Category: culture

Ukraine, Russia – and the world

Do I head to Northern Ireland with this post, or to Ukraine, or to India, or stay back home…? Northern Ireland, and that absurd boast from Rishi Sunak that Northern Ireland now has the best of both worlds. It can trade with open borders with the rest of the UK, and with Europe. Just as we all could do before June 2016. We will leave it there.

Ukraine: the issue our government should be focusing on. Instead we have and will have more of that ruinous Brexit aftermath.

It was my privilege with many of my fellow villagers to attend a Ukraine evening at the Ukrainian Social Club in Gloucester, which dates back to immediately after the Second World War. One highpoint was the dinner, with local dishes, beginning with borsht and ending with a layered coffee cake. Next came an auction, with a highlight being a very fine birch-wood clock, retrieved I believe from a bombed-out factory. It will in the near future have pride of place on the wall of our village hall. And, finally, a concert: solo violin, accordion, a Cossack dancer of extraordinary style and agility, and singing – adults and children – and Oksana in a long white dress and silver boots leading us, it seemed incongruously, but maybe not so, in the chorus of Dylan’s Knocking on Heaven’s Door.

They were fundraising, we have to remind ourselves, for a war. Even Switzerland has to re-think its historic neutrality, though it’s not there yet. But more than that, we had a sense of a country, a culture and a language, and a thriving democracy (corruption issues notwithstanding). The contrast with their eastern borderlands, and with events in Donbass, is so extreme. And yet, Russia is the land of Pushkin and Tolstoy, of Dostoevsky and Chekhov, of Pasternak and Solzhenitsyn and Mandelstam.

(Thinking of Donbass … Shakhtar Donetsk are one of Europe’s leading football teams, but they no longer play in Donetsk. In 2014 they moved to Lviv and now are playing matches in Kyiv.)

And they love their Shakespeare in Russia. I thought of Shostakovich’s curiously-named opera, Lady Macbeth of the Mtsensk District. The story is very different from Shakespeare but we have Lady Macbeth (she is planning a murder) as a universal trope or archetype. But I’m assuming any hint of the subversion of an existing order would be too much in Putin’s Russia, as it was in Stalin’s.

We went to Stratford for the Royal Shakespeare Company’s production of The Tempest last Thursday. Prospero and Ariel are played by women, and quite brilliantly and convincingly so. There was a very special and personal link between them. Could we imagine a woman playing Prospero in a Russia where gender roles are increasingly narrowed down to the old male and female and ‘there-shall-be-no-other’ split?

We are curtailing our imaginations, we are losing creativity. Erdogan imprisons any journalist with a creative and thereby critical take on the country’s fortunes. He’s an example to Narendra Modi, responding to a recent highly critical BBC documentary with a police raid on BBC offices in India, on the grounds of tax irregularities. A charge of corruption is the reason for the arrest of one of the leaders of a rising opposition force in India, the Aam Aadmi party.

Istanbul’s mayor, a leader of the main Turkish opposition party, has been sentenced to over two years in prison for ‘calling members of Turkey’s supreme election council “fools” in a press release three years ago’. There’s a crucial election coming up.

Rupert Murdoch admits that his TV channels in the USA went along with the Trump lie about a stolen election. They are polishing their hate figures in the USA, polishing their anger. There’s a very relevant comment in an article by William Davies in the current London Review of Books. He highlights Donald Trump’s ‘affective state of seemingly constantly being on the verge of losing his temper’, adding ‘a sense of danger and excitement to his political career’. ‘Boris Johnson, by contrast, always appears to be on the verge of bursting out laughing’. Both approaches win converts, as we’ve seen only too well.

We have to be watchful on all sides and everywhere. Republicans in Congress are challenging the levels of expenditure on the Ukraine war. Maybe they aren’t as foolish and sinister as Trump in his cosying to Putin, but they haven’t fully bought into the reality that this is where democracy, as we understand it, stands or falls.

The reality is that democracy is for many, on the right primarily but also on the left (think Lopez Obrador, known as ‘AMLO’, in Mexico), seen as the way to power, and once they have that power they are keen to pull up the democratic drawbridge after them.

Bring on the Ukrainians: they are focusing our minds. We can see where our complacency might lead.

To London, and back (to normal)

The wild garlic is about to flower, acres of it, covering woodland slopes. The first cowslips are opening, the skylarks are ascending, the long tailed tit echoes itself. But yesterday it was London and the long lines of destination-driven travellers always keeping left in corridors below Paddington station. Occasional mask wearers on the underground, otherwise near normal. Normal would be delays and hold-ups, but now we flow smoothly.

My destination – meeting an old friend at the Royal Academy to view an exhibition of the paintings of the Japanese artist, Kawanabe Kyosai. His was a time (he was active c1850 to his death in 1889) of extraordinary change, the overthrow of the Shogunate, and the Meiji Restoration. There’s a saké-influenced crazy irreverence about Kyosai, his emblematic black crow in stark contrast with armies of frogs battling with bullrushes. I learnt about shogakai, parties where professional painters and calligraphers ‘produced spontaneous creations’. They were not known for ‘their seriousness or sobriety’.

Contrast the major Raphael exhibition at the National Gallery, where I headed later in the day. Everything is measured and controlled, carefully worked through in drawings, and the effects precisely and wondrously calculated. Raphael’s workshop was legendary in its time and I can’t imagine alcohol featured. I’m assuming Kyosai sold his work on the open market. Raphael in contrast would be working within the constraints of patronage, not least the church in the form of Popes Julius II and Leo X.  Contrast the endless virgins in different poses with a naked child, studies in affection and reverence, with Kyosai’s long scroll which features a much-more-than-lifesize profile of the Buddha’s face with on its upper lip a tiny Zen Buddhist monk working his way up, an extended parasol in his right hand. ‘Today, once more, saké after saké,’ he captions a painting of a ‘shojo’, a mythical red-haired saké-loving creature out of Japanese folklore.

Later in the day I’m standing in front of an almost full-scale reproduction of Raphael’s extraordinary School of Athens, identifying Euclid and Pythagoras, and joining Plato and Aristotle’s discourse on the nature of reality…

Was Kyosai, in truth, no more than an illustrator? Ephemeral, a commentator in the style of Rowlandson or Gillray? A man of the people. Great art on the other hand belongs in cathedrals, churches, great houses…

Museums and galleries have opened Raphael’s world to ordinary folk, and he’s become part of our wider cultural heritage. Kyosai belongs to his time, his imagination is in your face, he’s a crazy acquaintance, not, maybe, a companion for the long term. If Raphael is for quiet and private contemplation, Kyosai is for sharing – ‘hey, look at this, check it out!’ Not that Kyosai is all comedy, all parody. There’s a sinuous grace to ‘Egret over Lotus Pond in the Rain’. But a minute or two later you’re looking at ‘Fart Battle’, which is just that.

The day ends with coffee in the café in the crypt in St Martin in the Fields. No-one pitching you out 5.30 or 6. Graves beneath your feet, brick-vaulted ceiling above. Then the tube and Paddington. Back to open spaces, commons and hidden valleys, where I can run or walk without seeing a soul.

Only the rumble of a distant train, heading to … London.

Museums – first steps toward censorship

A quick note this sunny bank holiday morning. Get the serious stuff off my mind before enjoying the day.

My last blog took in Empire and trade and how we handle our colonial legacy. I mentioned that Oxford’s Oriel College had decided not to ‘begin the process of removing’ the statue of Cecil Rhodes. Instead they’ve outlined a series of initiatives which will take the controversy as a starting point – a strategic plan for improving equality, diversity and inclusion, a tutor to cover the same, scholarships, an annual lecture, student prize…

This has to be the right way forward. The focus on context. By understanding context the college and by extension the university and indeed anyone who will listen can move forward.

The following report from the Independent has a very different story. It speaks for itself:

A trustee who backed the ‘decolonising’ of the curriculum has been purged from the board of a prestigious museum group, triggering the resignation of its chair in protest. The refusal to reappoint Aminul Hoque – a leading Bangladeshi-British academic – at the Royal Museums Greenwich is being seen as the latest example of the government’s ‘culture war’.

Likewise this item from the Museums Journal, highlighting a letter sent to national museums by Culture Secretary Oliver Dowden which stated that ‘publicly-funded bodies should align with the government’s stance on contested heritage’.

‘The government did not “support the removal of statues or other similar objects” and told recipients (of a letter sent to national museums) that he “would expect arm’s lengths bodies’ approach to issues of contested heritage to be consistent with the government’s position”’.

This is simply sinister. The issue here is not the removal or otherwise of statues. It is the wider agenda implied. It represents an attempt to influence research into and the presentation of our cultural heritage which is simply unprecedented. That heritage, the impact of colonisation on the world, is what it is. And it needs to be centre-stage if we’re to understand the world we live in, and change it for the better.

Dowden insists that museums ‘continue to act impartially’ and by so doing interferes in an unprecedented and highly partial and dangerous way.

It is consistent with attempts to stir up a wider opposition to the BBC as a licence-funded operation, using its news coverage, which is to an impartial observer (check out opinions from other country’s on this!) remarkably impartial in an ever-more divided world, as an excuse for turning it into just another subscription channel, and thereby losing its identity as a national channel – leaving British TV open to market forces, which has of course been Rupert Murdoch’s aim all along.

The Diana/Martin Bashir story is almost twenty-five years old but is being treated as if it’s current news. By the Daily Mail and the Murdoch press. Murdoch is of course about to launch Times Radio to compete with BBC Radio.

We live in dangerous times, with the Americanisation of our media, and the serious consequences that could result, a real possibility. The tabloids and Telegraph and Times won’t help us. Their owners ensure their readers are unaware of the hard realities. Journalists and writers to get published need to toe the line. The BBC likewise must toe the line: it cannot make a case for itself. Social media is a deeply divided and contentious space.

Those of us who can must make our case as best we can. The wider public, most certainly in the case of the BBC, is on our side. Open minds and impartiality have become part of our DNA. We must not give them up lightly.