Samizdata

“The far right can’t take away our hopes and memories. Culture is our weapon” writes Milo Rau in the Guardian:

Because all three of the values underpinning the revolution – liberty, fraternity and equality – are now disappearing into thin air in Europe, the birthplace of democracy.

And the political changes seem irreversible: In seven European democracies, far-right parties have entered government, and in several more states, including France, they are pushing at the gates of power. Hungary, Serbia, Slovakia and, of course, Russia, have quasi-autocratic governments. Last Sunday the Austrian Freedom party (FPÖ), a party that even the conservative media describe as “radical rightwing”, won a general election for the first time. They campaigned on the slogan “Fortress Austria”, in effect advocating an ethnically and culturally cleansed country. The term is reminiscent of “Fortress Europe” – a phrase favoured by Goebbels.

The FPÖ manifesto calls for “two genders” to be enshrined in the constitution, “remigration” to be radically implemented and for the creation of a two-tier society in which only “real” Austrians are entitled to social benefits. In the words of the FPÖ, it wants to “gain full power over government, space and people”.

“Ethnically cleansed” … “Goebbels” … “full power over government, space and people” … With the mad courage of despair, in the next sentence Mr Rau gets down to specifics about what form this onrushing horror will take:

In the area of cultural policy, it wants to follow the example of neighbouring Hungary and Slovakia and cut public subsidies for “woke events”, such as the Eurovision song contest

I wasn’t expecting that.

and the Vienna festival, which I am the director of.

Ah, now I understand.

In the eyes of the FPÖ, “woke” is presumably anything that is not brass band music, operetta or Germanic-pop schlager music.

In doing so, it is politicising a trend that has been apparent throughout Europe for many years: I remember in 2019, when I was still artistic director of the NTGent in Belgium, we demonstrated against the Flemish region’s budget cuts. The process of allocating subsidies was akin to distributing scarce food after a natural disaster: institutions and independent companies were thrown together into a pool that had far too little money at its disposal.

In neoliberal fashion, the actual problem – namely, insufficient subsidies for the arts – was translated into a competitive conflict.

From what I have read about the FPÖ, it does seem that the party’s “far right” label has more substance behind it than is usual, but the party “cutting cultural budgets on the grounds that they are not economically viable” does not contribute to my having that opinion. Mr Rau seems to think that that the disbursement of government subsidies being a political matter, taxpayer money being treated as a finite resource, and subsidy-funded arts organisations actually having to compete with each other all constitute outrages against the natural order.