The fact that some have more power than others is not a problem in itself, as long as the people we give power to also take responsibility. Because power is a condition. But power is an uncomfortable topic in many parts of Danish cultural life. For artists, the problem is greatest when it is hidden, locked down and unaffected. We should be on our guard when artists do not have access to influence opportunities, tools and the structures in which they operate.

Throughout time, great thinkers have given perspective to the phenomenon of power. One of them is Foucault, who reminds us that power is a premise for both man and society. But with power should come responsibility, and it should be transparent who has the power. In a new technological reality and an increasingly complex society, however, it has become harder to see through and the need for transparent power structures is still as present as ever.

The hidden power of algorithms

The number one place where we as artists today should be challenging the power in cultural life is number one, the algorithms. They would sound all of Foucault's warning lights. This is a hidden power that the individual cannot influence or enter into dialogue with and is completely dependent on to reach the audience. In addition, social media and digital behaviour have become so pervasive that it is difficult for the elected rulers - the politicians - to regulate against because the centre of that power is located in another country.

Inequality of power

The other thing that is important for artists in the conversation about power is knowing who the gatekeepers are and having access to them and their criteria. The criteria must be clear so that there is no discrimination based on political beliefs, genre, age, gender and other diversity parameters. This is especially a problem when the eye of the needle is small and crucial. For example, radio airplay or booking for venues and festivals.

The opaque opt-in and opt-out

Cultural institutions and media choose their content from a wide range of artists and artistic offerings, and they have the power to decide what expertise, genres and trends they want to present. But what are the parameters of those choices? What does it take to be chosen next time? It's opaque and therefore - according to Foucault - problematic.

Artists feel that there is power in the 'bricks and mortar' of institutions, permanent employment - and habitual thinking. It takes time and knowledge to get your foot in the door 'behind the bricks', and the very premise that many artists must constantly fight for a living creates inequality.

Cultural institutions should take responsibility for this as a shared challenge - and recognise it as an inherent part of the power structures they need to be aware of.

The power of artists and audiences

At the same time, a number of artists also have power themselves, compared to others in the population. They have influence by virtue of their audience and access to the public. In front of the stage, the audience is also a power factor as consumers of culture, by virtue of their choice of music and performing arts. This relationship constitutes a shifting power dynamic in society in that the artist helps to create dialogue, norms and norm criticism, but also jobs, commercial turnover and community. The difficult thing about the artist's position is that the artist and/or music creator is also an individual who may need general protection from and against power structures.

Unity brings knowledge - and power

As a professional group, artists in Denmark have a certain amount of power through collective bargaining rights, which comes through union membership. When you organise yourself as an artist, you pay through your membership for others to fight the power struggle for you. There is still some power in a community of solidarity, which gives power to the individual in the face of systems and structures, which the artist of course also encounters in the form of employers, banks, legislation, and so on.

With knowledge comes power, as the philosopher Francis Bacon also concluded - and artists and music creators who have insight and knowledge about rights, conditions and markets are stronger in individual negotiations with, for example, a venue or producer. This knowledge and power is crucial for artists - or artists' organisations - to match the power that exists on the other side of the table and behind the bricks.

Power in itself is not a bad thing. But it needs to be accountable, transparent, influential and achievable.

You can read more opinion pieces from Sara Indrio here