Today, as a member of the University and College Union (UCU), I have been participating in the 8-day strike action (followed by indefinite Action Short Of a Strike (ASOS)), and have been on the picket line. I hope to blog regularly through the course of the strike – certainly I believe this is a more valid use of free time than using it to catch up on research, which amounts to crossing the #digitalpicketline , which I wish to avoid. A strike means withdrawing one’s labour: in higher education, this can take various forms, including teaching, administration, research, giving papers, visiting conferences, answering endless e-mails, and so on. All those who are striking should avoid doing any of these things on the strike days. I will be picketing every day during the strike except Monday 2 December (when I am meeting with the current head teacher of my former school to talk about a huge history of sexual and other abuse at the institution, as discussed amply elsewhere on the blog). Here are some pictures from the first day of action at City.
The reasons for the strike are clear, and laid out clearly on a page produced by UCU for Cambridge University, but applicable to all the institutions where staff have voted for strike. Our pay (and this applies to all university workers, not just those in academic jobs) has fallen by a massive 20% in real terms over a period of 10 years. There is serious gender inequality in the sector: male university workers hold 23% more secure contracts than women (I work in a department with 8/10 male permanent staff), there is major pay inequality, with the gender pay gap at City at 14.7%, higher than the national HE average. Workloads have become unmanageable, with staff chronically overworked and trying desperately to balance huge demands in terms of teaching, administration, research and more. Many report working at least 50 hours, and often many more, per week, 12 more than what the standard 37.5 hour working week entails. Managements and their representatives continue to heap new tasks on staff, often using spurious justifications of the need to respond to students’ needs. Furthermore, there has been a marked increase in precarity across the sector, with universities having become the second most casualised sector of the economy (after hospitality). Already in 2016, a UCU report showed that 54% of academic staff were on precarious contracts (temporary or otherwise insecure). This year, another UCU report found 70% of 49,000 researchers in the sector on fixed-term contracts, as are 37,000 teaching staff, mostly on hourly contracts, and a further 71,000 teachers categorised as ‘atypical academics’, on the lowest contract levels, with few employment rights. Furthermore, following the 2018 strike, universities have continued to ignore evidence of an independent review on the pension scheme (USS) and push through a proposal worsening the situation for us.
The issue of precarity is related to that of gender parity. In a society where women still undertake the majority of the burden of childcare and other domestic responsibilities, many are placed in near-impossible situations when faced with the need to keep relocating to different places to take on temporary contracts, or even shuttle between locations to fulfil a variety of part-time contracts simply to make enough of an income for basic needs. To secure a permanent contract, many institutions will only consider those with a stream of journal articles or equivalent outputs which they think will be considered 4* in the Research Excellence Framework or REF (on this, see this blog from the last strike). This is not remotely feasible for those juggling part-time jobs, travel, childcare and domestic responsibilities, unless they practically work themselves to death.
I will endeavour to blog and collate further information on these issues during the course of the strike. But as The Guardian have set forth in an excellent editorial, this is not simply a short-term strike about pay, pensions, etc., but a concerted action by so many who have been driven to exasperation by what higher education has become, so far from many of the ideals which are supposed to drive it.
It is also an opportunity for those who profess in their work to adhere to certain values (or, in some cases, find it an appropriate career move) to demonstrate their commitment through action. It is one thing to tick the right boxes in one’s writings on gender equality (and fighting other discrimination based upon ethnicity, class, etc.), another thing to actually take the appropriate action on this basis. Strike action matters considerably more than virtue-signalling.
Increasingly we have seen the consequences of an academic culture which views the student as a ‘consumer’ (which, from a management perspective, means simply a source of revenue), increasing use of all types of metrics which are ruthlessly applied to discipline and demean academic workers, degradation of the values of the humanities, critical thinking, and so on, which are so fundamental to the very concept of the university, in favour of narrowly focused technical and vocational education, and a reduction in status of academics, compared to bloated layers of management, often made up of those with relatively undistinguished academic careers of their own.
We do not, and should not, simply produce a ‘product’, a commodity to be bought on the open market, we provide an essential service. Education is a right, and a vital part of any civilised society. Government moves which have shifted the burden of the cost of higher education from the taxpayer (where it belongs) to the student, have used this in order to drive a wedge between students and those who teach them, attempting to mobilise students from below to keep academics in line. Happily, a great many students, and the majority of organisations representing them, can see through this, but such rhetoric is used for the purposes of bullying and to justify overwork. One decrease in a department’s National Student Survey (NSS) score (which sometimes can result from just a tiny number of disgruntled students, in smaller departments) can be the catalyst for a whole host of new directives required of already stressed academics.
I would like highlight three important Twitter threads relating to the industrial action, to which I am most grateful to Professor Elizabeth Eva Leach of Oxford University, a medievalist musicologist (a category whose numbers are decreasing all the time, and in which discipline scholars are very rarely able to find employment other than in a select few jobs in the most elite institutions, as historical subjects are deemed less ‘relevant’ than those more directly related to the supposed short-term needs of ‘the industry’).
Read this thread especially on chronic overwork in academia, and how the consequent levels of stress are noticed by insurers, but academic managements often remain oblivious.
Then for those who claim cuts to staff pay reflect economic realities and the like, look at this thread on universities’ reserves, capital expenditure, and the proportion of money actually spent on staff.
I would urge people to read this thread on the reality of precarious employment.
I will always be most grateful for any information provided by others which I can blog (I will be using my Twitter account @drianpace during the course of the industrial action).
Tomorrow I hope to tweet about stress, its debilitating effect upon academics, the toxic culture of overwork, and the types of macho competition it instils in the sector. On other days I will blog about personal reasons for backing the strike over and above the issues raised above, about the decline of essential subjects and approaches to learning, and various else.
I welcome comments on any of this (though not trolling or abuse).
Like many others, I was deeply disappointed to read Jeremy Corbyn’s interview with Der Spiegel published two days ago (Jörg Schindler, ‘Interview with Labour Leader Jeremy Corbyn: “We Can’t Stop Brexit”‘, Spiegel Online, 9 November 2018). This was published right after the news of transport minister Jo Johnson’s resignation and calls for a second referendum on Brexit, since which he has said it would be a ‘democratic travesty’ not to have another Brexit vote. Corbyn’s statement seemed to make this impossible, as a new referendum bill or amendment to that effect of an existing bill could not happen without Labour support.
The 2017 General Election produced 317 Tory MPs, 262 Labour, 35 SNP, 12 Liberal Democrats, 10 DUP, 7 Sinn Fein, 4 Plaid Cymru, 1 Green, 1 Independent and the Speaker. There is no likelihood at all of the Sinn Fein MPs ever taking up their seats, whilst the Speaker remains nominally neutral. Neither he (John Bercow (Conservative)) nor his three deputies (Lindsay Hoyle (Labour), Eleanor Laing (Conservative) and Rosie Winterton (Labour)) vote, by convention. The meaningful total is therefore 639 rather than 650, and so the government needs 30 seats for a majority. Following the Confidence and Supply agreement with the DUP, the government can count on their support in motions of confidence and various aspects of their legislative agenda, thus producing effectively 326 (316 Tories, without their Deputy Speaker, plus 10 DUP) MPs, as against 311 in the Opposition. Since the General Election, 2 Tories and 5 Labour MPs have either been suspended from their party or have resigned the whip, so there are a total 8 Independent MPs, whose loyalties in confidence or crucial Brexit motions may be unknown.
But assuming the suspended/resigned MPs continue to vote according to type, the government has a working majority of 13 votes. This means that if seven Tory or DUP MPs vote against them, they could lose a vote if there is also 100% opposition from the other parties.
It is now looking possible, even perhaps likely, that Theresa May will fail to get any deal through Parliament, with a range of Brexiteer Tories and the DUP warning they will vote against, while the deal is also opposed by some Remainer supporters of a second referendum such as Justine Greening. Representatives of the government have been allegedly attempting to woo some Labour MPs to support them on a deal. The Mirror suggested as many as 30 may be prepared to do this, but this may be too few, though the consequences of last-minute pressure from whips in both parties should not be underestimated.
But if the government fails to get a deal through Parliament, it is highly unlikely that they themselves would introduce a second referendum bill, having repeatedly ruled it out (though, as has been noted, Theresa May as repeatedly ruled out an early general election, then called one). However, there are various means by which such a thing could be triggered, either through primary legislation or amendments to existing bills; a UCL paper details five possible scenarios (Jess Sargeant, Alan Renwick and Meg Russell, ‘The Mechanics of a Further Referendum on Brexit’ (London: The Constitutional Unit, UCL, 2018), pp. 23-28).
The major question is whether a parliamentary majority could be found for this option. As the DUP are firm supporters of Brexit, there is little chance of their supporting any second referendum motion. At present, The Sun counts eight Tory MPs supporting a second referendum: Johnson, Philip Lee, Justine Greening, Anna Soubry, Guto Bebb, Amber Rudd, Heidi Allen, Sarah Wollaston. They do not list Dominic Grieve oddly, but he has made clear his support for this for some time. There are plenty of suggestions that a variety of other Tory MPs would support this if it came to it, despite not having yet said so publicly. The Liberal Democrats and SNP are likely to vote solidly for such a measure. As for Labour, in June The Independent counted 42 MPs backing a second referendum, to which there are probably a few other names to be added. But almost none of the Corbynistas, nor many of the Brownites/(Ed) Milibandites are on this list. Then there are the pro-Brexit Labour MPs, including Grahame Stringer, John Mann, Kate Hoey, Dennis Skinner and (formerly holding the Labour whip) Frank Field, while others such as Caroline Flint and Stephen Kinnock appear opposed to a second referendum. The 2018 Labour Conference saw a motion passed keeping a second referendum option open if MPs are deadlocked, but this does not firmly commit to anything. That said, Corbyn’s statement to Der Spiegel would appear to be in direct contravention of conference policy.
A second referendum will only get through with relatively solid Labour support, and a significant number of Tory MPs voting for it. My guess is that between 10 and 20 Labour MPs will definitely oppose even if the party institutes a three-line whip, so this requires 20 to 30 Tory MPs to vote for it and against their own government, a tall order. However, if the country looks to be heading for no deal (and Theresa May has set a date of this week, as Parliament returns from recess, for the government will begin to set into motion many emergency measures to deal with this), all sorts of new options are possible.
So, in light of Corbyn’s statement, a second referendum may seem impossible. Or is it? Shadow Foreign Secretary Emily Thornberry was interviewed on The Andrew Marr Show this morning (42’27”-56’22”). After Marr brought up Corbyn’s statement, apparently ruling out a second referendum, Thornberry began by saying that ‘the results of the referendum need to ought to be abided by’, but then immediately afterwards said ‘We do need an injection of democracy in between the results of the referendum and us going any further’. She then said that Labour wanted a ‘meaningful vote’, which was not what Theresa May was giving them in offering the choice between her deal or no deal, ‘the devil and the deep blue sea’. Thornberry said that instead, there should be a general election, but if that did not happen, then ‘yes, of course, all the options remain on the table and we would, you know, campaign for there to be a People’s Vote, but there are several stages before we get there’. Pushed further on Corbyn’s statement, Thornberry attempted to diffuse this by claiming context, need to be democrats, etc., and went onto discuss staying in the Customs Union, trying to produce ‘a Brexit which is good for the country’ (with no details of what this might be) and so on. When brought back to what is Labour’s procedure, Thornberry said ‘First stage is we demand a general election and that is what the proper thing should be. If we don’t get a general election then what we have said is all options remain on the table, and we will…’ then Marr interrupted to point out that Parliament has passed statute and so there are no options for overturning that. Thornberry then said ‘The difficulty is, our system is such that we are in opposition. You know, there are many ways in which we would want to have proceeded over this period of time, and we have a government…’, when Marr interrupted again to point out that they had a general election last year. Thornberry continued to say ‘But we have been doing our best to try to keep this government honest, try to keep this government focused on what’s good for the country, and we have been entirely consistent about that. She knows what it is that…. and like everyone else, vacillating backwards and forwards. We have said: six tests, we will vote for it, bring back a deal we will agree to. If she’s sensible, what she’ll do, is she’ll negotiate properly and bring back a deal which means that we’re in a Customs Union, and that we’re in a free market agreement with the European Union, based on free market rules, and if she brings back something like that, then it may well be that she’ll get sufficient support, but she won’t [attempt from Marr to interrupt again], hang on hang on, let me just, because this is really important, she won’t do that, because she’s more interested in saving her own skin and the Tory Party, because what she will rely on is Labour votes and some Tory votes, and she doesn’t dare do that. She ought to, because she’s the leader of the country. That is not leadership.’ Marr then noted that Kier Starmer had said that the six tests would be in the next Labour election manifesto and asked Thornberry to confirm this, to which she asked when the election would be, pointing out that an election manifesto in the next few weeks would be very different to one in a year’s time. She then said ‘In the next few months, what we would have in our manifesto is we would say: we have a vision for this country, we have a vision for Brexit. We know that the best way to proceed on this is to try to get a deal which is, as I’ve said several times, the model that I’ve put forward [Marr: ‘Six tests’] and with the six tests, and which is the six tests, and that’s what we would be working towards. And we would go in as pragmatists, and we would say to the European Union: the grown-ups have arrived and we’re no longer shouting at you, we’re going to sit down pragmatically and sort out something which is good for our economy and your economy.’ Marr pushed Thornberry further on one of the six tests , that which requires the ‘exact same benefits’ as membership of the Customs Union and Single Market, asking if there was a shred of evidence that the EU would contemplate that. Thornberry avoided this question, just saying that they had had meetings with the EU, who knew their position, but couldn’t negotiate with them as they were not the government. Marr pushed further, quoting Michel Barnier and Jean-Claude Junker on how third countries can never have the same rights and benefits as full members. Thornberry again had no real answer other than to say that these were negotiating positions, and that May had put down unrealisable red lines and ‘ridiculous tests’, unlike Labour. She continued to reiterate the same stuff, then Marr claimed Labour had a ‘fantasy prospectus’ and there was no way of getting anything like what they wanted. After more vacillation from Thornberry, the interview turned to Trump and some domestic issues.
But I think this interview may be significant in many ways, notwithstanding the waffle and false claims about being able to obtain a deal (in reality, Labour would end up in a very similar situation to Theresa May, save for accepting the Custom’s Union). Thornberry is probably the sharpest politician on the Labour front bench, and clearly knows exactly what the brief is and what needs to be said. The fact that she mentioned a People’s Vote early in the interview is vital, even though she was careful not to return to the issue. The official Labour line is to want a general election. The chances of this are very slim (though not impossible if the government truly alienate the DUP over a border in the Irish Sea, to the point where the DUP would no longer support them in a confidence motion). But Labour have to stick to this line, which would be easily dismissed if they were vocal about supporting a second referendum. But Thornberry said that failing to get an election, they would campaign for a People’s Vote.
So I believe that Labour are talking down a second referendum in order to maintain their line, but do have plans to support it when it becomes inevitable. This could be soon – if a confidence motion is put and the government wins it, thus precluding an election. Of course it is also possible that Thornberry, Starmer and Corbyn are all putting out different lines publicly. I just hope this may have been co-ordinated.
There are many practical complications in bringing about a second referendum, which are explained in the UCL paper, but as this makes clear, it is possible, regardless of what Corbyn says. Labour could be acting more shrewdly than some imagine.
A lot has been made of the fact that Labour under Corbyn gained many votes in the June 2017 election, enough that some think the party has full victory (in the sense of an overall majority) in its grasp. I wanted to look at some comparative figures, so compiled the following chart of votes (not seats) and percentages in each UK election since 1979:
Year Conservatives Labour Lib Dems SNP UKIP
1979 13.7m/43.9% 11.5m/36.9% 4.3m/13.8% 0.5m/1.6% (Liberals)
1983 13.0m/42.4% 8.5m/27.6% 7.8m/25.4% 0.3m/1.1% (SDP/Lib Alliance)
1987 13.7m/42.2% 10.0m/30.8% 7.3m/22.6% 0.4m/1.3% (SDP/Lib Alliance)
1992 14.1m/41.9% 11.6m/34.4% 6.0m/17.8% 0.6m/1.9%
1997 9.6m/30.7% 13.5m/43.2% 5.2m/16.8% 0.6m/2.0% 0.1m/0.3%
2001 8.4m/31.7% 10.7m/40.7% 4.8m/18.3% 0.5m/1.8% 0.4m/1.5%
2005 8.8m/32.4% 9.5m/35.2% 6.0m/22.0% 0.4m/1.5% 0.6m/2.2%
2010 10.7m/36.1% 8.6m/29.0% 6.8m/23.0% 0.5m/1.7% 0.9m/3.1%
2015 11.3m/36.8% 9.3m/30.4% 2.4m/7.9% 1.5m/4.7% 3.8m/12.6%
2017 13.6m/42.3% 12.9m/40.0% 2.3m/7.4% 1.0m/3.0% 0.6m/1.8%
So Labour under Corbyn did well, gaining 3.6m votes, but the Tories under May did even better. Two factors are of primary importance: (a) the collapse of the Lib Dem vote in 2015, following the Tory/Lib Dem coalition (see my earlier blog putting this in context); (b) the collapse of the UKIP vote in 2017, following the EU referendum, after having done exceptionally well in 2015, quadrupling their vote from that in 2010.
Labour certainly did manage to benefit from getting more young people to vote, but they also gained from the UKIP losses, which were threatening them in various traditional constituencies. But the Tories gained more, though the first-past-the-post electoral system threw up the bizarre result by which May gained 2.3m more votes than Cameron did in 2015, but won 13 less seats than the latter. The Conservative vote has not fallen, far from it (May won more votes than any Tory leader since John Major in 1992, and more than Thatcher in 1983), it is really just a question of how it is distributed.
The widespread tactical voting generally believed to have occurred from 1997 onwards, which helped the Lib Dems more than double their seats in 1997 (from 20 to 46) and go onto peak in 2005 (with 62), must be assumed to have disappeared, unsurprisingly as Labour voters are disinclined to vote for a party which spent five years in coalition with the Tories, even where they are the primary alternative in some constituencies to the latter. But the current voting system still works against Labour, and it should not be forgotten that they only won 262 seats in 2017; to win an overall majority by one seat they need another 65, whereas for a workable majority (not too vulnerable to backbench rebellions over contentious legislation) they need at least 85.
I cannot see this happening, certainly not with Corbyn as leader. The electoral landscape has changed fundamentally since the pattern between 1997 and 2010. The Lib Dems and UKIP have collapsed, the Tories have swung to the right (though could move further right still) while Labour has swung to the left. Brexit has changed a lot; the good result for Labour and Corbyn this year came about in part through triangulation on this issue, managing to convince both Leavers and Remainers that they supported them. I cannot see this holding up further, and without a major and clear shift of policy, I believe Remainers will move away – though many, like me, feel politically homeless at the moment (a reason why a new centre party would be no bad thing).
On Tuesday Parliament will reconvene, and will start to debate the EU Repeal Bill. There has been talk of the government being defeated on this, which I would hope for greatly, but am not too hopeful, again for reason of numbers. There are four Tory MPs identified by John Rentoul as possible rebels – Anna Soubry, Nicky Morgan, Kenneth Clarke and Dominic Grieve – and possibly a few more, but nine Labour MPs who supported Leave in the referendum – Ronnie Campbell, John Cryer, Frank Field, Roger Godsiff, Kate Hoey, Kelvin Hopkins, John Mann, Dennis Skinner and Graham Stringer – while Caroline Flint indicated this morning that she is not prepared to help obstruct the bill. The Tories and DUP together have 327 MPs, whereas the opposition (not including the seven Sinn Féin MPs who will not take up their seats, nor the Speaker) have just 315. Even if all the four Tories listed above voted against the government, and the DUP abstained, they would still have 313 votes and could comfortably beat the opposition if just the nine Labour MPs vote with them. If things got tighter, May could take the same course of action as John Major did twice when facing defeat, and turn a vote on legislation into a vote of confidence. With no parliamentary majority, it is hard to imagine many Tories (most of who, when in the last parliament, voted for Article 50, including Soubry) voting against the government then.
Labour have proved themselves utterly incapable of proper opposition on Brexit. The Michel Barnier/David Davis press conference on Thursday was quite farcical, and it is clear the talks have hardly progressed, yet there was hardly a squeak from Corbyn and Keir Starmer until Starmer’s ineffectual interview this morning, which only served to muddy the party’s Brexit policy further. Never has there been a time during which proper scrutiny of the government and their approach to negotiations was more important; never has Labour proved so inept at providing this.
Where I have some hope, paradoxically, is in the possibility of a large-scale grassroots Tory revolt following acknowledgement that the government is preparing to pay a large Brexit divorce bill (with some leaks in the press today suggesting a figure of €50 billion). A recent Guardian/ICM poll suggested that two-thirds of voters would find a figure of €10 billion or more unacceptable, and the government has done nothing to try and explain the reason (not even clamping down on Boris Johnson over his ‘Go whistle’ remark). While the legal obligation to pay such a bill has been questioned, Barnier has made it clear that without the government coming clean on their position on this issue, they cannot proceed with trade talks. With time ticking down until Article 50 expires in March 2019, the UK government cannot really afford to keep delaying this, when the chances of even coming up with a workable transition arrangement – which all the other EU nations will accept – are slim in the time available.
So I think we will hear the sum confirmed soon, despite the denials. May will try to wait until after her party conference in Manchester, 1-4 October, but this may be difficult. The Tory membership have already indicated their wish for May to stand down; if she is conceding a major Brexit bill, then the pressure may become unbearable. May appears to be trying to keep Davis and Johnson close, so that they cannot dissociate themselves from what results, and so would go down with her; in that situation, I still do not think it impossible that the membership might make a crazy choice like electing a figure like Jacob Rees-Mogg or Andrea Leadsom, beloved of Conservative Home and the like.
Then, if a new leader was feeling optimistic or simply deluded, they just might call another election. I do think (or hope?) that a lot of decent Tory voters could not vote for a party led by someone so right-wing. But in order for a different government, Labour will have to make a proper case for an alternative in terms of Brexit, and make more overtures to the Lib Dems and others. I cannot imagine the Lib Dems or SNP supporting a Labour government which is going ahead with Brexit. At present I still cannot support Labour because of Brexit, and am sure they are a very long way from being an electorally viable party.
On March 28th, 2017, 11:40-13:10 I will be giving a workshop on ‘Music, Identity and Nationalism with Reference to the Third Reich and early Cold War Period’, at the ASEN Conference on Anthony D. Smith & The Future of Nationalism: Ethnicity, Religion and Culture’, taking place at the London School of Economics. The conference takes place over March 27-28, 2017, and my workshop will take place from 11:40-13:10 on the 28th, open to conference participants. Places are still available for the conference; full details, and a programme for the conference can be found at https://asen.ac.uk/conference-2017/ .
The purpose of this workshop is to engage with the issues of nationalism as affected German musicians and those working in the music world, through interactive roleplay relating to denazification procedures in each of the four zones of occupied Germany – American, British, French and Soviet.
A series of four ‘legends’ have been created, each relating to a real individual; two composers, one pianist and composer, and one music journalist and writer. Each faced denazification in different zones. Participants are invited to take the role of one of these legends in a mock denazification hearing, which I will be directed in the role of Chief Interrogator. He will question the participant on the nature of their activities during the Third Reich, including questions relating to the aesthetics of their work, and they are offered the chance to reply and defend their record. Others are invited to take role in the ‘defence’ or ‘prosecution’ team, interspersing comments where appropriate relating to the case in question. These requires only study of the legends themselves (those who wish to join the prosecution will be provided with a little extra information unknown to the individual being interrogated).
If time permits, in the final half hour of the workshop I will direct a wider discussion cultural/political agendas relating to the Cold War in Europe on both sides of the Iron Curtain, as relate to music and nationalism. Some questions to be considered include whether supposedly ‘internationalist’ aesthetic agendas might be viewed in terms of a type of ‘Western European pan-nationalism’ (which has also informed culture in the EEC/EU) or conversely these are less solidly geographically rooted. Another is how in the Eastern Bloc, musical traditions with historical connections to those found elsewhere in Europe and further afield were modified in accordance with the dominant role of the Soviet Union and Russian musical traditions, not least in light of the expulsion of ethnic Germans from most of Eastern Europe.
Biddiscombe, Perry. The Denazification of Germany: A History 1945-1950. Stroud: Tempus, 2007.
Chamberlin, Brewster S. Kultur auf Trümmern. Berliner Berichte der amerikanischen Information Control Section July – Dezember 1945. Stuttgart: Deutsche Verlags-Anstalt, 1979.
Clemens, Gabriele, ed. Kulturpolitik im besetzten Deutschland 1945-1949. Stuttgart: Franz Steiner, 1994
Clemens, Gabriele. Britische Kulturpolitik in Deutschland 1945-1949: Literatur, Film, Musik und Theater. Stuttgart: Franz Steiner, 1997.
Heister, Hanns-Werner and Klein, Hans-Günter, eds, Musik und Musikpolitik im faschistischen Deutschland. Frankfurt am Main: Fischer, 1984.
Janik, Elizabeth. Recomposing German Music: Politics and Tradition in Cold War Berlin. Leiden, Brill & Biggleswade: Extenza Turpin, 2005.
John, Eckhard. Musik-Bolschewismus. Die Politisierung der Musik in Deutschland 1918-1938. Stuttgart: Metzler, 1994.
Kater, Michael. The Twisted Muse: Musicians and their Music in the Third Reich. New York and Oxford: Oxford University Press, 1997.
Kater, Michael. Composers of the Nazi Era: Eight Portraits. New York and Oxford: Oxford University Press, 2000.
Linsenmann, Andreas. Musik als politischer Faktor: Konzepte, Intention und Praxis französischer Umerziehungs- und Kulturpolitik in Deutschland 1945-1949/50. Tübingen: Narr, 2010.
Monod, David. Settling Scores: German Music, Denazification, and the Americans, 1945-1953. Chapel Hill, NC and London: University of North Carolina Press, 2005.
Pike, David. The Politics of Culture in Soviet-Occupied Germany, 1945-1949. Stanford, CA: Stanford University Press, 1992.
Prieberg, Fred. Handbuch Deutsche Musiker 1933-1945. CD-ROM, 2004, revised version 2009.
Riehtmüller, Albrecht, ed. Deutsche Leitkultur Musik? : zur Musikgeschichte nach dem Holocaust. Stuttgart: Steiner, 2006).
Scherliess, Volker, ed. »Stunde Null«. Zur Musik um 1945. Kassel: Bärenreiter, 2014.
Steinweis, Alan E. Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts. Chapel Hill, NC: University of North Carolina Press, 1993.
Thacker, Toby. Music after Hitler, 1945-1955. Aldershot: Ashgate, 2007.
The worst fears of many about a Trump presidency are coming to fruition, especially with the implementation of the federal orders banning entry to anyone from born in one of seven Muslim countries (though not the worst, like Saudi Arabia or some of the Gulf states, with strong business links), or who holds dual nationality. Not to mention the ongoing plans for the Mexican Wall. And Britain’s excuse for a Prime Minister has offered Trump a full state visit, before tootling off to sign a lucrative arms deal with another dictator, President Erdoğan of Turkey. And I think to myself, what a wonderful world…..
But getting angry may not achieve anything, least of all convince the millions of Americans who strongly support Trump’s actions, and previously have shown ferocious support for capital punishment, horrendous rates of incarceration of those convicted of petty offences, an insane gun culture which causes annually over 10 000 more deaths of Americans (at the hands of other Americans) than any other cause, use of gas-guzzling cars for small journeys and contempt for the very idea of climate change, not to mention neo-imperial military action against many other countries who are not necessarily compliant towards the US.
The issue is, to me, why we continue to legitimise a tacit view which assumes that the United States stands at the centre of the world, but only economically and militarily (both of which might be able to be shown with some degree of objectivity), but in cultural and intellectual terms too?
With this in mind, I have a proposal, which I will implement in a hard-line form for the duration of February, and recommend to others in milder manifestations. How about, first of all, going a week without partaking of any culture produced in the US? I do not want to limit this in terms of ethnicity, allegiance, ideology, and so on, simply down to where it was produced, as far as this can be ascertained fairly. So, just put on hold for now, any novel, poem or play from an American writer, any music produced by American musicians, any American visual art, any American films or TV, and so on. Then see how many times this becomes an issue, and this may give some indication of the extent to which your cultural habits are dominated by US culture. Try and make a point of seeking out something from elsewhere instead. For example:
- If you were going to watch South Park or Family Guy, how about looking into some comedy and animation from elsewhere? There has been loads of such work from Eastern Europe over an extended period – this blog should give some pointers.
- If you were going to listen to any African-American popular music, how about trying something from one of the 54 countries in Africa instead (or by African diaspora communities in countries other than the USA)? Try some of the work of Afrisa, or Prince Nico Mbarga, Hugh Masekela or King Sunny Ade, just to take a few of the most obvious examples?
- If planning to listen to American minimalist music, how about trying some non-American alternatives? For example, the work of Louis Andriessen, Michael Nyman, Kevin Volans, Gavin Bryars, Arvo Pärt, Karel Goeyvaerts or others? Some might dispute the use of the term ‘minimalist’ for some of these, but assertions of unity amongst even the classic American ‘minimalists’ look less and less tenable all the time. Nyman himself just today pointed out to me that when he coined the term ‘minimal music’, it was when reviewing a performance at the Institute of Contemporary Arts in 1968 of Springen by Danish composer Henning Christiansen, played by Charlotte Moorman (US) and Nam June Paik (Korea, moved to US in mid-30s).
- If planning to watch an American film, think of the many other countries with such important film industries as well, and how about watching an Italian, Russian, Iranian, Chinese, Nigerian or Argentinian film instead? From these and many many other countries, there is a vast amount to see, of all types. Just avoid the easy option of watching one of the usual blockbusters, and seek out something different.
- Post-1945 American art is endlessly celebrated and anthologised – why not check out what was being produced in France, Sweden, Italy, Japan, during the same period?
And so on and so forth. I intend to do this for the whole of February, but my suggestion to others is this – try doing it for a week, and then the following week, limit US culture to no more than a third of what you watch/read/listen to/etc (which is still a huge percentage), and stick to that for the rest of the month. Do this for the sake of diversity and to challenge the notion that the country which now has Trump as President, and refuses entry to millions of people of Muslim origin, should continue to exert cultural hegemony as well.
This is not kneejerk anti-Americanism – I have in my office at work hefty volumes of poetry of William Carlos Williams, Lorine Niedecker and Charles Reznikoff which I had hoped to get round to soon, but they can wait. Instead, I will have a read of the new volume of the poetry of Basil Bunting which I received recently. I will have some works of John Cage and Morton Feldman to practice in advance of a concert in Oxford in early March, but as far as listening more widely to these, I have spent vast amounts of time before – I would sooner spend more on Franco Evangelisti or Henri Pousseur or Bent Sørensen or Yuji Takahashi. And lots and lots of recordings of Sardinian, Iraqi and Japanese traditional musics on which I’d like to spend more time. And films I have and have been meaning to watch from Dziga Vertov, René Clair, Jean-Luc Godard, Jean-Pierre Melville, Rainer Werner Fassbinder, Dušan Makavejev, Zhang Yimou, Abbas Kiarostami, Nagisa Oshima. And many others which are lighter fare. Sam Fuller, David Lynch, Harry Smith, Kenneth Anger, Sidney Lumet and John Cassavetes can wait, great though they all are.
An further, an invitation: do leave a comment here with recommendations, of any period, genre or whatever, of any type of books, plays, films, music, art, etc., from all the other countries in the world. Imagine, as John Cage said, that the US is just one country in the world, no more, no less.
None of this will stop Trump, for sure, nor is it a substitute for pressing political action. But just perhaps, if a great many made a conscious effort in this respect, the hegemonic power of the United States in general upon people’s minds might be diminished and become more proportionate to its undoubted cultural achievements.
Bright Futures, Dark Pasts: Michael Finnissy at 70 – Jan 19/20, Conference/Concerts at City UniversityPosted: January 13, 2017
On Thursday January 19th and Friday January 20th, 2017, City, University of London is hosting a conference entitled Bright Futures, Dark Pasts: Michael Finnissy at 70. This will feature a range of scholarly papers on a variety of aspects of Finnissy’s work – including his use of musical objets trouvés, engagement with folk music, sexuality, the influence of cinema, relationship to other contemporary composers, issues of marginality, and his work in performance. There will be three concerts, featuring his complete works for two pianos and piano duet, played by the composer, Ian Pace, and Ben Smith; a range of solo, chamber and ensemble works; and a complete performance (from 14:00-21:00 on Friday 20th) of his epic piano cycle The History of Photography in Sound by Ian Pace. The concerts include the world premieres of Finnissy’s Zortziko (2009) for piano duet and Kleine Fjeldmelodie (2016-17) for solo piano, the UK premiere of Duet (1971-2013) and London premieres of Fem ukarakteristisek marsjer med tre tilføyde trioer (2008-9) for piano duet, Derde symfonische etude (2013) for two pianos, his voice/was then/here waiting (1996) for two pianos, and Eighteenth-Century Novels: Fanny Hill (2006) for two pianos. There will also be a rare chance to hear Finnissy’s Sardinian-inspired Anninnia (1981-2) for voice and piano, for the first time in several decades.
Keynote speakers will be Roddy Hawkins (University of Manchester), Gregory Woods (Nottingham Trent University, author of Homintern) and Ian Pace (City, University of London). The composer will be present for the whole event, and will perform and be interviewed by Christopher Fox (Brunel University) on his work and the History in particular.
The composer and photographer Patrícia Sucena de Almeida, who studied with Finnissy between 2000 and 2004, has created a photographic work, continuum simulacrum (2016-17) inspired by The History of Photography in Sound and particularly Chapter 6 (Seventeen Immortal Homosexual Poets). The series will be shown on screens in the department and samples of a book version will be available.
Patrícia Sucena de Almeida, from continuum simulacrum (2016-17).
The full programme can be viewed below. This conference also brings to a close Ian Pace’s eleven-concert series of the complete piano works of Finnissy.
A separate blog post will follow on The History of Photography in Sound.
All events take place at the Department of Music, College Building, City, University of London, St John Street, London EC1V 4PB.
Thursday January 19th, 2017
09:00-09:30 Room AG09.
Registration and TEA/COFFEE.
09:30-10:00 Performance Space.
Introduction and tribute to Michael Finnissy by Ian Pace and Miguel Mera (Head of Department of Music, City, University of London).
10:00-12:00 Room AG09. Chair: Aaron Einbond.
Larry Goves (Royal Northern College of Music), ‘Michael Finnissy & Wolfgang Amadeus Mozart: the composer as anthropologist’.
Maarten Beirens (Amsterdam University), ‘Questioning the foreign and the familiar: Interpreting Michael Finnissy’s use of traditional and non-Western sources’
Lauren Redhead (Canterbury Christ Church University), ‘The Medium is Now the Material: The “Folklore” of Chris Newman and Michael Finnissy’.
Followed by a roundtable discussion between the three speakers and composer and Finnissy student Claudia Molitor (City, University of London), chaired by Aaron Einbond.
12:00-13:00 Foyer, Performance Space.
13:10–14:15 Performance Space.
Concert 1: Michael Finnissy: The Piano Music (10). Michael Finnissy, Ian Pace and Ben Smith play Finnissy’s works for two pianos or four hands.
Michael Finnissy, Wild Flowers (1974) (IP/MF)
Michael Finnissy, Fem ukarakteristisek marsjer med tre tilføyde trioer (2008-9) (BS/IP) (London premiere)
Michael Finnissy, Derde symfonische etude (2013) (BS/IP) (London premiere)
Michael Finnissy, Deux jeunes se promènent à travers le ciel 1920 (2008) (IP/BS)
Michael Finnissy, his voice/was then/here waiting (1996) (IP/MF) (UK premiere)
Michael Finnissy, Eighteenth-Century Novels: Fanny Hill (2006) (IP/MF) (London premiere)
Max Ernst, Deux jeunes se promènent à travers le ciel (1920)
14:30-15:30 Room AG09. Chair: Lauren Redhead (Canterbury Christ Church University).Keynote: Roddy Hawkins (University of Manchester): ‘Articulating, Dwelling, Travelling: Michael Finnissy and Marginality’.
15:30-16:00 Foyer, Performance Space.
16:00-17:00 Room AG09. Chair: Roddy Hawkins (University of Manchester).
Keynote: Ian Pace (City, University of London): ‘Michael Finnissy between Jean-Luc Godard and Dennis Potter: appropriation of techniques from cinema and TV’
17:00-18:00 Room AG09. Chair: Christopher Fox (Brunel University).
Roundtable on performing the music of Michael Finnissy. Participants: Neil Heyde (cellist), Ian Pace (pianist), Jonathan Powell (pianist), Christopher Redgate (oboist), Roger Redgate (conductor, violinist), Nancy Ruffer (flautist).
19:00 Performance Space.
Concert 2: City University Experimental Ensemble (CUEE), directed Tullis Rennie. Christopher Redgate, oboe/oboe d’amore; Nancy Ruffer, flutes; Bernice Chitiul, voice; Alexander Benham, piano; Michael Finnissy, piano; Ian Pace, piano; Ben Smith; piano.
Michael Finnissy, Yso (2007) (CUEE)
Michael Finnissy, Stille Thränen (2009) (Ian Pace, Ben Smith)
Michael Finnissy, Runnin’ Wild (1978) (Christopher Redgate)
Michael Finnissy, Anninnia (1981-82) (Bernice Chitiul, Ian Pace)
Michael Finnissy, Ulpirra (1982-83) (Nancy Ruffer)
Michael Finnissy, Pavasiya (1979) (Christopher Redgate)
‘Mini-Cabaret’: Michael Finnissy, piano
Chris Newman, AS YOU LIKE IT (1981)
Michael Finnissy, Kleine Fjeldmelodie (2016-17) (World première)
Andrew Toovey, Where are we in the world? (2014)
Laurence Crane, 20th CENTURY MUSIC (1999)
Matthew Lee Knowles, 6th Piece for Laurence Crane (2006)
Morgan Hayes, Flaking Yellow Stucco (1995-6)
Tom Wilson, UNTIL YOU KNOW (2017) (World première)
Howard Skempton, after-image 3 (1990)
Michael Finnissy, Zortziko (2009) (Ian Pace, Ben Smith) (World première)
Michael Finnissy, Duet (1971-2013) (Ben Smith, Ian Pace) (UK première)
Michael Finnissy, ‘They’re writing songs of love, but not for me’, from Gershwin Arrangements (1975-88) (Alexander Benham)
Michael Finnissy, APRÈS-MIDI DADA (2006) (CUEE)
Marcel Duchamp, Nude Descending a Staircase, No. 2 (1912).
21:30 Location to be confirmed
Friday January 20th, 2017
10:00-11:00 Room AG21.
Christopher Fox in conversation with Michael Finnissy on The History of Photography in Sound.
11:00-11:30 Room AG21.
11:30-12:30 Room AG21. Chair: Alexander Lingas (City, University of London).
Keynote: Gregory Woods (Nottingham Trent University): ‘My “personal themes”?!’: Finnissy’s Seventeen Homosexual Poets and the Material World’.
14:00-21:00 Performance Space.
Concert 3: Michael Finnissy: The Piano Music (11): The History of Photography in Sound (1995-2002). Ian Pace, piano
14:00 Chapters 1, 2: Le démon de l’analogie; Le réveil de l’intraitable realité.
15:15 Chapters 3, 4: North American Spirituals; My parents’ generation thought War meant something
16:35 Chapters 5, 6, 7: Alkan-Paganini; Seventeen Immortal Homosexual Poets; Eadweard Muybridge-Edvard Munch
17:50 INTERVAL (wine served)
18:10 Chapter 8: Kapitalistische Realisme (mit Sizilianische Männerakte und Bachsche Nachdichtungen)
19:20 INTERVAL (wine served)
19:35 Chapters 9, 10, 11: Wachtend op de volgende uitbarsting van repressie en censuur; Unsere Afrikareise; Etched Bright with Sunlight.
What characterizes the so-called advanced societies is that they today consume images and no longer, like those of the past, beliefs; they are therefore more liberal, less fanatical, but also more ‘false’ (less ‘authentic’) – something we translate, in ordinary consciousness, by the avowal of an impression of nauseated boredom, as if the universalized image were producing a world that is without difference (indifferent), from which can rise, here and there, only the cry of anarchisms, marginalisms, and individualisms: let us abolish the images, let us save immediate Desire (desire without mediation).
Mad or tame? Photography can be one or the other: tame if its realism remains relative, tempered by aesthetic or empirical habits (to leaf through a magazine at the hairdresser’s, the dentist’s); mad if this realism is absolute and, so to speak, original, obliging the loving and terrified consciousness to return to the very letter of Time: a strictly revulsive movement which reverses the course of the thing, and which I shall call, in conclusion, the photographic ecstasy.
Such are the two ways of the Photography. The choice is mine: to subject its spectacle to the civilized code of perfect illusions, or to confront in it the wakening of intractable reality.
Ce qui caractérise les sociétés dites avancées, c’est que ces sociétés consomment aujourd’hui des images, et non plus, comme celles d’autrefois, des croyances; elles sont donc plus libérales, moins fanataiques, mais aussi plus «fausses» (moins «authentiques») – chose que nous traduisons, dans la conscience courante, par l’aveu d’une impression d’ennui nauséeux, comme si l’image, s’universalisant, produisait un monde sans differences (indifferent), d’où ne peut alors surgir ici et là que le cri des anarchismes, marginalismes et individualismes : abolissons les images, sauvons le Désir immédiat (sans mediation).
Folle ou sage? La Photographie peut être l’un ou l’autre : sage si son réalisme reste relative, tempére par des habitudes esthétiques ou empiriques (feuilleter une revue chez le coiffeur, le dentist); folle, si ce réalisme est absolu, et, si l’on peut dire, original, faisant revenir à la conscience amoureuse et effrayée la letter même du Temps : movement proprement révulsif, qui retourne le cours de la chose, et que l’appellerai pour finir l’extase photographique.
Telles sont les deux voies de la Photographie. A moi de choisir, de soumettre son spectacle au code civilise des illusions parfaits, ou d’affronter en elle le réveil de l’intraitable réalité.
Roland Barthes, Le chambre claire/Camera Lucida.
Eadweard Muybridge – A. Throwing a Disk, B: Ascending a Step, C: Walking from Animal Locomotion (1885-1887).
Patrícia Sucena de Almeida, from continuum simulacrum (2016-17).
The video of the full debate which took place at City University on June 1st, 2016 ‘Are we all Ethnomusicologists Now?’, is now online for all to view.
Participants were Amanda Bayley (Bath Spa University), Tore Tvarnø Lind (Copenhagen University), Laudan Nooshin (City University), Ian Pace (City University) and Michael Spitzer (Liverpool University). The debate was chaired by Alexander Lingas (City University).
The following are some other important links: first, reports and responses to the debate by Rachel Cunniffe and Ben Smith
I have published my own position statement online here.
Nooshin’s position statement and slides can be found here.
This debate has generated much discussion more widely, and hopefully will continue to do so. Many thanks to everyone for taking part.
This coming Thursday, July 7th, at 18:30 in the Performance Space, City University, I will be playing the fourth in my series of concerts to celebrate Michael Finnissy’s 70th birthday. Following the cataclysm of the referendum on June 23rd, Finnissy has composed a new set of three short pieces collectively entitled Third Political Agenda (2016). The individual titles of the pieces should speak for themselves:
- Corruption, Deceit, Ignorance, Intolerance
- Hier kommt ‘U K Ichbezogen Populismus’
- My country has betrayed me
I played the First Political Agenda in the opening concert of this series, on Tuesday February 16th, and will be playing the extended Second Political Agenda in a concert in the autumn.
The whole modified programme, which combines a selection of very early works with others mostly based on jazz or dance forms, many of them written in connection with Finnissy’s work with various dancers, is as follows:
Third Political Agenda (2016) [World premiere]
Polskie Tance Op. 32 (1955-62)
Four Mazurkas Op. 142 (1957)
Two Pasodobles (1959)
Freightrain Bruise (1972, rev. 1980)
23 Tangos (1968-99) [World Premiere]
Honky Blues (1996)
How dear to me (1991)
Willow Willow (1991)
Poor Stuff (1991, rev. 1996)
Sometimes I… (1990, rev. 1997)
Can’t Help Lovin’ Dat Man (1990)
Boogie-Woogie (1980, rev. 1981)
Fast Dances, Slow Dances (1978-79)
From Autumnall (1968-71)
Finnissy’s works like Freightrain Bruise use jazz-inspired idioms filtered through modernist languages of atonality, fragmentation and alienation, whilst Boogie-Woogie attempt a free improvisatory reconfiguration of this idiom in light of its appropriation by artists like Piet Mondrian.
From Freightrain Bruise (1972, rev. 1980)
The 23 Tangos, also receiving their first complete performance in this concert, span a wide range of Finnissy’s compositional career, including several pieces written in the 1960s and 1970s, an important work (No. 12, previously No. 4) written for a special Tango project by the late pianist Yvar Mikhashoff, two pieces (Nos. 7 and 17) inspired by works of Debussy and Rameau for related projects initiated by the pianist Stephen Gutman, and a host of others written as tributes or portraits to a wide variety of individuals, many of them composers or other individuals involved with new music (No. 2 for Laurence Crane, No. 4 for Jane Dudley, No. 5 for Elliott Schwartz, No. 6 for Howard Skempton, No. 8 for Colin Matthews, No. 10 for Alison Shockledge, No. 11 for Paul Driver, No. 13 for Andrew Law, No. 15 for Richard Steele, No. 18 for Joanne Johnson, No. 19 for Henrietta Brougham, No. 20 for Eve Egoyan, No. 21 for Thalia Myers, No. 22 for Salvatore Sciarrino, No. 23 for Jutta Avaly). Characteristically, Finnissy explores how to push to the limits a type of composition which retains some recognisable aspects of the idiom, and as such the set is extremely diverse, also working in mediated allusions to a range of other music including that of Beethoven, Busoni, Dukas, Sibelius, Barraqué and that of some of the dedicatees. I have been associated with this project since giving the first performance of the original Tangos 1-6 in my 1996 Finnissy series, then of Nos. 7 and 8 in the same series, and later several other premieres of the gradually expanding set. In the 2000s, Finnissy made various modifications to the series and re-arranged the ordering, but they have never been heard complete until now.
From Tango 17 (1999).