Ruth-Blandina M. Quinn - Public Policy and the Arts: A Comparative Study of Great Britain and Ireland: A Comparative Study of Great Britain and Ireland

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For my mother and friend - Eileen

Public Policy and the Arts

A comparative study of Great Britain and Ireland

Ruth-Blandina M. Quinn
Research Fellow
Dublin City University Business School

First published 1998 by Ashgate Publishing

Reissued 2018 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright R-B M. Quinn 1998

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Publisher's Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent.

Disclaimer
The publisher has made every effort to trace copyright holders and welcomes correspondence from those they have been unable to contact.

A Library of Congress record exists under LC control number: 97078099

ISBN 13: 978-1-138-33192-1 (hbk)

ISBN 13: 978-1-138-33200-3 (pbk)

ISBN 13: 978-0-429-44697-9 (ebk)

Contents

1. xvi

Guide

An Chomhairle Ealaon Arts Council of Ireland

Bunreacht na hireann 1937 Constitution of Ireland

Coth The Business Council for the Arts

Dil ireann ( Dil ) Lower House of Irish parliament

Fianna Fail 'Soldiers of destiny' (political party)

Fine Gael 'Irish race' (political party)

Gaeltacht Irish speaking area

Oireachtas Legislature; Irish parliament since 1922

Seanad Upper House of Irish parliament

Taoiseach Prime Minister

Teachta Dla Member of the Dil (abbreviated to T.D.)

In preparing this study, I became indebted to a number of people, more than I can mention individually at this point. My thanks to each and every one of you. I would like to pay homage to a few people, however, without whose help this study may not have been completed.

At the University of Limerick, I would like to express my sincere thanks to Professor Edward Moxon-Browne for all his help with preparing an earlier draft. To Dr. John Logan for helping me work through some ideas presented in this text. To Dr. Tony Verheijen for his help with the sections on public policy making. To Brid Kennedy and Dr. Patricia Conlan for their unfailing support.

Additional thanks are due to a range of people. To Ashgate Publishing for all their help - in particular Anne Keirby and Valerie Polding for their kindness, patience and support which was above and beyond the call of duty. To my mother Eileen who sadly passed away before this study was completed but whose constant support must be acknowledged. To Professor Richard Katz for his help and criticisms on an earlier draft. To John Coakley for always being a phone call away whenever I ran into difficulty. To my cousin David for coming to my rescue yet again and preparing the figures and tables for me. To Yvonne and Maurice for always being there when the going gets tough. To the "sisterhood" - Els and Rose. And to my wonderful daughter, Michaela, who makes everything seem possible and everything worth doing.

Arts policy has been viewed from many perspectives and by a wide number of academic disciplines. Few studies, however, have considered arts policy as a subject of public policy making proper.

This study aims to do just that. It considers the development of arts policy within a theoretical framework of public policy making. It reviews existing models of policy making and assesses their suitability for the study of policy making for peripheral concerns such as the arts. In this way, it looks at the processes of decision making for the arts rather than focusing more specifically on the decisions made. It considers what contributions a study of arts policy can make to the study of public policy making generally. In doing so, it places arts policy within a political context, thus highlighting elements which are of particular interest to the political scientist, elements which have hitherto received insufficient attention. It traces the changing nature of the government/arts council relationship in both polities and considers the implications. It outlines patterns of accountability between government and arts council and shows how government has become increasingly proximate to its arts council over recent years. It looks at the changing nature of the State's role as principal patron of the arts and outlines the effects of this transition on the arts. It charts the government's changing attitudes to the arts and assesses governmental performance in this area.

The overall emphases of this study are, therefore, on the political dimensions and implications of arts policy. This study, however, is not aimed at political scientists exclusively but will appeal to anyone with an interest in arts policy/cultural policy and in the arts generally.

' While Butler, needy wretch, was yet alive,
No generous patron would a dinner give;
See him , when starved to death and
turned to dust,
Presented with a monumental bust!
The poet's fate is here in emblem shown;
He asked for bread, and he received a stone.'

On the Setting up of Mr. Butler's Monument in Westminster Abbev
by Samuel Wesley (1691-1739)

Introduction

In this section, the subject and style of this study will be introduced Reasons for choosing this topic, the approach taken and the focus of this research will be presented. Finally, the objectives and format of this study will be outlined

Reasons for choosing this topic

Public Policy for the Arts is the culmination of a personal quest for answers. As a former theatre worker, I have experienced first hand some of the problems of working in this sector. I have witnessed shows being cancelled when promised funding did not materialize. I have known theatre companies who have built up steady reputations for their work but who were often unable to obtain funding from the Arts Council. I have walked the streets looking for sponsorship and have seen the many negative consequences caused by this particular phenomenon. I have shared the misfortune of sometimes being employed on the 'Profit-Share' basis and found at the end of weeks of work, there were no wages as no profit means no share. Surprisingly, I accepted these conditions as simply being part of working in the unpredictable business of theatre. Like so many others, I tolerated conditions workers in other sectors would not envy, to stay working in an area where job satisfaction is unusually high - when one does work - and propelled by the belief that someday, time worked would be rewarded financially.

Through my work for, and involvement with, the Independent Theatre Association (ITA), I grew less tolerant of these conditions and many of the attitudes which permeate the theatre community in Dublin. Participating in working groups from different areas of the theatre work force, I have listened to the recurring problems of inadequate funding to foster production and future experimentation, lack of work, problems with the Department of Social Welfare due to unusual working patterns, story upon story of on-going wrangles with the Arts Council, etc. Feelings were held in common among this cross-section of the work force - of being disenchanted, impoverished and victimized. The ITA carried out surveys on theatre and related problems, compiled data and produced reports on these findings With this information, the ITA lobbied the government and the Arts Council through the media and directly but many of these efforts proved fruitless. In general, the IT A found the governmental structure unwelcoming, often impenetrable and disinterested in this sector and its problems.

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