For Wales Arts Review:
This is, we are told, a ‘post-factual age’. The EU referendum has seen myth collide with fact, and myth has won to devastating effect. It has been said that the UK has ‘had enough of experts’, and such a situation has proven to be fertile ground for a politics based on untruth.
What is ‘authenticity’ in musical performance; and what does a hegemonically-determined authentic musical performance look like?
Last week’s Brit Awards were defined by two wildly contrasting performances: on the one hand a celebration of white middle class domination of the arts in the UK; on the other, the biggest name in American hip-hop playing Trojan horse for the British grime scene.
In the wake of Wednesday’s attack on the office of Paris-based satirical magazine Charlie Hebdo, people appear to be clamouring, seemingly above all else, for an artistic response to the events. Beyond the rolling news, the newspaper front pages, the opinion pieces, it is art that people are turning to, talking about and sharing with one another. On social media and elsewhere there has been a proliferation of artworks – professional and amateur – taking these events as inspiration and as subject matter.
Avicii – True (PRMD/Universal, 2013)
The recent trend for EDM/’American roots music’ crossovers contains some of the most unreal, aesthetic-as-commodity, artistically (morally?) bankrupt music I’ve ever heard, and is proof, if nothing else, that the culture industry is alive and well in the twenty-first century.
To mark the 100-year anniversary of Dylan Thomas’ birth, Wales – or, more accurately, the BBC – has been gripped with an attempt to align the poet’s life and work with the country of his birth. There is nothing untoward about this initiative in itself – anniversary-governed programming plays a huge role in the BBC’s arts output – but the tying of Thomas to Wales and its national and cultural identity doesn’t quite work here, and belies a quiet desperation to inject a dose of nationalism into a subject that doesn’t quite warrant it.
With the recent hype surrounding the latest batch of Christmas-themed TV adverts, it is notable how their reception appears to have displaced ‘proper’ art. I have witnessed, on social media and elsewhere, more excitement, anticipation and discussion regarding these adverts (particularly the ubiquitous offering from John Lewis) than I have any film, TV show or song in recent memory. While this is not inherently a bad thing – it’s not that I’m precious about people paying more attention to advertising than capital ‘A’ Art – the way people are coaxed into venerating content that exists solely to extract money from them is rather sinister.