Generating interest

It’s rare for AP to undertake a single-themed issue. ‘Regeneration’ may appear to be a relatively specialised area, but in fact the subject touches almost all areas of arts activity. Articles in this issue cover the work of the artist, public art, working with at-risk young people, the creative industries, festivals and events, training, education and community projects, and developing international partnerships. We also cross into highly political territory in terms of how policy is developed, what resources and workspaces are available to artists and arts businesses and how to develop sustainable projects and policies. Clearly, too, the case for the arts as a crucial element in often very ambitious regeneration schemes has now been accepted almost universally. This may be partly because of the wish of regional arts and local authority bosses for a high-profile flagship project, such as the Royal Opera House’s Thurrock site (p16). This brings kudos, but also stimulates business and social development. There may be many in the arts community who do not feel that regeneration is anything to do with their job – or indeed that it’s something in which they have no interest – but this issue of AP is intended to open the subject up for what it has become: a major driver of arts development which has changed the way arts professionals interact with society.

The way arts professionals interact with each other is clearly another focus this week, with the announcement of Arts Council England’s peer review and self assessment plans (p1). Scots who already know all about this will doubtless raise a weary eyebrow as the Sassenachs finally catch up, but it’s good to know that the UK nations are actually learning from each other on issues such as this. That ACE’s old panel system is gone forever will be good news for those who felt it was turning into a cosy clique. The crucial issue therefore for Alan Davey is to produce a system which is fair, is seen to be fair and will help to create the open and honest relationship with the arts sector that he and his colleagues crave. Let us hope that the ever-present fear of losing funding won’t prevent arts organisations from being honest in return.