2 Development Resource Documents
The Arts Plan 1999-2001: consultative review Page 2 Preface 3 1 Introduction 5 2 General Themes 6 Contexts of the Arts 7 The Core and the Periphery 9 Education 10 Access 12 Technology 13 3 Sectoral Themes 14 Dance 15 Drama 16 Film 17 Literature 19 Music 20 Opera 21 Visual Arts 23 4 Concluding Comments 24 5 Appendices 24 Appendix 1: National, sectoral and local consultative meetings 25 Appendix 2: Submissions received
ISBN 0 906627 85 0
The Arts Council 70 Merrion Square Dublin 2 Ireland
Telephone 353 1 618 0200 Callsaver 1850 392 492 Facsimile 353 1 661 0349 353 1 676 1302 E-mail [email protected] http:// www.artscouncil.ie The Arts Plan 1999-2001: consultative review
June 1999 The Arts Plan 1999 - 2001: consultative review
Preface
The process of preparing to make a second against which change in the coming years can Arts Plan was informed, as was the making of be measured. the first plan, by invited submissions from practitioners of the arts and other interested This is not to make any great claims for the parties from all over Ireland. ability of a slender volume to represent a very broad range or views in anything more than a In embarking on a second plan, the Arts fairly summary way. Also, there is a good deal Council undertook a series of public dialogues, of “on the one hand, and on the other ...” which in centres throughout the country, about the is perhaps the only way of representing a future needs of the arts. healthy diversity of opinion.
This review represents a necessarily It is something of an irony that the arts, which abbreviated summary of a great deal of do not lack for vocal and articulate proponents, discussion and written submission that still lack a coherent independent lobby in emerged from the process. Ireland. Traditionally, this role has been left to the Arts Council itself to fill, as a branch of its The written transcripts of these various advocacy function. Perhaps it is time for the consultative meetings are of course available, Arts Council to ask if artists and people who but they are both very extensive and somewhat care about the value of art are doing enough to unwieldy, representing as they do the communicate these often passionately-held extemporary utterances of a broad range of convictions to the rest of society? people in a series of public meetings held around the country from May 1998, culminating By telling others what people working in the in October in twelve half-day sessions devoted sector have told to each other and to us, we to specific artforms and issues. hope to make a contribution to the development of greater public recognition of the value of the These meetings, which were attended by many arts to the richness of our culture and ultimately Arts Council members as well as staff, have to our civic society. informed the drafting of the second Arts Plan Brian Farrell, Chairman 1999-2001. The Arts Council/An Chomhairle Ealaíon June, 1999 The Arts Council decided to publish a summary of these proceedings for two principal reasons. One was to illustrate the sector to itself and to others, in a way that would help to explain how the Arts Council came by the strategic choices which are to be found in the plan. The second reason is equally important. It is to establish a benchmark of opinion within and about the arts
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The establishment of the Arts Council/An Ireland. The announcement of the process Chomhairle Ealaíon in 1951 significantly leading to the development of the first plan improved a record of relative neglect of the generated an enormous number of arts in Ireland. The creation of a cabinet submissions which were widely reflected in the portfolio in the area of the Arts and the philosophy and detailed shape of that plan. subsequent adoption by government of the The great diversity and number of submissions first Arts Plan (1995-1998) did a great deal to generated on that occasion, without any move the arts closer to the centre of public structured framework, created difficulties in policy in Ireland. distilling coherent themes and arguments. In developing a consultative process on this The development of the arts portfolio under occasion, therefore, the Arts Council decided the current government and the that more benefit could be derived from commissioning of the Arts Plan 1999-2001 structuring part of the consultative process in consolidates this achievement and further a more formal way. secures a view of citizenship in which cultural values have a central significance. The The very structure of the many and diverse consultative process which has been so contributions to this consultative process central to the development of both Arts Plans prompts reflection. The Arts Council and to date is widely endorsed and valued and is individual artists have traditionally applied a itself a product of the current phase of policy sectoral approach to their activities and this evolution. approach has been underpinned in legislation. The narrow framework of thought which has The arts community in Ireland has never resulted has shaped debate in all fields of lacked a voice in presenting its case to artistic policy and is manifest in the partisan relevant decision-makers. However, until the claims on funding and resources. Significant development of the first Arts Plan, individual, increases in funding have meant that these sectoral and overall arts community conflicts have abated somewhat in recent representations and proposals were made years. However, the views of many without a formally written policy context. While contributors still represent a partial or narrowly there was always a philosophical basis and sectoral view (e.g. “music should receive 12% clear-sighted specific objectives (and any of the Arts Council’s budget”). scrutiny of the work of the Arts Council since its foundation indicates clear choices and The sectoral approach has significantly distinct and changing priorities) these were shaped analysis, criticism and the nature of not the result of a formalised, documented new proposals. Thinking formed in planning process. circumstances of scarcity is unlikely to fit in times which call for a visionary approach to It is against this background that the arts the investment of greater resources. It is true community responded to an invitation for input that in more recent years some consideration into an overall policy framework for the arts in has been given to some cross-sectoral issues
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and this dual perspective (i.e. sectoral and cross-sectoral) was reflected in many of the contributions to the debate and thus in the commentary offered in this document.
One priority, which characterised all the written submissions and much of the oral debate, was that of resources. In general, resource arguments tended to be either about claims on the sharing of existing resources or about increasing the overall amount of resources available. The latter approach dominated.
Well-established cross-sectoral themes include those relating to access and to education. Newer cross-sectoral concerns emerged in this consultation process, sometimes explicitly stated but more often implicit, and these included the issues of centralisation and devolution noted in the section ‘The Core and the Periphery’. Technology also raised questions which, in a few short years, have moved to the centre of the debate.
The major themes of the consultative process are summarised here, whether derived from written or oral sources. The material is organised according first to general cross- sectoral themes and subsequently to sector- specific interests.
Note Quotations are taken from written submissions or contributions at the consultative fora.
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Contexts of the Arts The Core and the Periphery Education Access Technology
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Contexts of the Arts
Social context The increased funding of recent years could Arts activity takes place in a context of a dynamic represent a new departure, signalling a shift in the social framework and of changing values and view of the arts as marginal to society. However, the political philosophy. Few contributors maintained that relative weakness of this support by international the arts are neutral in responding to these contexts. standards reduces optimism and raises doubts about The question then is whether a state-supported arts the true level of such commitment by Irish society to activity should actively reflect political or the arts. philosophical values. For many this was a primary responsibility for the individual artist. Others The increased role of the market in most western vehemently argued that state-supported arts activity societies over the last decade has meant that market should not be driven by political values. values are increasingly thought likely to be brought to bear on the evaluation of state support for arts Much of the debate in the consultative process activity. This is a trend which is viewed with some focused on arts activity in society and included concern by most practitioners who believe that debate on issues such as social inclusion, increased applying extrinsic values to the arts could distort access for both artists and audiences with public policy. Today’s general shift towards openness disabilities, and the development of community arts. and accountability will also undoubtedly have an These questions generated strong views and raised impact on state support for the arts. It is a matter of conflicting opinions in both the sessions and the debate whether such criteria can be readily submissions. Achieving consensus on a coherent set employed to evaluate imaginative and innovative of values to ground an overall plan for the arts will activities. always be a major challenge. The value of art Cultural context The very existence of art emerges from its intrinsic The relationship of the arts to an overall cultural value - some contributors argued that this is the only context was raised repeatedly. It could be argued consideration that should inform an arts plan. This that the arts have achieved an enhanced role in view is not the exclusive preserve of practising artists national public policy at the very time when the but has been more widely expressed. concept of national cultural identity requires fundamental re-appraisal due to factors such as the Others claimed that arts activity reflects outside Belfast Agreement and its impact on our pressures. Economic prosperity, for example, can understanding of the concept of ‘national’ and the create a growing market for some or all artforms. continuing pressure from the processes of Contributions reflected a diversity of opinion as to the globalisation on the notion of national identity. The balance between intrinsic and extrinsic values in position and the meaning of art within the wider fostering arts activity. popular cultural context was also articulated, explicitly or implicitly, by many contributors.
Financial context Some contributors to the consultative process saw the occasion of a new Arts Plan as an opportunity to argue a shift from a concept of subsidy to the arts toward one of investment in the arts. This conceptual shift is, in itself, an outcome of an overall change in the view of how the arts and the individual artist relate to society.
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The Core and the Periphery
The centralisation of government in Ireland is a the arts and questioned whether public policy to date much-noted phenomenon. The culture of has shown adequate recognition of this. centralisation is reflected in almost every sphere of social organisation. It is not surprising, therefore, that There was recognition of the need to tailor multi- in a debate on the overall management and purpose spaces to specific local needs and to resourcing of arts activity, the necessity to devolve ensure that they reflected the capacity to use the decision making emerged as a recurring topic. The facilities. This was not to suggest, however, that heavily centralised tradition of general administration capital provision should merely reflect existing arts in Ireland has created a capacity problem at local activity. It was emphasised that the design of facilities level. Government activity administered at local level should allow for, and stimulate, the development of as well as the work of local authorities themselves new uses. operates within tight guidelines, resourcing rules and control systems. This, in itself, has inhibited the The management of facilities was also an issue. Arts capacity to create and implement arts policies which organisations which use facilities not specifically accurately reflect local needs. dedicated to the arts complained that their managements did not always accept or understand the Many contributions grappled with devolution and its requirements of arts activities. The management of implications for the arts. Individual contributors cited new centres should be based on a full understanding the significantly more important administrative and of current and potential needs by arts groups. developmental role played by local government in other European countries. Conflicting demands Local government emanated from different sources - claims for greater The difficulty of gaining acceptance for arts activity local autonomy vied with claims for greater financial as an integral part of local government responsibility and other supports from the centre. was widely noted. Such acceptance is necessary if the logical consequential support - financial, Physical capacity at local level administrative and other - is to be given. There was much recognition of the role local authority arts officers have played in stimulating development Genuine local government involvement was certainly at local level. Such a human infrastructure for the regarded as a key to development and hence arts and the level of development which these art financial support for some of the contributors. Given officers and others have achieved is often crucially the important role of local government in other dependent on a range of other infrastructural countries in providing finance to the arts, many saw supports, in particular the availability of appropriate additional local responsibility as an important and flexible physical facilities for the arts. At present potential source of extra public funding for the arts. these are clearly inadequate. Many contributors Others saw it as a matter of dividing an existing emphasised that this was a serious impediment and overall public commitment to funding between a pointed to the stimulus provided by the availability of centralised agency and local government and thus suitable venues. The scale of the deficit in facilities conferring an increased share of relatively static was a constant theme, particularly outside of the resources to local control. large urban centres. While progress has been made in specific regional centres, it was argued that, for example, an arts centre in Galway is not ultimately going to serve the needs of Lios Cearnaigh.
A frequently articulated view was that capital projects ought not to be embarked upon simply because funding was available. Contributors emphasised the need for ongoing revenue funding to be planned or in place prior to embarking on capital development for
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Local government continued
Three positions emerged in this debate - Extra resources should be provided for local activity within the existing framework of policy- making and administration in the arts. - Local government should have increased administrative responsibility within centralised guidelines. - Greatly increased capacity and autonomy should be created at local level in the areas of resourcing, policy, administration and performance measurement.
Many contributors felt that current and proposed local government reform may constitute the way of reversing the dominant tradition of centralisation, for example the creation of Strategic Policy Committees in every local authority area, with a clear policy remit, was seen as a way of bringing the arts higher up the policy agenda at local level.
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Education
“ ...a child on a day by day, week by week, month by Many argued that arts education for young people month, year by year basis is entitled to the must be an integral part of the overall education development of his/her artistic intelligence in the experience for the child; this was seen as a same way as his/her scientific, mathematical, prerequisite for increasing audience participation of adults in the long term. However the more widely- historical or linguistic intelligence...” held view was that young people should be seen as current audiences/participants or artists in their own Education and the arts raised issues at two levels. right and not just as future audiences whose artistic The right of every individual to have an education in involvement must await adult status and autonomy. the arts was an issue which was raised in almost every discussion whatever the agenda. A second Individual teachers and head teachers were noted as issue relating to the role of education in the being supportive of an increased role for the arts in development of the individual artist was a key education. However, even teachers committed to the concern of some, but merited less overall attention. arts in education complained of the lack of in-service training. Cultural self-determination The right to arts education for all, and the right to Many called for discussion on, and a clearer cultural self-determination were regarded as understanding of, the various roles of the artist within foundation principles. There was wide the formal education system: as art teacher, as art acknowledgement and praise for the change in facilitator and as artist-in-residence. philosophy and direction in the first arts plan, which shifted the emphasis of the Council’s approach, from Lifelong learning regarding education as a discrete area of policy and Adult education and lifelong learning is a very provision to one of integration, making arts education underdeveloped activity in Ireland by European a central concern of each art form. This approach standards. Given the growing recognition of adult has also resulted in the development of more education and lifelong learning, contributors strongly measures for the education of artists in each artform advocated that the focus of arts education should not - though this was thought to have been done with be confined to conventional streams, such as primary varying degrees of success. and second level.
The formal education system Interaction with the education system Much discussion took place on the role of the Given the scale of the agenda in the arena of Department of Education and Science. Frustration education, much discussion focused on how the Arts characterised the debate. The lack of sufficient Council might proceed. Two related positions provision for arts education in the curriculum raised received widespread support. demands for serious engagement with the Department of Education and Science. Indeed, it Firstly, in recognition of the size of the task, it was felt was argued that the architectural and visual that clear priorities must be established. Leadership, bleakness of the great majority of schools reflected a advocacy and long-term working relationships with conceptual poverty in relation to the place of the arts key agencies (such as the Department of Education in education. and Science, the National Council for Curriculum Assessment, colleges of education and teacher Specific sectors argued for inclusion of a particular unions) were proposed as a fruitful way forward. artform in the curriculum. Consultation did not cover Given its resource and capacity constraints, it was the detail of how an inclusive arts education felt that provision of resources to schools and programme could be integrated into first and second teachers by the Arts Council itself could not level education, however. This may be because significantly address the many deficiencies. current programmes are at such a basic level. Arts organisations which interact with young people and Secondly, it was argued that to pursue this role of schools argued for more training of staff with effective interaction with agencies the Council itself responsibility for arts programmes for children. needed more staff resources.
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Access
“Are the fruits of public money equally available to all necessity for integration of disability issues within citizens?” each individual artform in the forthcoming Arts Plan was strongly argued. The Arts Council’s own Citizens’ rights document on disability was acknowledged as The question of access represents one of the most providing a good platform for progress. There was a persistent themes in discussion of arts policy over need, however, to express the document’s intentions the last twenty-five years. The arguments for greater in terms of precise objectives, clear time frames and access are grounded in larger debates regarding the with related monitoring and evaluation built in. meaning of full democracy and citizenship in a modern European state. Access to the arts, it is Community arts argued, goes to the heart of a recognition of full The community arts sector was one in which a vibrant citizenship. The notion of the cultural rights of the debate emerged in relation to access. The debate individual raises important questions in a society reflected on the diversity of community arts organisa- increasingly influenced by globally-driven market tions and practice generally, their varied resource forces where there is a blurring between what should bases, the differing degrees of professional and non- be available as a matter of citizen’s right and what is professional involvement and their differing purposes accessible through the market system. and intents, whether purely artistic or otherwise.
Participation The differing expectations of professional artists and While education will enhance the capacity of the the communities with which they worked often gave individual citizen to participate and will help remove rise to frustration on both sides. Differences centred cultural barriers to participation, access may still be on the precise role of the professional, the nature of inhibited by lack of opportunity because of poor the interactions between the professional artists and provision for arts activity locally. Thus, it was argued the community, the benefits to community that the absence of artists and/or arts communities participants and the overall desired outcomes and the lack of physical infrastructure are significant (whether artistic or social). It was recognised that factors in the denial of cultural rights in parts of the special training may well be needed for the country. An additional factor may also inhibit professional artist involved in community arts. audience participation - the social barrier of feeling uncomfortable at a ‘fine arts’ venue. Some The precarious funding mechanisms of many contributors referred to the “glass barrier” syndrome. community arts projects, the rapid turnover of personnel because of such funding, and the learning People with disabilities curve required for those involved in what might be The need for policies to provide for people with their first community arts project detracted from the disabilities was vociferously urged. Disabled people’s impact and usefulness of such initiatives. Worthwhile entitlements as citizens can only be met where their projects often achieved very good results, but specific requirements are prioritised. It was argued inability to follow through, because of a lack of a that audience participation by people with disabilities secure financial basis, often created disillusionment. could be greatly improved by addressing issues of physical access to buildings and transport and Proposals put forward to address these problems creating greater awareness among arts workers, arts included centres and arts organisations about disability - developing ‘best practice’ models of access issues. community education - developing methodologies for evaluating Artists with disabilities community arts activity The specific needs of artists with a disability were - locating community arts programmes within also raised. Longer-term residencies for artists with a local authority responsibility with a view to disability and the necessity for greater recognition of giving rise to a better support framework and disability arts were among the key issues raised. The longer term commitment
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Amateur arts Many amateur artists and umbrella bodies for the amateur arts contributed to the debate. A cogent case was presented for recognition of the value of amateur artistic activity in its own right, as part of the total fabric of artistic practice. Contributors in this discussion who figured prominently in meetings organised jointly with local authorities, asked that the Arts Council would move away from its perceived position of assisting only those amateur artists who aspired to be professionals. Recognition and acknowledgement were seen as not exclusively expressed by financial assistance.
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Technology
Technology issues arose in very diverse contexts Technology as a means of making or disseminating art throughout the consultative process. On a practical The third strand in this debate on technology level, the general enthusiasm for new technology in concerned the role of newer technologies in various the arts was tempered by a number of concerns artforms. This issue was of particular concern, - is it possible to have a medium term plan in although by no means confined, to the visual arts relation to technology given the rate of change? sector. The capital-intensive character of some new - will a support framework for technology be technologies was also emphasised, for example, the investment required for digital film technology. The redundant in twelve months? resource requirements of multimedia in creating and - is there an unquestioning enthusiasm for new exhibiting work present significant problems. technology without a clear-eyed analysis of its precise potential contribution? This issue of presentation also arises for some of the performing arts where technology is part of the It is possible to detect three broad strands of interest ‘fixtures and fittings’ of venue development. The in relation to technology - potential of technology for the dissemination of art arose logically from the role of new technologies in Technology supporting arts administration artistic creation. But this in itself created further Many organisations expressed a need for greater technological demands, for example the requirement access to technological resources, specifically to scan work onto web-sites. It also raised the computer resources for administrative support. This important question of copyright control. was seen in funding requirements which incorporated expenditure on computers as a significant element in the proposal. This pattern of demand was more evident in newer and smaller organisations. Other organisations of a more substantial and established nature cited the contribution that good information technology systems could make to the development, efficiency and enhancement of arts activity. Contributors to the debate felt the Arts Council should specifically address this aspect of capacity enhancement in the new plan.
Technology: communication and isolation A second strand to the debate on technology stressed the role that computer technology could play as an information source for organisations and individual artists. It was argued that the development of professional web-sites, accessible databases and other information sources could be very valuable resources for individuals and organisations. Such resources organised on a sectoral basis could advance the development of a sector, improve communication and generally enhance cohesion. It was argued that in the case of an artform which involves working in isolation, these new technologies could help diminish the isolation felt by many individual artists. It was further suggested that the library infrastructure, the only existing country-wide information resource, could have a role to play here.
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Dance Drama Film Literature Music Opera Visual Arts
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3.1 Dance
“Irish dancers and choreographers are defining a in Shall We Dance?. The establishment of an new dance landscape and language” internationally accredited third level training course for dancers in Ireland, with scholarships to ensure There was a strong sense that Arts Council support inclusivity, was strongly advocated. The Council’s for this artform, recognised as weak at the outset of support has been necessarily tightly focused on a the first Arts Plan, still remains less than robust, small number of funded companies. Contributors despite worthwhile advances during the life of the felt that the new Plan must embrace a broader plan. With the exception of Daghdha Dance spectrum of activity to include independent Company at the University of Limerick, the Firkin choreographers, project-based groups, companies Crane and the work of a loose affiliation of currently unfunded and dancers engaged in freelance dance artists in the south-east, most innovative multi-disciplinary projects. The needs of professional dance originates in the Dublin-based existing, established choreographers not currently funded companies, and through the independent catered for under funded company structures, were choreographer/teachers operating outside those also asserted. While in some ways these claims to companies, in Dublin. The matter of housing those broader funding might be viewed in the same manner as the unending demands for further companies and exhibiting the works produced ab funding in all sectors, the dance sector provided initio was addressed as a major priority in the cogent supporting arguments in most cases. submissions received. Most contributions reflected that since the demise of Digges Lane Studios in As to the Council’s own structural arrangements for 1997, De Valois House, a sub-standard building in supporting this artform, there was widespread and Dublin 7, offers little more than shelter and a unambiguous support for the creation of one full-time modicum of teaching/rehearsal space to dedicated post of Dance Officer. Allied to this was a companies, choreographers and the Association of call for increased dialogue and transparency in the Professional Dancers in Ireland. This situation was Council’s funding decisions. There was a strong view seen as inadequate to existing needs, and as a that funding to dance, in net terms and as a brake on future development. percentage of the Council’s overall spending, needs to be substantially increased. Companies currently Respondents welcomed the Council’s allocation of funded stressed their desire to be included in three- up to £1 million toward the development of a new, year funding agreements, as is the case with some dedicated dance building in the centre of Dublin. theatre companies. This call for greater continuity and There was a strong sense that the new Arts Plan planning was not confined to this sector. must underwrite this commitment to the future. One specific recommendation made, was that Allied to concerns about appropriate infrastructure during the lifetime of this plan, an International in the capital, respondents stressed the need to Dance Festival ‘with a visionary director’, be held ensure a circuit of ‘dance-friendly’ venues to which annually, funding to be separate from and additional the work of funded companies and others might to the existing allocation to dance, and underpinned tour. A separate touring fund was advocated. for an initial period of three years. Such an initiative Touring raised issues common to some other would contribute to the sophistication of indigenous sectors of access, regional distribution of audiences for dance, and would platform excellent companies and repertoire. There was a call to re- work by Irish dance artists in a context conducive to examine the Council’s current focus on developing opportunities to tour abroad. contemporary dance in order to accommodate both classical and contemporary work. While support was expressed for the Association of Professional Dancers in Ireland, a body seen as The Council was strongly encouraged to safeguard being in a stage of growth and development as a the future of dance by supporting new and representative group, there was a sense that a more emerging choreographers, and by addressing the broadly-based dance lobbying group may also be question of vocational dance training, as proposed required.
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3.2 Drama
The publication by the Council of Going On, as an discussion on the Council’s role in this sector and the outcome of the extensive Review of Theatre in interaction of the Council with other agencies. They Ireland 1995-1996, marked the beginning of a new asked whether it is time to develop pilot projects with phase in the dialogue between this large, important the Departments of Education and Science, Enterprise and diverse sector and the Arts Council. and Employment and others in relation to the long- term responsibility for funding theatre for young There was a strong sense of the need to move from people. the aspirational tone of Going On towards a strategy for implementation of its vision and From outside the professional sector, the submissions recommendations. The sector strongly supported the included a statement from the Drama League of consultative processes of the Theatre Review, and Ireland (DLI) which demonstrated the vitality of its emphasised the need for ongoing, rigorous operations, and cited its relationship with youth theatre, consultation between itself and the Council on and with the profession as evidence of its claim on matters of policy and implementation. national resources. The Council has funded co- operation between DLI and professionals in the past. The professional theatre sector - producers and In enumerating the support of Local Authority Arts venues, writers and performing artists - was at one in Officers and the National Theatre Society, the its call for three-year funding arrangements. Indeed movement pointed to the considerable, indirect, but this is a recurring theme right across the arts arena. materially significant, benefits it derives from Council The view that these arrangements should include disbursements. Taken in tandem with the Council’s provision for ‘rolling over’ monies from one financial support for infrastructure, a considerable transfer of period to the next has also been widely expressed. public resources already operates to the benefit of DLI This may arise from concerns about the relationship members and other amateur groups. between the state of the economy and available work for theatre touring. The deregulation of touring The particular difficulties of drama in Irish were which accompanied the Theatre Review appears to forcefully put forward. have been a welcome development, but there is a need now to examine what some argue is a One issue, which deserves specific mention in any persistent cycle of feast and famine. Touring outside summary of concerns and needs, is the acutely felt this country was a related concern and there was a absence of a 300-450 seat, subsidised flexible space conviction that Irish theatre has proved a most in Dublin. It was seen as a major disadvantage to marketable product on the international scene. The Dublin-based production companies, and seriously issue of internationalisation, while it arises in other disadvantages touring into the capital and the sectors, was argued most cogently by the theatre activities of the Dublin Theatre Festival. community in its contributions to the consultative debate. One very significant development since 1993 which was reflected in the tone and content of submissions Closer to home, there were real concerns in relation to and in the proliferation of sector led fora, is the the taxation of cultural workers, which arose time and dynamic which now exists between the National again. Referred to in the first Arts Plan as ‘the hidden Theatre Society and what has been called the ‘theatre subsidy’, these are too detailed to enumerate here, but of the nation’. More than anything else perhaps this they range from VAT on purchases to arrangements for rapprochement testifies to a growing cohesion in a personal taxation, and they are well documented in the sector increasingly open to new ideas and practices. submissions received. Submissions typically called upon the Arts Council to act in the role of advocate for the sector.
In relation to responsibility for funding theatre for young people, the submissions wished to see a broad
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3.3 Film
“ ...is the Arts Council’s remit to support film as art forms of film-making. There was unanimous and the film maker as artist?’ agreement that the level of funding available under these awards was far too low and did not take Much of the discussion in the area of film was cognisance of the high costs of film production. anchored around the Arts Council’s recently- published report Film in Ireland - The Role of the The question of the merits of establishing a film Arts Council. Some strands of this report were given school also generated some divided opinion. While it effect in the 1998 budget. Thus, while most other remains a subject of much discussion in other sectors took the first Arts Plan as the point of countries, the already documented view that the departure for discussion, the film sector largely establishment of a film school is inappropriate at this grounded its discussion in the context of the Erika stage of the development of film in Ireland was the King report. While some, particularly the Film one most loudly voiced and generally supported. Institute of Ireland, regarded the King report as being too rooted in the first Arts Plan, others took This group, like other sectoral groups, was the view that it reflected current changing reality, exercised by the situation with regard to current rather than a three-year old plan. formal curricular arrangements for experiencing and studying film, particularly at primary school level. One of the difficulties generated by discussion on The Arts Council was urged to adopt a strong film relates to a lack of clarity about the distinction position in lobbying the Department of Education between film as part of the broad cultural map and and Science to ensure proper provision. There was film as art. Of course there is conflict as to where the some discussion around the philosophical dividing line is drawn, but many contributors to the distinction between the acquisition of skills and the debate insisted on the necessity for drawing the line. enrichment of professional practice in the art form and the role of the Arts Council in this regard. Contributors called for a better definition of, and more complementarity in, the Arts Council’s The role of exhibition and distribution was regarded relationships with other funding and policy as critical to the development of film in Ireland. It organisations. The proliferation of institutions and was felt important to establish relationships with fragmentation, it was argued, was a feature more commercial distributors to develop wider audiences pronounced in Ireland than in other countries. for Irish film. The use of multi-purpose venues was Related to those latter issues was the position of a advocated as a mechanism by which first-run National Film Archive and the most appropriate arthouse film could be exhibited. Many existing source of funding for it in the long term. organisations were seen as having a possible role in the development of this area - the Film Institute of The need to appreciate film as a twentieth century Ireland, the Federation of Irish Film Societies chief language by both practitioners and publics required among them. A further means of opening up the Arts Council support. The need to support Irish world of Irish film was a proposed cinemobile. language film was raised in this context. It was felt by some that the King report paid inadequate attention to the existing role and possibilities of film in the arena of community arts. It was argued that Arts Council support for the The collaborative nature of film making, drawing on individual film maker should be more flexible and music, drama, visual art and other artistic should include funding at the script development endeavour made it a particularly suitable art form stage of a project as well as for production. for community arts practice. There was strong divergence of opinion on the With regard to the Council’s administrative administration of the Arts Council’s film awards - from arrangements for supporting film, there was a views that the Council should fund only non-narrative, demand for the re-creation of the full-time dedicated experimental work to the view that it should post of Film Officer. administer a totally non-prescriptive fund open to all
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3.4 Literature
“Literature is the most accessible and widely used of current experience in operating the Writer-in-Schools all art forms” Scheme.
A fundamental issue in the discussion on literature The relationship between writers and publishers and, in was the question of defining the spheres of literature particular, the issue of royalties created demands for that should be part of the Council’s remit, for more standard transparent arrangements between both example, should the Council confine itself to poetry, parties. The role of publishers and their relationship to as is the case in some countries. At the other end of the Arts Council generated a strong debate. While the spectrum were arguments for including all fiction there was diversity of opinion, there was a heavy and certain non-fiction. emphasis on the need for ‘an arm’s length relationship’ between Council and publishers. Publishing interests The role of the individual artist, the publisher, the argued the necessity for greater support from literature organisations and the book-sellers formed Enterprise Ireland and other state agencies. the central elements in discussion on literature. Some argued that it is impossible to consider these The arena of publishing gave rise to part of the elements in isolation, as their interdependence is discussion on internationalisation. An important crucial to the overall promotion of quality in literature strand in the internationalisation of Irish writing was creation and building audiences for literature. the work of the Ireland Literature Exchange (ILE) through its support for translation, as an information As in many sectors, there was strong argument for the centre for translators, academics and international importance of recognising the different stages in the publishers and through its presence at the Frankfurt cycle of an artist’s work. Writers need tailored support International Book Fair. to suit the requirements of these different stages. This may be particularly true in the case of poets. The advances and developments in Irish-owned publishing in recent years were central to the debate Specific support mechanisms, such as the Writer in on publishing. While recent strategic alliances by Residence Scheme, or suggested supports such as Irish publishers were welcomed, the small scale, on an extended Cnuas system outside the framework of the international stage, of most Irish operations, Aosdána, were debated. The Writer-in-Residence created anxieties about the capacity of Irish-owned Scheme generated the well rehearsed, but publishing to maintain a significant role in the nonetheless valid question that pertains to the entire publishing of Irish literature. A strong indigenous Artist-in-Residence concept. Who is it meant to publishing industry was felt to be a critical part of the benefit? Is it for the writer primarily or for the infrastructure of Irish literature. audience? Many advocated the development of a well-resourced Writers-In-Libraries scheme as an There was criticism of the role of book retailing in audience development instrument. literature development in Ireland with the difficulty of achieving distribution of less popular work being a The issue of literary criticism formed a lively part of cause of much complaint. Some took the view, the debate. In the eyes of many, only envious however, that the commercial realities of book comparisons can be made with other sectors in distribution, particularly with the collapse of Ireland such as film and the visual arts in relation to traditional pricing agreements, were not amenable to the existence of serious critical fora for artists’ work in modification to suit the broader needs of those the field of literature. International comparisons interested in literature development. Technological added to the dismay and the demands for increased change and in particular the selling of books through Council support for publication of a journal(s) of the internet generated unresolved anxieties in relation serious literary criticism. to the future of literature dissemination.
Poetry Ireland/Éigse Éireann argued the case for a Contributors argued that the difficulties of those National Poetry Centre. This case was based on their writing Irish-language literature were an amplification
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3 | Sectoral Themes
of those writing in English. Despite increased professionalisation, it was extremely difficult to obtain a livelihood from writing in Irish by relying on income from sales alone. Distribution posed particular problems given the geographically thin spread of those buying Irish-language literature. Some contributors were critical of the diversity of organisations giving support to those writing in Irish, with some arguing for more organisational coherence in current support arrangements. The Welsh model of support for writing in Welsh was extolled as a model worthy of analysis in terms of its scale and nature.
Audience development for literature through children’s books was seen as very important. The view was put forward that libraries are particularly accessible, posing none of the social barriers often encountered in accessing other art forms. Thus children’s books may encourage access not just to literature but to other art forms that may be promoted through the public libraries. Furthermore children’s books can introduce children to other artforms.
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3.5 Music
“We need opportunity to develop the musical sense and ensembles. Despite its importance, the and appreciation of all our citizens” NAXOS/RTÉ project was seen to have real disadvantages from the points of view of gestation Education was a key concern for artists in this field. time and eventual distribution. There is an emerging The inadequacies of music curricula at first and sense that the arrangements set in place by the second level were widely lamented, as was the Contemporary Music Centre are insufficiently flexible apparently meagre support for independent music in relation to composers’ commissions. This is schools - the only option available for young people especially so where a composer seeks to work with outside Dublin, Cork and Limerick who wish to artists in another discipline, whose creative and pursue vocal or instrumental studies. Music business cycles do not harmonise with deadlines laid education is expensive. Most tuition is individual, and down by CMC. It was argued that arrangements for most instruments are costly. Many submissions drawing down funds are disadvantageous to advocated recognition of these realities, and sought composers. to enlist the Council as an ally in democratising access to music education. And such Submissions advocating adventurous policy moves in democratisation, it was argued, must include domestic and international marketing were also exposure to Irish traditional music. It was against the received. However, devolution caveats, familiar from background of democratisation that calls were made other sectors, argued that ‘solutions imported from a for critical examination of any proposals to embark centralised service provider are inadequate to the upon a national conservatoire of music. home scene, where needs-based regionally developed models are likely to be successful’. Music One of the most striking aspects of this sector is its Network advocated the Culture 2000 programme of extraordinary diversity: from local festivals with the EU Commission as a unique opportunity to assert dedicated or eclectic programming policies, to the quality of Irish music making throughout the EU specialised ensembles, to composers at the cutting and beyond. edge, both in terms of formal and technical innovation, to individual performers, often struggling Other suggested initiatives include dedicated to make ends meet. The very diversity of the sector performance spaces for jazz and improvised music must pose difficulties for policy-makers, and this may and for traditional music. A proposal to develop a underpin the repeated call for a review of music, to group pension scheme, similar to that available to accomplish what respondents suggest was members of Aosdána, for arts administration workers, accomplished by the comprehensive process was proposed. This has a familiar ring which in no embarked upon in other sectors such as theatre: a way detracts from its merits, and is a sentiment that description of the field of practice as it has evolved, finds expression right across the arts. a negotiated development of priorities, and a policy programme to follow them through in action. In the No summary of this brevity could hope even to include interim, calls for much greater clarity in Council a list of needs and issues raised by those associated statements in the area were heard, alongside a view with Youth Orchestras. It is not surprising to find the that the time had come to discuss the possibility of a umbrella organisation for the related large ensembles ‘cross-sectoral mechanism which would articulate echoing the call for a thorough review of the music some sort of national music strategy’ - perhaps along sector - provision, policy and development. the lines of the Danish Music Council.
There is an enormous amount of high quality musical activity in Ireland. Some advocated a complete overhaul of how policy and practice address audience development, performance and recording of contemporary works by Irish composers, and distribution of recordings by Irish composers, artists,
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3.6 Opera
“My plea is for one simple thing: more diversity ... Let from other countries, is one which needs serious us back artists and ideas...” scrutiny. As to the matter of employing Irish singers for opera productions, one of the ‘big three’ was There was a modesty of tone to most of the opera silent on the subject, another offered contradictory submissions and a strong sense of having fought analyses and suggested that to do so would result in difficult battles simply to survive pervaded the a drop in standard in the short term; the third contributions. Within the limitations of the considered a ‘quota system’. It is difficult to imagine submissions, however, there was some genuinely such a discussion arising in the case of actors, creative thinking and a palpable sense of mission in dancers, writers or other musicians. There was a view providing opera and in extending the audiences for among some individual artists that access by new the artform on the island. There was also a real sense and existing indigenous talent to participation is that an opportunity now exists to do something to difficult in the current situation. move this ‘most expensive of artforms’ to a more mainstream position in Irish cultural life, and in The difficulty of the individual professional opera particular to develop repertoire. artist making a living, given the current state of opera development in Ireland was persuasively argued. Current positive indicators included a sense that the National Chamber Choir’s new emphasis on choral A convincing argument has been made in respect of work with Opera Ireland is welcome and workable. the need for more touring, particularly of the popular Recent increases in Arts Council funding have lyric repertoire. It would seem that existing capacity tended to encourage hard-pressed providers. An could address this, given dedicated funds. The well- interesting proposal to establish an Island of Ireland argued case for a dedicated opera facility or a Opera Chorus reflected a sense that this expensive performance arts centre, which would provide a artform sees the whole island as its stage. Opera genuine quality location for opera in Dublin, and Ireland proposed a detailed partnership with ACNI enhance the possibility of a national opera company, and a version of Opera Northern Ireland (ONI), to was made one more time. expand the seasons available and to run, in tandem, a touring scheme which may, from time to time, feature standard repertoire translated into Irish. There was a sense that, while opera requires specific forms of expertise in production and technical support, the thriving theatre scene might provide useful and mutually rewarding ‘crossovers’.
A great deal of time was taken up with the question of access to this artform. While it may not have the same popularity in Ireland as theatre or literature would have it is plain that publics for opera exist, and can be developed. All respondents emphasised a strong case for education in opera - both by means of their own endeavours, and as a component of arts education (specifically music education).
Contributors noted the lack of indigenous or Irish- based conductors, designers and directors. While accepting that different expertise is required for opera and other forms of theatre, the contention that audiences expect that they will employ personnel
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3.7 Visual Arts
“There is a need to begin to close the distance increasing involvement of these officers in the between the broad public and the visual arts” complexities of large-scale public art projects draws attention to the need for high quality There is a consistently high standard of focused education and training of the officers to enable thinking in the contributions of this wide-ranging them to dialogue with and support visual arts sector of creative activity. The overall consultative practitioners. process has been characterised by a mix of special pleadings for specific local or narrow interests, and This group, like other sectoral groups, was those who sought to contribute to policy exercised by the inadequacy of current formal development from the perspective of the big curricular arrangements for experiencing and picture. In the case of visual art, the focus of the studying visual art, particularly at primary school debate was largely on the broader canvas, and in level. An important philosophical distinction was fact included argument against the narrow sectoral drawn between the acquisition of skills and the perspective, though there was a call for the Council enrichment of professional practice in the artform. to undertake a sectoral review of the area. Both are necessary, but distinct. This perspective underpins the strong and persistent calls for The discussion suggested that there has been a professionalisation, both of primary (creative) and tangible cumulative effect of Arts Plan funding secondary (support) workers. increases and Government capital funding since 1995. But it was widely argued that this has not Submissions also acknowledged the need for artists made a substantial, sustainable impact on individual and arts organisations to lead initiatives in public artists. In addition to this, there is the problem of a education in visual arts. There was a call to lack of fit between how visual artists actually work, recognise that audiences are complex and diverse in terms of time, space and materials, and existing and to provide for that in interpretation and Arts Council arrangements for assessing and education programmes. In this way, the role of addressing those needs. A solution to this problem contemporary visual arts as public education was may be hindered by the retention of the annual asserted. In relation to criticism and documentation, funding cycle. Strong claims were made in favour of there was recognition of and support for Circa Art multi-annual funding cycles. Magazine, and support for an expanded role for RTÉ. In encouraging the Council to take account of ‘the full range of visual arts practice’ in the new plan, Visual artists were at one with others in their contributors emphasised the importance of assertion of the importance of the international supports to artists. Funding should enable the dimension. At a practical level, the Council was purchase of time. Funds should help to develop, encouraged to provide structural support for maintain and update working spaces. The Dublin internationalising Irish art by facilitating the venue crisis is again evident, and the need at establishment of a database of international regional level was cogently argued. In the area of addresses and contacts to which information on multi-media initiatives and technology-based work, contemporary practice by Irish artists might be one proposal supported the establishment of local circulated. But it was also pointed out that partnerships between Arts Centres and Institutes of international exchange in visual arts is a two-way Technology to develop this area. street: there are many artists (including Irish art artists) working in other countries who experience There was a widespread endorsement of the great difficulty in exhibiting their work here. importance of public art projects. Public art raises the critical role of the Department of the Environment in the lives of working artists, not least in the support of Local Authority Arts Officers. The
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In relation to collections held by the Arts Council and ACNI, contributors welcomed the review of policy and achievement. Strong argument was put forward for the importance of all state bodies developing, exhibiting and circulating collections. This would seem to address more widely based concerns regarding venue shortage, the contribution of artists to planning and engaging with the built environment, and the stark visual poverty of many public buildings.
Participants acknowledged the distinctly different roles of subsidised and fully commercial galleries. There was strong support for the Council developing a mutually beneficial dialogue with the commercial gallery sector and a call for the Council to develop a funding mechanism for the support of large-scale exhibition.
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4 | Concluding Comments
The honouring by government of the commitments of the first Arts Plan has had a profound effect on the cultural sector in Ireland. One of the most important outcomes has been the conspicuous surge in confidence and maturity in the discourse around arts policy itself, a great deal of it evidenced in this consultation process.
Generally, the effectiveness of consultative models can be attributed to their intuitive attractiveness to the recipients of resources. They also reflect partnership models that operate in many spheres of Irish society, in particular those relating to national economic and social development. Problems may arise, however, because there is not always clarity of purpose in consultation; plans themselves often generate new anxieties about direction and the context in which the plan is formed may change. Thus, the ink will hardly be dry on the new plan when an issue may require fresh debate and discussion for reasons not now evident. And so a new round of debate and consultation will commence. Such ongoing debate and consultation is at the heart of a vibrant and mature arts community.
This evident need for continuous consultation is one of the most important conclusions drawn by the Arts Council from the consultative process. To be fully reflective of what people think, and how they are reacting to policy development, consultation cannot be a once-off affair every three years. Purposeful dialogue and communication must characterise the way the way the Arts Council works in such a way as to keep it informed of people’s views, and to share with arts practitioners the process of policy-making for the arts.
Under the new Arts Plan the Arts Council commits to devising more effective communication channels both with individual arts organisations and artists, and with sectoral groups, to ensure better mutual understanding, to assist the Arts Council in policy formulation, and to disseminate best national and international intelligence on good practice in arts management and artform development.
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5 | Appendices
Appendix 1
Arts Council Consultative Meetings, April - September 1998
National Consultative Fora 8 May 1998 National Consultative Forum I Malahide 19 June 1998 National Consultative Forum II Limerick
Sectoral Consultative meetings 24 April Venues Development 11 June Arts and Disability 31 August The Individual Creative and Interpretative Artist Visual Arts 1st September Literature Dance 2nd September Music Film 8th September Drama New Media 9th September The Arts and Education Traditional Arts & Irish Language 11th September Opera Festivals
Local Authority Consultative meetings Cavan County Council Limerick Corporation Cork County Council Longford County Council Cork Corporation Mayo County Council Donegal County Council Meath County Council Dublin Corporation Monaghan County Council Dundalk U.D.C. Offaly County Council Dun Laoghaire/Rathdown County Council Roscommon County Council Fingal County Council Sligo County Council Galway County Council/Galway Corporation South Dublin County Council Kildare County Council Waterford County Council Kilkenny County Council Waterford Corporation Laois County Council Wexford County Council Limerick County Council Wicklow County Council
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Appendices
Appendix 2
Submissions received
Organisation Name Artform
1. Association of Professional Dancers in Ireland Teenagh Cunningham Dance 2. Ballet Ireland Dance 3. Cois Céim Bridget Webster Dance 4. Daghdha Dance Company Mary Nunan Dance 5. Dance Theatre of Ireland Dance 6. Firkin Crane Mary Brady Dance 7. Independent Mairead Vaughan Dance 8. Independent Sheelagh Hayes Dance 9. Independent Gunther Faulsy Dance 10. Independent Finola Cronin Dance 11. Irish Modern Dance Theatre John Scott Dance 12. Kalichi Liberaton Dance Workshop Dance 13. New Balance Dance Company Dance 14. Royal Academy of Dancing Pauline McGrath Dance
15. Drama League of Ireland Dympna Murray Drama 16. Galloglass Theatre Company David Teevan Drama 17. Graffiti Theatre Company Emelie Fitzgibbon Drama 18. Macnas Drama 19. Meridian Theatre Company Johnny Hanrahan Drama 20. National Association for Youth Drama Eilis Mullan Drama 21. National Theatre Society, The Patrick Mason Drama 22. Pan Pan Theatre Mary O’Donovan Drama 23. Schizophrenia Ireland Shari McDaid Drama 24. Society of Irish Playwrights Colette Connor Drama 25. Theatre Omnibus Jean Regan Drama 26. Theatre Sector Drama 27. Tickity Boo Theatre playshop Fionnuala Halpin Drama 28. Upstate Theatre Declan Gorman Drama 29. Waterford Youth Drama Drama
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30. Independent Julie Kelleher Education 31. NODE Education 32. Youth Arts Training & Programme Development Education
33. Cashel Cultural Festival Festivals 34. Galway Arts Festival Fergal McGrath Festivals 35. Granard Harp Festival Maggie O’Brien Festivals
36. Buena Vista International Trish Long Film 37. Cork Film Centre (Cavern) Helen Guerin Film 38. Federation of Irish Film Socieites Film 39. Film Forum Sheila Pratschke Film 40. Film Institute of Ireland Sheila Pratschke Film 41. Galway Film Centre Liz Meaney Film 42. Independent Seamus McAndrew Film 43. Film Base Philip Gray Film 44. Open Channel Brendan Culleton Film
45. Age and Opportunity General 46. Aisitheoirí General 47. Alternative Entertainments Caroline Barry General 48. An tOireachtas Liam O Maolaodha General 49. Architects Association of Ireland Vincent Ducatez General 50. Ark, The General 51. Artlink General 52. Arts Awareness International(CAFE)- update Barry Lynch General 53. Arts Centres Group General 54. Association of Local Authority Arts Officers Sharon Mee General 55. Association of Presenting Theatres General 56. Ballymun Partnership Sean Cooke General 57. Bray Arts Club General 58. CADC Theatre Sub-Committee Gerry Barnes General 59. CAFE General 60. Cavan Co Council Caitríona O’Reilly General
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61. Cerebral Palsy Ireland Carole Shubotham General 62. City of Dublin Youth Service Board David Treacy General 63. Clan Cluana Theatre Company, Clonmel General 64. Claremorris Arts Committee Peter Casby General 65. Combat Poverty Agency Margaret Barry General 66. Community Meda Network Ireland Seán Ó Siochrúd General 67. Community Radio Forum Eoin Brady General 68. Connor Consultancy Aileen Connor General 69. Cork Arts Development Committee General 70. Cork Corporation Mark Mulqueen General 71. Cork Corporation Dan Boyle General 72. Cork Institute of Technology Tricia Harrington General 73. County Leitrim Partnership General 74. Crann John Lawlor General 75. Cultural Centres in Temple Bar Group General 76. Cultural Department of Dublin Inner City Partnership General 77. Department of the Environment General 78. Dialogues Project Cinzia Hardy General 79. Donegal County Council Traolach Ó Fionnáin General 80. Dublin City University Dr Ruth-Blandina Quinn General 81. Dun Laoghaire/Rathdown Co Council Cliodhna Shaffrey General 82. Forbairt na Ealaíon sa Ghaeltacht Liam MacCoil General 83. Gaiety School of Acting, The Patrick Sutton General 84. Greater Blanchardstown Arts Centre Aileen Le Brocquy General 85. Green Party, The Cllr. Donna Cooney General 86. Independent John Stephenson General 87. Independent John Hunt General 88. Independent Micheal O Leidhin General 89. Independent Jane Dillon Byrne General 90. Independent Jackie O’Keeffe General 91. Independent Marja Almqvist General 92. International Association of Art Critics Dorothy Walker General 93. Irish Association of Creative Arts Therapists Gerri Geoghegan General 94. Irish Contemporary Art Gallery Association General
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95. Irish Wheelchair Association Marie Lynch General 96. Kilkenny Network Community Action General 97. Knockanrawly Resource Centre, Tipperary General 98. Knocknaheeny/Hollyhill Community Arts General 99. Laois County Council A Williams General 100. Learning Wheel Programme Nuala Hunt General 101. Leitrim County Council Leas Bainisteoir General 102. Letterkenny Arts Centre Shaun Hannigan General 103. Linenhall Arts Centre General 104. Longford County Council Maggie O’Brien General 105. Macra Na Feirme Jessica Fuller General 106. Mainie Jellett Project Ed Carroll General 107. Meath County Council Gerardette Bailey General 108. MEEM Productions Limited Siraj Zaidi General 109. Midland Arts Resource Centre Teresa Doyle General 110. National Gallery of Ireland Marie Bourke General 111. National Rehabilitation Board Maureen Gilbert General 112. National Youth Council of Ireland General 113. North Leitrim Glens Liz Culloty General 114. Offaly County Council Sharon Mee General 115. People of Emly, Co. Tipperary General 116. Sin Sin Trevor O Clochartaigh General 117. South Dublin County Council Councillor Eamonn Walsh General 118. South Kerry Development Partnership General 119. South Tipperary Arts Centre General 120. South Tipperary Arts Group General 121. South Tipperary Arts Network General 122. St. Michael’s House/ IMMA Nuala Marchetti General 123. Tallaght Arts Forum Geraldine Kane General 124. Tallaght Community Arts Centre Mary Grehan General 125. Threshold Foundation Fiona Galvin General 126. Tinahealy Courthouse Centre Sharon Corcoran General 127. Tóstal General 128. Triskel Arts Centre Aisling Roche General
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129. Triskel Arts Centre Fiona Kearney General 130. Tyrone Guthrie Centre Bernard Loughlin General 131. Údarás na Gaeltachta Sorcha Nic Dhonncha General 132. Waterford Corporation P.Power General 133. Waterford Regional Hospital General 134. White Memorial Theatre Clonmel General 135. Wicklow County Council Deirdre Enright General
136. Cló Íar-Chonnachta Teo Irish Language 137. Comhdháil Náisiúnta na Gaeilge Peadar Ó Flatharta Irish Language 138. Gael Linn Daithi Ó Dufaigh Irish Language 139. Independent Prionsias Ó Drisceoil Irish Language 140. Independent Ré Ó Laighleis Irish Language 141. Independent Colm Tóibín Irish Literature 142. Litríocht na Gaeilge Proinsias Ó Drisceoil Irish Language
143. Bord na Gaeilge Deirdre Davitt Literature 144. Bord na Leabhar Gaeilge Eamonn Ó hÓgain Literature 145. Cape Clear Island Int Storytelling Festival Chuck Kruger Literature 146. Children’s Books Ireland Claire Ranson Literature 147. Cois Life Caoilfhionn Nic Pháidin Literature 148. Cuala Verbal Arts Anne Farrell/Liam Murphy Literature 149. Culture in Ireland Magazine Simion Dumitrache Literature 150. Dingle Writing Courses Ltd Nicholas McLachlan Literature 151. Independent Dermot Healy Literature 152. Independent Neil Donnelly Literature 153. Irish Literature Exchange Marc Caball Literature 154. Irish Writers’ Centre Literature 155. Kids’ Own Publishing Partnership Simon Spain Literature 156. Library Council, The Norma McDermott Literature 157. Marino Books Jo O’Donoghue Literature 158. Munster Literature Centre, The Mary Johnson Literature 159. Poetry Ireland Theo Dorgan Literature 160. Poolbeg Group Services Kieran Devlin Literature
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161. Two Chairs Company Nuala Hayes Literature 162. Verbal Arts Centre, The Pat Ryan Literature
163. Association of Irish Composers Martin O’Leary Music 164. Clifden Arts Society Brendan Flynn Music 165. Composers Ink & Operating Theatre Roger Doyle Music 166. Concorde Dr Jane O’Leary Music 167. Contemporary Music Centre, The Eve O’Kelly Music 168. Cumann Náisiúnta na gCór Barbara Heas Music 169. Ennis/IMRO Composition Summer School Martin O’Leary Music 170. Federation Of Musicians’ Collectives Angela Dorgan Music 171. Feis Ceoil Enid Chaloner Music 172. Improvised Music Company Music 173. Independent Raymond Deane Music 174. Independent Artemis Kent Music 175. Independent Andrew Osborn Music 176. Irish Association of Brass and Concert Bands Gillian Mohan Music 177. Irish Association of Youth Orchestras Agnes O’Kane Music 178. Irish Traditional Music Archive Nicholas Carolan Music 179. Jeunessess Musicales Ireland Music 180. Music for Galway Music 181. Music Network John O’Kane Music 182. Music-Linc Jenny Raleigh Music 183. National Chamber Choir, The Karina Lundström Music 184. National Youth Orchestra of Ireland Music 185. West Cork Music Francis Humphries Music
186. Arthouse Aoibheann Gibbons New Media 187. Galway/Mayo Institute of Technology Tony Patrickson New Media 188. Ormond Multi Media Centre, The New Media
189. Independent Michael McCaffrey Opera 190. Island of Ireland Opera Chorus Ciaran Nagle Opera 191. Opera Ireland David Collopy Opera
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192. Opera Theatre Company James Conway Opera 193. Wexford Festival Opera Jerome Hynes Opera
194. AAI Vincent Ducatez Visual Arts 195. Ballinglen Arts Foundation Limited, The Margo Dolan Visual Arts 196. Broadstone Studios Jacinta Lynch Visual Arts 197. CIRCA Peter Fitzgerald Visual Arts 198. Cork Printmakers Visual Arts 199. Crawford Municipal Art Gallery Nuala Fenton Visual Arts 200. Douglas Hyde Gallery John Hutchinson Visual Arts 201. Dublin Sketching Club Richard McEvoy Visual Arts 202. Gallery of Photography Tanya Kiang Visual Arts 203. Independent Seighean Ó Draoi Visual Arts 204. Irish Museum of Modern Art Declan McGonagle Visual Arts 205. NAS Studio Mary Burke Visual Arts 206. National Irish Visual Arts Library, The Anne Hodge Visual Arts 207. National Sculpture Factory Cork Limited Rory McCarthy Visual Arts 208. Royal Dublin Society Nancy Larchet Visual Arts 209. Rubicon Gallery Josephine Kelliher Visual Arts 210. Sculptors’ Society of Ireland Visual Arts 211. Sculptors’ Society of Ireland Amanda Ralph Visual Arts 212. Sculpture Factory Mary McCarthy Visual Arts 213. Sligo Art Gallery Ronan MacEvilly Visual Arts 214. Temple Bar Gallery and Studios Norah Norton Visual Arts 215. Wilderness Sanctuary Artists Retreat Centre Rachael Parry Boydell Visual Arts
33 The Arts Plan 1999 - 2001: consultative review
Notes
34 The Arts Council is committed to developing its understanding of the development needs of the arts by research and dialogue. Research outcomes will be disseminated by various means, including this publication series, to help develop debate and to promote wider public recognition of the arts.
Other publications in the series:
Number 1 | Local authority expenditure on the arts - A four year perspective Number 3 | A comparative study of arts expenditure in selected countries and regions (September 1999)