Et kritisk blikk til drøfting:
“The social inclusion agenda, […] in which the arts and especially socially engaged art and performances played an important role under New Labour, ‘is therefore less about repairing the social bond than a mission to enable all members os society to be self-administering, fully functioning consumers who do not rely on the welfare state and who can cope with a deregulated, privatized world. As such, the neoliberal idea of community doesn’t seek to build social relations, but rather to erode them’.”
Claire Bishop being quoted in the discussion of narcissism as a central and – in fact – essential element of aesthetic experience in our “experience economy”.
Looking at aesthetics: the inward, isolating aesthetic experience is contrary to *my* understanding of the purpose of art. Looking at politics: we are putting pressure on individuals to be self-sustaining units – children who are taught to see working for someone else as a negation of all agency. It provides them with a simplistic measure of their “failure” as adult citizen in a community. They are forced to assume an existential AND consumer/productive justification for their very presence in the world.
“She therefore ponders whether the socially ameliorative goals of socially engaged art and performance, in light of the Third Way cultural policy, function more as palliatives for a systemic erosion of social(ist) values than they do as champions of those values.”
from Beyond Immersive Theatre by Adam Alston.