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Introduction Munira Mirza According to the chairman of Arts Council England, Sir Christopher Frayling, we are living in a ‘golden age’ for the arts. 1 Since the National Lottery was set up in 1994, it has awarded £2 billion for the arts in Britain. New Labour has kept up the pace, announcing the single biggest increase in support for the arts in the new millennium: £100 million over three years on top of a £237 million base. In 2003, it topped this with an extra £75 million to Arts Council England. This included a doubling of funding for individual artists to £25 million, plus a further allocation of £45 million to the arts education scheme, Creative Partnerships between 2002-2006. 2 And of course, one of this Government’s most popular and effective policies was free admission to the national galleries and museums. Arguably, our politicians have never devoted so much commitment to developing the arts and culture in this country. Certainly, ‘creativity’ has been a vital plank of New Labour strategy. It not only hands out money with the enthusiasm of a
14 <strong>Culture</strong> Vultures Medici, but also invites the talented arts world into the very heart of government. Who could forget those heady days of ‘Cool Britannia’, when a fresh-faced Tony Blair mingled at Number Ten with the Britpop bands, Oasis and Blur? This Government has talked about the arts and culture with much affection, taking every opportunity to boast about Britain’s cutting-edge fashion designers, artists, writers and musicians. But the growing interest in the arts represents something new in the way they are perceived. The Arts Council and DCMS (Department for <strong>Culture</strong>, Media and Sport) tell us that the arts are now not only good in themselves, but are valued for their contribution to the economy, urban regeneration and social inclusion. Their enthusiasm reflects a prevailing mood. Business leaders and management gurus talk about the importance of ‘creativity’ in a post-industrial Britain; how we have changed from being a manufacturing economy to an ‘economy of the imagination’. Urban regeneration experts and town planners argue that major new cultural buildings like the Lowry Centre in Salford or the BALTIC Centre for Contemprary Art in Gateshead, are key to regenerating former industrial towns. People employed in healthcare, education and the judicial system talk about the value the arts bring to their work, in boosting people’s self-esteem, enhancing well being and empowering individuals. Up and down the country, arts organisations – large and small – are being asked to think about how their work can support Government targets for health, social inclusion, crime, education and community cohesion. Galleries, museums and theatres are busy measuring their impacts in different policy areas to prove they are worth their subsidy. When the Government decided to curb its spending on the arts in 2005 by £30 million, many people within the
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Politicians and policy-makers take
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