Many years ago an arts spokesperson for the SNP launched an extraordinary attack on Scottish Opera, saying, ‘If push comes to shove, if I were arts minister and had to choose between the survival of Gaelic music and Scottish Opera, I would say rich people could always go to Salzburg for lieder and Sydney for opera.’
With various parties now competing for the class-war-and-grievance vote, I sense a return of this kind of rhetoric in debates on Scottish culture, arts and politics. Scottish Opera routinely invite Scotland’s politicians to their productions and their invitations are routinely ignored. The feeling is that there are votes to be lost in being seen supporting elitist culture. The fact that Scottish Opera offers £10 tickets to all under 26, something you don’t find replicated at Celtic or Rangers, counts for nothing.
Culture and education are being weaponised by political voices. There is collusion between some artists and writers and some political journalists. One of the most prominent, Joyce McMillan of the Scotsman, claimed during the referendum campaign that she knew very few Scottish artists (or was it none at all?) who supported the continuation of the UK.
But it is not only journalists who are cosy with our politically driven writers; it is government ministers too. A row erupted a few years ago after teachers expressed anxieties that the then education minister was interfering in the curriculum to force pupils to study more Scottish, rather than English literature. Teachers were complaining that they were being railroaded into abandoning Shakespeare and Dickens in favour of ‘dire’ modern Scottish works.
The then minister Mike Russell and his main advisor Liz Lochhead, the then makar, Scotland’s equivalent of the poet laureate, announced a significant change in policy in 2012 after it was recommended by a special working group that he increase Scottish studies.
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