Exclusive: Leading agencies and unions unite to challenge dysfunctional public sector infrastructure and funding systems.
The UK’s most influential employers’ associations, trade unions and representative bodies are joining forces to kick-start a national enquiry and debate about the future of arts funding and the publicly funded infrastructure that supports arts and culture. The group currently includes the Musicians’ Union, Equity, Bectu, the Independent Theatre Council (ITC), the Theatrical Management Association, the Association of British Orchestras (ABO), Dance UK, the Visual Arts & Galleries Association, the Museums Association and the National Campaign for the Arts. Together, they represent well over 100,000 people and organisations working in arts and cultural professions.
Under the project name of ERA21 (Evolving a Resilient Arts sector) they are preparing to present a united response to common concerns and set out proposals for new models of financing and supporting creative practice that will lead to better resilience and greater self-sufficiency. This is the first time such a wide-ranging grouping of associations and unions has come together in the UK, with a view to what Mark Pemberton, Director of the ABO, describes as a process of “testing and, where necessary, re-inventing the architecture of contemporary arts policy and funding”. The group first convened in June this year, as industry lead bodies discovered shared concerns over “chaotic Arts Council funding decisions”, the McMaster Review and the continuing debate around cultural leadership. Further meetings have led to a commitment to work together towards a more sustainable future for the sector. In 2009 the participating bodies will be gathering evidence from their combined memberships on a range of factors, including finance, which are affecting the long-term viability of organisations and the resilience of individuals working in the sector. The findings of the enquiry will be used to develop proposals for a new framework of support and funding, which will be the key subject for debate at a cross-sectoral conference at the end of the year. ITC Chief Executive, Charlotte Jones, who is co-ordinating the group said, “Up till now the industry lead bodies have been working tirelessly, but very often separately, despite commonalities, to represent and forward the interests of their respective memberships – there is value in this, but there is even greater value in exploring what we might be able to achieve together. Genista McIntosh, in her post mortem of the Arts Council funding processes earlier this year, put the catastrophic debacle down to a failure of leadership. I would agree, but would add that the sector must also take responsibility for leadership… fiddling while Rome burns is no longer an option.”
The ERA21 group is working with the Mission, Models Money (MMM) programme to spearhead the initiative. Since 2004 MMM has been leading a UK-wide action research programme and campaign for change involving leaders and funders of the not-for-profit arts and cultural sector (see AP126). ‘MMM: Designing for Transition’ (Deft), the fourth phase of MMM’s work, is launched this week with seven programme strands, including the ERA21 project, all aimed at helping organisations and their funders move towards new or improved financing, structures and practices. In Scotland, pilot projects involving the five national performing companies, members of the Scottish Literature Forum and Edinburgh’s twelve festivals are already underway, exploring collaborative ways of working to free up capacity and enable cost savings. In the North East of England work has begun on a long-term capitalisation strategy for the Gateshead Newcastle Arts Forum. Other strands include projects which focus on the strategic use of new technology and the development of skills which will help those working in the sector to manage increasing levels of change and uncertainty. David Hall, Chief Executive of the Foyle Foundation and a Director of Deft, said, “Public and private funders have unintentionally helped develop the under-capitalisation of the sector through working practices that drive mission creep and perpetuate the organisational fragility of those they fund. MMM’s work to date has brilliantly outlined the challenges which funders need to address if arts organisations are to become more flexible, adaptive and financially stronger, enabling them to concentrate on their core artistic purpose”.