(The amazingly brilliant Jess wrote an amazingly brilliant post a while ago. And so, I’m breaking my rule of blogging about the silliest of the silly, to add my thoughts. I was originally going to leave a comment, but the comment got longer and longer, so I thought it best to move it over here. Also, I took a really long time posting this. I excel at planning, but suck at follow through)
I’ve been thinking a lot lately about the problems with professionalization or the problems that institutionalization brings to professions.
I think the main issue of the divide between professionals and, for lack of a better word, outsiders, is privilege.
Some voices, ideas, hell, some people are valued more than others and that is the nature of the beast. We know that in our society, there are just some things that are given more value than others. African, Asian, or any traditional folk medicine (including those here in America. I have two deeply Southern parents; ask me about the much-derided “old wives tales” style of healing.) won’t be considered legitimate until someone else says so.
The insitutionalization of art frequently makes it inaccessible and irrelevant to people outside of the academy. Why should art, any art, be contained within an elitist system? What good is it? And if someone protests that someone needs to protect art from being dumbed down, well–such comments echo/smack of the idea that the “unwashed masses” have such plebian tastes, they can’t be trusted to know what is good.
Ah, the art world, as much as we’d like to believe that artists could create a more egalitarian society, they just don’t. I learned that at Burning Man. A place full of artists still relied on the most basic, the most hurtful, and frankly, the most stupid stratifications. And also by its essential structure, Burning Man sets itself up as a playground for the privileged. Honestly, who else can afford those tickets but people whose first concerns aren’t basic necessities. (Not that Burning Man is some indication of the art world as a whole, and I don’t mean it to be a stand-in for the “art world”, just an example.) I think this attitude is why we see so many stories being appropriated. Think of the recent scandal with Margaret Seltzer. This is the story of many people of color, and somehow it’s not seen as worthy of telling until told by a white woman. It’s an experience that has been validated just by who’s telling it.
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