In which little Alison gets cross

Hi Alison,
Kristy Edmunds has privately replied to Robin Usher. As with the last round on this topic, she seems to prefer to leave it that way, rather than replying in print. I'll leave it that way, too.
Ray

I responded that “Usher's article is a broadside, and in the interest of balance, some corrective points need to be made publicly and with equal prominence. By someone else, if not me.” When I double checked on the meaning of the first mail, asking if he really meant that if Edmunds didn’t respond, no one would, he replied: “I think I said that I'd rather wait for a response ‘from the Festival’. As I did last time. As you'll recall, when that wasn't forthcoming I ran yours.”

On Monday, I checked with the MIAF PR whether Edmunds would be responding, and Prue Bassett told me that she thought it would be “inappropriate”. I then wrote to Cassin again early on Tuesday, informing him of this and asking whether he would be running my piece. He has not replied. Nor has he replied to my polite follow-up email, in which I said I was concerned that the story was getting cold and asked whether he intended to run any response, by me or someone else.

I have been checking The Age’s opinion and arts pages, and have seen nothing so far that answers Usher’s article. There have been, on the other hand, two interviews by Usher which bring up the Melbourne Festival “debate”, one with the Arts Minister Lynne Kosky and one with the leader of the Opposition, Ted Baillieu.

I wish to make clear that there is - in stark contrast to Usher’s reports - a constituency in Melbourne for the kind of things Edmunds does. I was amazed last year at the continual claims of poor attendance, when I went to so many events that were full. There might be division among Melbourne’s arts habitués about MIAF programming, and even those supportive of her general vision have criticisms; but there is no doubt that her program is sparking a lot of interest and discussion, especially among younger people.

In contrast to the picture painted by Usher, Edmunds strongly supports and programs local artists. MIAF private sponsorship is rising. The audience attendance figures and responses are in fact positive indicators. And so on. I don’t understand why there is no space for this to be said in The Age.

It makes it hard not to suspect that Edmunds is being targeted. Whether this is the case or not - I am perfectly aware of the issue of competing space - the evasion of the responsibility to run a differing opinion (unless it comes from Edmunds herself) gives the inaccurate and unfair perception that Edmunds’ ideas have no support in the community. And it can hardly be called “debate” if only one view is on show.

A festival focusing on contemporary art - especially one that foregrounds innovative artists from Melbourne - is always going to upset some conservative elements in Melbourne’s arts community, but they are not the only or even the majority voices. Of course I recognise that they are entitled to their opinion. What concerns me is that these voices are given an imbalanced prominence in The Age. Frankly, it’s not MIAF that’s “out of touch”.

As The Age is also a sponsor of the Melbourne Festival, this unremittingly negative coverage must be having a major effect on public perceptions. Most people without an insider knowledge of the arts read The Age as an authority on these matters. It may well be - and may well be intended to be - a self-fulfilling prophecy. If so, this seems to me an egregious misuse of the paper’s authority.

I look forward to hearing your response.

Yours faithfully

Alison Croggon