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Art and Politics in Billy Elliot and the Pitmen Paintersqo, Kyungjin) * 143 Migrants Who Move at the Borders Between Classes Emancipating and Empowering Themselves

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Art and Politics in Billy Elliot and the Pitmen Paintersqo, Kyungjin) * 143 Migrants Who Move at the Borders Between Classes Emancipating and Empowering Themselves KINX2017054857 A Refusal to “Know Your Place”： Art and Politics in Billy Elliot and The Pitmen Painters JO, Kyungjin* Lee Hall’s two plays, Billy Elliot and The Pitmen Painters, feature a miner's son who can dance and a group of coal miners who can paint, respectively. Addressing the uneasy relationships between working class people and artistic mediums, both plays raise numerous questions about art, class, and politics. How can working-class people, despite their underprivileged backgrounds and the hardships of working life, participate in and create art? How do they find pleasure in it? How can art become socially and politically meaningful in their lives? In an interview, remarking on how both plays have an autobiographical angle, Hall recounts his experience of growing up in a working-class environment and how he feels about creating art: “It is sort of contentious and political for working class people to own that space--Where I came from in the Norttieast—a working class town—I was always very self-conscious about doing anything artistic at all, because it was actually considered very problematic. And those who weren’t interested at all were incredibly suspicious of why I was engaged in this. So it was never neutral for * Theatre Studies, Graduate Center of the City University of New York (kjo@gradcentencuny‘edu) nie’’(Gordon-Farleigh，2012). As he mentions, the twentieth-century English society, based on hierarchical class values and politics, regards working-class engagement in artistic work as improper， viewing art rather as a bourgeois upper middle class leisure activity. Many believe that if working class people desire careers in art, then they do not “know their place.” Billy Elliot the Musical, based on the film Billy Elliot in 2001， centers on the titular character the miner’s son who aspires to be a ballet dancer despite his underprivileged working class identity. The musical has achieved great success since it premiered in London’s West End in 2005. With book and lyrics by Lee Hall，music by Elton John, and direction by Stephen Daldry, the play won four Laurence Olivier Awards. Its success led to productions in the United States, Canada, Australia, and South Korea. On Broadway, it won ten Tony Awards including Best Musical and Best Book of a Musical and also received ten Drama Desk Awards, including Outstanding Musical and Outstanding Book of a Musical. Notwithstandingits huge success in the theater world, the musical version has not yet been actively discussed by critics，unlike Billy Elliot, the film, which has been examined by many critics including David Alderson, Sara Nichols, Alan Sinfield, and Cynthia Weben The only criticism of the musical version of Billy Elliot, made in Helen Freshwater’s recent analysis, is appealing because it points out an inevitable limit and paradox of the production’s attempt to be ‘authentic’ with respect to the essentially commoditized and conservative nature of mainstream musical theater. The criticism, however, tends to reduce the theater to an apolitical global commodity, dismissing its particular politics, even though the musical strongly promotes working-class issues. The Pitmen Painters, which Hall describes as “a prequel to” Billy Elliot, is a fictional story based on a real-life group of painters made up of uneducated miners known as The Ashington Group that originated from northern England. Hall discovered their story through a book about the group titled Pitmen Painters: The Ashington Group 1934 -1984 by William Feaver (Hall, 2010). The play was acclaimed for its dramatic value and popularity. In 2007，the play opened, achieving popular success at the Live Theatre in its native city of Newcastle. In 2008, the production transferred to the Royal National Theatre and was named Best Play at the Evening Standard Awards. An Off-Broadway production opened in 2010 featuring the original cast and was also favorably received. Ben Brantley, a theatre critic for The New York Times, introduced the production as “Lee Hairs feisty adult education class,” highlighting the play’s excitingly intellectual qualities (Brantley, 2010). In an analysis of Billy Elliot, I will discuss that Billy resists and challenges the coal miners’ class identity and traditions based on militant, masculine, and fraternal solidarity as a traditional quality by aspiring to become a ballet dancer. I will argue that the play represents ballet as a medium of self-expression, self-emancipation, and resistance. In my analysis of The Pitmen Painters, I will discuss how the intellectual and artistic endeavor and solidarity that the Ashington Group shows as their working class identity and value challenges traditional class biases and hierarchy that regards the miners as being ignorant and incapable of any artistic practice. I will also examine the fact that the play represents the group’s act of painting not only as a medium of self-discovery but also as a political empowerment tool for the community, though which the group raises their voice against the art institution driven by the capitalist art market value. In examining these two plays, I will ultimately argue that they operate as a political aesthetic against social order and biases by featuring artistic migrants who live on the borders between classes, emancipating and empowering themselves. I. Billy Elliot the Musical: Dancing in Anger and Resistance The musical, which plays out amid the turmoil of British working class history—the 1984 coal miner’s strike in County Durham — passionately recounts British coal miners’ history. As it opens, the musical projects a collage film, documenting major historical shifts on a big-screen backdrop: 1974’s Durham Miners’ Gala, where miners celebrated nationalization of the mining industry; 1984’s Prime Minister Margaret Thatcher, declaring she would close the coal mines as well as privatize them; and a counter-speech by Arthur Scargill, president of the National Unions of Mine Workers，ordering miners to fight against Thatcher’s government. Through references to a specific place and historical moment, Billy Elliot, the musical, depicts a particular social order operating within the ideology of neoliberalism, in which government and capitalism threaten and oppress their workforce. Remarking on the musical’s historicity, John Lahr describes the documentary played on the screen backdrop: “the strikers, who are black-and-white caricatures of commitment, seem literally to emerge out of the documentary’，(Lahr, 2005). Accordingly, the musical characterizes people in the mining community not as individuals but as a homogeneous group that is politically united in a historical mission. Starting with a song, “The Stars Look Down,’’the musical foregrounds the miners’ resistant working-class identities and show how the miners react against and within the oppressive neoliberal agenda. Ensemble. We will fight through pain and hunger Every arrow, every knife We will never give the hope up Of a proud and honest life So we will always stand together Through the frost the Hail, the snow (Hall, 2009: 4). Reflecting traditional working-class politics, the song resolves that the miners would unite ‘"together” in fraternal solidarity against the oppressors who threaten their job security. The song also emphasizes militant aspects of the strike using the aggressive and militant imagery of “arrow” and ‘Tcnife.” Thus, the musical depicts the nature of the coal miners’ essence and solidarity as united, determined, desperate, and masculine. Billy, the son of a striking miner, however, appears to be different from the others who possess traditional working-class qualities. We can recognize his unique and detached image in his solo part of “The Stars Look Down.” He sings about hardship in the community and its hope for the future,but his language does not sound militantly resistant, as in the ensemble part of the song. Billy. Take me up, hold me tightly, gently Raise me up and hold me high Through nights and under darkness Will come a day when we will fly And although we’ve been rejected， And although we’ve been outcaste, We will find a new tomorrow(Hall3 2009: 5-6》 Billy’s imagery in his solo part is more poetic, kinetic, esthetic, feminine, hopeful and transcendental, as opposed to offering straightforward combatant and politically charged words such as justice, struggle, and pain, which appear in the ensemble. However, the community, which regards wild masculinity as a traditional and heritable working- class quality, does not welcome Billy’s soft and aesthetic sensibility. He is expected to grow up to be a manly man like Tony, his elder brother who is also bellicosely fights against the government playing a leading role in the mining strike. As Lahr remarks, Billy’s sensitive artistic soul is^trapped in a stultifying macho world” (Lahr, 2005). This conventional gender norm and expectation is reflected in education—being forced to participate in boxing class, which is similar to mining, and seen as a symbol of male strength, toughness, and fortitude, Billy is expected to present no sign of femininity—only working class masculinity. George, a boxing tutor, believes that boys should develop these masculine qualities, so he forces Billy and Michael to (reluctantly) hit each other: “He is supposed to hit you, you are supposed to hit him—if s boxing” (Hall, 2009: 17). When Billy fails to throw a punch, George tells him, “You’re a disgrace to your father, to them gloves, and the fine tradition of this boxing hall” (Hall, 2009: 17). Although the community proudly regards this wild manliness as a courageous quality that should be handed down, Billy does not or cannot relate to it. Instead, Billy secretly learns ballet. He takes a ballet lesson taught by Mrs. Wilkinson with the money that his father Jackie gave him for the boxing lesson. To his family, this stealth act signifies a total deviation from the path he should follow.
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