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<\/p>\n<\/p>\n
Mike Quille<\/strong> reviews an involving, stimulating exhibition which encourages the growing appetite for cultural democracy.<\/em><\/p>\n The recent appointment of Elisabeth Murdoch to Arts Council England was yet more evidence of the increasing domination of public funding for the arts by corporate and right-wing interests.<\/p>\n There is growing resistance, however, among activists and artists. There are also signs that labour movement leaders are becoming more aware of the importance of cultural activities in the lives of their members \u2013 see for example Len McCluskey\u2019s Introduction<\/a> to the Bread and Roses 2017 Poetry Anthology.<\/p>\n The 2017 Labour manifesto also contained some progressive promises around devolving decision-making, increasing funding and boosting arts education in schools. It was a great improvement on previous manifestos, which had become more and more oriented towards art and culture as merely functional for economic regeneration.<\/p>\n It was flawed, though \u2013 see here<\/a> for a cogent critique by Rebecca Gordon-Nesbitt. Debates and discussions on the left are growing, and reports, articles and manifestos are being proposed, based on a much more radical approach to arts and culture. For example, see here<\/a> for the result of discussions at the Momentum-organised The World Transformed festival in Brighton last September. Events are being planned around the country to present and consult on this manifesto, by the Movement for Cultural Democracy.<\/p>\n One of the features of this movement is a belief that the cultural struggle and the political struggle go hand in hand \u2013 that culture, as well as being entertaining and enjoyable, is essentially liberating in a political sense. Cultural activities are fundamentally social and equalising, asserting our common humanity against divisions of class, gender, race and other social divisions engendered by capitalism, especially its neoliberal variant. In this view, culture can inspire, support, and accompany radical change in the real world.<\/p>\n There is no better current example of this belief in the power of art to transform the world than the current \u2018Revolt and Revolutions\u2019 exhibition at the Yorkshire Sculpture Park, near Wakefield. A variety of works, linked in various ways, showcase some of the strands of counter-cultural and anti-establishment movements of recent times, and invite us to join in.<\/p>\n At the entrance to the exhibition, The Internationale, as sung by the artist Susan Philipsz, is broadcast in the open air. It calls us in, resonating across the former coalfields and industrial heartlands of South Yorkshire. The faltering, saddened voice conveys both the sufferings endured by the northern working classes in the last fifty years, and their resilience and continuing determination to redress injustice through political action.<\/p>\n As we go inside the gallery, more music welcomes us. Ruth Ewan\u2019s A Jukebox of People Trying to Change the World is a selection of classics of political music and song, updated to include songs for the Trump era, which visitors can choose and listen to.<\/p>\n Ruth Ewan, A Jukebox of People Trying to Change the World, courtesy the artist and YSP. Photo \u00a9 Jonty Wilde<\/em><\/p>\n Political music is also celebrated by two arpilleras, a kind of Chilean patchwork quilt, illustrating the key ideals of the New Chilean Song Movement. This was a powerful, persuasive cultural movement which accompanied and assisted the rise to power of Salvador Allende\u2019s socialist government in 1970. One of its main supporters was the singer, guitarist and communist Victor Jara, later tortured and killed by the Pinochet regime. Pinochet\u2019s admirers and allies included Margaret Thatcher, responsible for the privatisation of the local Yorkshire steel industry and the British state\u2019s war against the miners and their socialist leaders, in 1984-5.<\/p>\n Arpillera, New Chilean Song, 1980\u201383, unknown political prisoner, Chile, and an installation view including Helmet Head 1, Henry Moore, cast 1960. Courtesy YSP, photos \u00a9 Jonty Wilde<\/em><\/p>\n Henry Moore was a socialist and the son of a miner, brought up in a household where meetings of the first miners\u2019 union were held. His works have graced the Park for many years, and in this exhibition his bronze sculpture Helmet Head evokes the exterior toughness and interior vulnerability of hardworking, hard-up men and women.<\/p>\n Revolt & Revolutions, installation view, 2017. Arts Council Collection, Southbank Centre, London \u00a9 the artist. Courtesy YSP. Photo \u00a9 Jonty Wilde<\/em><\/p>\n There are many more artworks and a particularly vivid display of photographs expressing the punkish, counter-cultural spirit of the seventies. But the outstanding artwork is a 15 minute video of local resident Alison Catherall, still living in Castleford, birthplace of Henry Moore. It tells the story of the region over her lifetime, from the optimism and pride of the fifties and sixties to the Tories\u2019 assault on the working class communities in the seventies, eighties and beyond, and her determination to crusade for a better life, a transformed world for young people through education, culture and heritage.<\/p>\n She tells her lifestory, from the optimism and pride when she was young in the fifties and sixties, to the Tories\u2019 assault on local steelworking and mining communities in the seventies, eighties and beyond. Her voice rises and becomes impassioned as she talks about her continuing militant determination to crusade for a transformed world \u2013 a better life for young people through education, culture and heritage.<\/p>\n <\/p>\n Larry Achiampong and David Blandy, FF Gaiden-Legacy, 2017 (film still). Courtesy YSP and Castleford Heritage Trust<\/em><\/p>\n This moving oral history of suffering and struggle is illustrated by film of a female avatar, taken from the video game Grand Auto Theft 5, striding through deserted pit galleries, up and down the hilly landscape, by day and by night and through all weathers. The local and particular story of suffering, endurance and resilience becomes universal, an artistic tribute to both local and global working class communities \u2013 particularly the experience and struggles of women to keep those communities alive.<\/p>\n This focus on art which comes from the experiences of the many, and is addressed to the many, is carried through not only in the curating of the exhibition \u2013 there are several exhibits inviting public participation \u2013 but in the events organised around it. For example, on February 20th<\/sup>, the evening of the UN Day for Social Justice, YSP are running a talk on \u2018Do You Want to Change the World\u2019 on the relevance of art and culture to the political transformation of society.<\/p>\n Helen Pheby is the senior curator at YSP responsible for the grounded, varied and interlinked themes running through this excellent exhibition. I asked her for some insights into her approach, to share with readers of Culture Matters.<\/strong> This is what she said:<\/p>\n ‘The inspiration for Revolt and Revolutions came from working with Henry Moore’s family and foundation on a previous major exhibition and learning how radical he had been, not just as an artist, but also through his commitment to social justice.<\/em><\/p>\n I was conscious that we don’t seem to be hearing much good news at the moment and wanted to share works by artists who are trying to make a difference, or who are giving a voice to people in our communities committed to positive change.<\/em><\/p>\n My hope was that this small show might be a catalyst, raise spirits and hopes a little, and suggest ways we can all have power. The public response has been very positive, with record visitor numbers in the gallery and people making pledges to make a difference. Our associated events, such as inviting people to change the world, are proving popular, suggesting a real appetite for people to get involved.<\/em><\/p>\n Helen\u2019s hopes have surely been realised. By showing and promoting the power of art to change the world, through the exhibition itself and the activities, talks and discussions that run alongside it, Yorkshire Sculpture Park are encouraging the appetite for cultural democracy which is emerging from the labour movement.<\/p>\n Finally, Matt Abbott, the poet, has written this poem <\/a>to accompany the exhibition. It’s best listened to on the link, but here’s the text as well:<\/p>\n Revolt and Revolutions<\/strong><\/span><\/p>\n by Matt Abbott<\/em><\/p>\n Placard, pin badge, denim, leather. When the turn of a phrase is the twist of a knife Give a soapbox to a voice Where optimism sits with solidarity and strength. Grab a megaphone, and articulate your grievances. Give power to the vulnerable; a voice to the unheard. Revolt, reject, and rejoice in your dreams. Revolt and Revolution: come and join the number. It takes an awful lot of raindrops to form a monsoon. Yorkshire Sculpture Park<\/a>, near Wakefield, is open 10am till 5pm and the exhibition, which is on till 15 April, is free. <\/em>You can also visit this exhibition<\/span><\/a> <\/span>at the same time.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Mike Quille reviews an involving, stimulating exhibition which encourages the growing appetite for cultural democracy. 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<\/p>\n![\"resized](\"images\/culture\/jenny_farrell\/resized_2_Arpillera_New_Chilean_Song_198083_unkown_political_prisoner_Chile._Private_Collection._Courtesy_YSP._Photo__Jonty_Wilde__D850171.jpg\")
![\"YSP](\"images\/culture\/jenny_farrell\/YSP_resized.jpg\")
<\/p>\n![\"Resized](\"images\/culture\/jenny_farrell\/Resized_Revolt__Revolutions_installation_view_2017._Arts_Council_Collection_Southbank_Centre_London__the_artist._Courtesy_YSP._Photo__Jonty_Wilde__D850274.jpg\")
<\/p>\n![\"Resized](\"images\/culture\/jenny_farrell\/Resized_Larry_Achiampong_and_David_Blandy_FF_Gaiden-_Legacy_2017_film_still._Courtesy_YSP_and_Castleford_Heritage_Trust_04.jpg\")
<\/p>\n
Fist clenched tight at the end of your tether.
Minds in the margins all come together
the Revolution will not start itself.<\/p>\n
and a movement swims at the tide of the strife,
a slingshot points at the status quo
the choir sings a resounding \u201cNO!\u201d:
change, is a product of protest.<\/p>\n
that can\u2019t be heard amongst the crowd.
There\u2019s a rebel with a cause,
there\u2019s a dream that\u2019s not allowed.
There\u2019s a sub-group that\u2019s been silenced,
a door that\u2019s slamming shut.
An establishment that works to keep you structured
in a rut.<\/p>\n
For justice and equality, we\u2019ll go to any length.
Apathy is acceptance. Acceptance never improves.
So stand up, and be counted: we\u2019ve got goalposts to move.<\/p>\n
Strum guitars, paint banners, leave writing on the wall\u2026
In the shadows, is where you\u2019ll find allegiances.
We might be tiny individuals, but together, we\u2019re tall.<\/p>\n
Don\u2019t allow the privileged to take the final word.
March longer, sing louder, fight for what is right.
Acclimatise to darkness, and you\u2019ll never seek light.<\/p>\n
Protest is always more potent than it seems.
Be it beret wearing \u2018Ban the Bomb\u2019 or mohawk wearing punk;
others pinched nostrils but we shouted when it stunk.<\/p>\n
because nothing serves injustice like society in slumber.
Music and colour. Peace signs and love.
There are far more below than there are sat above.<\/p>\n
And this station has a glitch: it\u2019s time to retune.
Do not succumb to victimhood, or silence, or stealth,
because the Revolution will not start itself.<\/p>\n