ArtsProfessional has long warned that the Olympics, the bastard child of a Prime Minister desperate for a legacy and a country with an overly romantic view of its sporting prowess, is like a baby with a big appetite. The danger is that, as it grows, it may start to eat us out of house and home. The drain on the Lottery good causes, and on the taxpayer, is, so we are told, justifiable because of the national prestige and the lasting national legacy of the event.
While it is unarguable that the eyes of the world will be on Britain for 2012, the long-term national benefit is less obvious. Arts organisations invited to engage with the Cultural Olympiad, as well as artists and practitioners in east London, may feel an Olympic gain, but what about theatres in Perth or Milford Haven, or galleries in Cornwall or Gateshead what benefit will they get? And yet the pain of cuts in Lottery funding will be felt by all.
The issue of balancing local costs and national benefits is not straightforward, and both BAC and the Belfast Festival at Queens are facing crises as a result. For 30 years, BAC has provided a launch pad for nationally important artists and organisations (including Jude Kelly, now heading up the Cultural Olympiad the irony!) It once billed itself as the national theatre of the fringe, which was a pretty fair reflection of its status. The mooted cuts by Wandsworth Council appear to be a political move by a Tory council attempting to embarrass a Labour MP (a Trustee of BAC) who holds his seat with a majority of just 163. And yet in criticising the Council, it is worth remembering that local authorities do, after all, have to put local interests first. But defining local benefit is a tricky issue BAC runs workshops for thousands of local children, provides cheap tickets for local residents and has an economic impact on the borough which is felt well beyond the cafés and estate agents of Lavender Hill. Properly costed and effectively managed national assets generate real local value. Wandsworth needs to be reminded of this.
Liz Hill and Brian Whitehead
Co-editors