The Collapse of the Arts – in Every Crisis an Opportunity

The Department of Arts, Heritage and the Gaeltacht has been effectively disbanded, and the arts and cultural sector is now overseen by Rural Affairs. The downgrading of the department – and the inevitable downgrading of the Arts Council and Local Authority Funding is all part of the Fine Gael led neo-liberal passion for austerity and increasing inequality.

(The Campaign to Create a Department of Art, Culture and Heritage is here https://my.uplift.ie/p/dach if you wish to sign it)

The only relevant questions are how will this play out, what will the impact be, and what is the strategy for resistence.

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Unlocking the Power of Philanthropy in Arts and Culture

Why Can’t I get Donations?

Everybody working in the arts and culture industry is feeling the pressure. State funding is declining and the funding agencies are promoting the argument that philanthropy must fill the gap left by the cutbacks. Arts organisations are all taking fund-raising courses, appointing funding executives, skilling up on varieties of CRM tools and soaking up the sayings of the new gurus – impact drives income, and you have to tell a compelling story about what you do, etc. etc.

I’m actually a big fan of all this, but there is a danger that we oversimplify the economic realities of philanthropy as well as its ethical implications.

The question is, can everybody build a sustainable artistic or cultural enterprise based on philanthropy and the answer is no – regardless of impact or compelling narrative. But that can be changed.

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When is a theatre company a Theatre Company

A couple of years ago I had to end a business relationship with an old friend. Something I would rather not have done. However, it was necessary when I realised that that person’s company wasn’t a company.  It was a legal fiction, necessary if he was to receive grants and commissions, it had no assets, no investors, and no long term plan. It did one thing (one set of tasks) and repeated it again and again – whenever it got a grant or a commission. Essentially this friend did one thing and hawked that skill around: they were a freelancer. Not a company. Not really. And this came as a shock to them.

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What kind of Arts Council do we need?

As Peter Brook once remarked, theatre is now, and always has been, in crisis. Whatever the nature of the continuing existential threat that Brook Identified the truth is that theatre in Ireland (as in many other parts of the world) is facing a sustained economic and ideological challenge that will change how we conceive of, create, and experience theatre.

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“What shall we do, now that we are happy?” – Reconciling the intrinsic and the instrumental in the Culture Industry

I was in conversation recently with one of our leading theatre artists. The topic of the government’s impending national culture policy discussion document, culture2025, came up so I asked their opinion. They looked up from under lowered brows and uttered, in that tired contemptuous tone, a single word: “Instrumentalist”.

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Culturally Creative or Creatively Cultural? What the hell are we talking about?!

I’m sorry, you say I’m doing what?

For artists, arts policy makers, politicians, strategists, consultants, entrepreneurs, CEOs and, well, mostly artists “the world is in a terrible state of chassis”, as Sean O’Casey wrote. (“Chassis” meaning “chaos’ for those of us not familiar with his work). Time was you could talk about Arts and Culture (nearly always with capital letters) and everybody – including you – knew what you meant. It’s why the Irish Arts Act lists what can be considered as art with great confidence and only included cinema in its second iteration. It made life easy for the funding agencies that were brought into existence to protect and develop The Arts (because we all knew what art was) and allowed us to quietly divide the society between the cultured (those who appreciated The Arts) and the uncultured (those who did not).  Alas, all has changed, a terrible beauty has been born, as Yeats would say.

We now have to contend with arts, culture (no capital letters), heritage, co-creation, prosumers (yes its a word), creative, industry, imagination, creative industries, culture and cultural industries, Culture 3.0, and of course the ongoing manichean struggle between intrinsic and instrumental value.  It ain’t easy.

So, with the Irish Government’s  first ever cultural policy – Culture2025 – in the pipeline I thought I’d try to tease out some of the key terms that are going to get thrown around in the forthcoming debate. It’s important that we all agree on the meaning of the words we use in this debate and how they relate to each other or we’re in danger of leaving the table with very different expectations. Agreeing on the meaning of what we’re saying is the first step toward strategic alignment – that magical state where everybody works together toward the same goal.

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Event Cinema and Ireland’s Culture Industry

Is there an opportunity for Ireland’s arts and culture industry to carve out a niche in the Event Cinema Market? After all, this is a market that has grown from nothing to almost $1 billion dollars in just under a decade; it’s a market that allows the Metropolitan Opera (the Art form with the smallest audience in the world) to post profits in the millions of dollars on its cinema seasons; it allows the National Theatre of Great Britain to reach audiences it would not otherwise reach, (sometimes in excess of 100,000 per performance) and it allows for occasional hits to break cinema box office records as in the case of Billy Elliot, The RSC’s Richard II, and of course the irrepressible Andre Rieu (who recently pushed himself to the top of the Box Office again). It also allows for exhibitions by Museums and Galleries to share both the objects and – more importantly – the stories behind them with hundreds of thousands of people around the world who would never otherwise experience them. It’s given cinema owners access to a whole new audience,  its generated a host of new distribution businesses and its opened arts and culture providers to new business models and investment sources. (Digital Theatre has built an impressive business model around an ever-increasing catalogue of live events for private consumption through an impressive subscription strategy and significant venture fund investment). Julie Taymor’s recent production of A Midsummernight’s Dream carried the art form a step further by being – to my knowledge – the first Event Cinema production to take an award at a Film Festival. Without a doubt Event Cinema is one of the more effective bridges between the cultural and creative industries.

After two years of research and networking, analyzing the business models, the marketing strategies,  the audience distribution and behavour within this industry the answer to the opening question is a resounding yes. With the following caveats:

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You’re not from around here, are you? You, your audience and your Online Presence.

Have you ever walked into a bar, or a restaurant, or a shop, or even into a friends house and experienced a feeling of being unwelcome? You know the one, when everybody at the bar looks at you kinda suspicious like and you know they’re all thinking “you’re not from around here, are you”. Nearly every single time that happens we close the door and head on down the street, or we make our excuses to our friend and get the hell out of their house as soon as possible and make arrangements to meet them somewhere “neutral” next time. Why is that? It’s simple, if I open a door and I don’t see me or my people staring back at me, then there’s no way I’m staying.  Truth be told I didn’t come here to meet you, I came here to meet me.  Think about this the next time you look at your website, or your print material. People don’t want to see you, they want to see themselves. Continue reading You’re not from around here, are you? You, your audience and your Online Presence.

“You Want me to Give you WHAT??!” How to ask for money and stuff.

I’ve asked a lot of people and organisations for money and stuff over the years. Some people have said yes and some have said no. I’ve attended workshops and seminars, and researched the psychology of the ask and there’s a couple of principles you should always keep in mind. It doesn’t matter whether you’re looking for a grant, a donation or an investment.

The first principle is the most important: nobody ever gave money to somebody they didn’t know. Continue reading “You Want me to Give you WHAT??!” How to ask for money and stuff.

Say what now? The APAC15 Conference

This years APAC was great – in the literal sense of the word. The nature of the art of theatre, its value, its language, its potential for social change, its political nature were all up for discussion. As Gary Keegan summarised it on twitter ” Kindness, grassroots, intrinsic value, artists leading the way, fearlessness in challenging the status quo”. The speakers and panelists – some of whom I agreed with and some of who I vehemently disagreed with – were all committed, passionate and inspirational. But I think we would all agree that everything paled in the light of Sir John Tusa’s keynote: it was a Masterclass in Public Speaking, or as somebody put it, “a masterclass in just plain speaking“.   The Conference was also, in my experience, unique in terms of who turned up – and who didn’t turn up.  What struck me most, on reflection, was that for all the words that were used, we actually don’t know what we’re talking about. Continue reading Say what now? The APAC15 Conference