Arts Against Cuts: "There is a long standing relationship between the aesthetic and emancipatory politics"

Submitted by AWL on 23 January, 2011 - 9:18

Louis Hartnoll, President of the University of the Arts London SU and an activist in Arts Against Cuts, spoke to Daniel Randall of Solidarity.

What are the origins of the campaign?

The collective are a group of students, lecturers, artists, cultural workers and those interested in creative resistance organising in a non-hierarchical structure against both the cuts and the ever increasing use of the arts and culture as a tool of ideological and political control. Since being set up around 3 months ago a number of direct action has been facilitated by the group and we will continue to do so indefinitely.

What sort of people are involved?

So far we have had a large number of very diverse participants and always welcome anyone to our open weekly meetings. As there is no single person or group steering the collective and anyone wishing to join in has just as much ability to shape the actions as those involved from day one.

How does AaC see itself fitting into a wider anti-cuts movement?

We have co-ordinated a number of direct actions at a variety of events organised by various anti-cuts groups. At our recent ‘Direct Weekend’ we facilitated space for Southwark Save Our Services alongside members of the PCS union and are actively looking to work with groups that are involved in similar struggles. Our next weekend of planning and action will be seeking to build for the TUC demo on the 26th March and we’re hoping to develop a strong visual and creative presence on and around the day.

Does AaC have an overall political perspective? Some sector-specific anti-cuts campaigns have been criticised for being “sectionalist” – i.e. not wanting their particular area/service to be cut but appearing to be less concerned about cuts elsewhere. What’s your/AaC’s view on this?

We are specifically titled ‘Arts Against Cuts’ and not ‘Against Arts Cuts’ for a reason. One of the reasons this grassroots collective has sprung up is due to the void that the conservative Save the Arts campaign left; one of their phrases ‘Cut us but don’t kill us’ is indicative of the politically lazy and ideologically weak insular campaign they have run. We will campaign against any and all cuts putting particular energy and focus into those that directly relate to culture.

There are obviously some class issues relating to art that go beyond the cuts – i.e. that many forms of “high culture” are seen to be the preserve of the rich. Beyond fighting the cuts, does AaC have a view on fighting for wider access to art and culture?

Certainly, the two are separate but inseparable issues. The boom in art as a luxury commodity during times of economic difficulties is highlights its use as a tool of economic and cultural dominance. This is an issue we’re taking on in various projects and actions planned and are actively seeking to work with small community based institutions.

What’s your view on the potential role of art within class struggle?

I personally think the role of creativity within struggle is extremely important; there is a long standing relationship between the aesthetic and emancipatory politics. It is important that the arts are not shunned to a periphery of political engagement or felt to be something left aside until after a revolution has taken place. We need to engrain that which we are fighting for into the very core of our practice and ensure we challenge both the role of art within neo-liberalism and also within our own organisations.

http://artsagainstcuts.wordpress.com/

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