| “Arts Council...An Undeniably Courageous Approach" |
Arts Council Uncovered |
| Commentary on Arts Councils of Wales and England , The Stage , August 24, 2023 |
The Arts Council of Wales is in conclave for a reappraisal of its funding allocation. On Radio Cymru Wales on 30th June Council Chair Maggie Russell commented on her time of purdah “if you talk about investment review I go up in a puff of smoke.” It was a different kind of language to the formality of expression that has been the Council's norm. No articles in Wales have approached the topic. The Stage addressed its UK-wide audience with an article on arts councils in both England and Wales. Scotland was not included where the most dramatic event in arts management of 2023 took place. The Government intended to cut the budget of Creative Scotland by 10% and backed down in the face of a petition signed by more than 15,000. The author took a contrary view to both the editorial line of the Stage and its many correspondents. “Arts Council England's decisions demonstrated an undeniably courageous approach.” It is a view. * * * * In the same issue a letter from Chris Hodgkins was published. The letter included: “The Arts Council is running around at taxpayers' expense. A reformation at the Arts Council is urgently required...a full investigation by the National Audit Office that asks questions...there is a lack of transparency... There needs to be a clear-cut at the top...The Arts Council should focus its energies on the arts.” In the article “courageous” is the wrong term anyway. The word “courage” means something. Managers make decisions. In the case of arts allocations, which is a rationing mechanism, there are just decisions. The author identifies himself as being once an Council employee which most likely underlies his affiliation with other arts managers. * * * * Turning to Cardiff the article runs: “Two funding cycles ago, Nick Capaldi led a 2010 investment review that swiped a rapier through Wales' largely complacent arts sector. "Underperformance was not tolerated...ruthless excisions were offset by ambitious additions and – in terms of theatre- the comfort of two infant national companies, Theatr Genedlaethol Cymru and National Theatre Wales, still enjoying honeymoon periods.” This paragraph deserves three comments. First is the inaccuracy. Theatr Genedlaethol was not an infant. It was incorporated in June 2003, fell into premature middle age and badly needed its injection of Arwel-adrenaline. Secondly, if a writer has to use a metaphor then make sure it is a right one. The whole point of a rapier is that it does not swipe. Its length and slenderness were made to be specifically for thrusting. It shows up the weak sub-editing at the newspaper. Thirdly, the language is unnecessarily over-heated. “Ruthless” is not right. Messrs Capaldi and Dai Smith took decisions to the best of their knowledge and purpose as they perceived them. “Largely complacent arts sector” is a phrase emanating from a managerial class that over-values itself, rewards itself nicely and denigrates the many dedicated and motivated artists. “Not tolerated” too is not appropriate. They were lenient towards Sherman Cymru where the role of the new writing theatre- granted with the closures of Dalier Sylw and Sgript Cymru- was not working. For years the board did not even appoint an artistic director. There was hardly any new theatre then and the record in the last era too has not impressed. The business models of civic theatre and new writing theatre are incompatible. It is possible that the decision-makers, when they axed Sgript Cymru, were inspired by the Door in Birmingham. But the Door had an advantage. David Edgar was there, a figure not just of playwriting skill but of volcanic force and drive. There is no David Edgar in Wales. If there were one feels he would be little liked. The nail that sticks out gets hammered down. Certainly the newcomers at the Arts Council of Wales in 2023 should be looking to the best practice that existed in the last century. They should read what Jennie Lee said and what she stood for. Diversity in Welsh theatre peaked with Jeff Teare and has declined ever since. The management of the Sherman should be released from the obligation of new writing and set to be a single mission venue. New writing needs to be located in a dedicated company for which there are obvious candidates, who should be given revenue funding security. The article in the Stage ends with some remarkable words on how the Arts Council of Wales sets about its work. Dense thickets of irrelevance obscure attention to the arts. That will be subject for comment at a future time. * * * * See also "Theatre in Wales: Comment" 20th July. "The programme will culminate in thirty minutes of work being performed at a script-in-hand reading. "It is described as “part of the Sherman’s extensive work as the engine room of Welsh theatre to nurture and support Welsh and Wales-based artists.” "The Sherman is Cardiff's producing theatre. "So there are to be no productions of new drama or comedy from Cardiff's producing theatre from its new writers for their benefit or the benefit of audiences. "The purpose of the programme is obscure. The purpose of the Sherman, as recipient of cash for new writing, is to produce dramatists. A half-hour is no use for theatre. Dramatists need to conceive and execute ninety minutes upwards of stage action. "The Sherman Theatre's business mission is be a civic theatre; it is not an academy." |
Reviewed by: Adam Somerset |
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