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Download Annual Report 1977 An Chomhairle Ealaíon An Séú Tuarascáil Bhliantúil is Fiche, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1977. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 [3] agus 7 [1] den Acht Ealaíon 1951. Twenty-Sixth Annual Report and Accounts for the year ended 31st December 1977. Presented to the Government and laid before each House of the Oireachtas pursuant to Section 6 [3] and 7 [1] of the Arts Act, 1951. Front Cover: Multiple image of a sculpture ceramic, by Pat Connor, purchased by the Council An Chomhairle Ealaíon was set up by the Arts Acts 1951 and 1973 and consists of a chairman and not more than sixteen other members appointed by the Taoiseach. The present Council was appointed on 31st December 1973 and its term of office expires in 1978. The principal role of' the Council is to stimulate public interest in the arts; to promote the knowledge, appreciation and practice of the arts; and to assist in improving the standards of the arts. The Council also acts as an adviser on artistic matters to the Government and Government Departments and is one of the four bodies which have a statutory duty to make representations to local authorities in connection with applications for planning permission in areas of special amenity throughout the country. The Council receives an annual grant-in-aid from the Oireachtas. In the Arts Acts, the expression 'the arts' means painting, sculpture, architecture, music, drama, cinema, literature, design in industry, and the fine arts and applied arts generally. Members (Left to right) Patrick J. Rock, Chairman Kathleen Barrington John Behan Brian Boydell Tom Caldwell Máire de Paor Andrew Devane Eilís Dillon Séamus Heaney Dr J.B. Kearney Patsy Lawlor Hugh Maguire Sean Ó Tuama Brian Quinn Richard Stokes Dr T.J. Walsh James White Staff Director Colm Ó Briain Administration Officer David McConnell Literature and Film Officer David Collins Music Officer Dinah Molloy Visual Arts Officer Paula McCarthy Secretarial Assistants Veronica Barker Kathryn Cahille Patricia Molloy Margaret 0 Rahilly 70 Merrion Square, Dublin 2. Tel: (01) 764685. An ChomhaırleEalaíon Rosc '77; Alberto Brasi, "Sculpture with moving forms" Chairman's Introduction While the year under review was one of improving economic circumstances generally, adverse effects were still experienced by a variety of arts organisations, as is evident from the body of this Report. Survival continues to be the theme and what follows is largely a record of achievement tempered by occasional casualties. Yet throughout there runs the realisation of a need for a major structural change that requires far larger resources than are currently available. At the same time very fundamental questions are now being asked by both public and private sponsors. They want to know why it is necessary to increase subsidies when the public interest in some activities seems to be wanting, or when standards seem to be changing. In the commercial world, if the demand for a particular product or service cannot be sustained through adequate purchases, the product or service will be deemed to have failed and it will be replaced by something that will command the support of the marketplace. Arts subsidies can be justified if they enable increasing numbers to avail of cultural experiences just as social subsidies can be justified if they enable increasing numbers to use public transport, for example. But if the ratio between the subsidy and the 'fare' continues to worsen then inevitably a crunch will come. It is necessary therefore that those organisations in receipt of public monies should continually assess public demand, otherwise they are actually preventing the innovation that would otherwise have to take place. Cycles of decline have long been recognised in the commercial world and they are due to changes in public taste. We will always eat food but the method of preparation and presentation will continue to vary and those who assess accurately these changing demands will be most successful. Similarly in the world of the arts. Music, theatre and visual arts will always be in demand but innovation in presentation will influence the extent of that demand and the preparedness of individual citizens to put their hands in their pockets. So I believe it behoves those who can influence the presentation of various art forms to use their undoubted creativity to communicate more effectively with the man in the street. Over the last two years there has been a distinct shift in the allocation of resources between Dublin and the rest of the country. This process must accelerate if a truly national public for all the arts is to be created and maintained. The success of this policy is largely dependent on the rate of growth of the Council's own resources. Regional development cannot be financed by closing down theatres in Dublin, thereby denying a livelihood to the majority of our professional actors, directors and technicians. Although the Council's bursary scheme provides direct assistance to individuals, there is still the much larger question of how best a reasonable standard of living for our artists, writers and musicians can be secured. Otherwise the arts will not attract the undoubted talents that do exist and the public will not enjoy the cultural benefits which should make a much larger contribution to our everyday lives. Most of our freelance artists find it impossible to maintain themselves and their families by their creative work alone, and the Council's bursary programme provides only a short term and highly selective easing of financial difficulties. There is a need for an approach that would secure for the full-time artist the equivalent of an average wage, without him having always to undergo the rather painful process of competing time and again for a handful of awards. There is also a desperate need for new buildings to house the arts, particularly at local level. It is only right that local communities should expect and receive the benefits of a subsidy to which they, as taxpayers, have contributed. While there has been a remarkable growth in local arts festivals, and in the activities of our national touring companies, further development is being seriously hindered by the dearth of suitable venues for performance and exhibition and by the lack of adequate finance to provide for the administration of those premises already in existence. There is a real need now for a partnership between the Arts Council, as the national body, and the local authorities, whereby the Arts Council will ensure the development of relevant professional companies and the local authority will ensure the existence of suitable venues equipped and managed to accommodate them. It should be stressed that no matter how effective the Arts Council is in securing increased funds, unless this is matched by a genuine commitment at local authority level our cultural development will continue to lag behind. The Arts Council will give all reasonable support and guidance to local authorities who are prepared to take an initiative. The slow pace of regional development, the low standard of living for creative artists and the lack of capital finance are clear evidence that the Council has not yet succeeded in acquiring the resources that would allow such developments to come into perspective. Nevertheless, there are indications that the Government is beginning to realise the extent and nature of the problems facing the arts in Ireland. There is hope for the future in the fact that there has been a significant growth in the funds, responsibilities and influence of the Arts Council since the passage of the Arts Act 1973. What developments there have been were actively encouraged by the former Taoiseach, Mr. Liam Cosgrave, T.D. In thanking him for his interest and support of the Council's work, I and my colleagues would like to take this opportunity of welcoming his successor, Mr. Jack Lynch, T.D., who has already demonstrated an active and sympathetic interest in our affairs. We are also indebted to Mr. Dan O'Sullivan, Secretary, Department of the Taoiseach and Mr. Richard Stokes, Principal Officer and member of the Council for their helpful guidance and encouragement. I should also like to acknowledge the very useful contacts that have continued to develop between ourselves and the Arts Council of Northern Ireland for having made possible developments which if pursued separately would have taken place more slowly or not at all. Finally, I would like to convey my most sincere appreciation to the members of the Council and to the staff. Our responsibilities have grown substantially in recent years both for evolving and implementing new policies as well as for taking difficult and often unpopular decisions regarding grant allocations. The quality of the public service rendered by the members, on a voluntary basis, deserves the highest recognition and I would here like to pay my humble tribute to them. The team that is the staff, led by the Director, Colm Ó Briain, illustrates the level of productivity that can be achieved in Ireland under an enlightened and dedicated leadership. As long as the Council can create an environment in which the staff can get on with the job, the arts will be very well served indeed. Patrick J. Rock September, 1978. Report In 1977, for the first time in its twenty-six year history, the Arts Council's annual grant-in-aid was in excess of one million pounds. While this figure may have a certain symbolic significance, it does not hold out the promise of a new deal for the arts in Ireland. Ironically, during the year under review, the Council applied to the Taoiseach for a supplementary grant to avert serious redundancies in major organisations.
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