Towards a reactionary Eisteddfod

Now that state (and increasingly local) venues are programmed along quota lines, with demographic characteristics of creators prioritised over merit, ambitious and talented artists find themselves marginalised as never before.

An Eisteddfod is an annual arts festival, primarily literary – comprising displays of recitation, poetry, singing and musical performance, art, craft and cultural accomplishment. A Welsh-nationalist revival (or recreation) of bardic gatherings, Eisteddfodau are both local and national in Wales, the Welsh diaspora and Celtic regions. In Wales, there are some that have participants who are local, national or international. The fact that most or all of Eisteddfodau are conducted in Welsh is a naturally limiting factor.

In a new interview I did with S.D. Wickett (available here) and in an earlier livestream here, I discussed routes to establishing parallel arts networks for dissidents. Now that state (and increasingly local) venues are programmed along quota lines, with demographic characteristics of creators prioritised over merit, ambitious and talented artists find themselves marginalised as never before. Traditionalists, and even apolitical artists, need to form their own networks. Any events need to eschew “diversity, inclusion and equity” (as conflicting with participant merits) – which will, de facto, render the events ineligible for state funding.

The Passage Prize (deadline 1 January 2022, link here) is a promising step. It offers prizes and publication for prose, verse and art of a dissident character, to be published in a book. It has some drawbacks – prizes in cryptocurrency, being one – but it offers an outlet for creators, especially ones starting out and looking to reach new audiences. By its nature, it is an event that offers only a virtual community, which is surely better than no community at all but it offers no local foundation or real-life contact. The success of the recent dissident gathering in Coventry in August showed the virtue of meeting in person. Eisteddfodau serve as national gatherings in Wales. They are a meeting place for the elite, creators, followers of the arts and ordinary people wanting to enjoy art and share communal experiences.

One route could be an Eisteddfod organised by traditionalists and dissidents, one for the whole of the United Kingdom. (Of course, local ones would also be beneficial.) A multi-arts festival held annually, in a different location each time (or on a rotating roster of locations) open only to British nationals or those born in Britain could be a way of encouraging creators locked out of a state-funded arts system which is hostile to them. The content of the arts could be apolitical. In fact, I suggest that there be no political criteria for selection. The only bars should be entrants being British nationals and merit within the field. Entrants should be judged anonymously, as far as possible. Prizes could be given; grants and scholarships could be awarded to promising practitioners aged under twenty-five. The events would sell exhibited material, with the organisers taking a percentage to help fund the event. Distinguished practitioners could be honoured with special displays or performances. Authors could be invited to read their works. Book signings would encourage sales and give authors income. Recitations from memory could be encouraged. Discussion panels and lectures could also take place in tandem. Livestreaming of performances, discussions and interviews could take place. For a voluntary fee, a commemorative book could be published and posted to ticket buyers after the event, including artwork, photographs and delivered texts.

Such a scheme is ambitious, but we know they can work. The key is to build incrementally, each year, consolidating gains and learning from mistakes. One thing we know is that such a project will face unremitting scorn, hostility and even disruption from the state, mass media and activist minions of the outer party. For doing what was normal in our lifetimes – setting up something little more than a county fair, with an emphasis on the arts – the participants will be pilloried as racists, xenophobes and knuckle-dragging little Englanders. But, in a world where simply speaking the truth and holding to one’s beliefs is cast as being adjacent to moral atrocities, there is nothing honest we can do that will not be relentlessly assaulted by the established order. So, let’s get stuck in and get inventive!