Stanislaw Trzciński became a grim mascot for this year's “Music” program of the Ministry of Culture and National Heritage. The biography and accomplishment of a superb cultural manager within days of announcing the results began to function on the rule of Chuck Norris jokes. It was begun to scan business acquaintances and know-how, beginning in the late 20th century, erstwhile his father, a well-known composer, began to accumulate them as the artistic manager of the festival in Sopot. What is simply a Pole who produced 2 million records and premium coffee cassettes and six-packs? Very good!
Two spectrum companies – STX Music Solutions and Stanisław Trzciński BA Booking Agency – utilized Trzciński to incarcate PLN 150 1000 from the Ministry for the implementation of six episodes of podcast Contact of Poles with music and 170 1000 to advance “playlist with Polish repertoire in the most popular streaming services” as part of the “Spaces of Music”. As was the case for an experienced beneficiary, Trzciński took part in his offer at the time of the introduction of 2 novelties to the rules of the ministerial programmes: the anticipation of appealing from the scholarship decisions was waived, with the introduction of a "minister's reserve mode".
It is from this mysterious pool, which makes it questionable how the appropriate budget works, that both controversial grants come from – granted at the expense of the projects assessed above. The first of Trzciński's "reservative" applications received 56 points out of 100, the second – only 40, while the backing did not receive many entities that received 80 or more in "normal" mode. A comparison of the "reserve mode" with the mechanics of PiS's Justice Fund is imposed, whose rules allowed the Minister's discretion to spend funds with or without a Commission recommendation.
Trzciński has already implemented a akin format for 100 1000 PLN from the National Reconstruction Plan. On the cultural and creative importance of the ‘intergenerational dialog cycle’ How We Are Listeners in the 21st Century the best evidence is provided by guests who are “when we are finished”. The number of views of material on YouTube, which has late increased to staggering 10 thousand, is besides discussed, due to the fact that the STX Music Solutions profile has started to mass-visit people curious in high-budget production scenes from European Union funds. The author's ability to comment on the material was excluded respective days after the announcement of the "Music" results. Not everyone feels comfortable with a hail of compliments.
For your own good.
From the fact that PLN 25 1000 from public funds was allocated to a single section of the podcast realised through a free video communicator, 1 can laughter in various styles – insanely, through tears or with cold superiority, testifying to toughening in the realities of Polish cultural policy. Yes, the funds that the ministry gave Trzciński – a full of PLN 320 1000 – do not gotta impress themselves. Only in comparison with little gracious initiatives do they uncover their traumatic potential.
According to Agnieszka swigier, Culture in a KPO trap – published in “Music Movement“ Almost in parallel with the announcement of the results of the ministerial recruitment – for the equivalent of 1 episode of the Trzciński podcast Agnieszka Misiewicz intended to run a website providing her with training in traffic pedagogy as a improvement of dance workshops with audiodiscription for the blind and visually impaired. The scholarship was received, except... the transfer did not arrive. Meanwhile, Trzciński not only received funds from the KPO, but besides the Ministry contributed to him a sum exceeding the funds received from the Polish Culture Promotion Programme beyond the Border by foundations hosting festivals specified as Avant Art or Unsound.
Trzciński junior, apart from many academic, managerial, directorial, etc., was appointed in January of this year by the decision of the Ministry of Culture as part of the Steering squad of the Creative Sector improvement Programme. In the close future, it will be 1 of the decision makers of the country's cultural policy, which it has not failed to boast on its LinkedIn. It is very possible, therefore, that the characters and characters of the study published by "Move", and together with them people who unsuccessfully submitted their projects to "Music 2025", will quit creative participation in Polish culture.
It would not even be an emotional impulse, but an expression of self-interest, after all, intellectual wellness is, as Herbert Marcuse claimed, “failed, effective resignation”. Unlike a "healthy resignation" to respond to the pooling of "CEO STX Music Solutions" (specialities: audiomarketing, trackvertising, music branding) with the capital of another heroine of the Swiss report, Dorota Grobelna, who breaks frustration and bitterness, confesses: "I believed the program would give us stability. alternatively he ruined my intellectual wellness and finances”?
The tradition of scandal
The case was picked up to the degree possible by mainstream media: from Krzysztof Stanowski and inPolitics to Virtual Poland, whose reporter, Michał Janczura, winner of the podcast of the year, offered eventhat the project, akin to Trzciński's proposal, will be implemented for free, provided that it is taken from the funds allocated and distributed among young creators. It's just a provocation, like Sebastian Kaleta's announcement to the prosecutor's office, but it's colorful adequate to make you think about the future.
"The native culture, or alternatively its section, which is systematically subsidised, resembles a walk around the museum or – even worse – the mausoleum". For a diagnosis that on muno.pl Hubert Group shares the dramatic question: ‘ Is there a chance for this situation to change? What would gotta happen to make it happen?’ possibly the petitions made by the forgotten will be effective – the net is already circulating and collecting more signatures open letter from NGOs, as well as a akin letter from the Management Board of the Union of Musicians of Poland, which recommends “an urgent revision of the Rules of Procedure of the Music Programme, the criteria for assessing applications and the prioritising of projects promoting national artists, with peculiar emphasis on projects created by contemporary independent artists”.
How do manufacture media view this? In addition to populist outrage, can the music community number on the support of people dealing with music all day – journalists, critics? Of course, but not always without hesitation. "I would cry that the scandal, if not for the fact that in this respect it is about the same as it has been in the past 8 years," he solidaritys with "Polyphonia“ Bartek Chaciński, after a small normalizing the strategy pathology with a dress-up of tradition, after a small taking a pre-established tactical position, after all, “Polifonia” (and with it ZAiKS) is 1 of the partners “Music Spaces“, the initiative Trzciński intends to develop, giving 170 000 public money to Spotify, Tidal and another streaming corporations.
In writing about “the last 8 years”, Chaciński seems to mention to the cultural policy of the Law and Justice, however, the trend is allowed to date even 10-15 years back, to minister Bogdan Zdrojewski, 1 of the many traces of which is plebiscite at the most pathetic request in the program “Music 2014” under the post of musician and publisher, Wojciech Kucharczyk. For more than a decade now, the Polish music community has been trying to solve an astonishing paradox: in the alleged "elements", which has passed since the late 1990s, they have begun to request help, so they have rightly started to grant each another co-financing. The others were on their own, and by collecting punches alternatively of money, they proved conclusively that they did not request support.
Who would be entitled to the money, if not those who cannot fulfill their creative intentions in DIY models (do it yourself) or DIA (to it anyway)? Who should be supported in creative efforts, if not those excluded from techno- and methodologically? Who would get the support of 320 grand if not a niche creator with respective 1000 hits on YouTube? Skipped in the recruitments "Experimental, independent, avant-garde music" is pushed backwards to the PRL. The 1 with the bottom-up and the atmosphere of the conspiracy, the 1 from Sigismund Krauze's memories – "The policy of the 1960s and 1970s was wasted, but the full planet then admired us for film, music or poster" – is for the board.
Stress syndrome
It is not Trzciński's responsibility that his applications were pushed “in reserve mode”. The thing is, the division into classical and amusement music is 1 of the most durable landmarks on the map of the flow of state money, so it must be maintained at the price of virtually understood survival. This is not a weather phenomenon or a agenda after aesthetic traditions, but a political and financial device, utilizing the rule of ‘share and rule’ to place circumstantial cultural sectors on a marginal position of ‘reservation’ that can be held without modes adopted in another areas of social life.
In the eleven-member composition of the committee, or alternatively – excuse me – "Control team“ Under Lech Dzierżanowski, who is the manager of NIMiT, it is vain to search even 1 individual who would not be attached to the planet of narrow classical music. The question is whether 320 1000 Trzciński grants would not be worth a refresh of the team's composition, so that for project list submitted to the Music programme – nearly forty pages of tiny print – at least a fewer went outside the classical bubble. After the "Trzciński case" it is not only a substance of substance, but something much more crucial from the position of the rulers – an image during the pre-election fever.
I am not certain that he is entitled – consistent with the remainder of the scenery – to elections specified as casting Radzimir Dębski as an artist beginning the Polish Presidency in the European Union. Conducted by the composer himself Bow. Synchronising folderanalyzed Among another things, the curator of Sacrum Profanum, Krzysztof Pietraszewski, while at the same time giving names and concepts more consistent with the Presidency's assumptions. The division into classical and entertaining music is not modern aesthetic, but political – with its aid as a financial control mechanism, moments specified as pause, change of rhythm or chord are removed, so that the cultural sector is dispelled and incapable to execute its function any longer.
Meanwhile, the future of the institution – the future and not the position quo – depends on the influx of fresh blood. Since the rotation in committees or in directorships is highly uncommon (it happens that even erstwhile all fewer decades!), the audience began to treat cultural policy (committees, teams, programs) as a perspectiveless change, an invisible social component known at the heart of the "reals". In turn, the cultural authorities themselves at the highest level put passive opposition to expanding their own visibility as well as to transparency of their actions, as this could distort the movement of capital from them towards the cultural establishment. The population of "effectively resigned" is increasing.
The point is, therefore, not in the Trzciński tupet, the "fall" of the minister or the mess left by the PiS ministers, but in the sick system, which responds to the deficiency of social assurance with stubbornness in the only way known: it is even tighter, even little frequently and with even greater opposition it mentions directorates or "control teams", until yet nothing in aristocratic families begins to come to the perversions which can no longer be covered up, due to the fact that they become a widely visible emblem of the full class. And hopefully the origin of her demise.
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Philip Booth – literary, music and sound critic. Author of books How to compose Music (2015) and Field recordings (2018).
