DUO Guest Author @fonestreet with - Polarizing event
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Here in Venezuela, a cultural music event was held—specifically focused on urban music and rap—featuring various local artists who showcased their musical, rhythmic, and vocal skills. However, this event sparked discontent among the population.
Welcome to this edition of "Guest Author" by FoneStreet
A polarizing event
Those of you who are outside this continent, outside this country, outside your state, and outside this town may not understand the ethical and moral weight that comes with being an artist in Venezuela, especially given the political context that surrounds us.
I’d like to mention that the event held last weekend in the city of Caracas was entirely organized, produced, and sponsored by political entities at a venue that is supposedly a cultural space in the country; however, we are well aware of the entire history and background of what goes on there.
I, FoneStreet, posted the following on my Facebook page:
https://www.facebook.com/fonekilla
At that event, a rapper staged a protest and directly criticized the system. My comment is an observation describing a real phenomenon, as I study political science with a focus on hybrid or modern authoritarian systems—where power does not seek to suppress 100% of criticism but rather to manage it.
Allowing certain spaces for protest—even if insults and rebellious comments are deleted—also serves as an outlet for social frustration in the eyes of the international community. The government can use the existence of that criticism to argue that there is full freedom of expression because people criticize it and nothing happens. It is from this perspective that direct, head-on protest runs the risk of being instrumentalized by the very system it seeks to challenge.
My response addresses the fatigue and excessive demands—there are comments laden with irony that is very valid because it exposes the accumulated exhaustion of artists and citizens who feel that whatever they do will never be enough or right in the eyes of public opinion.
If an artist protests directly, they are accused of being an unwitting democratic trophy for the government, as my post argues; but if the artist decides not to speak about politics—to prioritize their safety, to make a living from their art, and simply to entertain—they are accused of being apathetic, complicit, and a sellout.
If an artist seeks to survive economically by working in public or private spaces, their morality is subjected to relentless judgment, and the idea of attempting to create a strict code of conduct and dress is satirical, as it reflects the frustration with an environment that demands an ideological and moral purity that is impossible to achieve.
Given this landscape and the debate surrounding the sociology of art and politics, possible ways out of this ethical labyrinth can be proposed, and one of them is to abandon the need to please everyone, since it is mathematically impossible. Artists who manage to survive artistically tend to accept that they will always be criticized by some sector and choose to define their own internal ethical framework rather than seek external approval.
The analysis I present here demonstrates that in complex situations, art ceases to be a mere pastime and becomes a minefield where personal authenticity is often the only reliable compass.
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Interesante exposición.
Esas son las tristes consecuencias de una sociedad absurdamente polarizada donde todo, absolutamente todo (incluyendo algo tan genérico y universal como el arte) ha sido politizado.