Beyond all logic to me
... and to me! How someone thinks that improvement can be brought by persistant repetitive and badly-researched negativity is beyond me. The two central administrative bodies of the countries whose music he is involved with are both awful; they are beyond redemption so much so that he won't work with them. He pours scorn on them.
My attitude could not be more different. I recognise faults and shortcomings but think that by taking small steps and concentrating on the positives, I feel that improvements can be made.
It reminds me of my professional career of 40 years in education, the last 30 at senior manager, head teacher and advisory level. Two of the schools that I arrived at were in a pitiful state, but by becoming involved with a strong team at senior level and by taking worrying issues one at a time, improvements were made and a culture of "We are getting better" developed and staff and pupils thought better of their establishment. In the term after I retired, there was yet another Ofsted inspection and my last school became the first special school to be given "outstanding" status. Well, perhaps the fact that I was no longer there helped but anyone who has been involved will know that this is the result of hard consistent graft.
One of the questions I always asked when I was interviewing for new staff was what the interviewee did outside their working hours, What I wanted to hear was about something that they were totally involved in. something that took them out of themselves, that fulfilled the role that folk music has done for me.
Tina and I completed 50 years of running weekly folk clubs together in 2014 and we both brought the same attitudes to this. If, for example, a singer came along and wanted to read a song to our audience, I would praise them for coming, praise what they had done but say how much better they would communicate with the audience if they had learned and absorbed their song and this was what we were used to and expected. They either did not come again or they took the bother to learn their song, but being a source of encouragement was always at the centre. One of the reasons that I stopped running a club was because of the increase in sessions of song or tune or both were increasing in frequency and standard - both Jim Bainbridge and myself have detailed this earlier in this thread. The folk scene was growing to maturity and folk clubs were no longer the important prop that the scene needed.

Now, I am afraid to say that as much as I am enjoying this futile, stuck discussion which does not seem to have made much progress in, what I see, is now over 200 posts, I have to go and pack my cases to fly out to West Africa where for a lot of the time, I will beyond the reach of electricity never mind the internet. I will be taking lots of batteries so that I can again record Manding jalis singing and playing their koras and balafons and others, I hope, will be new to me. A traditional jali will come from a family of heriditary musicians. He is a traditional singer and musician, but unless he creates within the strict structures of their traditions. If he is not giving a moral commentary of society as he or she sees it; if he is not composing praise songs for those making major contributions or events in their society then he won't be listened to. I expect I will be hearing songs of the people who have built the recently opened new road bridge over the River Gambia that will bring great economic benefit to towns like Soma or Farafeni at either end of it.
What I won't hear is complaints and negativity.