Occasionally things happen which leave you feeling momentarily lost for words; yesterday morning was one of those moments. The email which landed in my inbox announcing the closure of Wales Arts Review not only took me by surprise, it left me staring at my laptop with a mixture of confusion and disappointment.
For the time being I don’t want to use this space to dwell on the financial reasons behind the closure of Wales Arts Review, there has already been much speculation and doubtless this will continue over the coming days and weeks. Instead, I’d like to take a moment to look back at what this lively journal has offered us in its all too brief lifespan.
Founded as an online hub for writers, artists, critics and reviewers to exchange ideas and share news, Wales Arts Review has provided a consistently high standard of criticism under the watchful eye of Senior Editor Gary Raymond and his dedicated team. The thoughtful combination of new fiction, diverse cultural reviews, features and critical essays has provided an opportunity for emerging writers and critics to find a place alongside established figures in the field, fulfilling the Review’s original aim of becoming a ‘critical hub’ for the Welsh arts scene. I’ve been following the journal from the beginning and have had the pleasure of contributing a few items over the past few months. As a young academic in the field I am acutely aware of how the loss of such an outlet is likely to affect other critics, both new and established, as they seek alternative outlets for their work and fresh opportunities to share ideas.
Of course, it hasn’t been all about the contributors. One of the most innovative aspects of Wales Arts Review has been its ability to bring cultural news and views to new audiences, bringing readers to the heart of cultural activity in Wales. This year’s rolling coverage of the Green Man Festival was a prime example of the team’s ability to engage with the public and use social media to extend the reach of Welsh culture. Similarly, the recent search for the ‘Greatest Welsh Novel’ has proved both controversial and engaging, drawing lively debate in response to each new nomination and the announcement of the eventual winner.
Then there are the writers and artists interviewed, reviewed and published by the Review as it sought to encourage and support the development of new voices across the Welsh arts scene. They too will feel the loss of such a significant outlet, especially those involved in the production and creation of Welsh theatre and drama projects whose valuable work is all too often overlooked by more conventional media commentary on Welsh culture. The fact of the matter is that in a digital age, where social media is such a dominant force in our society, the Welsh arts need to reach out online to readers and exchange ideas with those involved in similar projects in other nations. The loss of Wales Arts Review leaves Wales without such a platform for this kind of cultural and critical exchange.
I am, quite simply, gutted to hear of the closure of Wales Arts Review, but those of us left searching for the way forward in Welsh cultural studies can, and must, learn much from the footprints left behind by this vibrant project.
For the time being I don’t want to use this space to dwell on the financial reasons behind the closure of Wales Arts Review, there has already been much speculation and doubtless this will continue over the coming days and weeks. Instead, I’d like to take a moment to look back at what this lively journal has offered us in its all too brief lifespan.
Founded as an online hub for writers, artists, critics and reviewers to exchange ideas and share news, Wales Arts Review has provided a consistently high standard of criticism under the watchful eye of Senior Editor Gary Raymond and his dedicated team. The thoughtful combination of new fiction, diverse cultural reviews, features and critical essays has provided an opportunity for emerging writers and critics to find a place alongside established figures in the field, fulfilling the Review’s original aim of becoming a ‘critical hub’ for the Welsh arts scene. I’ve been following the journal from the beginning and have had the pleasure of contributing a few items over the past few months. As a young academic in the field I am acutely aware of how the loss of such an outlet is likely to affect other critics, both new and established, as they seek alternative outlets for their work and fresh opportunities to share ideas.
Of course, it hasn’t been all about the contributors. One of the most innovative aspects of Wales Arts Review has been its ability to bring cultural news and views to new audiences, bringing readers to the heart of cultural activity in Wales. This year’s rolling coverage of the Green Man Festival was a prime example of the team’s ability to engage with the public and use social media to extend the reach of Welsh culture. Similarly, the recent search for the ‘Greatest Welsh Novel’ has proved both controversial and engaging, drawing lively debate in response to each new nomination and the announcement of the eventual winner.
Then there are the writers and artists interviewed, reviewed and published by the Review as it sought to encourage and support the development of new voices across the Welsh arts scene. They too will feel the loss of such a significant outlet, especially those involved in the production and creation of Welsh theatre and drama projects whose valuable work is all too often overlooked by more conventional media commentary on Welsh culture. The fact of the matter is that in a digital age, where social media is such a dominant force in our society, the Welsh arts need to reach out online to readers and exchange ideas with those involved in similar projects in other nations. The loss of Wales Arts Review leaves Wales without such a platform for this kind of cultural and critical exchange.
I am, quite simply, gutted to hear of the closure of Wales Arts Review, but those of us left searching for the way forward in Welsh cultural studies can, and must, learn much from the footprints left behind by this vibrant project.