Introduction
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How do persons in different occupational roles interpret the concepts of artistic freedom, and equality and diversity, in their daily work process?
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How are these interpretive practices related to the power relations in the creative processes?
Ethics, Equality, and the Emergence of Inequality Regimes
Inherent Inequality in Art and Cultural Organizations
The Case Study
The Empirical Setting and Selection of the Material
Interviews and Observations
Name (pseudonym) | Position | Gender | Number of interviews | Length of each interview |
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Mary | Artistic Director | Female | 2 | 00:55:48/ |
David | Artistic Director | Male | 3 | 00:43:36/00:28:30/00:16:18 |
Louise | External Producer | Female | 01:05:28 | |
Christine | Producer | Female | 3 | 01:25:52/00:35:00/00:39:09 |
Angela | Actress | Female | 2 | 00:55:47 |
James | Artistic Director | Male | 1 | 01:22:52 |
Susan | Communication and Marketing | Female | 2 | 00:49:28/ 00:41:06 |
Interpretation and Analysis
Results
Artistic Freedom as a Manifestation of the Ethical Commitment to Aesthetic Expressions
Second, we find that little emphasis and explanation have been designated to unpacking the subject of artistic freedom/autonomy in a production process. As performing arts productions are processes of close collaborations of a group of individuals (artists), it is important to understand whose freedom is privileged in an artistic process and whether others’ artistic freedom may be compromised. Yet, differing from formal power relations that are indicated by the hierarchical structures, the authority in an artistic, creative process is covert and often taken as a ‘common-sense’ practice. This leads to the invisibility of inequality. The privilege of decision making that spills over the artistic domain is also legitimized (e.g. Acker, 2006; Ahmed, 2007). We detect a tendency that the ambiguous use of artistic freedom legitimizes and perpetuates differentiated status between artistic and administrative workers (Ahmed, 2007). Moreover, it results in forming unspoken rules of practice and informal power relations in work processes, which, in turn, enforces centralized authority and decision making and maintains inequalities within the organization (e.g. Acker, 2006). For example, according to both internal and external producers, people tend to refer to the authority of art and aesthetics not only for artistic guidance but also for recruitment of cast members and decisions of wage and salaries of the casting members.It has been difficult for me to find an integrated focus in my work as everyone tends to pull from different directions. Of course, there is an obvious high status and priorities for artistic work. But then when we try to ‘bring fine quality art to everyone everywhere’, we wonder who decides what people would like to have?
Artistic Freedom as Camouflage for Centralized Aesthetic Authority in Creative Processes
Mary is not alone in terms of setting legitimate ground by enacting the democratic values of the concept of artistic freedom. Many other correspondents use the term in similar ways to emphasize their focus on the democratic ideals in art and cultural work. However, as Mary pointed out, in actual practices in the creative processes taking place at SNTT, the understanding of artistic freedom gains a different meaning. A respect for hierarchies of power often overshadows the notion of expressionist justice. In this case, Mary executes the artistic decision-making power by allocating different bodies for different dance genres based on her understanding of the tradition of the art (Ahmed, 2007).I think artistic freedom ... to some extent is related to freedom of expression for my part and the free world. If I think that I am an artist and I make a performance or an object and claim that it is art, then I think it is art. It is not always certain that there is some institution or art hall that wants to show it, but at least I got to express myself artistically. I think we are all entitled to that.Leading an artistic process is, however, different. I am the decision maker here. You see, I just cannot let all types of bodies to be on the stage to present all types of dance genres, you know what I mean. For some traditional western dance, only some bodies would be suitable. So, I have to make the decision on that choice.
The process of an artistic event, such as a theatre performance, is perceived as the summary of a series of aesthetic choices. Aesthetic authority is our articulation of the expressed necessity of decision power over aesthetic choices to certain people in the organization, to the extent where abuses of this position of power seem impossible to protest or oppose. Although there is no formal hierarchical structure in artistic processes at SNTT, and the right of artistic freedom is alleged to apply to all members of the team, we find that the cast members (including actors, producers, costume and scenographers) unanimously hold the view that the Director of a theatre play holds the privilege of artistic freedom in a hierarchy of relations (Bourdieu, 1996; Mangset et al., 2012).I am grateful that I get jobs. You know, as a Latin-American, with my hair and look, I don’t easily get to be included in every play. There has to be the scripts that suit me. I am grateful that some directors see my quality over my ethnicity and appearance.
This quote confirms that it is the ‘decision maker’, the Director, who exclusively enjoys the artistic freedom and embodies hierarchy structures in the seemingly meritocratic context. It is a position informed by the classic notion of genius in the autonomous tradition, a role historically almost exclusively reserved for white men (Belfiore & Bennett, 2007; Flisbäck, 2013; Myndigheten för kulturanalys, 2015). This informal decision-making structure, and thus this articulation of artistic freedom, is legitimized based on the understanding that it safeguards artistic quality, which is another important part of the Swedish national cultural goals (Prop. 2009/10:3). However, the structure creates an inequality regime with aspects such as patterns of segregation and power differences where some have restricted opportunities for influence. Although some respondents acknowledge these issues, the hegemonic position of artistic freedom as aesthetic authority offers little opportunity for resistance. Instead, they need to be ‘players of the game’. Thus, we find that artistic freedom is interpreted as and used to designate aesthetic authority.You won’t get any formal document indicating ‘who is the boss,’ but I think the formal power lies in the hands of the Directors. They are the real project leaders who have the trust of the cultural organization, which are assigned with both the responsibilities and power by the art producing organization or by specific, influential persons in that organization. Yes, they are the real ‘bosses’ in the artistic project.
As a producer working with the most practical duties in a production process, Christine is well aware of the underlying power distribution in a production team.Oh, I thought artistic freedom is not relevant to my work; this is the matter for Directors. It depends on what relationship you have to the Director and how much you can talk, but there may be some things (…) “oh, why did you remove that scene, it was so damn good. It was so nice,” or something like that (…) But ... the Director has to decide for himself whether to change it or not.I take care of things, but I do not create artwork. It is the Director who creates. But I always read the manuscript, of course. I need to know what kind of work each department should deliver according to the manuscript. Sometimes when I am familiar with the Director, I might tell my opinions about, for instance, the costume or even scenography.
Similar to Christine, Angela, responded to me with a very modest attitude regarding her interpretations of ‘artistic freedom’:There are no formal rules or an organizational chart in a production process, but everyone understands how to play the game. I am not one of the ‘artistic members,’ so I just do my duties and responsibilities. But of course, there is an unspoken power structure, and the Director sits on the top of it.
The quote of Angela simultaneously reflects a sense of insecurity as a professional actor. The recognition and opportunities of work in performing arts are reliant mainly on network relations (e.g. Thanki & Jefferys, 2006–07; Miscevic, 2014). The core members of the casting team are often handpicked by the Director. It is, therefore, understandable that Angela feels ‘grateful’ to be part of the cast and avoid questioning the aesthetic authorities. Such concerns may be hidden underneath her ‘voluntarily’ designating the right of artistic freedom to the Director, who represents the ultimate aesthetic authority.I actually do not think about it very often. It is up to the Director to make decisions on different roles. I am simply happy to be included in production. I often try to deliver what the director crafts. I guess it depends on whom you work with. I might be able to make some influence when I know the Director is fine with it. I did make them change the costume for my role once. And in my most recent performance, the Director made some changes to my script so that it suits my personality better.
Nonetheless, whereas people seemed to be unanimous about the possession of artistic freedom and recognized the power of the ‘person in charge’, they occasionally voice dissatisfaction and challenge the central aesthetic authority. When other members than the artistic authorities make an aesthetic judgement, their power to influence artistic processes and decisions is later limited. Some witnesses having agreed-upon choices made in the dialogue are later revoked without explanation. Louise, the external producer, gave an example of situations of injustice:They have my full trust and support. They are prominent and competent artists. They have full freedom in the creation process. I hope they can consider equality, diversity and inclusion in their artistic creation, but it is within their authority to execute the artistic freedom so I should not interfere. If one production lacks the equality scale, I will try to make sure other productions can show a better result. I might give a very mild reminder. But then I will leave them alone.
This encounter results from interpreting someone’s artistic freedom claiming the sole power to the ‘aesthetic authorities’ who primarily extinguish themselves through specific educational merits (having the right educational merits from the right school). At best, this serves a legitimate division of labour where the chain of decision power serves quality in aesthetic processes (Acker, 2009). The interpretation of artistic freedom as the aesthetic authority is seldom questioned, evident in the way, many respondents express surprise regarding questions about artistic freedom and how they seem to have seldom reflected upon this notion. At worst, aesthetic influence from people without the formal merits to occupy the role of aesthetic authority is made invisible, and their contribution to the artistic process is downplayed and attributed to the person on top of the hierarchy. Hence, the meaning making of ‘artistic autonomy’ as aesthetic authority strengthens a centralized decision power in artistic, creative processes in a chain of power that impedes efforts to compensate those exposed to injustices regarding aesthetic influence and work.In the project where I got the most attention, I believe it was all because of another colleague who was unfortunately not being fairly treated. He gave all the creative ideas but not a proper background. We had difficulty providing him employment in the project mean, they worked out a form of employment for him, eventually, but it took a long time, and the solution could not justify his contribution to this project.
Artistic Freedom and the Formation of Inequality Regimes that Hamper Differences
Similar to David’s other quote, this one shows his trust and respect for the ultimate aesthetic authority, the Director. He justifies the possible inequality in the recruiting process by claiming to protect the democratic ideal of artistic freedom. Thus, as the ‘balancer’, David incorporates and harmonizes the different democratic ideals of artistic freedom. This results in that the hegemonic position of aesthetic authority is carefully preserved, even in recruitment situations that go against official guidelines since recruitment via networks is known to perpetuate inequalities (Acker, 2009; Myndigheten för kulturanalys, 2015). Being an artistic leader, David’s attempt to balancing the interpreted dichotomy between art and equality defines the meaning of artistic freedom. However, the centralized authority for interpretations of artistic freedom hampers possible concerns over inequalities in artistic projects, such as control over resources, the organization of work, opportunities and benefits, pay and other monetary compensations etc. (e.g. Acker, 2006; Ahmed, 2007).In this position, I am responsible for taking care of several important aspects at the same time. While considering the importance of issues around equality and diversity, I need to respect artistic freedom, too. So, if I see a casting team which does not contain diverse members, I do not want to pressure the Director but hope we can do better in the next project.
Many artists come with baggage and some experience from other institutions, and sometimes they believe things ought to be done in a certain way. And then I stand there a bit like a goalkeeper, or an ambassador and say “no, but we are open to equality and we are different from the rest”. And then as soon as you start scratching a bit on the surface you will notice that there are still older structures, then you also have to be able to defend it in a good way.
The above quote expresses how the value of art is not only exclusively determined by the art world but also gains importance from its audiences. This, in turn, relates to the interpretation of the concept of art and who art is for. SNTT is a public-funded organization, and it needs to orient itself in relation to legislation and government cultural policy goals, formulating the understanding of culture as an expressionist justice; everyone should be able to enjoy, create, and experience art (Prop. 2009, p.10). The general notion of art and work of art, however, entail ‘art for the sake of art’ tradition with no other embedding purposes than itself (Belfiore & Bennett, 2007). This, too, becomes a set of dichotomies where interpretations of equal access to art and artistic freedom are constructed to contradict each other.We need the repertoires that address equality and diverse audiences. This is the only way for us to meet the audience. So, we, as an institution must be relevant to the audience whom we want to reach. If we are to be relevant, and it is both an artistic and democratic mission. And here you cannot distinguish between them. So, there is a debate on whether the artwork should be just artistic. But it is the tax money we get, we have to produce for everyone everywhere, and we also have to reflect the reality of society, with all its complexities. One producer simply cannot fulfil all missions just within one year, reflecting the entire complexity of the society.
The quote shows an example of which equality, diversity, and inclusion are not compromised for the insistence of artistic freedom; rather, it is viewed as a supplement to the quality of the art. Aiming to attract people from diverse backgrounds, James sought the opinion of the organization’s strategist of equality matters. However, James, who identifies himself as both the administrator and an artist, struggles to articulate a mutual existence of the political ideal and goodness of art as if it violates the true meaning of ‘art for the sake of art’ (Belfiore & Bennett, 2007):You see, we would like to include all kinds of bodies on the stage. This is both important for dance and also for equality matters. Although we assure everyone that they are here with us because of their dance technique, not the tokenism of a type of body, we also realize that we do include them for a reason. For example, when one of our black dancers chose to leave one production, my colleague said to me ‘now we have to look for a black dancer’. So you see, we try to achieve equality, diversity and inclusion without the expense of quality in art, but it is both difficult and complicated.
Obviously, in performing arts, inequality regimes do not only emerge from formal structures and processes, but are also implicitly embedded in mundane decision-making processes in auditions and selections in daily routines that are often oriented around ‘whiteness’ (Ahmed, 2007). In James’ and David’s dilemma, we read out that artistic quality is viewed as a factor bringing legitimacy to a cultural organization, more so than diversity, which explains the reason why it is seen as of higher value. The dancers acknowledge this hierarchy of value and oppose the idea that the presence of their bodies is but a signal of organizational commitment to equality and diversity (Ahmed, 2007). Furthermore, the concerns often are related to the notion of representation. Respondents generally react negatively to the concept of representation, as it is related to values outside the artistic process, which is hegemonically constructed as belonging to specific individuals who are predominantly white men (Myndigheten för kulturanalys, 2015; Robinson, 2007). We find that the producers usually accept the interpretation of artistic freedom as aesthetic authority to the extent that they find it a bit difficult to put into words. Their expressions of experiences confirm our concerns. As Louise, the external producer stated:We asked for suggestions for formulating an advertising text for an audition. The intention is to attract people with different types of dance training, body shapes, forms, colors. This is both for consideration of artistic quality and for equality. However, when my dancers’ ask me whether they are picked for their skin colour or dance technique, I always ensure them that it is their dance skill that caught my attention. You see, the equality part can be sensitive. I don’t want people to feel they are representations.
This above quote validates concerns of possible inequality regimes hidden beneath a well-presented image of diversity (Ahmed, 2007). It also further reveals the complexity and ambiguity in SNTT’s attempts to achieve social and artistic democratic goals.On the stage or in what we present, you can see quite good presentations of ‘equality, diversity and inclusion’. However, during the working processes, the artistic creation processes, I have experienced many unequal and unfair incidences behind the stage.