Ireland has taken a bold step forward with the establishment of a ground-breaking scheme which aims to encourage and value their artistic communities.
2,000 artists & arts workers have been selected for the Basic Income for the Arts pilot scheme, which will run for three years and regular data will be gathered along the way to evaluate the success of the pilot scheme
All those selected to participate will receive €325 per week for 3 years.
Minister for Tourism, Culture, Arts, Gaeltacht, Sport and the Media, Catherine Martin TD, said “This is the beginning of what I hope is a new era for the arts”.
Over 9,000 applications were made under the scheme with over 8,200 assessed as eligible and included in a randomised anonymous selection process. The group of 2,000 grant participants includes representatives from all art forms, age groups, ethnicities and counties. This includes 707 visual artists, 584 musicians, 204 artists working in film, 184 writers, 173 actors and artists working in theatre, 32 dancers and choreographers, 13 circus artists and 10 architects. 3% or 54 of those selected work through the Irish language.
A basic income for the arts was the number one recommendation of the Arts and Culture Recovery Taskforce which was set up by Minister Martin in 2020 to examine how the sector could adapt and recover from the unprecedented damage arising from the COVID-19 pandemic. The main objective of the scheme is to address the precarious and financial instability faced by many working in the arts, and to assist the sector recover post-pandemic.
Eligibility for the scheme was based on the definition of the arts as contained in the Arts Act 2003; “arts” means any creative or interpretative expression (whether traditional or contemporary) in whatever form, and includes, in particular, visual arts, theatre, literature, music, dance, opera, film, circus and architecture, and includes any medium when used for those purposes”.
There were 3 categories under which applicants could apply as follows:
Practising artists;
Creative Arts Workers (defined as someone who has a creative practice or whose creative work makes a key contribution to the interpretation or exhibition of the arts), or
Recently Trained, that is, graduated with a relevant qualification in the past 5 years.
84% of those selected identified as practising artists, 9% identified as Creative Arts Workers and 7% as Recently Trained Applicants.
I wish this pilot scheme every success and am sure it will bring many positive and unexpected benefits to all parts of the artistic equation.
For the rest of the arts communities, it will be a fascinating project to study. After conclusions are drawn, let us hope that the pilot inspires many more such programmes to fully and rightly value our artists and artistic communities.
London’s arts and culture are a major draw for visitors from around the country and around the world, and play a huge part in the interconnectedness and viability of London’s businesses.
With the decline of the City as a financial centre, post-Brexit, Amsterdam is the new London in terms of the financial world. Therefore the arts and culture assume an even more important part of the UK economy. A sector which is currently neglected to the point of criminality by our incompetent UK government.
Why do most people come to London? To shop, eat, drink and see a show.
All of these sectors are experiencing unparalleled disruption, and the support has been practically non-existent.
The Heart Of London Business Alliance issued a Call for Urgent Support for the Arts & Culture Sector in a letter co-signed by 17 of their partners.
They wrote to The Rt Hon Oliver Dowden CBE MP Secretary of State for Digital, Culture, Media & Sport, asking for urgent support for the arts and culture sector, eleven months after theatres were forced to close their doors with no expectation of reopening soon.
Their key demands were:
An extension of the Theatre Tax Relief Scheme.
A Government-backed insurance scheme for theatre and arts and cultural institutions similar to that which has been given to film and TV.
An extension of the VAT cut for arts, cultural and hospitality businesses
An extension of business rates relief until at least March 2022
Grant funding to help make cultural venues COVID-19 secure and to enable their reopening.
Commitment to the publication of a roadmap out of lockdown with clear timelines for cultural organisations to plan towards.
And ongoing support for the entire sector as they work steadily back towards normalisation of trading.
As the full impact of the disastrous Brexit becomes apparent, with jobs and businesses forced to relocate in the EU to stand any chance of survival, high-profile figures in the theatre and entertainment worlds have joined forces in supporting acting union Equity’s letter to the government warning them of the huge financial consequences of failing to put any genuine effort into finding a solution to the current EU touring access crisis.
As reported in the Guardian, the actors’ union letter of 16th February states “Before, we were able to travel to Europe visa-free. Now we have to pay hundreds of pounds, fill in form after form, and spend weeks waiting for approval – just so we can do our jobs,”
The rapidly increasing prevalence of advertised work requiring an EU passport as part of the qualifications needed means that “the cost and bureaucracy that now comes with hiring British talent” has created “a towering hurdle” for UK artists and technicians in earning a living after one full year of receiving zero support from the government’s poorly-constructed and dangerously flawed Culture Recovery Fund.
The letter is signed by such luminaries as Sir Ian McKellen, Julie Walters and Patrick Stewart.
It comes at a pivotal moment for touring, as on February 17th the National Theatre announced that all its EU touring plans were to be put on hold indefinitely until some resolution appears to the EU visa crisis.
A National Theatre spokesperson said “We hope to resume European touring. However, we’re currently unable to make firm plans because of Brexit legislation; the potential additional costs for visas and current uncertainty around social security contributions mean regrettably it is currently not financially viable……We hope that in future we’ll return to tour in Europe. However, that will not be possible until we have further clarity on these points.”
As described in an earlier article on this blog, the fault of this lays squarely at the feet of the UK government. The EU offered a 90-day visa free artists exchange reciprocal agreement as part of the Brexit deal which the UK turned down flat because it did not wish to reciprocate, thus destroying the possibility of tens of thousands of talented artists, musicians and technicians starting to earn a living again after the Coronavirus hiatus. Unparalleled incompetence from an amateur government who cannot even understand the fact that the arts bring over £10billion into the economy annually, bringing far more to the UK economy than many other sectors including fishing and car manufacturing.
RSC Stratford lit red for part of the #wemakeevents national event in August
A personal view by Unrestricted Theatre founder, Gary Donaldson
Eight months into the Covid-19 era and here we are in lockdown once again. Public entertainment and hospitality venues are shuttered once again, as the country tries to drive down the spiralling growth of cases of this invisible threat which appears to attack so mercilessly.
The incompetent UK government, having totally mishandled every aspect of public information from Day One, has reduced the UK to a global laughing-stock, especially for its “one rule for us and one rule for you” mentality – remember Dominic Scummings’ (not a misprint, a review) Barnard Castle jaunt that drove the public past the point of return to any sort of government credibility.
And all the time these clowns were creating chaos, risking the lives of our loved ones and driving our beloved NHS to breaking point, our still globally-respected entertainment sector was on its knees, ignored by a Culture Secretary who said he was on our side, but aside from hot air, we got nothing. We’d have been better off having a dead parrot on our side.
Whereas large swathes of industry (all the government’s old chums network barging to the front of the line) got financial largesse within a few weeks of the crisis hitting, the arts and culture sector had to wait more than six full months to see a penny of any financial assistance. Thousands of arts staff across the country were made redundant with no light appearing at the end of the tunnel. But even they fared better than the freelancers – hundreds of thousands of dedicated and talented creatives who found themselves falling through a safety net that almost appears specifically designed to exclude them.
#WeMakeEvents in August highlighted the plight of freelancers who make our industry work by lighting arts and entertainment buildings all in red. To a passionate and supportive public – and an utterly deaf government.
And then, and then. Government decided that it would be a real morale booster to all those they were already ignoring and starving of lifelines to be told that their jobs were “unviable”. You try telling that to a classical musician who has spent decades in their career! Did the Chancellor (Fishy Rishi) and the Business Secretary (Alok him up Sharma) think that their gift of creativity would be more viably expressed by driving a Tesco delivery van instead? Perhaps Sir Ian McKellen might be more “viable” running a fruit and veg stall in Brick Lane market?And if so, what does that tell us about this government’s conscious incompetence? As well as their utter disregard for ambition, talent and aspiration.
In yet another unbelievably tone-deaf move, the government decided that all applicant organisations for funds (the process for which they had farmed out to the Arts Council for them to take any flak) would have to compete against each other, thus providing an undignified pushing and shoving as they fought for the means to keep much-loved and age-old venues and companies alive. One National does not equal ten Southwark Playhouses. But you can’t explain this to people who understand the cost of everything and the value of nothing.
Then, we find out, the almost one-third of all the applicants- the ones who failed to receive any funding at all – were simply cast adrift. Thankfully, creative folk being who they are, started creating a whole raft of public Crowdfunder campaigns which rallied to try to assist the majority of beloved local and national organisations who had been given the governmental cold shoulder. Also thankfully, audiences responded with their usual warmth of appreciation for their local and national organisations. I sincerely wish them all well, and have myself contributed to as many as I have felt financially able to.
Those organisations who did finally receive some of the financial help they had requested many months ago were given full and complete instructions on just one aspect of the transaction – how they were to publicly trumpet their gratitude. They were instructed to do this by genuflecting sycophantically at length about how grateful they were all over their social media feeds to try and put lipstick on this pig of a government. It didn’t work. And you could smell the embarrassment on media feeds everywhere.
Then the BBC’ s Parliament channel gave us the worst show of all, the farce of the Select Committee demonstrating that they had very little idea about real life or the arts, let alone any idea of how the arts and entertainment industries actually work, and worse still, demonstrating no interest or inclination to listen or learn. What a demeaning spectacle. It was like taking a pre-school playgroup to see the Hadron Collider.
Meanwhile, producers worked tirelessly this way and that to try to put work on, continually frustrated by endless variables including the local disparities in viral status across the country, so that planned drive-in tours and outdoor performances had to be postponed or cancelled. Some diversified creatively, showing movies as an alternative entertainment, others like ENO created Drive In Opera at Alexandra Palace and other venues. Others managed to get shows on in open-air and traditional venues, like Kenny Wax, Katy Lipson and David Pugh, and one must applaud the drive and determination of every producer who set out to make shows during this period. It must have been like skiing downhill in a blizzard. Many other groups got work together and aired it online, which was a great help to creatives as well as their superfans, and helped to build audiences for shows which perhaps some might not have traditionally considered, as well as those with pre-existing conditions who feared leaving their homes.
And then, with all these green shoots coming through – venues which had worked tirelessly to creatively adapt with reduced seating, perspex screen dividers and all manner of creative interventions – were summarily told they would have to shut again, placing yet more strain and insecurity on an already buckling sector.
Now we await December 2nd. Theatres are poised, their schedules all in place, actors rehearsing behind closed doors. They, and the audiences who so long for theatre’s return, are counting down the days.
Christmas is traditionally theatres’ best bet for making profits. Regionally, it is crucial to generate the income which propels the rest of the year. West End-wise, theatres’ big capacities bring the big money rolling in, with rarely a seat to be found between Christmas and New Year’s. Normally.
To lose Christmas for the arts and culture would be something akin to being run over by a truck for a second time. Who knows how many would get up.
Personally, I believe that the hope of a reasonable Christmas is a good enough incentive to get people to abide by the rules over this next couple of weeks, in the hope that restrictions can then ease.
As I see it, the biggest problem isn’t just about restrictions lifting, it’s the rebuilding of confidence that will need to happen before people feel comfortable enough to firstly go out of their houses, then take whatever travel options they have available, and finally to feel able to relax in a building with a lot of others in the same place at relatively close quarters. We have already seen anxiety and all sorts of pyschologically-related disorders rise exponentially. How, I wonder, will this play out with theatregoers? Although I would relish seeing a live show greatly, am I in any rush to return to a busy auditorium? No. It’s a bit like driving. You can be the most responsible driver in the world – all it takes is one idiot to do something wrong and you could be in trouble.
I worry about how much this will filter through to audiences. I think that theatres are doing all they can to assuage people’s fears- SOLT and UKTheatre’s SEE IT SAFELY campaign is providing customers with a reliable standard and very important visual reinforcement that venues are doing everything reasonably possible to adhere to wise safety processes. But its when you put the volatile commodity of people into the equation, that’s when the real litmus test will be.
I wish it success with all my heart.
As to what the government will do to control and diminish Covid-19’s threat both to human life and to the future of our industry, heaven alone knows. They have already proved themselves utterly incapable of running anything, let alone a co-ordinated virus response. And for anyone who disagrees, I have just three words – Test and Trace.
But, frankly, what can you expect of a government that actually voted to let children starve during the Christmas holidays?
