Second EFA-Publication “Give, get or Get Off!”; Challenges of cultural networkign today

Throughout history, culture changed its importance within society depending on howmuch value the ruling class – or a sole ruler – would attach to it. Emperors and kings boasted with architectural palaces and court music without a limit. Moving the music scene out of the palaces of royalties or the aristocracy, a situation by the end of the 19^th century, has given music bit by bit a different place in society, unfortunately… losing its prominence.

After the fall of communism, the world has changed – not just politically speaking, but especially in the economic sense. Partly, because of the political barriers were removed, but foremost also by the growing presence of computer technology and internet entering our homes. Right after the fall of the Iron Curtain, Central and Eastern Europe were - for music - a “goldmine” for record labels to reap profits thanks to quick and cheap money recordings and indeed the sky seemed the limit. Not for long.

Ever since the decline of the recording industry – even some tend to deny such, but let’s face it, music industry seems to be in a deep ditch, from which apparentlt there’s almost no way out. And interestingly enough, despite an economical level never attained before in world’s history (technological advance, wealth), music is generally speaking in a deplorable state.

Two publications from the European Festivals Association are addressing the issues, which have arisen from this situation. While the first one (“Still a lot to be done”) deals with a broader discussion on how to address the more general cultural music discussion – filosofically, politically – the second publication (“Give, Get or Get Off!”) is discussing the cultural networking of today. In other words, when music is in despair, seemingly being regarded as elitist – and therefore become more and more detached from a (potential) audience, almost having the feeling as if classical music is no longer bon-ton – how music institutions should be working on their network expansion and thus be able together to “sell” again their product: Music.

The articles, written by various members of the association, are accessible and clear to read. As both a musician and an arts manager in Slovakia, the 2^nd book is interestingly enough tackling matters, that should appeal to my direct colleagues in Slovakia, but not exclusively. We must face the reality that the old structures no longer work (that is, where culture is directed from above, endowed by a wealthy aristocrat). We must realise that among ourselves that we should work on solid and efficient networks (co-operation) and therefore creating culture from the bottom. The book systematically analyses some feasible network constellations and possible variants, but underlining some basic requirements, which should be met, in order to be a successful network. Obvisously, the main problem lies in the fact, that while music should be more actively promoted, musicians are not trained to be business-like salespeople or be economically or managerially skilled. In the event, where they have the luxury of being able to afford (expensive) professional PR and marketing people, these are not always muscially oriented, therefore a gap between player and manager.

Also, among professional musicians themselves there are many misconceptions against branding, PR, modern-life’s dynamics and technology, which as a fact, is to be blamed on the old-fashioned (music) education system. Concurrently, also the public is regarding classical music completely biased. The necessity for a strong network is unmistakenly clear; to re-educate both the musicians as well as the audiences. From the effectivity of a network, a viable economic basis to function, fostering co-operations (nationwide and abroad), up to the application of real and virtual network projects; it gives a good direction of what we most of the time are lacking. Especially in Slovakia.

We may remain wailing in the repeating argumentation of being a small country, with no money, with no interest of the public, but we can also try to do something with it. There are smaller nations, who are far more successful, and after all it’s our job which is in danger if nothing is being done. Instead, let’s actively start doing something to get things moving into a better direction. Slovakia’s music culture and is worth working on it (and equally valid for any other culture, of course), because if we let it snow under our craving for 4x4 jeeps and hypermarkets and fashion-shopping, it might be lost forever. The EFA publications could give a good starting point, to construe together a networking with eachother – and not against each other, as is often the case – to make us visible again as another cultural centre close to Vienna, Budapest and Prague, contributing to the cultural richness of our region… and beyond.

more info on the EFA website here

MS