The new, all singing and all dancing, EU visa is on its way! (Available exclusively for the artistically oriented.) Yes. It is official – artists are the latest minority in need of greater EU protection. Apparently, they battle wanton and excessive bureaucracy as they strive to make their gigs / exhibitions on time, writes Claire Daley.
And what is the EU’s solution to this obstructive bureaucracy? That’s right – more legislation!
According to French MEP Claire Gibault (cited by Euobserver.com as a top violinist and orchestra director) artists deserve “special social status” to be able to travel throughout the union. Gibault has identified the artists’ situation as an example of deficiencies in the Schengen Agreement (which creates a borderless zone for free travel across Europe) and claims that artists actually require further freedoms. Confused? Me too! The EU’s justification is that art and culture must be “human not elitist” and according to the EU, the only way to “humanise” art is via a new visa programme for artists to ensure greater mobility “as a condition for cultural exchange and enrichment”.
According to Gibault, the travel of artists is often hindered by administrative hurdles, and they therefore need to be distinguished from workers in general. However, rather than redressing imbalances in professional status, this sounds suspiciously like the EU simply elevating artists above the remaining philistine citizenry.
Is this not yet another example of reductio ad absurdum EU legislating? You might justifiably ask ‘why artists?’ Will we eventually see a special visa for footballers because they “humanise” sport (and because their wives are spendthrift with their euros)? What’s that…? Greengrocers want a special visa…? Well, go on then! After all, we wouldn’t want grocery shopping to be elitist. If we must, we can humanise the whole lot. Down with elitist professions!
However the new recommendations go further than simply enhancing artists’ travel. Firstly, on the premise that artists are missing out on pensions and unemployment benefits Gibault wants to see an artist specific “Europass” (a portfolio for qualifications and competencies) to “simplify the reconstitution of their careers”, making their skills and qualifications easily understood across Europe. Almost like the EU providing a free “CV health check” with top tips for identifying their all-important “transferable skills” and make them translatable across the union.
Secondly, there is a proposal for a European guide for information and best practices for artists. Gibault’s argument is that a need exists to identify and recognise artists’ professional qualifications and credentials to “humanise” art and culture.
Surely, subjecting creative talents to a series of tick-in-the-box criteria misses the whole point of art!