So, I’m one of the people who isn’t getting their grants for the arts money because of this cut.
It’s possible of course, given the mysterious round-table meetings that characterise the GFA process (“sorry, it was a busy week this time, so regardless of the quality of your application, tough shit”) that I wouldn’t have got it anyway, but let’s, having read the tea-leaves, assume that I was, and fell into the unfortunate 35% abruptly dropped without a parachute.
I can tell you that this has not made me work harder to create something I really care about, as the commentators who bizarrely think our arts were overfunded seem to suggest. In fact it has made me terrified and anxious about a project that previously seemed straightforward to manage. It’s meant that more hours are going into desperate fundraising than into working on making the art istelf. It means all sorts of shabby stalling and timewasting, fobbing off, concealing budgets, making vague promises, crossing fingers, cashflow panics and hoping things will come together. It means the work will suffer, my sleep will suffer, and the people I’m working with will get less out of me. The show will be fine, but there will be a sense of trepidation about its execution that I pray doesn’t communicate all the way down the line to the audience. In this case thankfully the GFA component wasn’t much of the overall budget – but all over the country you can hear the sounds of people who suddenly have no work for the summer. I daresay there will be some good deals going on Edinburgh venues at the last minute.
Lammy and Jowell are popping up here and there telling us that this isn’t core ACE funding – it’s just the lottery top-up, and it wasn’t permanent. Well, Tess, if you were funding it properly there would be no need to top it up out of the lottery, would there? What seems to be clear is that they (or rather their predecessors) have made a balancing act over the last ten years (in contravention of the constant rhetoric that lottery money does not replace tax spend) that has enabled the cultural growth that made some of us (briefly) optimistic and led to some of those nice public buildings that everyone can enjoy all over the country – a genuine legacy only if they’re full of activity. And the current DCMS team have misunderstood how this works, taken the so-called optional bit out, and are latterly realising that that was the brick at the bottom of the pile.
It’s not strictly speaking true to say that the Tate Modern and the Royal Opera House only exist because of my sterling efforts, but the fact remains: you created a (semi)-stable system, and if you are taking it apart, then you need to plan for it and have a think. Not just suddenly whip some of the cash away. This is not really about the Olympics. The Olympics exist and need funding (and are being badly managed). Ditto the regeneration of East London. The Arts exist and need funding and, because they are not monolithic, the badly-managed parts of them fall away in any case. So, let’s chop out some emergent shoots to make room for the car park?
Improve GFA please. It is quite a poor system. But don’t take the money away. And don’t try to avoid the subject of the discussion about arts funding by telling us about other nice things you are spending the money on.
Blogging just to let off steam? you bet.