Chasing tails

These days youth audience programs are all the range amongst arts companies. We are bombarded with dire warnings that the audience for the mainstream arts are "dying out" and companies are throwing large amounts of money to make themselves seem more attractive to the all-important under-35s. This is, of course, money that is coming out of production budgets. The idea seems to be that we should all like the same thing, that our arts companies should be everything to everybody, that there is something wrong if people under and over 35 don't have the same tastes. Some of these programs remind me of the over-50s who squeeze into the fashions of 20-somethings in the vain attempt to convince themselves that they are still young and 'hip', no matter how ridiculous the result.

But isn't a “bum on a seat" "a bum on a seat” no matter what age it is? Is the emphasis on youth alienating the older and more mature audience, which has always been the core audience for the “heritage” arts? There is also a demographic argument that says that the population is ageing and that in terms of pure numbers the population – and therefore the potential audience – is growing fastest in the over-50 bracket, so why throw large amounts of money at a population sector that is numerically in decline?

There is quite a bit of “group think” going on in this debate, i.e. “if all the other arts companies are chasing the youth market then we had better do that too”. Maybe a company that says, “we are going to different, we are going to look after a more mature audience” would be highly successful, if for no other reason than they would differentiate themselves from the rest of the industry. Or is that kind of diversity too frightening to our arts companies?

Image St Stev

Germany's first Hitler exhibition opens

The first ever German exhibition about Adolf Hitler opens in Berlin today. Under the title Hitler and the Germans, Nation and Crime the show is being hosted by the Deutsches Historisches Museum in Berlin.

The exhibition is divided into sections dealing with the relationship between Hitler and German society, the Nazi state and the dictator's rise to power. In an article published in the magazine Der Spiegel the curators describe the great caution they have taken to ensure that the exhibition does not present any opportunities for perverse "hero worship". They have aimed to achieve "critical distance" to their subject and none of the items on display are thought to ever have been touched by Hitler.

Nevertheless, the exhibition marks a new milestone in the historical treatment of the genocidal dictator. With the passing of time, the proportion of the German - and European - population with first-hand experience of Nazism is below ten percent. Germany has become a "post-memory" society; at least as far as the Third Reich and World War II are concerned. People today only "know" Hitler and his regime from history books, films, family recollections, site visits and the education system - including museums. At the same time the Nazis have moved into the realm of popular culture and there is a risk that the full horror of Hitler's regime will slowly be lost on future generations for whom Hitler is little more than a mythical symbol of evil. To some extent that is an unavoidable result of the march of history. But it is also something that well-curated exhibitions can help prevent.

Image: Ruins of buildings and vehicles lie in Berlin's Mohrenstrasse after the Anglo-American air attacks on the 3rd of February, 1945, (source: German Federal Archive)