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PrintYou may have been in the presence of a writer – any kind of artist – during the moments after they’ve read a review of what they’ve created.  If it’s a good review, as in the reviewer has come down on the side of the work, the producer of that work will be happier than they’ve ever felt before in their life, or so it feels at the time.  If it’s a bad review, as in the reviewer has not come down on the side of the work, the producer of that work will be more miserable than they’ve ever felt before in their life, or so it feels at the time.  Either way, however, why does it matter so much?  Is it really that important?  Shouldn’t the artist have sufficient confidence in their practice and work to enable a mature and reasonable response to a review, no matter what judgements and conclusions might have been made?  And isn’t it true that the work is not the person behind it, that there’s a separation to be made?  Isn’t this the best kind of protective mechanism?

As someone who’s had their work reviewed – sometimes positively (every so often amazingly positively), sometimes nowhere near as positively as I’d dreamt – I do understand these things.  Even if I wish I didn’t, that I was strong and big enough not to care.

Perhaps all this matters because every artist simply wants a considered response, for it’s taken days and weeks and months and years, sometimes decades, to create something they consider worthwhile.  It is wonderful when family and friends and sympathetic others say they enjoyed the work, that they were moved, that it ended up meaning a lot to them.  But there’s that other kind of response, from someone whose job it is to consider context, goals and ambition, technique, and ultimately make some kind of evaluation of worth against the broader cultural register.  An authority, an expert has given the work a close reading, and a pronouncement has been made.  It would be difficult to find an artist who didn’t appreciate this kind of response to what they’ve created, even if they’d like to suggest otherwise.

All these questions and issues will be discussed on Friday 18 October 2013 at a forum organised by the Childers Group, an arts advocacy body for the ACT region (and beyond).  The forum, which is better described as a ‘Q and A-style’ panel discussion, will include participation from Centenary of Canberra Creative Director Robyn Archer, Chief Executive Officer of Ausdance National Roslyn Dundas, eminent author Marion Halligan, Artistic Director/CEO of the Street Theatre Caroline Stacey, longtime Canberra Times stalwart Jack Waterford, and Editor of BMA Magazine Ashley Thomson, amongst others.  If you’re in or near this neck of the woods, and you’re worried about what’s perceived to be fewer opportunities for truly independent and robust review (the sort that is beyond simply online opinion), then you may well want to drop in and get involved.  For more information, head on over to the Childers Group website.

Here endeth the community service announcement.

And if you hadn’t already gathered, I’m a member of the Childers Group.  A foundation member even.  Never imagined that I’d be a foundation member of anything.  Other than Melancholics Anonymous.

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