Arts debate

What principles should guide public funding of the Arts?
Benefits to the individuals and the community - inclusivity, diversity, value for money and the impact on the quality of life.

What are the responsibilities of a public funded Arts organisation?
(1) Accountability by monitoring evaluation (2) Engagement of the communities - audience development, promotion of the Arts Council's work; value for money, achieving targets, collaborative and partnership working to avoid duplicity.

When should an Artist receive public money?
When he/she can demonstrate accountability, need for the project, benefit of the work to the public, participatory action, management of finance and partnership working.

Should members of the public be involved in Arts Funding decisions?
Yes. Through community representation and consultation. It is not humanly possible to involve every member of the public in decision making.

I value the way that the arts can build bridges across different countries and cultures, that creative points of view can clash and resolve themselves peacefully, that indeed different points of view or approaches are

I have inspired by high quality shows at the National, to the groundbreaking Complete Works season by the RSC, to intimate shows at the BAC in London.

Certain groups have used the arts to peacefully express their points of view and to advocate for greater inclusion in society. Events such as the Gay Pride marches and Notting Hill Carnival bring these groups and wider society together. Impassioned one man shows, comedians or musicians can change our awareness and points of view.

Currently, I have seen how members of the British Chinese community are trying to develop their voice, to counter the stereotype that they are a silent community, more silenced by a lack of inclusion in the arts and media. The arts is the most valuable way that communities such as these can come together to find a civic and a creative voice, to bring together many different points of view within a group.

The arts are so versatile, from allowing ambitious positive expressions of civic pride to the sharing the most private of revelations. Being able to express ourselves is an amazing ability best encapsulated through the arts. Otherwise we are little more than beasts disguised in business suits.

The arts also feeds the media and many business sectors, and studies show the investment made in the arts is repaid many times over.

What principles should guide the public funding of the arts?
The arts is driven in different ways: commercially, subsidised and by amateurs. Commercially, such as the West End, record companies, private galleries. Subsidised. Amateur by local groups and communities.

Public funding of the arts from taxes must be able to provide provision not available commercially, to serve the public as audiences, and empower every member of the public to be able to express themselves as well, from amateur groups, subsidised classes or simply starting to write a book on their pc.

Access to the arts must be prioritised for socially less privileged groups, as the privileged have the funds to see or create art. But looking bigger and building bridges between privileged and less privileged groups is something the arts is ideally placed to do, but does not seem to. Too many seem to pay lip service to wanting to serve local groups, but do not do this consistently. One example is the common conception that local British Chinese are difficult to engage, when firstly practical models of developing engagement long term exist, and policies in place such as integrated casting so clearly omit Chinese and East Asian faces on stages across the UK.

The arts is also a key way to bring together generations: seeing the pleasure art initiatives can give to young and old is truly amazing.

Funding of arts education and constructing arts curricula that allow for creativity must also be in place: public funding of the arts cannot make up for shortfalls in education.

Arts needs to fund the innovators as well as the maintain the traditions. The tilt must be more towards the innovators as the traditions are being kept alive in colleges, West End etc, though working in partnership to encourage the innovators can only be beneficial.

The arts help use to interpret and make sense of our world. With so many pressing issues around the rich poor divide, the environment etc, developing and flexing this faculty through the arts is imperative.

What are the responsibilities of a publicly funded arts organisation?
Organisations range from the National Theatre through to local arts centres. Though an artistic programme must be coherent and often decided by one artistic director, too often personal taste and viewpoints seem to dominate a inward looking programme, as opposed to reflecting local voices and issues.

Public funded organisations can work longer term with under represented voices, and those who continue to do so should not be funded. These organisations must take risks, as the public funding is there to provide support.

Publicly funded organisations need to fill local gaps, not replicate events catered for by other sectors. They also need to maintain artistic excellence, and allow those aspiring to work in the arts to be inspired.

These organisations also need to look strategically and internationally to build creative connections to feed the cultural landscape.

Larger scale organisations need to be focal points for local consultation, and serve all generations, particularly young people as well as elders.

When should artists receive public money?
Innovators may not work best in the confines of an organisation. The arts can only benefit from artists who innovate or serve a local need to be funded. Work can be innovative, or bring a new spin to traditional material for new audiences.

Emerging artists also need to be supported and respected as professional, often surviving on very little money to maintain themselves. Artists that strongly believe in public benefit and development of fellow artists and art forms needed to be treasured and nurtured.

Artists that can think strategically and become future leaders also need to be identified and developed, particularly those from underrepresented groups.

With the plethora of acting, directing and arts courses available, there is a huge pressure from people wanting make a living from the arts for funding. Artistic leaders that can find innovative ways to tap into this and new technologies need to be developed, who are honest about the competitive nature of the arts yet can still inspire and empower collaboration.

Should members of the public be involved in arts funding decisions?
I think the public should certainly be consulted in general on what artistic provision is and should be provided, with an active approach to reach people and communities that do not use or access the arts. The onus should be with local theatres, galleries etc to consult transparently and report back, but also more region:wide consultation may be useful, perhaps through general meetings or events.

However, the developmental arts funding for emerging artists and companies requires a more strategic thinking, which sometimes may buck public opinion.

As to actual decisions, these need to be made strategically, by decision makers that are both culturally aware and aware of a community’s needs. Consultation can feed into the principles for arts funding, but not the actual spending.

I value the way that the arts can build bridges across different countries and cultures, that creative points of view can clash and resolve themselves peacefully, that indeed different points of view or approaches are

I have inspired by high quality shows at the National, to the groundbreaking Complete Works season by the RSC, to intimate shows at the BAC in London.

Certain groups have used the arts to peacefully express their points of view and to advocate for greater inclusion in society. Events such as the Gay Pride marches and Notting Hill Carnival bring these groups and wider society together. Impassioned one man shows, comedians or musicians can change our awareness and points of view.

Currently, I have seen how members of the British Chinese community are trying to develop their voice, to counter the stereotype that they are a silent community, more silenced by a lack of inclusion in the arts and media. The arts is the most valuable way that communities such as these can come together to find a civic and a creative voice, to bring together many different points of view within a group.

The arts are so versatile, from allowing ambitious positive expressions of civic pride to the sharing the most private of revelations. Being able to express ourselves is an amazing ability best encapsulated through the arts. Otherwise we are little more than beasts disguised in business suits.

The arts also feeds the media and many business sectors, and studies show the investment made in the arts is repaid many times over.

What principles should guide the public funding of the arts?
The arts is driven in different ways: commercially, subsidised and by amateurs. Commercially, such as the West End, record companies, private galleries. Subsidised. Amateur by local groups and communities.

Public funding of the arts from taxes must be able to provide provision not available commercially, to serve the public as audiences, and empower every member of the public to be able to express themselves as well, from amateur groups, subsidised classes or simply starting to write a book on their pc.

Access to the arts must be prioritised for socially less privileged groups, as the privileged have the funds to see or create art. But looking bigger and building bridges between privileged and less privileged groups is something the arts is ideally placed to do, but does not seem to. Too many seem to pay lip service to wanting to serve local groups, but do not do this consistently. One example is the common conception that local British Chinese are difficult to engage, when firstly practical models of developing engagement long term exist, and policies in place such as integrated casting so clearly omit Chinese and East Asian faces on stages across the UK.

The arts is also a key way to bring together generations: seeing the pleasure art initiatives can give to young and old is truly amazing.

Funding of arts education and constructing arts curricula that allow for creativity must also be in place: public funding of the arts cannot make up for shortfalls in education.

Arts needs to fund the innovators as well as the maintain the traditions. The tilt must be more towards the innovators as the traditions are being kept alive in colleges, West End etc, though working in partnership to encourage the innovators can only be beneficial.

The arts help use to interpret and make sense of our world. With so many pressing issues around the rich poor divide, the environment etc, developing and flexing this faculty through the arts is imperative.

What are the responsibilities of a publicly funded arts organisation?
Organisations range from the National Theatre through to local arts centres. Though an artistic programme must be coherent and often decided by one artistic director, too often personal taste and viewpoints seem to dominate a inward looking programme, as opposed to reflecting local voices and issues.

Public funded organisations can work longer term with under represented voices, and those who continue to do so should not be funded. These organisations must take risks, as the public funding is there to provide support.

Publicly funded organisations need to fill local gaps, not replicate events catered for by other sectors. They also need to maintain artistic excellence, and allow those aspiring to work in the arts to be inspired.

These organisations also need to look strategically and internationally to build creative connections to feed the cultural landscape.

Larger scale organisations need to be focal points for local consultation, and serve all generations, particularly young people as well as elders.

When should artists receive public money?
Innovators may not work best in the confines of an organisation. The arts can only benefit from artists who innovate or serve a local need to be funded. Work can be innovative, or bring a new spin to traditional material for new audiences.

Emerging artists also need to be supported and respected as professional, often surviving on very little money to maintain themselves. Artists that strongly believe in public benefit and development of fellow artists and art forms needed to be treasured and nurtured.

Artists that can think strategically and become future leaders also need to be identified and developed, particularly those from underrepresented groups.

With the plethora of acting, directing and arts courses available, there is a huge pressure from people wanting make a living from the arts for funding. Artistic leaders that can find innovative ways to tap into this and new technologies need to be developed, who are honest about the competitive nature of the arts yet can still inspire and empower collaboration.

Should members of the public be involved in arts funding decisions?
I think the public should certainly be consulted in general on what artistic provision is and should be provided, with an active approach to reach people and communities that do not use or access the arts. The onus should be with local theatres, galleries etc to consult transparently and report back, but also more region:wide consultation may be useful, perhaps through general meetings or events.

However, the developmental arts funding for emerging artists and companies requires a more strategic thinking, which sometimes may buck public opinion.

As to actual decisions, these need to be made strategically, by decision makers that are both culturally aware and aware of a community’s needs. Consultation can feed into the principles for arts funding, but not the actual spending.

Jonathan Man
freelance theatre director

What principles should guide the public funding of the arts?
Arts is equial for all. With diversified communities living in harmony, it is the same with arts as well. Public funding should be used for identifying the right talent, promoting the amateus, supporting the legends, supporting the educational curriculam in Arts.

What are the responsibilities of a publicly funded arts organisation?
This organisation should think and act strategically and also internationally to bridge the cultural and generational gap.

When should artists receive public money?
It is imperative that the right talents are nurtured and respected.It is also getting competitive these days. When an artist can display talent that can genuinely awe the audience.

Should members of the public be involved in arts funding decisions?

Public should definitely be consulted in these critical decisions as art is a way of reaching out to the public.

Regards
Radha
Student of Vani fine arts.

Speaking as a music therapist of over 40 years experince, I feel that the exclusion of arts therapies from any form of funding is actually ethically wrong. All of us, in order to become professional arts therapists, first have to have completed successfully a minimum of 3 years training in our own art form. Then, because we wish to work with disadvantaged people, who may have a wide variety of disabilities - from mental health to emotional, social and behavioural problems, of all ages - we then choose to follow a further 2 years of training, during which time we learn how to use our art form in a clinical context. Thereby, we obtain State Registration, without which we cannot practise as Arts Therapists.

BUT, part of continuing registration requires that we maintain our artistic skills. I myself an a Church organist, choir-trainer, piano/church organ teacher, etc., etc. I conduct choral events, organise special music events, enter pupils for Music Examinations and liaise closely with artists in other disciplines.

WHY THEN AM I - AND OTHER ARTS THERAPISTS - NOT ELEGIBLE FOR FUNDING FROM THE ARTS COUNCIL?? Those in the Arts in Health movement - which I fully support, but who have not done as much training as qualified therapists have - are elligible for funding, providing they do not use the word 'therapy' to describe their work. In fact, arts therapists often receive calls from artists who are about to start work with people having special needs, asking how they should go about it!

To say that 'if arts therapies are state registered, they should receive funding through the Health Service' is laughable. The Health Service appears to have little money for any service which is not strictly main-line, supported by Random Control Trials.

PLEASE will someone on the Arts Council tell me why arts therapists cannot receive funding from the Arts Council?

WHAT PRINCIPLES SHOULD GUIDE THE PUBLIC FUNDING OF THE ARTS?
-- Equal of Opportunities - Stop the allocation of funding to BME; it's a form of funding apartheid. If there is a lack of BME representation, deal with that issue, DO NOT continue to fund organisations that fail to meet their obligation in a cosmopolitan Britain.
-- Accountability of HR - Recruiters need to be prevented from recruiting again if candidates they have chosen are total failures.

WHAT ARE THE RESPONSIBILITIES OF A PUBLICLY FUNDED ARTS ORGANISATION?
Their responsibilities include: -
- to look outside of their current 'friends' in recruitment.
- to not employ artists in business development roles
- to leave the arts to the artists, the organisations should focus on business
- to identify and choose products which their service-users (patrons) are interested in

WHEN SHOULD ARTISTS RECEIVE PUBLIC MONEY?
This is in the case of an individual artist as opposed to an arts organisation.
When there art is not commercial, i.e. no audience member will be charged?
When their art interacts directly with the public (either positively or negatively).
Artists who create commercial arts or 'arts for arts sake' need to find a patron or go jump in a lake, or something like that.

SHOULD MEMBERS OF THE PUBLIC BE INVOLVED IN ARTS FUNDING DECISIONS?
Let me just ask: -
"If the public are paying for a service, do YOU think they need to be involved in how their money is spent?"
The only reason you would want to exclude the public is so that you could spend their money on yourself, your friends and your family.