Harry Giles contributes his ideas on Scottish arts and culture policy. For reasons opaque to me, I was invited to a Scottish Government workshop on Culture Strategy recently. It gave me an occasion to write down some thoughts on how the arts are and could be funded. What follows are some poorly-thought-through provocations for arts funding policy. SOME MAJOR PROBLEMS FOR ARTS FUNDING 1) Most artists I know cannot make a living wage from their work. The younger they are, the more likely they are to be indebted, precariously-employed, and private renters, unable to access the social and economic capital of previous generations. Whereas previous generations of artists were to some degree subsidised by unemployment and other benefits, these routes have been cut off to most. This has a knock-on effect on diversity, as racialised and other minoritised people are even less likely to access support for their work economically, and face other social barriers as well. The result is an arts scene dominated by middle- and upper-class white people, still, at all levels of production and management, but increasingly-so further up the hierarchy. 2) This means in turn that marginalised voices are tokenized and put into their own boxes:…
Arts & Cultural Policy (9)
Culture Matters brings together a range of organisations and individuals involved in developing and implementing Arts & Cultural policy. Here you can read some of the manifestos and contributions to an important and expanding debate.
Chris Guiton analyses and discusses the importance of the concept of the cultural commons. In the 21st century we are witnessing the rapid encroachment by capitalism on what is often referred to as the ‘cultural commons’. These are the shared resources in the cultural sphere which belong to all of us rather than a wealthy or privileged minority. This goes beyond specific works of art to the broader cultural sphere identified by Raymond Williams, the Marxist writer and academic, as our “whole way of life - the common meanings…the arts and learning – the special processes of discovery and creative effort” (Moving from High Culture to Ordinary Culture). For Williams, “culture is ordinary”. It is not the preserve of a cultural elite, but a democratic right for everyone. In recent decades, however, the cultural hegemony of neoliberal capitalism has expanded and deepened its economic, political and intellectual control over us. In Britain, this process has been sharpened by the deployment of the 2008 recession to justify austerity policies designed to erode public services, cut wages and deepen inequality. These policies are not only having an unequal, and adverse, economic effect on the less well-off and working people generally, they are…
‘The worker must have bread, but she must have roses, too’ said the aptly named Rose Schneiderman early in the last century. She was right, we all need bread – fair material rewards for our labour – but we also need roses. We need a popular and extensive cultural commons, including free or cheap access to cultural activities, to develop and enjoy our essentially social natures.The Culture Matters website aims to contribute to the cultural struggle, what Blake called the ‘mental fight’ for a new Jerusalem, for a more democratic and socialist society. The struggle will be long and hard. Over time, capitalism has penetrated our culture more and more. And culture, as Raymond Williams pointed out, is not just highbrow art but consists of all our ideas, values, beliefs and customs, including all the arts but also sport, religion, eating and drinking, watching TV, etc. It’s true that capitalism’s dynamism and innovation has helped create a massive expansion in opportunities for cultural education and enjoyment. Think of the number of TV and radio channels, books, art galleries, films, music festivals, and sports facilities there are these days. But there is also a relentless drive for profit in capitalism. Every human activity,…
Andrew Warburton continues his series on art and cultural policy by interviewing Theresa Easton and Pam Foley at Artists’ Union England, the union for visual and applied artists. Artists’ Union England is a fairly new trade union, launched on May Day 2014, representing visual and applied artists individually in the workplace and collectively at “strategic decision-making events,” according to its website. It received its Certificate of Independence earlier this year, has over 600 members and recommends fair rates of pay for new graduates and more experienced artists. The union was established to address the representational needs of artists who work as sole traders, are often self-employed and who find it difficult to make their voices heard.
Andrew Warburton continues his series on arts policy by interviewing Dr. Ben Walmsley, professor of audience engagement at Leeds University. Socialist policies for arts and culture are not created in an ideological vacuum. Rather than thinking we must devise policies that reflect our ideology perfectly and then impose those policies on the world, the seeds of a socialist approach to art can be found in the here and now. If we are to identify those seeds and elucidate ways to draw them out, we require a grasp of the present state of things, and a clear understanding of the way the arts should be developed for the collective good and for the working class.
With six years of Tory austerity behind us, Brexit on the horizon and the left-wing reorientation of the Labour Party ongoing, Culture Matters is starting a debate about the possible arts and cultural policies of a future socialist government. As part of this initiative, we will be interviewing representatives of organizations on the left – political parties, trade unions, arts organisations etc. We want to gather their views on art and culture, their analysis of the way things are at the moment, and what the way forward might look like. Andrew Warburton starts us off with an introduction to the topic and a brief description of the state of play at the moment. After years of reduced funding to the Arts Council of Great Britain in the late 70s, 80s and early 90s, the last Labour government presided, comparatively, over a golden age for the arts. It was not without its failures (including the much-derided Millennium Dome), but Labour’s achievements during those 13 years included the ending of museum admission fees, the opening of the Tate Modern and a heavy increase in funding to the Arts Council from £179 million in 1998 to £453 million in 2009.
Chi Onwurah MP, Shadow Minister for Culture, introduced the International AV Festival in the North East with this address. I’m delighted to be here at the Mining Institute, Newcastle, one of my favourite buildings in the city, built by engineers for engineers, and now enjoyed by everyone. As an engineer myself that is a particular pleasure. And I should also add that its great to have two women up here, speaking, contrasting and competing with all the portraits of men that hang around us.
Susan Jones outlines how activism can help artists in an age of austerity and widening gaps between rich and poor. The so-called golden age of arts funding gave way to debilitating austerity, felt particularly by artists who are now at the end of a long food chain, divorced from arts funding and policy decision making. But when did these divisions start, and how can artists use activism to create meaningful change for the future?