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Gillum said in a statement that he was awaiting a response from the MSO to his lawyers and that he was “very keen to ensure that the review they have announced is extensive enough to get to the bottom of what happened and ensure that no artist is treated the same way in the future.”
In the MSO’s statement, Garrett said he hopes his review will provide guidance to other arts organizations as well.
Peter Garrett will lead the independent review of the MSO.Credit: Getty Images
“Performing arts organisations face complex free speech issues while maintaining long-term sustainability in a dynamic and increasingly tense environment. If we can do this well, this review may also have wider relevance for other organisations that inevitably face similar challenges,” Garrett said.
The Montreal Symphony Orchestra also acknowledged that it had gone through a turbulent period after the Gillum performance.
“The Board recognises that the past few weeks have been a difficult experience for many of us. We recognise clearly that we need to learn from these events to ensure that the MSO can continue to provide a world-class cultural experience for our valued audiences,” the statement said.
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The MSO incident is the latest example of local arts organisations being divided by the Gaza conflict. Last year, a board member of the Australian Centre for Contemporary Art resigned following complaints about social media posts criticising pro-Palestinian artists.
Law firm Arnold Bloch Leibler has withdrawn its support for the National Association for the Visual Arts and the arts precinct Collingwood Yards over the association’s support for Palestine. Seagull Wearing a headscarf in support of Palestine has also caused controversy at the board level. As donors retreatThe chief executive of the Melbourne Writers’ Festival has resigned over anti-Israel statements in its promotional materials.
Arts advocate Esther Anatolitis said the MSO’s internal review was a step in the right direction, but stressed it was what happened next that mattered. Anatolitis is a board member of the National Gallery of Australia. Yonezu The editor and Melbourne deputy lord mayor candidate said the review should look at the specific structures and needs of arts organisations.
“The key issues here don’t apply to any corporate work environment,” she said. “Arts organizations employ artists … (and) artists challenge us to think differently. Art is about asking questions and challenging us to ask the same questions. Anyone who engages with artists and employs artists is working in a political space.”
Arts advocate Esther Anatolitis said the review was a step in the right direction.Credit: Sarah Walker
“There is no such thing as a politically neutral position and we continue to see groups pushing back against that,” she said.
“Every public stance we take expresses our values and either advocates for a constructive way of living and relating to others, or runs the risk of condoning or supporting regressive, offensive and destructive values and forces.”
Anatolidis said that for the MSO review to be successful it would have to consider what kind of system should be in place, rather than what is currently in place. “This is different from, ‘Do we have policies A, B and C?’ This is a question of what are the most appropriate, constructive and truly nationally constructive policies that an arts organisation of this size and scope should have.”
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Anatolidis said it was crucial for the Montreal Symphony Orchestra to listen to the right people: “They are experts in arts management and policy and have a lot of experience working with artists.”
The Media Entertainment and Arts Alliance welcomed Garrett’s appointment. “While we have not yet seen the terms of reference, this review is a step forward following the chaos caused by the previous general manager’s decision to cancel Jason Gillum’s August 15 show and ban political speech on the MSO stage,” said alliance chief executive Erin Madeley.
“As a former arts minister and member of one of Australia’s most respected bands, Peter Garrett has never shied away from using his music to make political points, so he is well qualified for this review.
“His comments must reaffirm the musical and artistic integrity of the Melbourne Symphony Orchestra’s musicians, free speech and the centrality of the artist.”
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