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Identity, Diversity and 'Englishness' in the Arts
What does it mean today to be English? How do the issues of identity, culture and diversity affect the way we participate with the arts in this country? What role do they play in the way the arts are funded?
In recent years diversity and national identity have been high on the political agenda. Our decibel programme has been hugely successful in engaging and promoting African, Asian and Caribbean artists, and we also have a Race Equality Scheme to which all regularly funded organisations must subscribe. But to what extent should ethnicity play a role in the policy objectives and funding criteria for artists and arts organisations?
Historically, social and cultural policy have been very closely allied. Recently, Trevor Phillips, chairman at the Commission for Racial Equality, described multiculturalism as a failed policy position that has not achieved ethnic cohesion, but instead accelerated cultural separation. Where then does this leave the funding policies of organisations like the Arts Council?
We are delighted to be involved with the project Identity, Culture and the Challenge of Diversity taking place at the ippr. This year-long project is exploring the principles that should guide the way identity issues are approached, mapping changing patterns of identity within the UK, pin-pointing challenges to shared identities, and highlighting options for strengthening shared civic identities at both national and local level.
According to research by ippr, the arts have a role to play in bringing people together around shared interests and providing a space to reflect on who we are and explore difficult issues. But how do we balance the celebration of diversity with the development of shared identity – particularly given the current socio-economic profile of arts audiences and participants?
And how can public funders like the Arts Council translate modern forms of identity into paths of support for arts practice in England? Is there such a thing as 'English art' today?
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The 'Englishness' is not a trait that belongs to the people living in the UK. Through ages it has rooted into the social values and norms where ever the British set foot.Forexample for most of the people using slang is impossible in good writing in Pakistan. This is what diversity actually means.
The arts council still has little understanding for cultural diversity. Traditional culture is often dismissed as folk if it comes form abroad. This can be compared with the support of RSC , the ROH and RB. Also there is an idea that an organisation rooted in Englishness can develop and support diversity within the arts
Arts Council still has very narrow vision and undersatnding about'culturally different'society living in the UK. This is because Arts Council heavily relies upon the surveys, datas and reports prepared by a third party; specifically by the organisations directly funded by the AC; which follows on to creating a policy that again misinterprets'diversity' and'ethnicity'as a separate segment of the society that needs to be'addressed' like the issues of young offenders or terrorism.AC needs to employ a direct approach to communicate with Asian or Black community, and there can not be any better tool than'art'itself.
For me one of major pitfalls in the quest for a equal and diverse Art's Culture is rooted within the current system of arts education.
The Arts Council has made very positive steps towards an 'inclusive' arts culture, the Race Equality Scheme and the decibel project being examples. Many professionals and individuals adhere and pro-activley support this , however this can sometimes be undermined and deffered by less altruistic individuals.
My own experiences within Arts education [GCSE to MPhil] echo those experiences of many 'Black & Asian Artists' [in particular male artist's] i have spoken to. The common denominator of these experiences is to feel treated with intellectual and artistic inferiority, regardless of the level of ones praxis and artistic sensibilities. Instead of being taught,supported, encouraged to develop ones skills and methodologies for progression, the education experience can seem to place 'one' in a situtaion of being placed in 'ones' place.
I think to counteract this potential 'bottlenecking' of diversity within 'British Art' the arts council could consider investing in a support system for 'Black & Asian' arts students .
The implementation of simple structures such as the provision of experienced mentors and the creation of networked
discussion groups, could have profoundly positive effect on the 'Black & Asian' Art student experience.
The above backed by a governing
'informed' body to which cases of discrimination and inequality can be taken to, for support, assessment, discussion, and resolution when they arise, [not after]to ensure 'equal oppourtunities' are not removed. From this a solid body of 'evidence'/'data' can be created, upon which to reflect and act,and further amend policies of equality.
Further the assurance that 'Black & Asian staff'in Arts institutions are not limited to cleaners, caterers and security but make up a percentage of academic staff,may help to create a comfortable presence of diversity, and to deliver a diversity of viewpoints for all.
It is not until equality is achieved within arts education that as a nation of producers of cultural forms we can reside within the commonalities of diversity, as oppossed to appropriation of segregation.
Rather ironic that the arts council has this debate and yet finances the Englsih national Ballet who currently employ a member of the BNP
"What does it mean today to be English?"
The naked truth? It means to be dispossessed slowly and irrevocably of one's own homeland and peoplehood, while those whose duty it should be to guard our interests seem only to loathe and despise us. To be English, actually, is to be deeply aware that we have had the greatest human rights - the right to be and the right to living space - removed from us.
Speaking such unpalatable truth is not permissible in the liberal milieu. In the 1960s it was de rigeur for young writers to challenge authority and received ideas. Would the Arts Council today tolerate work couched in the language of and supportive to English ethnic rights and interests? I rather doubt it. The only values permitted are those of English ethnic suicide: "diversity" and "equality".
We are truly beset by a traitor elite.
Arts Council supposed to fund external applicants, not fund their own project like decibel (not black led). Of all revenue funded clients, only handful are BME. Decibel give false impression to DCMS that Art Council have BME staff and number of projects. Why continuous failure on diversity - because too much bluff and not enough removal of internal barriers. It is those that are worse barriers that seem to get promoted!!!
Even though I am a professional novelist I find myself marginalized by the terminology and seemingly indecipherable ruminations of the Arts Council.
What has 'Englisness' got to do with any of the arts. OK, identity and diversity I can understand. But what have they got to do with 'Englishness'?
There is no such thing as shared identity, certainly not when it is equated with a nation state. Shared identity only ever comes about in the micro world; a couple dancing together, a choir singing together. The kind of shared identity that brings people together as a nation, say, in times of war, is as much 'shared divisions' as 'shared identity'.
Please take 'Englishness' out of this equation, and let us discuss how the arts council can help foster identity and diversity. It is important to remember that we are part of a global village.
I am inclined to go along with what 'guessedworker' says.
I have been on the non-receiving end for many years. I don't bother asking for funding anymore as I'm English and white and supposed to be serviced by the ballet and opera.
I've used advertising to sponser whatever I can and have also run up debts in the process. But I did what I set out to do for my community and that was more important than trying to reason with some of these 'less altruistic individuals' as mentioned by Mr. Singh.
you can be black & asian English if you want to be,whats wrong with that!choice is yours,you can be what you like! ...Banksy is English, modern Turner or a Constable! mayby William Hogarth he was very discripted...from my home town,..city really!...you can see some his gems around the city!...so there you are... a little a little drop of Englishness & diversity mixed,together...isnt that nice, Leepy Bristle..
A key characteristic of being "English" is a sense of fairness and I think this is what the Arts Council has been attempting to achieve in supporting many new art forms related to minority cultures. But, by so doing, I think it has lost a little sense of proportion and balance (a second key characteristic of the English). Those involved in traditional mainstream (and majority) English work - for example, in music: choral societies, opera groups and so on - can feel quite marginalised. As importantly, there is a silent majority of "English" people quietly supporting artistic activities in their communities, giving hugely of their own volunteer time and energy to keep these traditional art forms alive. We need to encourage balance and fairness and not to forget - in the hunt for the "new" and "inclusive", a basic business Customer Service precept: this could be summarised as - in your hunt for new customers - be sure that your existing (English?)customers are not pouring out through the holes in the bottom of your bucket.
ACE is probably one of the most 'right on' organisations around in terms of its policies and I do believe that many ACE staff have made a real commitment to addressing the issues around diversity - and of course most ACE staff are probably broadly liberal. However I think that cultural change and dialogue requires a high level of self-awareness (not guilt - no use to anyone)and I'm not sure that all ACE staff could offer a well-thought-out description of their own starting points and perceptions (class, education, religion, as well as ethnicities / nationalities.) Until this happens, any dialogue ACE sponsors will tend to come from well-meaning liberalism - basically, "I think I'm a nice person and I think everyone should just be nice to everyone else". Real engagement means a commitment to some hard debate, but on the basis of honest reflection about where we are all coming from. Should a white ACE worker let themselves be guilt-tripped into supporting the funding of a Black or Asian artist even if they think the work is poor? I think not - but they / the organisation should be able to say what criteria they are using to assess the work, or they might just be dismissing a whole genre as 'not worthwhile art.'Is an angst-ridden piece of white contemporary dance necessarily better art than a beautifully produced Asian fashion show? Maybe each thing appeals to different audiences for different reasons. You could argue that the fashion show is not self-reflective and all art should reveal the world in a new light, but what of a traditional piece of African dance and drumming with fantastic energy and excitement that tells a traditional story familiar in its country of origin but new for most British audiences? This has lots to offer us all even though it is not apparently self-reflective. ACE has a hard job deciding who to fund and who not, but the more it can generate an authentic debate internally, the better able it will be to attract a diverse work force who can argue the toss from a position of knowledge and experience.
As a white english male artist who identifies strongly with Liverpool 8, and has many years addressing issues such as immigration,racism,urbanism and Reformat through a multi-diciplinary approach all I can say is that we are marginalised by class, by colour, by cultural institutions and by smart arsed middle class who think we should be more black or brown. Even the fact that institutions are now shying away from 'mulitculturalism' marginallises us even more whilst the reasons for negating a 'multi-cultural' approach merely patronise those who live it. We dont have a choice where I live. I am not happy with ACE especially in light of the 'divide the natives and give to the middle class' approach to art in Liverpool and in the wider pool.If people could accept the political problem of multi-culturalism is based in the lies and arguments around 'Britishness'. If I came from a Commonwealth country I would probably have bought in to the lies around Great Britain. We need to understand that we are the United Kingdom, united by England, and remember that Great Britain is and is only a geographic term to deliniate us from the other Britain, namely French britain. By taking this truth on board many will find that the 'new identity'of the English is in fact an old , stable and for some worringly a Modernist identity. Non-revisionist modernist indentities fits well with a multi-culturalism based on people not some p.c. political post-modern soup notion of identity. Here in Liverpool 8 the identity of people fits in to a history, includes most of the world and calls a spade a spade. BEING SEEN TO BE 'COOL' AND DOWN WITH THE BLCK FOLKS HAS to be one of most patronising attitudes by an arts institution, which may help ethnic minorities get commissions etc but leaves the indigenous artists without any opportunities. It also ends up with house artists telling us we should give our works to the Tate, FOR FREE!, especially after they have filled their own boots..... culture may or may not be sold, but it sure can be sold down the river.
Some interesting and some slightly alarming comments. I'd broadly agree with Niksan and would very much disagree with some of the comments accusing ACE of disregarding white English practice. I think there is a tendency amongst white British artists who are refused funding to look at the more visible areas of funding from ACE and think that they've been refused funding because someone else has got it. Although campaigns such as Decibel are visible (and rightly so, there is a great deal of PR needed) funding to non-white arts projects is still significantly less than the proportion of the non-white population of the UK. If you're refused funding it's probably because your work's not good enough - end of story.
Anyway, some more negative comments...
There is the issue around quality and the officer's judgement of quality. I think this is a fundamental issue with the funding system. Following the last restructure of the Arts Council, there seems to be a somewhat awkward relationship for officers around the judgement of quality and ACE seems somewhat confused about their role. Is the role of a visual arts officer to be the expert on the visual arts, or the expert on the Arts Council's relationship with the visual arts sector? Is it realistic to think that a visual arts officer can make quality judgements on the range of visual arts activity from a range of different traditions? Or should they refer to a 'Cultural Diversity Officer'...well, I'd say no - it's patronising to expect a cultural diversity officer to be an expert in all forms of non-white British art.
The second thing I have a slight issue with is divisions of class within the funding sector. Diversity in terms of class - high art vs low art - is much less advanced and is reflected in the funding of non-white british projects as much as in the mainstream sector. In other words, does the funding of a range of middle class Asian arts organisations, catering to affluent middle class audiences show your organisation's diversity? ACE funds some fantastic organisations who do work at the grassroots and with all members of society but these tend to be viewed as the community/education strands of the organisation's work, are slightly patronised and are esteemed usually because of the quality of their engagement rather than the quality of their work. They're also largely underfunded. Some tough decisions need taking and some regularly funded organisations should be no longer regularly funded. One could argue, for example, that many of those who take the most money from ACE's pockets are precisely those who have the most opportunity to make themselves more commercially viable.
Until ACE addresses some of these issues and really embraces diversity in all its forms, the change will not be all it could be.
For the sake of people who do not understand how the british isles works,if you are born in England you are English! which out of a pop 50+million the majority except that!the English Arts represents that population,plus other peoples who have chozen to live or make a life here! nothing to do with British Isles,....because N.ireland Wales,Scotland, have there own Arts councils which is funded & supported by there elected assemblys,so England represents people living & working in England.There needs to be equality & equity to one & all!Leepy Bristol..
I live and work in a Middle eastern country, 6 years. I have a degree in the arts from a UK. I am white English,council estate background.I travel the world (really I am currently an airhostess)I have many freinds from all over the globe,I am also Currently studying identity of ex pats and what It meens to be English abroad.I travel to the UK regulary and keep up with the vibe. I have two sisters who both work in the teaching sector within Birmingham.Whilst, TravelLing, I have seen many sides of the story, from all angles. What suprises me is the lack of primary intergration in schools of different cultures in the UK. Why is it STILL in many schools divisions are still made in schools at a primary level? Eg....sister is a drama/music teacher in a predominantly muslim innercity school, b,ham. Why is it she is not allowed to use the word "performance" in her school reports?Is performance not a vital area of discussion in the arts now? If there is such division at such an early stage of teaching within the UK what hope is there to promote at a later stage when applying for funding from people such as yourselves? The level of confusion regarding identity is becoming overwhemling to many young british people I feel. And this goes for all people, black white chinese, indian, pakistani, sudanese,russian ect ect......when will the eduaction system get it together and teach what needs to be tught to produce a better more informed youth? who in turn can make the UK a better place. I live n a strange country, Dubai, its a country made by foreigners to its shores. Many people live on a very low wage, yet there ideas are still as basic as what I see in the UK NOW!! WHERE IS THE PROGRESSION. Im an optimist, and I beleive that art should start bridging cultural gaps/ and strengthen identities (ALL) equally.Anyways any comments on this subject I would welcome.
I think you do a thorough job communicating with the needs of ethnic minority groups, except in the case of white English ethnic minority groups. They are rarely consulted in such a way that leads
to an expensive advertising campaign
that is funded for other minority groups. I receive many glossy apublications advertising and promoting black and asian events and things like Black History Month,without seeing equivalents for indigenous "unknown" artists of the same or greater calibre. Yet in
open to all events black and asian artists get their fair share of promotion and publicity, if not more. I know it is unfashionable to speak up for indigenous artists (writers, musicians, artists etc.)but I feel it necessary that non-academic, non-political indigenous people should have a say too without
a suggested stigma-application if they do.
On Feb 7th Paul said 'If you're refused funding it's probably because your work's not good enough - end of story.'
Yes well there is that I suppose...if only it were so simple.
In the city where I live I have witnessed much unfairness. From what I've seen, some people deliberately set out to discriminate against English people in a manner I can only describe as against the constitution!
I have heard it from arts provider's mouths that it's ok to be a Scot or from Ireland. Celts are ok. In fact most non-English people are ok. Apparently being 'Third Generation' there's no getting away from it - I'm English. There is nothing positive to say about it according to my sources.
I must say I haven't heard much else about being English in a long time and, if I remember rightly, last time I did it revolved around Football or Queen and Empire!
The things that make me English haven't been celebrated properly so far. I think it's in everyone's interests to investigate what it means. There's so much potential.
I'm hugely disappointed by the attitudes I've encountered. Ten years ago I thought we might be getting somewhere. Diversity! It was all going to be so rich and exciting. But now I think it's a big fat con.
You did ask!
(And, well said Geoff Stevens by the way)