Making the case for a Cultural Endowment Foundation
Joe Hallgarten makes the case for a Cultural Education Endowment Foundation as the RSA and Arts Council England publish ‘Towards Plan A’.
Today the RSA and Arts Council England will launch Towards Plan A: A New Political Economy for Arts and Culture. This series of four papers which examine how the arts sector might play a full role in the UK’s economic and social renewal. In the papers:
Martin Smith asks for a new industrial strategy for the arts, to make the most of ‘ the prickly, sometimes antagonistic but always necessary relationship between art and commerce’;
Alex Jones asks for cities to be more honest about their capacity to be so-called creative hubs – not all cities can be – and more intelligent about the way they understand the impact of cultural spending on regeneration;
Mandy Barnett and Daniel Fujiwara argue that ‘the cultural sector needs to agree a single framework within which to talk about value, whilst disentangling the social from the cultural in the process’; and Sue Horner (chair of RSA Academies), in calling for a ‘grand partnership’ between education and cultural sectors, suggests how both sectors need to step up to harder-edged collaborations.
John Knell’s excellent introduction also offers recommendations to inform future policy and practice. This includes the idea that: “ACE should commission, in partnership with DCMS, DfE, AHRC, key trusts and foundations, and the sector learning network, at least one ‘high burden of proof’ study – involving if appropriate randomised controlled trials – which would explore the impact of particular arts interventions in a key impact area (for instance health and well-being, education or community cohesion).”
Today the RSA and Arts Council England will launch Towards Plan A: A New Political Economy for Arts and Culture. This series of four papers which examine how the arts sector might play a full role in the UK’s economic and social renewal. In the papers:
Martin Smith asks for a new industrial strategy for the arts, to make the most of ‘ the prickly, sometimes antagonistic but always necessary relationship between art and commerce’;
Alex Jones asks for cities to be more honest about their capacity to be so-called creative hubs – not all cities can be – and more intelligent about the way they understand the impact of cultural spending on regeneration;
Mandy Barnett and Daniel Fujiwara argue that ‘the cultural sector needs to agree a single framework within which to talk about value, whilst disentangling the social from the cultural in the process’; and Sue Horner (chair of RSA Academies), in calling for a ‘grand partnership’ between education and cultural sectors, suggests how both sectors need to step up to harder-edged collaborations.
John Knell’s excellent introduction also offers recommendations to inform future policy and practice. This includes the idea that: “ACE should commission, in partnership with DCMS, DfE, AHRC, key trusts and foundations, and the sector learning network, at least one ‘high burden of proof’ study – involving if appropriate randomised controlled trials – which would explore the impact of particular arts interventions in a key impact area (for instance health and well-being, education or community cohesion).”