The UK Government and Its Important Role in the Cultural Sector - Essay Example

Why do UK governments have policies for the arts and cultural sectors?" The UK government plays an important role in the funding of the arts. By authority of the Department for Culture, Media and Sport (DCMS), the Arts Council England is charged with the distribution of funds cultivated from the National Lottery and the government. The government role in the arts has been demanded and shaped throughout the centuries by the citizens as evidenced by historical revolts followed by reform measures. Though the Arts Council decides its own objectives and in what way to best utilise public funding, it is answerable to the DCMS, Parliament and public inquiry. The second most principal governmental body that actively advocates the arts are the Local authorities. These bodies are involved on a regional level promoting, managing and funding arts events. Not every local authority supports the arts, however, as it is not a mandatory requirement. Their level of participation and means of operation is unregulated allowing for customised solutions to regional specific issues (“Guide to Arts Funding in England”, 2004, p. 6). The Arts Council funds art endeavors throughout England, in part, by means of the National Lottery. Artists, galleries of many venues and art organisations have benefited from the approximately £2 billion that has been infused during the lottery’s initial decade (Nov. 1994 – Sept. 2004). Lottery money has combined with other private and public monies funneled into and managed by the Arts Council to fund many varied artistic interests. Examples involve larger projects such as Angel of the North in Gateshead, The Lowry Centre in Manchester and London’s Tate Modern museum. Other examples include the refurbishment of buildings that house the arts, purchase of equipment and musical instruments along with a wide array of differing art related endeavours. “Lottery money supports our Grants for the arts for arts organisations and people using the arts in their work” (Arts Council, 2006a). To understand the current arts support in England, it is necessary to understand some of the major concepts of its history. In 1660, the throne of England again belonged to King Charles II following Cromwell’s defeat. In his effort to regain total control of the nation, that same year he banned all theatre companies but two from performing plays. In this way he could tightly control the content of the stage dialogue in London. “This decision by Charles created a period of turbulent legal struggles and disputes between actors and patentee managers” (Thomas, 1989, p. 7). This practice of allowing just two theatre patents, controlling who performed what was performed and what subjects were addressed remained in place for more than a century (Thomas, 1989, p. 11). By the late 1700’s, large-scale debates within the theatre community and public as well had long raged regarding the question of whether or not the government had the right or authority to have ultimate power over theatre productions. High among their concerns was the scrutiny under which play-writes found themselves, unable to freely express themselves. The Enabling Act of 1788 further fanned the flames of resistance toward governmental control of the arts. It gave magistrates the authority to grant 60-day licenses for “performances within a 20 mile radius of London and for legitimate drama in theatres situated outside that area.” In addition, the Lord Chamberlain “maintained absolute control over the city of Westminster” (Roy, 2003, p. 5). The 1808 fires that destroyed both of London’s patent theatres illustrated the discontent of the people regarding the control of entertainment venues by the government. Today, the content arts are not tightly controlled by the government. By contrast, it serves to promote all aspects of the arts preserving and reflecting the nation’s diverse and rich cultural character. The will of the people and the power of the government created the Arts Council. Its goal is to enhance, not suppress the arts and to generate interest in artistic activities. The listed objectives of the Arts Council are to encourage diversity, present new opportunities for youth and continue to fund and promote artists and art organisations. “A key function of Arts Council England is to forge partnerships that benefit artists and arts organisations” (“Guide to Arts Funding”, 2004, p. 12). The Arts Council is proactive in the marketing of various artistic related activities and in developing ongoing relationships between audiences and arts organisations. It also provides training for professionals and staff members within arts organisations with the intent of improving the continuing human assets factor of arts organisations (“Guide to Arts Funding”, 2004, p. 14). The Arts Council also works to secure funding from outside entities by connecting those funding groups with various arts organisations. The preponderance of grants handed out by the Arts Council is presented to art organisations that are given financial support on a continuing basis. The Arts Council England also “commissions research and provides advice and information to arts organisations on matters such as marketing, business practice, and touring and provides an overview of arts activity that allows it to address gaps in provision both by area and art form” (“Guide to Arts Funding”, 2004, p. 12). The Arts Council strikes a balance between government subsidies and overview and governmental interference and suppression. It has been given the freedom to choose how and to whom the funding is allocated without incessant or domineering involvement by government officials. This policy is reflective of British citizens’ historical way of thinking with regard to desiring the government to intervene on behalf of public interests concerning the costs of art proliferation but not having regulative control over the art itself. The Arts Council is required, however, to explain their choices to the government. Until April of 2002, Regional Arts Boards acted independently and operated by endowments allocated to them by the Arts Council which set conditions on how the funding was to be spent. After that date, the ten Regional Boards formally combined with the Arts Council to form a single developmental organisation dedicated to the promotion of arts in a web all across England. The Arts Council’s nine regional offices are located within each of the Government’s regional boundaries including a national office in London. Individuals as well as organisations have the ability to request a grant from the Arts Council for various arts-related projects that could include “projects and events, commissions and productions, research and development, capital items (such as equipment) and professional development and training” (“Guide to Arts Funding”, 2004, p. 13). Submissions for grants can include more than one artistic endeavour with grants generally ranging from £200 to £30,000. These requests can include artistic projects that require up to three years of governmental funding. “Arts organisations and other people who use the arts as part of their work can apply for grants for arts-related activities” (“Guide to Arts Funding”, 2004, p. 13). A new service, the Urban Cultural Programme, began last year and will provide financial backing for cultural ventures within urban areas. This programme, developed by Arts Council England will allocate National Lottery funds totaling £15 million to finance this new service. The programme presents new opportunities for organisations as well as individuals while showcasing special events and exhibitions indicative of the arts and culture fundamental to the specific circumstances in a region which contributes in the regeneration of the area. “In July 2004 Arts Council England and the Millennium Commission jointly allocated £19.5 million of lottery money to support cultural programmes in 19 urban areas, including Birmingham, Brighton and Hove, Norwich and Bradford” (Arts Council, 2006b). A programme developed by the Arts Council provides grants for ‘stabilisation and recovery.’ This is directed towards larger organisations, which are essential to the proliferation of arts on a grand scale in England. “Stabilisation helps arts organisations to develop and re-focus their work, giving them an opportunity to put themselves on a more secure footing” (“Guide to Arts Funding”, 2004, p. 14). Grants for this purpose are intended to assist organisations build upon stabilisation strategies of their own and to supply the financial support needed to facilitate this change. “Recovery assists key strategic arts organisations to develop financial recovery plans, in conjunction with their key stakeholders, which will enable them to secure their operation’s stability in the medium term” (“Guide to Arts Funding”, 2004, p. 14). The government’s policy decisions regarding the arts have changed significantly over the past 350 years or so. It has gone from one of funding and total control of content to funding the arts with a purpose of expanding expression rather than denying it. Two theatres were financed by the government in the seventeenth century. Because of public demand, this has greatly evolved into a multi-tiered and wide-ranging public fund in which to advance the arts while being financed in inventive methods so as not to overburden an already taxed burdened society. Works Cited Arts Council. (2006a). “About Us.” Investment in the Arts. Arts Council England. Retrieved 31 July 2006 from < http://www.artscouncil.org.uk/aboutus/investment.php> Arts Council. (2006b). “Urban Cultural Programme.” Funding. Arts Council England. Retrieved 31 July 2006 from < http://www.artscouncil.org.uk/funding/urbanculturalprogramme.php> “Guide to Arts Funding in England.” (August 2004). Department for Culture, Media and Sport: Arts Division. Roy, Donald (Ed.). (2003). “Romantic and Revolutionary Theatre: 1789-1860.” Theatre in Europe: A Documentary History. Cambridge: Cambridge University Press. Thomas, David (Ed.). (1989). “Restoration and Georgian England, 1660-1788.” Theatre in Europe: A Documentary History. Cambridge: Cambridge University Press. Read More