As we emerge from the end of the period of pre-election sensitivity, it’s time for me to set the record straight.
Excellence is the golden thread that runs through everything Arts Council England invests in. It begins with artists, performers, curators and practitioners from all backgrounds having great ideas, and culminates in them creating work that is thought-provoking, dazzling and brilliant. To suggest otherwise is to devalue the thousands of people up and down the country who are delivering the highest quality work to their visitors, audiences and communities. Excellence is not an accidental by-product of our investment – it’s what we look for and support in every decision we make.
This truth was fundamental to the case we made to the recently paused Public Bodies Review. The review sparked animated debate, in The Stage and elsewhere – and the passion with which people expressed their views testified to the ownership those in our sector feel of the Arts Council, and their desire for it to be the best version of itself. We listened carefully to all that was said and, while we don’t know yet whether the review will be resurrected or superseded by the new government, we heard clearly that there are things we must change: from simplifying our processes and systems to increasing organisations’ contact time with our relationship managers. But we disagree with the zero-sum argument around excellence and access that dominated the discussion. We believe that drawing on the talent in all our communities, in all art forms, in all parts of the country leads to work of ambition and quality. That rather than diminishing excellence, greater access allows it to flourish.
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Excellence and access in creativity and culture are not mutually exclusive. One does not draw oxygen from the other. They are not enemies in a war for our nation’s cultural soul. Pitting Manchester against London, funding for theatre against money for museums, or jazz lovers against operagoers, means no one wins. In fact, if we allow these arguments to dominate, the whole sector loses. Think what we could achieve if that time and effort went instead into coming together to make the case to our new government that supporting creativity and culture is an investment in this country’s future.
The Arts Council as an arm’s-length body of government is, like the civil service, politically impartial, working with the government of the day. It is a statement of fact, however, that during my adult life there have only been three changes of the party of government – and each has been seen by commentators as constituting a generational transformation. Change of this kind allows us to think about how we can make the best possible case for the importance of our sector to the whole country. Now is a time for us to come together to make that case plainly, simply and with verve.
Excellence is not an accidental by-product of our investment – it’s what we look for and support in every decision we make
We have the evidence to back it. Culture helps economic and social regeneration, and catalyses investment. The power of high-quality creativity and culture in unlocking opportunity is being seized by cities such as Manchester, Liverpool, Leeds, Southampton, Plymouth, Bristol, Hull and Bradford, soon to be UK City of Culture. Their leaders understand that investment in the arts is vital for fostering civic pride, uniting communities and building a successful future for young people. The wider impact of our investment, particularly in theatre, is evident too. The National Theatre’s War Horse, which will enjoy a revival later this year, has already been seen by more than eight million people across the globe. In Leicester, it brought 25,000 people into the city centre, while in Salford its run brought £9 million into the regional economy.
And returns on investment in culture can be calculated in other ways – in the stories we tell about our country. That is clearly seen in productions such as Sheffield Theatres’ Standing at the Sky’s Edge, now playing in the West End; the tour of Rush: A Joyous Jamaican Journey; or Birmingham Royal Ballet’s Black Sabbath, which recently wowed crowds on Glastonbury’s Pyramid Stage. Three very different tales, each reflecting the vibrancy and diversity of our nation.
Our arts organisations, museums and libraries are brilliant at telling stories. Making the case for the benefits they deliver is just another form of storytelling. We need to build a strong narrative around how targeted investment in renewing our buildings and incentivising touring can bring significant economic dividends. We need to tell the important story of creativity and culture’s already major contribution to growth and renewal. That was the story Keir Starmer was told, and repeated, on his visit to the Lyric Hammersmith during the election campaign. It is a story many other theatres can tell, too – of the part they play in revitalising high streets, nurturing the potential of young people, wowing audiences and enriching lives. It is a story in which we can all take deep pride.
Let’s come together to make the case that supporting creativity and culture is an investment in this country’s future
The Arts Council has a leading role to play in telling that story. We worked hard behind the scenes to help secure the permanent uplifted tax reliefs on museums, orchestras, galleries and theatres. Our focus now, as we begin to work with a new government, including Lisa Nandy, the new secretary of state for culture, media and sport, is to make the case for creative professionals and cultural organisations as emphatically as we can. We are realistic about the challenges on the public purse. But we believe our sector is a partner worth investing in.
And we believe the new government’s missions present us with a unique opportunity. From economic growth to breaking down barriers for everyone, its missions are ones in which our sector is already delivering. But there is much more we can do. As the nation’s storytellers and one of its key success stories, our creative sector can and should be at the vanguard of the change people want to see. Throughout history, artists have led the way in societies: imagining and realising new ways of viewing the world. My hope is that the government will put its faith in the artists, cultural organisations, museums and libraries that are delivering for their communities and country every day. If it does, that faith will be repaid.
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