Cancelling Shakespeare.

The Master: Shakespeare’s art is of a power that at once confirms and dissolves history. In his incomparable mastery of the English language he reminds us that we are more than male and female, rich and poor, Māori and Pakeha. What this “Elizabethan playwright” reveals to us, and hopefully will go on revealing to succeeding generations until the end of time, is the wonder and woe of what it means to be human.

IT IS DIFFICULT to see the Arts Council’s decision to defund Shakespeare as anything other than “propaganda of the deed”. In the current, unusually tense, cultural climate, the idea that a decision to refuse a $30,000 grant to an organisation responsible for introducing the art of William Shakespeare to a total of 120,000 (and counting) secondary school students might, somehow, pass unnoticed and unremarked is nonsensical. The notion that the Council’s decision was a carefully targeted ideological strike is further buttressed by the comments attached to its refusal. To describe these as incendiary hardly does them justice.

Every year the Sheilah Winn Shakespeare Festival invites secondary school students to compete for the best interpretation of an excerpt drawn from a Shakespeare play. To date, upwards of 120,000 students have participated in this hugely popular competition. While the Arts Council’s support accounts for only a tenth of the festival’s budget, its decision to deny this year’s funding application was couched in language that has outraged English teachers, English scholars, and educated English-speakers, both here in New Zealand and around the world.

According to The Guardian, the arts funding body, Creative New Zealand, in its advisory panel’s funding assessment document, stated that: “while the festival has strong youth engagement, and a positive impact on participants”, it “did not demonstrate the relevance to the contemporary art context of Aotearoa in this time and place and landscape”.

Putting to one side the self-evident reality that a festival involving thousands of young people in acting, directing, set-designing and painting, costuming, composing and providing incidental music to a host of independent theatrical productions, offers an unassailable prima facie case for being of great relevance to New Zealand’s “contemporary art context”: how should we decode the assessment document’s gnomic formulation: “Aotearoa in this time and place and landscape”?

Given that all state institutions are now required to ensure that their decisions reflect the central cultural and political importance of te Tiriti o Waitangi, as well as their obligation to give practical expression to the Crown’s “partnership” with tangata whenua, the advisory panel’s meaning is ominously clear. At this time, and in this place, the policy landscape has no place for artistic endeavours that draw attention to the powerful and enduring cultural attachments between New Zealand and the British Isles.

Expressed more bluntly, Creative New Zealand is serving notice on applicants for state funding that, unless their projects both acknowledge and enhance the tino rangatiratanga of Māori, they will be deemed to have insufficient relevance to the “contemporary art context” to warrant public financial support.

This is even worse than it sounds. Creative New Zealand is structurally disadvantaging the 60-70 percent of New Zealanders who trace their ancestry to, and derive the greater part of their cultural identity from, the British Isles. Moreover, future applicants unable to demonstrate a genuine familiarity with Māori language and culture, will almost certainly lose out to applicants who can. In other words: “in this time and place and landscape” and absent the most powerful political and/or institutional patrons, Pakeha applicants should expect to be refused Creative New Zealand funding.

Is this drawing too long a bow? Not when the Council’s own assessment document seeks to know “whether a singular focus on an Elizabethan playwright is most relevant for a decolonising Aotearoa in the 2020s and beyond”.

A “decolonising Aotearoa”. Here exposed is the unabashed ideological bias of the Arts Council and its assessors. There is a considerable head-of-steam building among some Māori (and their Pakeha supporters in the public service, academia and the mainstream news media) for a wholesale stripping-out of the political, legal and cultural institutions of the “colonial state”, and for their replacement by the customs and the practices of te ao Māori. At present, this is the agenda of the “progressive” elites only. Certainly, no such proposition has been placed before, or ratified by, the New Zealand electorate.

Not that these same elites would feel at all comfortable about important cultural judgements being placed in the hands of the uneducated masses. Indeed, it is likely that the decision-makers at the Arts Council are entirely persuaded that an important part of their mission is to so radically reshape the cultural landscape that the “decolonising of Aotearoa” comes to be seen as entirely reasonable. If re-educating the benighted Pakeha majority means limiting its own (and its children’s) access to the works of “an Elizabethan playwright” (indisputably among the greatest artists who ever lived) then so be it.

Too much? Once again, the document released by the funding assessors, suggests otherwise.

The panel of assessors is concerned that the festival’s sponsoring organisation, the Shakespeare Globe Centre New Zealand, is too “paternalistic”, and that the entire Shakespearian genre it is dedicated to promoting is “located within a canon of imperialism and missed the opportunity to create a living curriculum and show relevance”.

That’s an imperialistic “canon” with one “n” – not two! Alluded to here, presumably, is the entire theatrical menu of Western Civilisation: from Aristophanes to Oscar Wilde. (Apart from Ireland, the English had no empire to speak of in Shakespeare’s time!) A cultural collection which, apparently, has no place in a “living curriculum” – from which, one can only deduce, Dead White Males have been ruthlessly purged. Only by excluding the cultural achievements of the past, the Arts Council seems to saying, can any artistic endeavour hope to “show relevance”.

To those who shake their heads in disbelief at this rejection of historical continuity, it is important to make clear just how hostile the post-modern sensibility is to the whole idea of a materially and imaginatively recoverable past – a past with the power to influence both the present and the future. The post-modernists hate the idea of History as both tether and teacher – fettering us to reality, even as it reveals the many ways our forebears have responded to the challenges of their time. When post-modernists talk about relevance, what they really mean is amnesia. Only an amnesiac can inhabit an eternal present – post-modernism’s ideal state-of-being.

Shakespeare and his works are downgraded and rejected precisely because his words and his plays connect us to the past – revealing the tragi-comic continuity of human existence. More than that, Shakespeare’s art is of a power that at once confirms and dissolves history. In his incomparable mastery of the English language he reminds us that we are more than male and female, rich and poor, Māori and Pakeha. What this “Elizabethan playwright” reveals to us, and hopefully will go on revealing to succeeding generations until the end of time, is the wonder and woe of what it means to be human.

Or, in the words of the man himself:

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st;

Nor shall death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st:

So long as men can breathe or eyes can see, 

So long lives this, and this gives life to thee.

A version of this essay was originally posted on the Interest.co.nz website on Monday, 17 October 2022.