The world is not the same as it was before. Over the past few weeks we have been inundated with news and information about self-quarantines, social isolation, and a virus that has the potential to take thousands, if not millions, of lives. With national economies grinding to a halt and governments injecting billions of dollars into them, borders closing, and the word war being used more and more frequently, the impact this episode will have on the future is inestimable.
While this global pandemic affects every aspect and component of everyday life, the arts and culture sector has received a particularly severe blow. With concerts cancelled around the world and artists being released from contracts and freelance arrangements, performers are struggling to determine how to manage their lives and careers, and to plan for a highly unpredictable future. To put it mildly, the performing arts is not, by and large, a work from-home sector; it is the gathering of people to share in a communal experience that lies at the heart of what it means to be a musician, whether in a church or concert hall, and the loss of this fundamental participatory component has rendered the entire cultural sector inert. While broadcasts and livestreams can replicate the concert experience to an extent, the inherently human facet of congregational listening (in both secular and sacred contexts) is left wanting. In short, it simply feels different when it’s not in person.
This is not, however, the first time that global events have impacted the arts in a wide-scale way, threatening to decimate an already precarious industry. Over the last five centuries there have been numerous instances in which war and disease have affected and influenced the process and product produced by composers and performers, and we learn that severe societal unrest has the power to evoke significant artistic changes. Consider, for example, the rise of the avant-garde after the World Wars, where composers such as Boulez, Stockhausen, Schnittke, Ligeti, Nono, Berio and Penderecki produced radical and often grotesque musical representations of the terrors of war. Little consolation, but it may be that such radical advancements in the musical lexicon might never have resulted if not for the immense anguish and savagery of war?
And here are some other examples.