Arts Taskforce
Consultation Document
CONSULTATION DOCUMENT
ARTS TASKFORCE
Introduction
The arts taskforce has been established under the chairmanship of Sir John Tusa.
The taskforce will look at a number of specific areas of arts policy and will complete its work by the end of the summer, 2007.
Although the taskforce will present its report to the Shadow Secretary of State for Culture, Media and Sport, it is entirely independent of the Conservative Party.
The taskforce will restrict its focus to the visual and performing arts – museums, galleries, theatre, dance and music.
Separate inquiries will be established later in the year by the Conservatives to look at heritage, libraries and the creative industries.
The taskforce welcomes the views and opinions of all those with an interest in the arts. This short document outlines the remit of the taskforce, and, through a series of thought-provoking questions, sets out very broadly some of the areas in which we want to hear your opinion.
Please think freely and answer originally. If you have an interesting idea or proposal, we want to hear it.
For practical purposes, we would be grateful if you could please submit your comments in writing, and in no more than 600 words. All contributions will be treated in the strictest confidence.
The taskforce will consider the following areas of arts policy in England:
• The need for Government support for the arts and artists, and the manner in which it should do so.
• Arts funding, both private and public, and, within this, structures for the arts, including museums and galleries.
• Education and the arts.
• Access to the arts.
1 - Why Should any Government Fund the Arts?
Perhaps the most important decision the taskforce will make is on what basis a government should invest in the arts. The members of the taskforce have written the following joint statement on why they think the arts are important:
The Arts transform the lives of individuals in a powerful, fundamental and unique way. Music, literature, dance, visual art and theatre offer us all a chance for reflection - a way of making sense of the world, of organising, understanding and re-forming our experience. They offer opportunities for connection and debate and they stimulate, sooth, enrich and enhance our lives. They also give great pleasure and enjoyment.
From that transformation of individuals it follows that society itself is enriched. The Arts define both what it is to be civilized and civilization. A society with a rich cultural life must inevitably lead not only to a society more at ease with itself but a more cohesive society, where everyone shares a common cultural bond and heritage.
Some see it as the obligation of Government, at the very least, to ensure that these benefits are preserved for future generations. Others see the non-prescriptive funding of the Arts as the means by which the distribution of these benefits is not left to the vagaries of market forces but made available to everyone. Some believe that operation of market forces alone cannot secure artistic excellence and independence. Others, more cynically or perhaps realistically, draw attention to the significant economic benefits generated by the arts and suggest that self-interest alone compels Government involvement.
We are, however, unanimous in our view that the benefits are so important that this is not an area in which any confident, democratic government can fail to become involved.
• Do you agree that government should fund the arts in England? Or does state funding lead inevitably to state interference?
• Does government funding come with too many strings attached, too few, or just enough? Does the cultural dividend represent good value for money for the taxpayer?
• The current government is perceived by some as placing too much emphasis on the instrumental benefit of the arts. If you are a professional working in the arts, or if you are a performing artist yourself, do you feel this is the case? If so, in what form does this manifest itself – do you feel distracted from what you believe is the primary purpose of your work, or do you welcome the chance to demonstrate the many social benefits of your work? Do ‘targets’ fill you with dread?
2 - Funding & Structures for the Arts
The Taskforce will examine the funding and organisational structures of the arts in England. We will focus on three main areas: The Department for Culture, Media and Sport (DCMS); Arts Council England (ACE), and regional and local authority cultural provision.
DCMS funding is divided into two main streams. Resource funding, primarily revenue funding, comes from central government spending. The National Lottery distributes both revenue and capital funding and all Lottery funding is based on the ‘additionality principle’. Last year the total DCMS resource budget was roughly £4.5 billion. Of this, £416 million went to the arts, while £403 million went to museums, galleries and libraries. The National Lottery distributed substantial funds to the arts last year. Many museums and galleries are also granted funds from the Heritage Lottery Fund
Arts revenue funding has risen under the present government. Lottery funding, however, has fallen just as substantially. When taken altogether, total funding for the arts has actually decreased since 1997.
Another important source of revenue for the arts is private giving. This now amounts to more than £500 million a year. The Goodison Review in 2004 set out a number of measures that could be put in place, specifically to help museums and galleries acquire works of art. However, many of its recommendations could assist arts organisations in raising private funds.
• DCMS: Most government funding for the arts is channelled through the Department for Culture Media and Sport. What is your experience of working with the DCMS? Do you believe that ‘culture’ requires its own department, or would the arts be better served within, for example, the Department for Education?
• DCMS funding settlements are currently set for three years. Is this correct? How does the threat of short-term funding fluctuations affect arts organisations? How far ahead should Government guarantee arts funding?
• Lottery funding: Lottery funding: Why is revenue funding valued more highly by arts institutions than capital funding from the Lottery? Is the distinction a valid one? Does the temptation to seek one-off capital grants from the Lottery place a future, unsustainable burden on annual revenue funding? Would it be more practical if all arts funding, both Lottery and Arts Council revenue grants, were merged into one ‘pot’? Should/how can Lottery Funds be protected from further Government interference?
• Private funding: Do you believe that, in the long-term, the bulk of arts funding should necessarily come from government? What is the best ratio of state/private funding? What can be done to encourage more private funding? The taskforce would particularly welcome suggestions from major donors to arts organisations. Which of Sir Nicholas Goodison’s recommendations do you believed are the most essential?
• Arts Council England: All visual and performing arts funding, both revenue and Lottery, is channelled through Arts Council England. What is your experience of working with ACE? How would you improve ACE funding applications? Major museums and galleries, such as the National Gallery, are funded directly by DCMS. Is the ‘arms length principle’ still working in the arts? Should some of our most important performing arts organisations receive funding directly from government rather than ACE?
• Museums and museum funding: The taskforce welcomes all proposals about museum policy in England. Some key questions surround funding. The principle behind the abolition of entry fees has been well received - is it working in practice? Should museums be allowed to charge and to keep their revenue from charging? Should museums allow free entry for UK residents only? Are museum budgets under pressure as a result of diverging priorities – should a future government, for example, place a greater emphasis on acquisitions? Or are there, broadly, enough fine art objects in public collections? Should deaccessioning be permitted? Does museum funding come with too many strings attached? How can the Renaissance in the Regions be sustained? Is the current system for appointing trustees satisfactory?
• Local and regional funding: Many arts organisations are funded through their local authorities. As funding from local authorities is 'discretionary', each local council or regional authority will have its own system of grant funding. Is the current local government arts funding system satisfactory? What changes should be made? Should local government arts funding be placed on a statutory basis? What measures, if any, can be taken to protect cultural activity funded by local authorities?
3 – The Arts and Education
The Taskforce is particularly interested in the role of the arts in education, both inside and outside the classroom. Many studies have demonstrated that the arts can help boost academic achievement. But at present, arts education is excellent in some schools, but non-existent in others. Likewise, some arts organisations have an excellent record of educational provision, whilst others do not. The Taskforce will examine arts education from both aspects, schools and organisations.
• Schools: Should the arts become a core curriculum subject? If you are a teacher, do you feel confident enough to teach more arts-based courses, and if so, would they benefit your students? How can ‘Creative Partnerships’ be improved? Are the arts organisations in your area keen to involved in educational programmes? What barriers, aside from resources, prevent regular school trips to local arts organisations?
• Arts organisations: To what extent should an arts organisation see its purpose as educational? Is the collaboration between your organisation and local schools working? Should education & learning departments have a greater say in your organisation’s direction? Or should we not get too distracted by the educational mission? Should the Department for Education and Skills play a greater role in the arts? Does one form the arts, say, music, have any superior educational value over another?
4 - Access to the arts
The Taskforce will examine what measures can make the arts as accessible as possible. If an increase in participation in the arts is the best way to ensure long-term support and success for the arts in England, all arts organisations will have to continue their drive to reach wider and larger audiences. Much of this depends, of course, on funding. But there are also many other ways in which the arts can broaden their appeal.
• Are the arts organisations in your area user-friendly? What lessons, if any, can be learnt from the commercial entertainment sector? Can opening times be improved? Are facilities family-friendly enough? Are ticket prices the main factor in determining whether you got to a particular arts event? How much time and resources should arts organisations put into outreach programmes?
Arts Task Force
April 2007