In a democratic society, art is politics in the widest sense, a celebration of common values which sweep away the old and clears the way for the new needs of man.
Victor Jara, Chilean play producer, singer guitarist, was a supporter of the Allende regime. In the military coup that followed he was assassinated on 15th September 1973. They broke his guitar fingers before breaking his spine. Bullets were then shot into his body.
He is one more addition to the many creative people in history who have become too dangerous to live. For the arts are not amusements, ornamental skills, diversions, comforts for tired businessmen or social polish for the pretentious. At least, not to the men who wield political power. The arts communicate and communication is the most potent force for progress and change.
History is full of the power of the arts, not the overt expression of dissatisfaction nor the blatant clarion call to rise and fight but the uniquely potent expression of ideas which show that man is ready for change. Art is a barometer and a celebration, a mirror to the emotional and intellectual development of man. The artist says, “This is man, how he feels, how we feel,” and once said, it can never be repealed. The ideas catch fire in the minds of men, not because they are new and logical but because they express clearly what people feel but cannot quite themselves make known.
George Bernard Shaw provocatively said that art is propaganda. It is this but far more. In a democratic society, art is politics in the widest sense, a celebration of common values which sweeps away the old and clears the way for the new needs of man.
This does not mean that artists are consciously political in the modern use of the term. In fact, the moment an art becomes consciously political, it usually ceases to be art. The pamphleteer is not an artist because he knows rationally exactly what he wants to say before saying it. He may express new values but they are communicated on a mechanically logical level. There is no bridge of feeling between the old and the new for the mass of the people, still struggling to understand their own feelings, to make the crossing. Art does not lead the needs of man; it expresses them and man, whose evolution is on a social and economic level rather than a physical one, can develop further because he then knows clearly where he is. He recognizes as his the values expressed by the artist.
But some artists do not communicate in their own time. They may lead the way for other artists to follow but they themselves may be a little too far ahead of their time. These artists are sometimes called “important” as distinct from “great”, the universally recognized artists who signify a whole epoch or “celebrate” a common feeling.
Both kinds of artists can be dangerous to the established powers but the “important” artists are more easily destroyed than the “great” ones. They are less supported, less recognized and their deaths provoke less reaction.
The Un-American Activities Committee could not destroy Charles Chaplin or Arthur Miller nor could the Soviets destroy Yevtushenko but artists with less recognition, ahead of their time and people, are frequently destroyed in the power struggles of the world.
President Allende did not have the control of the Chilean parliament or of the army and his own political programme did not have the understanding of the peasants. He was supported as a leader and all this suggests that he was not really the spokesman for the people. The intellectuals and artists who supported him were therefore not truly representative of the people; they were a little before their time. Victor Jara died because his death meant a delay in his ideas developing among the people. Had he been expressing true national feelings, his martyrdom would have been too dangerous because of the possible reaction. More importantly, his martyrdom would have been irrelevant because his values would already be held by the majority of people anyway.
Throughout the world, the fate of the Allende administration has been hailed by the left and the right wings as an illustration that a majority of people cannot change society by democratic and constitutional methods. In actual fact it merely illustrates the futility of a vanguard group trying to lead an ignorant mass of followers into a change which the majority do not understand. When you can destroy a leader and destroy a cause, destroying a leader is obviously the best solution.
A second moral can be drawn. We must learn to respect and protect our artists whatever their political opinions. A society which neglects them is destroying its capacity to change.
Mark Fury,
S. P. of New Zealand
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