A better future for artists, citizens and the state Tim Joss First published for comment on the web by Mission Models Money www.missionmodelsmoney.org.uk September 2008 Copyright © 2008 Tim Joss The moral right of Tim Joss to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Designed by Pointsize Wolffe & Co 2 New Flow Contents Prelude 4 Acknowledgements 5 Introduction 6 Chapter 1 UP-RIVER – Changes since the creation of the Arts Council of Great Britain in 1946 11 Chapter 2 THE SWIRL OF NOW – Wider forces in society which touch the arts 26 Chapter 3 POOH-STICKS OVER RAPIDS – Signs of change inside the arts 39 Chapter 4 TODAY’S ARTS FLOTILLA – Artists 59 Chapter 5 TODAY’S ARTS FLOTILLA – The accessibility industry 71 Chapter 6 THAT SINKING FEELING – The pathology of today’s state arts bodies 81 Chapter 7 NEW FLOW – New organisations 97 Chapter 8 NEW FLOW – Five years of travelling down-river 110 Postlude 115 Bibliography 116 3 New Flow Prelude This book’s key message is that artists have an important contribution to make to our society and economy. It is not being properly or fully realised. The task is to release artists’ potential to the full and achieve the most profound and far-reaching impact possible. This book is part arrival, part new departure. It proposes a way forward and invites you to be involved in the next steps. Written in the tradition of political pamphlets, it makes specific, practical proposals. The point is not just to make sense of today’s hash of trying to connect artists and citizens but get on and change it for the better. How significant a proposal ‘New Flow’ is will be decided by you and others. We live in an age which blends fast change in some aspects of our lives with inertia and timidity in others. All that can be said with confidence is that this pamphlet makes a proposal far less preposterous than Jonathan Swift’s ‘A Modest Proposal’ of 1729 which recommended tackling food shortages and stemming population growth by eating babies. Nearly three hundred years on, we have the Web and use it for sharing information and ideas, collaboration and social networks. This book follows the Web examples of writers Charles Leadbeater and Lawrence Lessig who have published initial versions of books on the web, inviting contributions and challenges. So this is New Flow Version 1. It is definitely an arrival – the completion of six months’ exhilarating work. It is also the start of a new search. It has been published here at www.missionmodeslmoney.org.uk with the intention of benefiting from your ideas and comments. Just go to the site and do please feed in whatever you wish – disagreements, mistakes you think I’ve made, points, references or important projects that are missing, or suggestions, changes in emphasis or points of agreement which might be developed further. The aim is to publish the you-improved New Flow Version 2 in 2009. Who am I? Why write New Flow? I speak as a passionate lover of the arts in all their richness and with the thrill and advantage of 25 years’ working in the arts professionally: as a young composer, assistant to a Mozart biographer, office junior, dance development worker, regional music funder, orchestral manager, international music festival artistic director, literature and architecture festival founder, and arts umbrella body chairman. I am now director of a private foundation with a bigger canvas, engaging with arts, education, health and social issues. This has made me both insider and outsider – a privileged position. New Flow came out of a mix of love of the arts, frustration shared with many about the arts politics impasse we have reached, and a determination to find a way through. I hope you enjoy it, are stimulated by it and are provoked to contribute to Version 2. 4 New Flow Acknowledgements My special thank yous are to Vivienne Parry and Clare Cooper. Vivienne Parry, my partner, tuned in and spurred me on to write this book. She has cast her sharp, journalist’s eye over drafts and sparked ideas between her world of science and mine of the arts. I have striven for crisp prose, wherever possible free of jargon. Whether I have succeeded is my responsibility. Vivienne’s help was nevertheless invaluable. Clare Cooper co-founded Mission Models Money. It is an action research programme and campaign for change. She and the MMM programme have opened up the space for this book’s arguments and ideas to breathe and expand. That space is home now to many people. They are looking for new ways to link artists and citizens, and challenging old ways of thinking and doing. Clare’s role was crucial. I wanted to get on with New Flow, get it out there on the web and not be held back by traditional publishing timetables. Sharing the book’s outline with Clare led to MMM being the publisher of New Flow version 1, and I am immensely grateful for that. New Flow has benefited from many, many conversations. The list would be too long to set out here. My thanks go to everyone who helped stimulate the ideas and shape them. 5 New Flow Introduction What you need to know right at the start is that this is not another book making the case for the arts. It does offer practical ideas on making a better case, but enough has been said and written for us to get on to more pressing, trickier questions. Top of the list are these. What unique contributions can artists make to society and how can we make these as open and effective as possible? What ways are there, old and new, to connect artists and citizens? What and who drives change in the world of artists and the ways artists and citizens connect? What is the right role of the state and what changes are needed for it to fulfil that role? And how do we get out of today’s complicated mess? Before we plunge into those less familiar waters, it is worth getting into training. John Tusa is the former Managing Director of London’s Barbican Centre, one of the world’s great arts centres. Tusa writes fine paeans for the arts. Here is his best: ‘The arts matter because they are universal; because they are non-material; because they deal with daily experience in a transforming way; because they question the way we look at the world; because they offer different explanations of that world; because they link us to our past and open the door to the future; because they work beyond and outside routine categories; because they take us out of ourselves; because they make order out of disorder and stir up the stagnant; because they offer a shared experience rather than an isolated one; because they encourage the imagination, and attempt the pointless; because they offer beauty and confront us with the fact of ugliness; because they suggest explanations but no solutions; because they present a vision of integration rather than disintegration; because they force us to think about the difference between the good and the bad, the false and the true. The arts matter because they embrace, express and define the soul of a civilisation. A nation without arts would be a nation that had stopped talking to itself, stopped dreaming, and had lost interest in the past and lacked curiosity about the future.’1 That is quite a list and, as Tusa himself admits, some had reservations about it2 including a local authority politician who thought none of this applied to him or what his local authority did.3 Other writers would suggest that Tusa has still missed something. Richard Eyre sees art as ‘passionate, ambiguous, complex, mysterious and thrilling.’4 Others would miss the arts’ powerful role in devotion, emotion, human dynamics, mystery, romance, sensuality and the telling of stories. Yet others remind us that making art is an individual and collective struggle. Making a case for the arts is just the start of it. Battles are fought with victory far from guaranteed. Here is Toni Morrison, in her 1993 Nobel Lecture, on language and what literature is not. ‘The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language 6 New Flow of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without- ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek – it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language – all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas.’5 No doubt, you will have your ideas about the powers and struggles of art. You will also have your own definition of the arts, so can we just agree for the moment not to get hung up on definition? Let’s simply embrace all the arts as they are talked about in everyday conversation – all music, all literature, all dance and so on.