MOTAL, Jan. Professional artists and the division of labour, or How not to reproduce inequalities. Online. In Naďa Satková. Touching Limits/Crossing Borders od Theatre. Special Issue 04. Brno: Divadelní fakulta JAMU, 2023.
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Basic information
Original name Professional artists and the division of labour, or How not to reproduce inequalities
Name (in English) Professional artists and the division of labour, or How not to reproduce inequalities
Authors MOTAL, Jan.
Edition Special Issue 04. Brno, Touching Limits/Crossing Borders od Theatre, 2023.
Publisher Divadelní fakulta JAMU
Other information
Original language Czech
Type of outcome Proceedings paper
Field of Study 60403 Performing arts studies
Country of publisher Czech Republic
Confidentiality degree is not subject to a state or trade secret
Publication form electronic version available online
WWW URL
Organization unit Theatre Faculty
Keywords in English social practice; social transformation; artists; state; labour; public service
Tags DF_VaVneRIV_2023
Changed by Changed by: doc. MgA. Hana Průchová, Ph.D., učo 5216. Changed: 17/3/2024 18:54.
Abstract
In late-modern society, art is still a distinct field of human activity, as it developed in the course of the Industrial Revolution along with the diversifying division of labour. Whereas in mass society art could rely on the power of the audience or the support of collective institutions or political parties, today the artist is in the same situation as other precarized industries – like journalists or educators, he or she is undergoing a massive deprofessionalization (expressed in the tabloidization of theatre and media). Artists are therefore seeking the attention and support of the state, which should protect their professional status and recognise their activity as a specific public service. But do we know what this really means? Is it not just a convenient collaboration with the modern state, which is the ultimate manifestation of the modern division of labour that, alongside opportunities, breeds above all – social inequalities? Have not we, as artists, lost our relationship with the people, to whose everyday life all engaged art should be indebted? This anarchistic dialogue between a contemporary engaged artist and a retired avant-garde socialist of the fin-de-siecle offers a dialectical reflection on the relationship between professionalism, art and social practice that seeks social transformation towards a more just and free society.
Abstract (in English)
In late-modern society, art is still a distinct field of human activity, as it developed in the course of the Industrial Revolution along with the diversifying division of labour. Whereas in mass society art could rely on the power of the audience or the support of collective institutions or political parties, today the artist is in the same situation as other precarized industries – like journalists or educators, he or she is undergoing a massive deprofessionalization (expressed in the tabloidization of theatre and media). Artists are therefore seeking the attention and support of the state, which should protect their professional status and recognise their activity as a specific public service. But do we know what this really means? Is it not just a convenient collaboration with the modern state, which is the ultimate manifestation of the modern division of labour that, alongside opportunities, breeds above all – social inequalities? Have not we, as artists, lost our relationship with the people, to whose everyday life all engaged art should be indebted? This anarchistic dialogue between a contemporary engaged artist and a retired avant-garde socialist of the fin-de-siecle offers a dialectical reflection on the relationship between professionalism, art and social practice that seeks social transformation towards a more just and free society.
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