James Purnell was in the process of making quite an impact when he was promoted out of DCMS, not least in allegedly reintroducing the word excellence to the daily lexicon of petty bureaucrats everywhere. (Just as an aside, I was looking through Raymond Williams’ Keywords recently - as you do - and neither ‘excellence’ nor ‘quality’ is discussed. ‘Standards’ is though…)
Purnell came to speak to the National Council and Executive Board and was straightforward, frank and clearly committed to the arts, culture and social justice. I rather warmed to him, and was sorry to see him go off to DWP so soon. (I was especially sorry when he seemed to fall into cack-handed Daily Mail-appeasing workfare proposals, but that's another subject.) Anyway, earlier this year he find himself on the back benches in a classic example of an assault that ended: ‘You and whose army?’ ‘My army…oh, where have they gone? Damn…’
He has now reappeared heading up Demos’ Open Left project, ‘a project aimed at renewing the thinking and ideas of the political Left … an open conversation across the Left about the kind of society we want and how we can best bring it about’. There are a small number of artists featured on the site so far, with their ideas of what it means to be on the left. Some are obvious – Billy Bragg being no surprise – others less so. I’d never clocked Anthony Gormley as an artist of the left, for instance, though some of his work obviously has a real interest in ideas of self and community. His essay is typical of many in being kind of interesting, but also disappointing for anyone expecting an articulation of a vision for social change encompassing the poor and excluded. I struggled slightly to find the socialism in his essay, as in some of the others, but perhaps that’s not really the right thing to look for, even in its mildest or most liberal forms.
The Open Left project should also be read in relation to Demos’ set of essays, What Next for Labour? Beneath the howls of despair (it was written about the time James Purnell was drafting his resignation) are some really important ideas and debates. A stronger emphasis on ‘a stronger sense of the social — of communities, civic associations and social institutions…. a politics of social life’ sits alongside voices emphasizing the empowerment of individuals, usually in the context of the state withdrawing from ‘interference’ or ‘regulation’. You can feel this dichotomy running through cultural policy, for course, although interestingly cultural policy is more or less absent here.
Whether this moves us beyond right and left (now, and arguably always, tribal terms as much as anything else) and perhaps past worrying about the S word and its presence or absence, especially given the rather new thinking from the Red Tory zone of Thinktankland, that is at least interested in the social, we shall see.
Tuesday, 25 August 2009
Thursday, 20 August 2009
More thoughts on Expressive Lives
As I mentioned yesterday, I’ve been on holiday. The first part was a real ‘staycation’, enjoying the Stockton International Riverside Festival, which just happens to be my local festival. Paul Harman, with whom I am rarely known to disagree, honest, describes it very well on Arts Professional here. Listening in as two classic brick-outhouse, cropheaded, tattooed Teesside Blokes debated whether BalletBoyz Next Generation was as good as the dance thing they’d seen last year, whilst waiting for Avant Garde Dance to begin, really made my weekend. Well, that and seeing the rest of the family express themselves in performance – my wife and daughter running away to join No Fit State Circus (only for the weekend, mind, in line up in photo above)in the DVC Choir in Parklife, and my son and his mates in Cold Pistols getting an early slot in the Fringe Festival (amusing that's-my-giant-boy photo below).
Anyway, that and the rest of my holiday in Norfolk – my, that period as ACE Executive Board Rural Champion had a lasting impact! - made me want to add a further note to my thinking on Expressive Lives, which is that there is a certain metropolitanism to the tone, and to the notion that we are now awash with opportunity. Not every place is like Stockton-on-Tees, after all, where we get to live expressive lives. (By metropolitanism I don’t mean London-centricity, by the way, though that’s a common manifestation. For another strain of the syndrome, again probably not malignant, see recent discussion in the States over the new NEA Chair Rocco Landesman’s comments about theatre in smaller places – here or here.)
This is then built on by a point made on Town Hall Matters by John Craig-Sharples, drawing attention to the role of local authority cultural services in supporting expressive lives. Although there are some passing references to local government in the publication, mainly in the context of funding, the role that culture can play right across a local authorities functions is underplayed. As John puts it, and as councils like Stockton at their best demonstrate, ‘Perhaps if we really grasp the potential of cultural services we would find that they may play as big a part in building the kind of communities to which we are committed, as some of the core services like social care’. This is about taking the arts out of their box and putting their influence to use throughout local provision, throughout the country.
I came across Town Hall Matters via Blogger’s Circle, which is an experiment in creating debate around blogs that fall broadly into the area of ‘public policy’. This is the first of my ‘Bloggers Circle’ inspired posts. If you’re interested in policy and politics have a look around.
Wednesday, 19 August 2009
Wrapped up in books
Well, it’s been quiet on here as the Family Robinson have been away on holiday – having fun to put the thought of this next week’s A Level and GCSE results out of our minds. Well, that’s what my wife and I were doing, not sure about the kids…
Anyway, after a day and a half of dealing with the things marked urgent, I thought I’d relax for a few minutes and create Arts Counselling’s first ‘annual feature’ and share with you my holiday reading.
The Gum Thief by Douglas Coupland – entertaining tale told in epistolary and note form with an novel-within-a-novel that did make me laugh out loud, and then go back to rewatch Who’s Afraid of Virginia Woolf? Read this and you’ll never go into Staples without thinking of it.
The Great Lover by Jill Dawson. Beautifully imagined story of the poet Rupert Brooke and a housemaid. The facts of Brooke’s youth and artistic circle are seamlessly woven into a picture switching between Brooke and the maid – who becomes so real you think she must have been a real person too. (Arts Council England gets some nice thanks for support whilst writing of this, by the way.)
The Savage Detectives by Roberto Bolano. A massive (though not as huge as his final book 2666) and massively lively story of the founders of the Mexican school of Visceral Realist poetry – apparently based on Bolano’s own youth in Mexico City. A bit like Kerouac’s Desolation Angels rewritten by Thomas Pynchon. A bit.
Cider with Roadies by Stuart Maconie. Not sure why I hadn’t read this before… forty-something man reminisces in humorous fashion about the punk and post-punk years growing up in the North West of England, it could have been written to give me a relaxing day. (Maconie grew up in Wigan, which is where the 113 bus that went past my childhood home went. He even worked for a while at Courtaulds like my Dad.) Warm, self-deprecating and fun, slipped down like a pint of Boddingtons.
The Masterpiece by Emile Zola. Don’t know why, felt like a bit of 19th Century French naturalism by the end of the fortnight. Suffice to say, you can’t get much further from Stuart Maconie’s good humour than Zola’s ‘never-going-to-end-well’ school of realism, but what better way to prepare for the return to work than a book about artists and their visions and travails.
I knew I was writing this for a reason: looking at this list they are all about one form of art or another, and the search for ways of making that manifest in society and in life. Hmm...
Back soon with some serious policy related stuff - just getting back in the swing.
Anyway, after a day and a half of dealing with the things marked urgent, I thought I’d relax for a few minutes and create Arts Counselling’s first ‘annual feature’ and share with you my holiday reading.
The Gum Thief by Douglas Coupland – entertaining tale told in epistolary and note form with an novel-within-a-novel that did make me laugh out loud, and then go back to rewatch Who’s Afraid of Virginia Woolf? Read this and you’ll never go into Staples without thinking of it.
The Great Lover by Jill Dawson. Beautifully imagined story of the poet Rupert Brooke and a housemaid. The facts of Brooke’s youth and artistic circle are seamlessly woven into a picture switching between Brooke and the maid – who becomes so real you think she must have been a real person too. (Arts Council England gets some nice thanks for support whilst writing of this, by the way.)
The Savage Detectives by Roberto Bolano. A massive (though not as huge as his final book 2666) and massively lively story of the founders of the Mexican school of Visceral Realist poetry – apparently based on Bolano’s own youth in Mexico City. A bit like Kerouac’s Desolation Angels rewritten by Thomas Pynchon. A bit.
Cider with Roadies by Stuart Maconie. Not sure why I hadn’t read this before… forty-something man reminisces in humorous fashion about the punk and post-punk years growing up in the North West of England, it could have been written to give me a relaxing day. (Maconie grew up in Wigan, which is where the 113 bus that went past my childhood home went. He even worked for a while at Courtaulds like my Dad.) Warm, self-deprecating and fun, slipped down like a pint of Boddingtons.
The Masterpiece by Emile Zola. Don’t know why, felt like a bit of 19th Century French naturalism by the end of the fortnight. Suffice to say, you can’t get much further from Stuart Maconie’s good humour than Zola’s ‘never-going-to-end-well’ school of realism, but what better way to prepare for the return to work than a book about artists and their visions and travails.
I knew I was writing this for a reason: looking at this list they are all about one form of art or another, and the search for ways of making that manifest in society and in life. Hmm...
Back soon with some serious policy related stuff - just getting back in the swing.
Wednesday, 29 July 2009
Do It Yourself?
Because I became a chef the week after I left university, I never went on the Enterprise Allowance Scheme, though I had lots of friends who did. (You can listen to some 80’s janglepop from my friend Ally's record label, Sombrero, partly enabled by the EAS, here.) My recollection is a key boon (to both individuals and the government of the time) was getting away from the dole office for a year, but that may just have been my friends, and it did undoubtedly assist some long-lasting businesses, and provide some great experience for people making their way into the world with few resources. (And MySpace and the internet mean those old records, books and magazines in attics and garages might even have a second life.)Do it yourself: cultural and creative self-employment in hard times is a new report by New Deal of the Mind for Arts Council England, just published. It provides research and analysis to inform thinking about opportunities for young self-employed creative people and the potential implications of the government’s Future Jobs Fund, and amongst other things suggests creating a 21st century version of the EAS. (It has interviews with people who benefited such as Louise Wilson.)
I feel there are also lessons to be learnt from more recent small grants schemes to support creative industries, such as the North East’s Cultural Business Venture. Investment in technology and marketing in the early days of a business, enabled by access to ‘micro-finance’ may have more impact than the same amount spread across a year to subsidise living. The requirement to talk to a Business Link adviser and work on a business plan was often of real benefit to people, they told us – though usually only afterwards! We have been working with Business and Enterprise North East to make sure artists get a good service: see here for a press story about the new MOU we’ve signed. Such an approach would also encourage an approach to the support of artist businesses based on building a business - or 'just' a living - though investment of funds rather than simply a weekly subsidy. Probably a mixture is required to help people out of unemployment.
Where I think the report hits the bull’s-eye is in drawing attention to the lack of focus on self-employment in the government’s approach to recession and job creation. The Future Jobs Fund is based on having employers and employees, and self-employment hardly features. This has to be self-defeating as an approach, particularly in a sector with such high freelance and self-employment figures as the arts.
Tuesday, 28 July 2009
What chance of an expressive life?
Samuel Jones’s introduction to the new Demos book Expressive Lives has the somewhat clunky title ‘enfranchising cultural democracy’. We shouldn’t let that (or the even more heinous use of ‘platform’ as a verb later) distract us too much from a stimulating and important publication. The core arguments can be gleaned from Jones’ introduction and from the essay by the creator of the term ‘expressive life’, Bill Ivey, Barack Obama’s arts advisor.
Ivey argues, pretty persuasively, that the term ‘culture’ is now of limited use in public policy. It is too vague, too debatable, too much of a portmanteau word. Instead he proposes the term ‘expressive life’, which he argues combines ‘heritage’ in the sense of continuity and community and ‘voice’ in the sense autonomy and innovation. As he puts it: ‘Heritage reminds us that we belong; ‘voice’ offers the promise of what we can become.’ This obviously means that cultural policy needs to encompass not just the public sector supported arts, museums and galleries, but the whole panoply of cultural choices people make, and the ‘tools’ they use to make them, including digital and commercial. It suggests a focus on participants as well as producers. Ivey also suggests that ‘a vibrant expressive life, offering a yin-yang balance of ‘heritage’ and ‘voice’, affords government leaders an arena of action in which quality of life can be affordably advanced through smart public policy’. This new emphasis would stimulate changes right across government policy – into planning, housing, transport as well as economic policy for instance.
It’s a strong, fresh set of thinking, and opens up a number of areas for me – some not explored by the other essayists, too many of whom don’t really add much more than endorsement and balance. (David Lammy and Ed Vaisey get to agree technology is central to the future.) The term ‘heritage’ sit less well with me than ‘community’, but I’m not a folklorist like Ivey, and I do think the reminder that innovation is the yin to tradition’s yang is a helpful one. I also like the various resonances of ‘voice’.
I think the notion of ‘enfranchising’ expressive lives throughout the population leads to a necessary reconsideration of what you might (avoiding the word power) call cultural authority. Some of the ‘national’ institutions have made considerable progress in recent years in sharing their assets and skills across the country, with really positive reactions from both partners and public. But how do we respond to those strands of arts activity that don’t want a share but to actually undermine those notions of national expert endorsement? How does cultural policy relate to a media that is finding it difficult to even stand still in reflecting the expressive life of the whole country, and of all the population, even where it wants to? Is a redistribution of some of the ‘power’ necessary to genuinely enfranchise cultural democracy and if so how can that be done? (Let me be clear: I’m not talking about funding.)
This leads me to areas where I find Jones’ arguments a little problematic, as this paradigm shift towards expressive life is yoked to firstly an emphasis on what her terms ‘our innate sense of the individual’ and then to a critique of ‘provision’, especially through venues. The emphasis on individualism, for me, tips over from the personalisation of culture into the privatisation of society – a blurry line never too far away from the surface in broader New Labour thinking, of course. Ironically, I feel he underplays the role shared culture – made up of individual choices – plays in creating the ‘heritage’ part of Ivey’s equation.
The other troublesome area is linking the broadly sensible idea that we need to move ‘from a model of provision to one of enabling’ to an increasingly tired claim that venues are ‘simply doling out either more visual arts, more music or more drama’. (An argument often boiled down to ‘fund people and creativity, not buildings’, most recently by Simon Jenkins in The Guardian in a horribly clumsy article.)
This omits what I would suggest is the missing or maybe implicit third part of ‘expressive life’: which I might call opportunity, or space, or place – ie the opportunity to make cultural choices, to learn the skills required to make or take part in expressive life, the chance to see and hear and otherwise experience art. Whilst temporary spaces are increasingly used, these often need places or spaces more permanent than festival sites. The capital developments in the North East in the last 15 years were not driven by monumentalism, but by an analysis of the needs of artists and audiences, that said the lack of the right venues inhibited choice and participation. They were designed as (to use Samuel Jones’ words) ‘spaces in which we can make cultural choices’. That’s what so great about them. The fact is that large parts of the population would not be properly able to make such choices if there were not some element of provision – and I don’t mean simply by the publicly funded sector – as well as enabling, and that not everything can be done well within a ‘pop up’ infrastructure. Too simplistic a move from provision to enabling will leave some with nowhere to go. (Obvious parallels here for me in the so-called ‘choice’ in schooling, health, welfare insurance, etc.) A canny hybrid of traditional cultural policy and planning and community policy could make a huge impact in, say, housing growth areas.
So, to end this rather long post, I would suggest a third dimension to expressive life, and suggest, entirely for argument’s sake, an equation using multiplication rather than addition on the basis that zero in any of the terms leads to the sum being zero:
Heritage (community, knowledge, grounding)
x Voice (individuality, talent, innovation)
x Space (facilities, opportunity, confidence)
= Expressive Life.
(Not sure ‘Space’ is the best word, but it will do for now.)
The policy challenge therefore becomes how to get the most from those three dimensions.
Ivey argues, pretty persuasively, that the term ‘culture’ is now of limited use in public policy. It is too vague, too debatable, too much of a portmanteau word. Instead he proposes the term ‘expressive life’, which he argues combines ‘heritage’ in the sense of continuity and community and ‘voice’ in the sense autonomy and innovation. As he puts it: ‘Heritage reminds us that we belong; ‘voice’ offers the promise of what we can become.’ This obviously means that cultural policy needs to encompass not just the public sector supported arts, museums and galleries, but the whole panoply of cultural choices people make, and the ‘tools’ they use to make them, including digital and commercial. It suggests a focus on participants as well as producers. Ivey also suggests that ‘a vibrant expressive life, offering a yin-yang balance of ‘heritage’ and ‘voice’, affords government leaders an arena of action in which quality of life can be affordably advanced through smart public policy’. This new emphasis would stimulate changes right across government policy – into planning, housing, transport as well as economic policy for instance.
It’s a strong, fresh set of thinking, and opens up a number of areas for me – some not explored by the other essayists, too many of whom don’t really add much more than endorsement and balance. (David Lammy and Ed Vaisey get to agree technology is central to the future.) The term ‘heritage’ sit less well with me than ‘community’, but I’m not a folklorist like Ivey, and I do think the reminder that innovation is the yin to tradition’s yang is a helpful one. I also like the various resonances of ‘voice’.
I think the notion of ‘enfranchising’ expressive lives throughout the population leads to a necessary reconsideration of what you might (avoiding the word power) call cultural authority. Some of the ‘national’ institutions have made considerable progress in recent years in sharing their assets and skills across the country, with really positive reactions from both partners and public. But how do we respond to those strands of arts activity that don’t want a share but to actually undermine those notions of national expert endorsement? How does cultural policy relate to a media that is finding it difficult to even stand still in reflecting the expressive life of the whole country, and of all the population, even where it wants to? Is a redistribution of some of the ‘power’ necessary to genuinely enfranchise cultural democracy and if so how can that be done? (Let me be clear: I’m not talking about funding.)
This leads me to areas where I find Jones’ arguments a little problematic, as this paradigm shift towards expressive life is yoked to firstly an emphasis on what her terms ‘our innate sense of the individual’ and then to a critique of ‘provision’, especially through venues. The emphasis on individualism, for me, tips over from the personalisation of culture into the privatisation of society – a blurry line never too far away from the surface in broader New Labour thinking, of course. Ironically, I feel he underplays the role shared culture – made up of individual choices – plays in creating the ‘heritage’ part of Ivey’s equation.
The other troublesome area is linking the broadly sensible idea that we need to move ‘from a model of provision to one of enabling’ to an increasingly tired claim that venues are ‘simply doling out either more visual arts, more music or more drama’. (An argument often boiled down to ‘fund people and creativity, not buildings’, most recently by Simon Jenkins in The Guardian in a horribly clumsy article.)
This omits what I would suggest is the missing or maybe implicit third part of ‘expressive life’: which I might call opportunity, or space, or place – ie the opportunity to make cultural choices, to learn the skills required to make or take part in expressive life, the chance to see and hear and otherwise experience art. Whilst temporary spaces are increasingly used, these often need places or spaces more permanent than festival sites. The capital developments in the North East in the last 15 years were not driven by monumentalism, but by an analysis of the needs of artists and audiences, that said the lack of the right venues inhibited choice and participation. They were designed as (to use Samuel Jones’ words) ‘spaces in which we can make cultural choices’. That’s what so great about them. The fact is that large parts of the population would not be properly able to make such choices if there were not some element of provision – and I don’t mean simply by the publicly funded sector – as well as enabling, and that not everything can be done well within a ‘pop up’ infrastructure. Too simplistic a move from provision to enabling will leave some with nowhere to go. (Obvious parallels here for me in the so-called ‘choice’ in schooling, health, welfare insurance, etc.) A canny hybrid of traditional cultural policy and planning and community policy could make a huge impact in, say, housing growth areas.
So, to end this rather long post, I would suggest a third dimension to expressive life, and suggest, entirely for argument’s sake, an equation using multiplication rather than addition on the basis that zero in any of the terms leads to the sum being zero:
Heritage (community, knowledge, grounding)
x Voice (individuality, talent, innovation)
x Space (facilities, opportunity, confidence)
= Expressive Life.
(Not sure ‘Space’ is the best word, but it will do for now.)
The policy challenge therefore becomes how to get the most from those three dimensions.
Friday, 24 July 2009
Between swine flu and Shearer
I've been trying to find the way to bring this up... but now my friends at The Journal have done it for me, in rather amusing and bemusing style. As I write it's number 2 in 'today's top stories' on the website - after swine flu but before whether Alan Shearer will manage Newcastle United. And it was nearly 2 pages in the paper. This is clearly a great testament to the the way North East media value the arts, rather than to me, but it has made me laugh. (I didn't put that violinist on the roof of The Sage Gateshead with my giant's hands, by the way.) And that's testament to David Whetstone actually, the Journal's long-standing arts correspondent who is an unsung hero of the North East arts scene.
I had been pondering whether to say absolutely nothing for now (rarely my preference!), or to just share the following quote, from Richard Ford's great novel Independence Day, which I've just finished. It comes from the section I read at the end of the very day I'd given my staff here the briefing on the conclusion of the review stage of our Organisation Review, and it just goes to prove my previously mentioned theory that art turns up when you need it. Here it is and here (in due course, timing tbc, watch this space, business as usual till you hear it from me etc) goes:
...Yet, while it's bad to make a wrong move, as maybe I did with the Volvo, it's worse to regret in advance and call it prudence... Disaster is no less likely. Better - much, much better - to follow old Davy Crockett's motto, amended for use by adults: Be sure you're not completely wrong, then go ahead.
Thursday, 23 July 2009
Does the arts sector trust the public?
A recent article on The Stage's website began: 'Arts practitioners have raised concerns about the government’s plans to give the public more say in how funding is allocated, warning that such a move would favour “populist” art work at the expense of “quality, diversity and risk taking” in the sector. ' It was bridging off a new publication on Participatory Budgeting And The Arts. It brought on one of my not infrequent 'get over yourself' moments.
Participatory budgeting is a fairly horrible-sounding term for giving people control of budgets - usually small ones at local level. It's beginning to be used by local government in the UK, though so far the community development use of the actual process is often as important as the actual budgeting decisions. Some places have experimented with supporting arts projects in this way, and there are examples in the report. It's an interesting and challenging read, which looks at potential scenarios if the process is more widely adopted. The report also makes some recommendations for how to encourage best use of participatory budgeting. Key to this are communication and good information, clarity about need and outcomes, making time for learning and using the 'tool' appropriately.
There are clearly threats to the arts as well as opportunities in this way of deciding funding, and it's not a simple thing to do. Finding a way to talk about what an arts project actually is, and what it does or could do, is really key to this. Of course I feel frustrated when the populist vote seem to choose the mediocre and avoid what I think is brilliant, via the participatory budgeting called 'consumption'. But that's their choice and who, ultimately, am I to say that they're not getting out of their choice what I get out of mine? I'm only depressed by people who make no choices at all - though I'm not sure i know any.
If we can find better ways of talking about the wide variety of things people mean when we talk about “quality, diversity and risk taking”, avoiding our arts jargon, the public will make informed choices, albeit different ones perhaps than those schooled in curation and production. Tools can then be developed which support this - such as small grants schemes for localities, or Own Art-style interest-free loan schemes for customers, or free/discounted ticket schemes - that then support the public rather than the provider. Information, discussion and good communication can then do what time usually does and give the public ways of understanding and enjoying what at first seems bizarre, bad or 'arty-farty'. (I mean the way things move in from the margins over decades until they become the mainstream.)
One final thought: if 'arts practitioners' really have so little faith in the people we live with and amongst - the people we are - that we really think the public are currently incapable of being part of this kind of discussion without simply picking 'populist' rubbish, how do we change that?
Participatory budgeting is a fairly horrible-sounding term for giving people control of budgets - usually small ones at local level. It's beginning to be used by local government in the UK, though so far the community development use of the actual process is often as important as the actual budgeting decisions. Some places have experimented with supporting arts projects in this way, and there are examples in the report. It's an interesting and challenging read, which looks at potential scenarios if the process is more widely adopted. The report also makes some recommendations for how to encourage best use of participatory budgeting. Key to this are communication and good information, clarity about need and outcomes, making time for learning and using the 'tool' appropriately.
There are clearly threats to the arts as well as opportunities in this way of deciding funding, and it's not a simple thing to do. Finding a way to talk about what an arts project actually is, and what it does or could do, is really key to this. Of course I feel frustrated when the populist vote seem to choose the mediocre and avoid what I think is brilliant, via the participatory budgeting called 'consumption'. But that's their choice and who, ultimately, am I to say that they're not getting out of their choice what I get out of mine? I'm only depressed by people who make no choices at all - though I'm not sure i know any.
If we can find better ways of talking about the wide variety of things people mean when we talk about “quality, diversity and risk taking”, avoiding our arts jargon, the public will make informed choices, albeit different ones perhaps than those schooled in curation and production. Tools can then be developed which support this - such as small grants schemes for localities, or Own Art-style interest-free loan schemes for customers, or free/discounted ticket schemes - that then support the public rather than the provider. Information, discussion and good communication can then do what time usually does and give the public ways of understanding and enjoying what at first seems bizarre, bad or 'arty-farty'. (I mean the way things move in from the margins over decades until they become the mainstream.)
One final thought: if 'arts practitioners' really have so little faith in the people we live with and amongst - the people we are - that we really think the public are currently incapable of being part of this kind of discussion without simply picking 'populist' rubbish, how do we change that?
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