Did you hear about the Italian gallery owner who burned his gallery’s paintings last year — with the cooperation of the painters? It was a sort of desperate smoke signal to his government; a means of protesting funding cuts. If there haven’t been similar protests in the U.S. lately, it could be because we’re used to declining arts funding.
In today’s strained environment for arts support, the funding wonderland of Norway can incite jealousy. Yes, Norway is an oil-rich country; it also allots a respectable percentage of its oil wealth to pioneering art, making it a model for exactly what well-spent money for the arts can engender.
Especially in jazz. Public support has helped the country’s improvised-music scene expand from a handful of artists in the late ’60s to a thriving network of recording, performing and educational opportunities today. It’s not perfect, of course; I’ll address some chinks in Norway’s funding armor. But the country’s improvised music flourishes largely on public support.
It’s a cliché to refer to a “Nordic tone” in Norwegian jazz. Many still do, ascribing the geography of fjords and mountains to even the most urban musical productions. But if a single tone underlies Norwegian improvised music, it’s probably the sound of jingling kroner.
A Punkt Attitude Continue reading