“We, artistic directors of independent classical music ensembles, refuse to be the adjustment variable of cultural policy”

NOTWe, directors and directors of the independent ensembles members of the Federation of specialized vocal and instrumental ensembles (Fevis), wish to warn of the risks generated by the orientations taken by the Ministry of Culture and the public authorities in recent years, particularly in recent months. This action, which mainly tends to support the music industry on the one hand and the labeled institutions on the other, now threatens the very existence of our ensembles.

Over the past fifty years, the musical landscape has been profoundly transformed by the emergence of numerous ensembles which, from early, classical or contemporary music, to improvised music, have brought unprecedented diversity to our musical history. These vocal and instrumental ensembles, which mesh our country under the banner of artistic independence, have invented a new model which responds to the major challenges of the creation and distribution of music today.

Innovation, adaptability, flexibility, commitment are all values ​​that bring together high-level artists and over-motivated administrative teams to bring all the repertoires as close as possible to the public, in renowned venues as well as in the furthest places from the performing arts. Imaginative in the forms of concerts or multidisciplinary shows, in the construction of new cultural actions, they promote the emergence and professional integration of many young artists as well as their development and mobility throughout their careers. They know how to consolidate their roots in the territories by multiplying concerts and local actions.

Disappearance announced

Our ensembles also enjoy great recognition, both nationally and internationally, with more than 6,000 concerts each year, including a thousand abroad, on all continents, thus contributing very largely to the artistic and cultural influence from France. As for their economic model, they strive to make it as virtuous as possible, in the permanent search for the best balance between the artistic project and the functioning of the structure, or even the fairest and most equitable wage policy.

And yet, despite their resounding successes, the independent ensembles have to content themselves with the public authorities with a marginal position which in no way corresponds to the reality and the quality of their action on the ground. It is indeed a risk of disappearance that awaits, in the very short term. Indeed, independence appears clearly today as the adjustment variable of the cultural policy of the State but also of the local authorities, which fall back on their labeled and permanent institutions.

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