a fresh new sound, giving credit to the authentic vocabulary of the composers. Followed after the early baroque, even renaissance, then classicism, came even up to the romantic period, to be musically scrutinised and reatailored to the ears of the modern audiences, as if you restore an old forgotten painting.

And although, as said, the realm of ‘authentic performers’ seemed a long time to be exclusively for a fanatical few, there is a slow trend, that even the grand masters of the mainstream, are beginning to accept the fact, that perhaps these authentic performances do have justification. Recently, the famous conductor Kent Nagano has begun performing with the Canadian ensemble Tafelmusik Baroque Orchestra. And another highlight; the grand Maestro Bernhard Haitink, year-long chief director of the Royal Concertgebouw Orchestra, known for his Mahler performances.

As he has celebrated his 80th birthday a few days ago, he belongs to the era of the great Maestros of the romantic repertoir. Yet, the perfomance of the Mozart’s Haffner Symphony in Amsterdam was without any neo-romantic elements, as even the (smaller) timpany were from the classical period. A wonderful experience as it is a proof, that autheticity has slowly found its way to the regular concert stream performers and audience. Well, why not? If you want to see the Mona Lisa, you also do not expect a Picasso. Both are equally valuable, yet diverse. And both should be appreciated in their respective “Zeitgeist”. The same with music; the molestation of early music composers’ works with unrealistic style-elements should be banned finally. Professional musicians are grown up people to be able to accept these facts and audiences should demand this quality. Anyway, they pay for their tickets.