The Routledge Handbook of Festivals

Abstract

tural occupations influences the very art that is composed and presented, which only serves to cement the norms people would hope to dislodge. Further, because it is so competitive to succeed in the cultural sector, those at the top are likely to have convinced themselves that while they may have had some “luck” along the way, they work in a world that is in fact meritocratic; this is true even though their political views lean predominantly to the left. And this is not new; to answer the question posed above, no, there was no golden age, and the arts have never been an engine of social mobility (though there are an exceptional few who do rise from the working class). All of this puts a tremendous burden on women and people from minorities. They can either endure the struggle of trying their best to fit with what is seen in the industry as the somatic norm or face persistent difficulties in finding work or advancement in the field. This sits atop the pressure of knowing that the opportunities for work in the cultural occupations is unequal; our well-being is reduced not only by not gaining the opportunities we hope for, but also for simply knowing it is an unfair contest. It weighs heavily. So, what is to be done? Two things. First, the degree of inequality in the cultural sector must be made visible. The stories of experienced inequality contained in this book, and all the thousands of others with their own experiences, must be told and heard. Those who possess all the advantages of “being the right fit” need deep understanding of the barriers facing those who do not. Second, and this will take longer: the “somatic norms” of the actor, the curator, the book reviewer, the film director, need to change. As that change takes place, the art that is made and presented to us will change, and so will the opportunities for all people to see something of themselves on stage, on the screen, and in the bookshop. Then culture will be good for you. This is the most vital book in cultural affairs I have read in years.