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Thursday 16 October 2008

Unthinking dogmatism

James MacMillan explains why he hates the assumption that he is a liberal left-winger

My revulsion is particularly acute in the artistic circles I sometimes find myself in. I regret to say that the most eager acceptance of the new hectoring political puerilities are to be found in The Arts. This has its roots in Romanticism, of course, but a gradual systemisation of radical politics settled in the early 20th century. Think of how, from the 1920s, groups such as Imagists, Vorticists, Futurists, Surrealists, Expressionists habitually declare their commitment to Revolution. Yes, any old revolution would do, but as long as it overturned manners and lifestyles as well as aesthetics and politics.

This has nothing to do with a love of life, a love of the poor or the outsider, but all to do with a love of transgression. It becomes addictive and in the past has led artists as much to the extreme Right as to the far Left. Childish ‘anti-bourgeois’ militancy has no political intelligence or moral fibre. Witness, for example, Harold Pinter’s descent into infantilism every time he mentions the United States, or for that matter decides to write poetry. Rather than being ridiculed for the embarrassing doggerel-merchant he has become, he is lauded to the highest by his fellow-travellers, easily impressed by easy rhetoric and equally determined to maintain their favoured positions in the back-slapping arts establishment.

The legacy of this militancy can be seen nowadays in ‘arts criticism’ and the rise of a secular priesthood whose dogmas we now endure day in, day out. The common purpose of this new cultural élite is to attack the institutions and principles of our shared common life. What passes in Britain for an intelligentsia has appropriated the Arts for their own designs — a recent debate at the South Bank proclaimed ‘All Modern Art Is Left Wing’. No dissent from the party line goes unpunished. What we are seeing here is a cultural regime which adjudicates artists and their work on the basis of how they contribute to the remodelling, indeed the overthrow of society’s core institutions and ethics.

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