It has become an imposed figure of cultural masses broadcast on television. Monday, during the Molières ceremony, two artists members of the CGT took the floor to denounce the pension reform. Except that, great novelty, the Minister of Culture for once did not remain stoic and impassive in her chair. Rima Abdul-Malak stood up, spoke, recalling the French cultural exception and all that the government had done for artists during the Covid.
Her predecessor on rue de Valois, Roselyne Bachelot, recently denounced the ingratitude and hypocrisy of the French cultural world in 682 Days (Plon). For L’Express, she looks back on this landmark evening and, with her usual outspokenness, is ironic about a subsidized artistic community which complains of “Utraliberalism” and petitions against pension reform. Interview.
L’Express: Two artists, activists of the CGT, spoke at the Molières ceremony to denounce the pension reform and the “ultra-liberal logic” of Emmanuel Macron…
Roselyne Bachelot: These inevitable representatives of the CGT are a real blackmail to the organizers, whether for the Césars, the Victoires de la Musique or the Molières. It’s “either you let us talk, or we rot your event”. The organizers are thus often subjected to terrible blackmail, which leads to these problematic speeches. Because we give the floor to a single trade union organization, which we know very well is not necessarily representative of all political sensitivities. This places the public power in a state of great difficulty. But I note that the organizer of the Molières had prepared this well last night, since the Minister of Culture was immediately given a microphone. Mr. Dumontet’s organization was not faulted.
The Minister of Culture often serves as a passive punching bag in these ceremonies. The novelty is indeed that Rima Abdul-Malak was able to respond last night. Is this a good thing?
If I had been in his position, I would have done the same. But I did not have the opportunity, since there were no Molières ceremonies under my term of office due to the Covid epidemic. In 2021, the Césars ceremony took place under special conditions imposed by health constraints. There were small tables, like in a shady cabaret, while I was in a separate box to avoid contamination. In 2022, we were in the middle of an election campaign, and the broadcaster, Canal +, made it known that we could not engage in such political interpellations. It had therefore taken place in good conditions, even if it perhaps lacked a little pep (laughs).
Rima Abdul-Malak has therefore initiated the right formula. From now on, if any union speaks, the minister must be given speaking time.
Enough of the minister crammed into his chair like a boxer at the corner of a ring! But still it is necessary that the organizer leaves you the possibility of it. In 2021, the Victories of Classical Music took place in Lyon. There was panic on board, because a group of intermittent workers threatened France Télévisions to scuttle the event. I met the trade union organizations at the Rhône prefecture. We agreed that they can express their grief, but not make a policy statement. Obviously, they did not keep their promise. But France Télévisions had installed me in the dark, on a balcony, ten kilometers from the stage. I was practically relegated to the broom closet. All of this must therefore be well prepared by the organizers. A Minister of Culture must be able to respond, because that is democracy. But this Molières ceremony yesterday undoubtedly marked a turning point. Are you speaking? Public authorities must also be able to express themselves.
In your book, you criticize the ingratitude, even the hypocrisy, of a cultural milieu benefiting from heavy subsidies. Really ?
It is still incredible to hear that the French state system would be affected by “ultra-liberalism”. But I believe that there is a reflex of guilt in certain artists. It is necessary to criticize the power to testify to its independence. And then, we will beg at the subsidy counter…
It’s a real ball of hypocrites. Some may thank you in the box, emphasizing how much they have been helped, and then, on stage, the same people hold a revolutionary speech, refusing to be subservient to power. We are in a very classic role-playing game. What I’m not asking is that artists shower the ministry with thanks. We are only doing our duty, because we are in a country where culture is very important, on the left as on the right. But the minimum would be for the minister not to be insulted.
“France is the country where artists have been the most protected”
Was Rima Abdul-Malak right to recall the “massive aid” during the Covid?
We have been the country that has most helped the structures of performing arts, heritage, cinema, books, the press, audiovisual, and generally culture. The sums mobilized reached 15 billion euros. I know that the “whatever the cost” is out of fashion, but we can still remember these figures. We have allowed the maintenance of the French cultural fabric. We are extraordinarily lucky. Marie-Nicole Lemieux, the Canadian contralto, had declared to the French during a visit to France Musique: “Stop breaking sugar on your back. France is the country where artists have been most protected. You are well here anyway!”
The most remarkable thing is that in a country whose bureaucratic procedures are – rightly – denounced, we provided this aid during the Covid with great flexibility and a minimum of paperwork. Moreover, when we interview artists face to face, some, not all, say frankly that they have earned more money during the Covid than in normal times.
Famous artists have mobilized against the pension reform. A petition, for example, brought together nearly 300 personalities, including Juliette Binoche, Camille Cottin, Cédric Klapisch, Audrey Fleurot, Laure Calamy… Do you understand them?
I no longer sign these kinds of petitions, which don’t make much sense. I understand the solidarity movement. But I also note that many actresses regularly complain that they can’t find a role after 60. Maybe we should tune the violins (laughs). But I know how it often happens. We circulate a petition or an open letter. Because it’s a friend who asks you, you sign. If you ask the signatories about the solutions to preserve the pay-as-you-go pension system and how to remedy the deficits, I’m not sure you’ll get very relevant answers. But that’s the game. Let’s say that for these artists, it’s the spirit of solidarity that wins out.
Françoise Hardy spoke out in favor of the reform in the JDD. Is it brave?
It’s very brave of him. But I am very calm. I am sure that the balance will return to the side of reason and knowledge of the file, once the concert of pans and the media brouhaha have subsided. All the indicators are turning red, such as the collapse of the productivity rate in France, and the outlook is much bleaker than indicated by the projections made by the Pensions Guidance Council. Nobody expects an unemployment rate of 4.5% in the years to come. The credited fertility rate of 1.8% is also unrealistic. And what about soaring interest rates? The evolution of these contextual elements will prove the government right, and well beyond that. I bet besides that the innumerable observers will soon tell us that this reform has not gone far enough.