Impressions postmortem
Reactions to the article by Thomas Meyer Dissonance
improvised music is dead?
These few lines are adding a personal note to provide more articles published here and there that I could join. I refer also to the endless controversies which may raise term improvised music.
Whatever frustration reading this article, more ignorant than wicked indeed, but still harmful, I think that the problem is not what Mr. Meyer, but rather way of thinking about musical life in Switzerland. So in that sense (the Swiss musical life in a broader sense) that would add a few words flow already tripped clumsily by section of Dissonance.
Numbness in the country without fever
What strikes first and who has now been repeatedly noted is that young generations are absent from any discussion in this article. The paralysis that emerges then demonstrates the tremendous inertia of a country shy, embarrassed, who needs to move forward safely. It goes without saying that paying attention to young Swiss artist has never before Paris and Berlin did mean a leap into the void of the Swiss press.
must first ask who would be able to judge contemporary practices in structures over: print, broadcast (one hardly dares to mention this medium who lives in another country altogether). Switzerland thrilled when compared to its neighboring French and German when it comes to exceed the classical references and academic. A few blocks here and there to tell the practices inventing itself. But the trades are sporadic and often academic. Elsewhere in the meager cultural inserts daily, self-censorship is the rule, the public should be reassured.
The music and the most recent artistic practices, often unclassifiable, and in which improvised music is integrated, as well as new approaches to composition, but also of sound art, performance, etc. constitute the challenge ... any living culture throws museumizing classifications. But it is rare to see the challenge faced in our country.
If this country seems small, it must be said that it is mostly in terms of artistic ambition, cultural. If it is quite another for finance, pharmaceuticals or sale of weapons (I do not wander not later), players are faced with the cultural bastion of a press erected guardians of a social contract with a fixed assumed people unfit to innovations.
The federal structure of Switzerland is still adding to the feeling of living in cramped, in a country that sees its artists often exported. It is also intriguing to note the echo off border enjoyed most of the Swiss artists ignored by the article, their countless European connections (and sometimes beyond) in the light of this lack of recognition in Switzerland.
The Swiss culture and its most notable absentee: Switzerland
The most characteristic obvious Switzerland is probably because the federal system. It means, first, the lack of true common line.
What is the federal policy on culture?
As I said above, this ticket does not specifically mood Thomas Meyer, but it must be said it is significant that someone who thinks like him is affiliated with Pro Helvetia.
Despite a clear line or a common effort to rebalance the regions, federalism merely refer the responsibility of the cantons and communes. It is no longer bother to remember the difficulties faced trans-cantonal projects failing to meet the changing and unclear criteria of Pro Helvetia.
That's the identity of this country as a whole that is problematic, the absence of a joint initiative, minority areas, (eg speaking to mention what I know best), often pays the price of lack of recognition (if not more) of their work with a more institutional Switzerland.
networks yes, but voices?
I do not want these lines do believe that I think cultural life depends only on political and economic structures. It's just that this article is the opportunity to highlight the lack of recognition and relay facing cultural actors here.
artists cited in the article Dissonance know something, for having fought for decades before being granted recognition.
artistic practices are part of the social fabric and question the anchor of the artists. the world around them. And on this side meaning the Swiss artists are often tragically ... Switzerland. I
means by that the fear up the challenge, making noise after 22h, the controversy, claim status or claim of all.
It is true that the period we live is not conducive to clear and dogmas. I do not really anxious and feel very much aligned with this structure in starfish, the many networks that make up this country and the entire European scene. No need to bring everyone together under one banner.
What worries me more is that in Switzerland it is very rare to see musicians said what they say these days, and be ready to write down their ideas, to come together for recall that, for example, the Swiss improvised music (and its branches to other music, disciplines and countries) is interesting, challenging and important to the life in Switzerland. If I want to take part is that I think it is the Fringe's most exhilarating musical practice of that country.
No conclusion, but for the future: Thank you Mr. Meyer!
As I just mentioned the initiatives taken and of words in recent days are rare and must therefore use one of the few stepping stones available to us to be heard.
Dragos Tara
musician
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