Culture Shock _Timothy Mahea

8/6/2019 Culture Shock _Timothy Mahea

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For cultural policy, theend of public sectorgrowth must be seen asa starting point forchange

CULTURE SHOCK

Samuel Jones


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First published in 2010 Demos. Some rights reserved

Magdalen House, 136 Tooley Street,London, SE1 2TU, UK

ISBN 978 1 906693 50 3Series design by modernactivity


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CULTURE SHOCKSamuel Jones


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Open access. Some rights reserved.

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Contents

Acknowledgements

Summary

1 Introduction

2 Society and the cultural realm

3 Evidence of potential

4 Culture, sport and policy

5 Taking the cultural pulse of a nati

6 The evidence for change

7 The future of cultural policy

Appendix 1 Definitions of specific

Taking Part terms and groups

Appendix 2 People interviewed fo

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Acknowledgements

This pamphlet is part of a year-long fellowevidence to contribute independently to porelation to culture and sport. The fellowshiand the Culture and Sports Evidence Progthe Department for Culture, Media and Sp

Arts Council England, English Heritage, thand Archives Council and Sport England.I am thankful to the DCMS and Dem

fellowship and allowing the independence benefited. In particular, I am grateful for tassistance provided by colleagues in the EvUnit at DCMS. Particular thanks must go

Vivienne Avery, who have offered advice anthroughout.

The ideas and opinions in this pamphdeveloped using the DCMS evidence base

work generated by the CASE Programme. members a full list of whom is included ithis pamphlet have been kind in offeringcomments throughout.

I would also like to thank everybody

course of the research. All were generous wknowledge and expertise. A full list is inclualongside the members of the steering grouthank them for their time, kindness and exh b fi d f h f li

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interviewed. As ever, all errors and omissions Overall this work has been written as a contrithat will shape policy for the cultural realm. Iwill be useful in developing that debate.

Samuel JonesSeptember 2010

Acknowledgements


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Summary

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This essay is part of a joint Demos and CAEvidence Programme) fellowship examinincurrently available in relation to public parand sport. The purpose of the fellowship isindependent policy recommendations as todeveloped. This document sets out some pthat might be done. It has been written indcannot be taken either as a policy statemengovernment opinion. It has also been writt

the public sector as a whole is facing cuts ounprecedented in recent history. However, view, it addresses a long-standing need to rand mechanisms of cultural policy. To this series of provocations to prompt the thinki

policy-makers and the cultural sector alike need.Cultural policy needs to be reviewed

technological changes have brought the imh f d b h h i li i


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activity into closer and more intense contact, challenges for society. Meeting these challengcapabilities of individuals and means new respcultural policy. From a democratic perspectivmust focus on the equitable distribution of th

which individuals can take part in shaping thethem and interpret the expression of others. Tthinking anew about what form the governmeresponsible for culture take, and how they areDCMS is the governmental arm that respondenvironment, its role and relationship to polic

Whitehall departments must also be reconsidThe changing nature of peoples attitud

in relation to culture also demands change in and professions. Recognising and making theimportance of culture is not incommensurate

and providing people with experiences that arewarding. Many examples from the cultural that, by adapting to new circumstances, institindividual professionals have not only been asuccessful enterprises but, importantly, have b

in innovative ways that retain integrity to thei(examples cited in this essay range in size fromShakespeare Company to the small theatre grRoom). Such enterprise opens new opportund h h h l l

Foreword


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organisations, institutions and individuals public funding to survive if they rely on excumulative effects for those that do not aresignificant as markets are disrupted, the pueducation and awareness is affected and, in

bases are diminished. However, the cuts mstarting point for change. A period of publover, and policy-makers across governmenprioritise what policy in their sectors is for achieve. Culture will be a part of that, and framework within which that long-term ch

As well as making specific recommendationthat must be answered as cultural policy is redefined.

A change of understandingGovernmental involvement in culture has lcontentious issue. Why should the state geand if so, how? Traditionally, government hforms of culture on the basis that they are a

intervention justified by the principle of mHowever, that involves an assertion of whashould be available to whom. A new concepublic policy relative to culture is needed.

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to consume, produce and create culture becomwidespread, the impact of cultural activity is bevident in other areas of policy. Localism, in pnew emphasis on peoples expressions of comautonomy, and these are made manifest in cul

formative part of society: it is therefore the cogovernment to be sensitive to it, and provide people can access and take part in its manifes

The forms and institutions that constitute culturmaking videos, viewing clips online, playing cskateboarding, visiting museums or football mmeans by which members of society shape an

As this list shows, these activities can be thoseseen as being cultural as well as those that aresporting: an individuals decision to play a givultimately social and cultural. These activities

outmoded distinctions of high and low cultfrom and failure to represent these forms in thdisplayed and promoted can be detrimental toalso detract from individuals sense of well-beitself is a statement about culture and must eq

a cultural form. A government should see culthose it currently funds and those that it doesculture in and of themselves, but as providingto the cultural realm.

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policy must be seen as providing memberslogical framework and the capabilities by wunderstand and participate in the changes is why cultural forms are important. Peoplea sense of place and a sense of identity by i

participating in the culture around them. Cinstitutions provide them with an environmdo so and the skills with which people can citizens of the cultural realm. However, whis prescribed according to certain forms, thand society is diminished.

Not only does this offer a new rationabut it also suggests new reasons as to why pgovernment departments should concern tand the ways in which it is accessed, especicultural policy is not just about funding a m

club, it is about something that is foundatimore an individual participates in cultural benefit he or she will accrue. The more indthe greater the benefit of overall participatiwider a cultural institution reaches by conn

the public, the greater its role in society. Hlooming, there is a real risk that cultural acdraw back from reaching so widely. At the be remembered that not all within the cultu

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what forms represent culture. The end result ipolicy has sought to ensure the survival of forinstitutions, and not support the wider imporsociety and this extends to the machinery of cCultural policy must move away from so insti

definition of culture. Doing so will strengthenin policy-making more widely, focusing it on capabilities. This does notdiminish the imporexpertise and the merits of individual practicein a new context in which public funding canwithout resorting to the fraught need to priorform over another.

The implications for cultural policy

At the moment, the DCMS is among the smal

departments, both in terms of budget and alsattached to it. Cuts will make it smaller still awhat power and influence it has, hollow. Howculture has bearing on areas of policy far beyocurrently thought of as the DCMS domain, it

be reflected. CASE, for instance, has demonstconnection between cultural and sporting actand has shown the potential effect of sportingdiminishing government expenditure on healb b d h d d f l b

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The principles outlined above will beanswering these questions. Changes to cultspending environment mean that policy-mprofessionals are about to enter a period ofThe settlement at which they arrive must b

refined through a process of debate that intoo. Below, a number of provocations are pthat debate.

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Provocation 1 Reinventing the DCMS: DCMreinvented, ultimately as a smaller departmimportance of expression in the cultural rerelates to different policy areas. It would brepresent culture across government, identother government departments could beneculture and championed as such by the Sec

Cabinet level. It would be responsible for aby the allocation of cultural responsibilitiein other, relevant departments, such as EduInnovation and Skills or Communities andand Work and Pensions. The ministers wou

representing the importance of culture in ogovernment and with working with the Treallocations of funding, maintaining the intfunded cultural practice. Central governmeb h h l l l h l d


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of the central department would be to commupolicy concerns across Whitehall, identifying which the work of the sector contributes to pothe long run, this department would be smallDCMS, introducing some of the efficiencies t

financial situation requires. Functions could brelevant ministries (an example might be cultthe Foreign Office), and a Council for CulturProvocation 2); an example might be the manissues as the import and export of cultural gothe objective of policy to support the culturaldeveloping a position in which this is possibleshort term, government should not dramaticaDCMS in size and leave a vacuum for culturaend, there should be a transition period durinand importance of culture is raised in other de

a result, cultural functions can effectively be tnew briefs of cultural ministers in other deparprocess could be monitored independently bycommissioner, working in tandem with the NOffice.

Provocation 2 Establishing a Council for Culturarationale and mechanism for centralised publculture should be reconsidered. As it stands, tprinciple by which cultural forms are manage

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Cultural Expression. It would focus on forcapabilities within the public realm, ratherthemselves. The Council would be responsof the funding negotiated by the central godepartment. This model would diminish n

nor expertise, but would emphasise the needirectly to the public. Equally, it would unpolicy-makers to recognise and take into acof cultural forms to society more generally.allow for independent expertise to be broumaking process and, for this reason, wouldseparate from the central government depaindependent status that would allow them cultural body, rather than an arm of governNational Audit Office, the Council could bSecretary of State and ministers in relation

and the efficiency of its business in managiallocated to it.

Provocation 3 Seed-Funding Cultural Activityfrom the Council could be delivered as seecultural institutions and professionals from

would allow them to respond to the culturait anew. This entails accepting the element to cultural practice and would require thatoperations (fixed capital and running costs

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funding) on a small scale that can act as a testAt the same time, it would be necessary to keeexpenditure of public money. Accountability by smaller organisations and cultural practitiofunding from the executive body, which could

fixing the duration of funding allocations, deits remit. In turn, the executive body could beto the central government department, parliamby being required to produce a regular (biennreport on Culture and Expression in the UKmodel of the Equalities and Human Rights Ccould follow a period of public and professioncould be accompanied by a concomitant revieand managed by the National Audit Office thboth the efficiency of the bodys activities, its public moneys and its management and publi

Overall, this would differ from the currefunding because it would encourage social inpart of cultural professionals by virtue of respconsumers, with the vital caveat that that innoin accordance with integrity to the institution

sense of practice. Of course, a cultural professmight wish to be exempt from this and hencebut that would be their individual choice andsustainability of their contribution to the cultb d d h k h h h

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forms and a framework for the delivery of ctheir own practice, or by supporting smalleproviding additional representation to theiof collaboration or loans and, in many casethat already exist. The separate body woul

constituted to the Council for Cultural Expof securing opportunity for expression, enspractice between large museums, theatres, institutions and other organisations. This gaccountable through a board of trustees, rethe specific policy interests of different gov

and cultural experts, tasked with judging tnationals and distributing moneys accordinreport publicly and in a similar fashion to tSecretary of State and also be subject to anby the National Audit Office.

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Specific recommendations

Alongside the above provocations, this papspecific recommendations for cultural poli

policy-makers answer some of the questionthe perception of culture on the part of boprofessionals would bring a revolution in tworks. Government has the obligation andi l h l ill h i h

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should also be gathered that demonstrates thecultural activity in different policy areas. Takincontinued, asking a broader set of questions rcultural realm, covering activity that is both pprivately funded and gathering longitudinal d

effects of cultural participation. The data shoubetween publicly funded and private culturalprovide evidence about the efficacy of culturarepresenting and serving cultural activity as aof practice must also be formed that collate inlocal level that will allow local authorities to c

strategic ways (the example of Manchesters Mp.37], shows how this can be effective). This sto generate uniform data that can contribute of evidence. At the same time, the market andlarger institutions gather individually should

contribute to an overall body of knowledge aactivity. Part of the funding requirement for corganisations should be that they collect and information relevant to and commensurate wiand mission to the executive body. This shoul

establishment of social return on investment (data for the cultural sector, which will help inphilanthropic and CSR investment in the futu

Developing new organisational structures user- l d l d d

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Thinking anew of the relationship between cultuand working with local government accordinglysignificant part to play in localism and the championed by the coalition administratioorganisations and local government should

value. This should be coupled with a conceof the central government department to suculture in place-shaping, and coordinate thevidence base that will promote the importlocal authorities, demonstrating the potentcultural activity from the point of view of b

end, a minister within the Department for Local Government should be tasked specifrepresenting the role of culture in society apartnerships between local government an

Championing culture in relation to corporate so

because culture is so important to societyintegral part of the CSR activities of organnew central government body should theresocial case for culture more strongly and enrepresented to these organisations. In parti

should relate more closely to the DepartmeInnovation and Skills (BIS) in relation to Cculture is represented in the advice given torespect.

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1 Introduction

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A growing body of knowledge demonstrates the imposociety and the benefits it brings. The fellowship of wcontinues this. It looks at policy in the cultural and very particular context of a change of government a

cuts, but with a view to the longer term looks at the in the future. Now is not a time for tinkering arounretrenchment, but a fundamental reassessment of hoshould relate to culture.

Culture and sport are elemental to huforms that they take and the media throughchannelled the visual arts, playing footbatheatre or museum, watching the Olympicsvaluable because they contribute to the dev

common set of goods. The more people pamore important culture and sports becomeindividuals participate, the more adept theconsumers and as cultural agents.

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Like most countries in the world, the UKa period of dramatic change and culture is cenefforts to understand that. Financial crisis haspolitical change to provide a very different cogovernment. In the DCMS sector, current levprivate funding and raised income have been funding is due to be restricted, endowments aand individual and corporate giving is harder

These changes are happening against thsocial, technological and environmental shiftsdifferent perspectives, approaches and challen

made manifest and palpable in culture in its wthe importance of culture has risen to greater Throsby explains:

Introduction

No longer are the goods and services that comprise the

sector confined to the arts; rather new definitions are recreative goods and services and the industries that prod

New definitions and understandings mupublic realm in which different cultural attitu

visible on computer screens, televisions and thsecond of every day. Foods that once seemed taken for granted and arrive in mixtures peopthought possible in London, there is even a

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A growing body of knowledge

Policy-makers have long sought to captureIn 1988, John Myerscough wrote The EconoArts in Britain, which examined the direct bbrought to the economy. Myerscough idensuch areas as employment, tourism and ear

much work has demonstrated the economibenefits of the arts and hence their public vbeen paralleled in the sports sector, where demonstrated alongside benefits to health.work amounts to a growing body of knowland demonstrates the relationship between

participation and wider policy concerns. Ca new step forward, enabling policy-makerrelating to the DCMS sector in new ways. deal with different cultural forms from msport, and from the arts to heritage have

look at elements common to them all. Secostrated a clear connection between activity well-being, which speaks of the cumulativeindividuals life.

Measuring the impact of participatio

often driven by the emotions and feelings iprocess of doing so in the cultural sector hcontroversy.6 However, one effect of measuprofessionals within the cultural and sport

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the balance between rules and individuality, tand so on can be learned.Such social aspects to participation brin

to include more people. This is not just a matnumbers with opportunities to participate in a desired good, but of ensuring access to whabasic human need: the UN Declaration of Huvery simply, that people have the right freely the cultural life of the community, to enjoy th

The effects of this drive to open participnumbers of people have been examined in the

annual survey Taking Part, which demonstratecultural and sporting institutions to young peof social efficacy that people who do participasport feel.9 Such growing awareness has brouefforts not only to measure, but also and more

bring additional value to the fore and spread equitably among the citizens of the UK. Techused to draw people into the creation as well aof culture. At the same time, the sector has deinclusive attitude to participation, which enab

explore new potential for collaboration and gfunding. The wider the benefits of culture andgreater their appeal to a wider range of peoplfunders and private sponsors alike have seen f b h

t oduct o

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has been of culture culture cannot be mehas been measured is the impact and use oprovision. This is an important shift in polibelief still held by many that cultural pdelivery of benefits, to the basic principle athat culture is part of what defines society. derive value from culture and sport will achproceeds from that basis.

The policy fellowship

This pamphlet has been written at the halflong fellowship, hosted jointly by the CultEvidence programme (CASE) and the thinthe fellow, I am tasked with drawing indepconclusions from the evidence available via

DCMS data. Working closely with the EvidUnit (EAU) at DCMS and colleagues at thorganisations gives me access to data on paboth the latest available and, almost uniqucultural and sporting sectors.12 The ideas in

based on discussion with professionals andcultural and sporting sectors and other areprovided in appendix 2.

The cross-sectoral perspective providd h k f

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Looking at these activities collectively chassumptions that underlie what policy in the csectors should aim to achieve, how it is determimplemented and the evidence that is gathere

Activities such as swimming and viewing or parts are part of forming an overall culture, andin relation to wider policy concerns is diminis

judged solely on the basis of the benefits that areas like the financial economy, health or edu

The fellowship sets out a new theoreticaand sports policy, telling a story of potential a

relationship to society. It works from the fundculture and sports participation is not an addbut a basic means by which society is construcit proposes a different approach and, accordinrecommendations that it will require. Ultimat

a rationale for rethinking the role and value acultural policy and DCMS.

The recession and a change of govern

The summer of 2010 brings two specific conteany consideration of public policy. The first isof the financial crash of 2008. As this pamphlnew Chancellor of the Exchequer, George Os

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Osbornes responsibility has come wicontext to this fellowship: the change of gooutlook brought by the coalition administrgeneral election of May 2010. A significantrenewed focus on the local and, in particulGovernment believes that citizens should hopportunity to be involved in shaping the are a part and that the states role should bdirect this. Developing the idea of the Big has pledged to end the era of top-down gonew powers to local councils, communities

individuals.17 In a speech to the Civil ServMinister David Cameron spelled out what

with the revolution weve had in communications amove into the post-bureaucratic age, where informa

not locally or centrally but personally, by people in tconsequences for government and the way our whincredibly exciting. It means we can abandon the olthat we know have failed and instead improve publ

for money with new approaches that put power in p

Both the recession and the change of new point of departure. With straitened finpublic policy-makers have to think differenh l d h l b

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need for change, the means by which that chaabout and the direction that it will follow are negotiated.

The need to make a rational argument

As with many other sectors, the cultural and smust take the lead in articulating an argumenmight sensibly be made with minimal damagelife that have already demonstrated their imposhall see, will be of critical importance in the f

this will be difficult because the importance oin policy more widely, not least on the part ofSecretary of State for Education who, rather tthe need for future capabilities, has referred tosubject.21

Making the argument for culture will retack but, importantly, one that continues a coresponds to the changing winds of society. It important step in preparing for the future. AsExecutive of Arts Council England, has said:

we have to keep [making the case for the arts] and justithat spending overall is so tight, its going to get harderto do it. The way the sector can help is to help us make

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activities and the culture that they collectivlogic must be applied to the world today. Cand artefacts are the means by which peopworld and each other, even when as the a these are challenging.24 Similarly, a geneto its descendants is through cultural formartworks or architecture, or intangible like a dance. In policy terms, culture should beparallels with healthcare. Nobody doubts tgood that society needs: the question is ho

forhealth. The same should be the case for

the relationship that citizens have with themust be on the role of culture in society; thbe about the infrastructural framework tha

Geoff Mulgan concluded the article mfollows:

Skylines provide the simplest test of what a society vasurpluses are controlled. A few centuries ago the greworlds cities were forts, churches and temples; thenpalaces. Briefly in the 19th century civic buildings,

museums overshadowed them. And then in the late they were banks. Few believe that they will be for mucome next great leisure palaces and sports stadiumgalleries; water towers and hanging gardens; or per


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2 Society and therealm

Social and technological change has thrown the impfore in a wide range of policy areas. It has also chanindividuals have within the cultural realm, forcing relationship between professional and amateur, and

public. In the cultural and sporting sectors, instituthave responded to these changes, taking on new funrealm and opening new opportunities for cultural p

The Big Society and the cultural rea

On the first day of Parliament after the genthe new coalition unveiled plans to bring areform that will support the Big Society tharesponsibility of just one or two departmenresponsibility of every department of Gove

responsibility of every citizen too.26

The Big Society will depend on peopcomfortable and capable of acting within tpublic realm can only be public if people t

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many more values than in the past. They also cultures combine in different ways. The clashvalues is rendered tangible and visible in cultufor the consumption and production of culturmultiplied and will continue to do so. Assumplong been held and are the foundations of maof society are being challenged. Identities aresources of authority, from governments and binstitutions, no longer seem to carry as much past.27 On the streets and online, people bothactively seek out new and different cultural ex

through the foods they eat, the films, televisioYouTube clips they watch or the games and sp

Responding to cultural change is one ofchallenges of our time and it is important thaaddress it. Individual citizens must be equipp

capabilities the skills, attitudes and opportuto the changes around them. As with other bitoday, like obesity, terrorism and climate chansupport people to make effective choices and relation to culture and the different cultural fo

encounter. It must provide the opportunities can recognise that efficacy and feel that their have had some impact.

It is commonly assumed that globalisatil f l d d

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different cultural stimuli more freely. Usingthey can shape and create culture, too, andcultural differences are amplified. The lineconsumption and production have been bl

Digital media provide a striking examhad only just acquired its fifth terrestrial brthe moving image is no longer confined to 5.5 billion videos were viewed online in theon the previous year. Of these, 226 millionwere watched via the websites of leading TBBC, ITV, Channel 4, Five and Sky. The re

posted by individuals and organisations.29the UKs media watchdog reported that networking websites had risen markedly siup from 22 per cent) and that the number comments to someone elses blog had also

up from 19 per cent).30

The means to commwords to create culture, has moved into theas well as conventional cultural producers,funded or commercial. For a generation, thnorm and it carries through to the expectat

of other forms of culture. It also raises signabout the responsibilities and sensitivities renvironment in which individuals have greuntrammelled expressive power than ever b



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India. What had not been expected were that that could have.Second, it reveals that concepts of th

expert and the public and citizen have beGoody had, herself, first come to prominethe public in an earlier version of the show

Third, cultural conflict caused a claShetty and Goody rose throughout the seriwere probably personal, but the flashpoinrow between Goody and Shetty was sparkcooked chicken, itself a cultural form. In

followed, Goody played on the word papacultural form, in a way that caused racia

Finally, relayed on television and bworld, the furore impacted directly on pohours it took for the story to break and spr

then Chancellor of the Exchequer, was flyeconomic talks. When he landed, he did nabout the economy, but a sea of protest abon in theBig Brother house. Talks on greconomic issues were stalled by a lack of r

of a few individuals, catapulted into the lto cultural difference. Conventional assumhad been completely overturned, and all domain.

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anthropological outlook engendered by thor creative production.David Throsby believes that in some

policy and educational policy could be seesynonymous, so pervasive are the interconneducation and society.32 There are many eManchester and the North West, museumsto champion the benefits of museum particliteracy, and work with the council and schabout. Combining practice between instituonly developed tools that help teachers and

use collections to inspire learning and creaand values that are difficult to make in the market the importance of museum-learningnetwork or, Magpie, (Manchester MuseuProject), as the Manchester project is called

evidence of improvement to be gathered aninnovation that can be transferred from indprogramme as a whole.33

However, learning in museums, galleparticipation in sport can be about more thinformation, enjoying oneself or getting fitdeveloping an approach and an attitude. Wof State for Education might think, dance isay that to an American Indian, whose entil k d h d h h d



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understanding the beliefs and attitudes of othbe critically important as people encounter otcultural forms they cherish or produce with gExposure to and interaction with the forms anthe cultural and sporting sector are central methe skills by which people get a sense of the wand relate to different points of view. This is epeople adapt to change, forming the relationsconcept of society to continue and a sense of icommunity to be developed. It is also the soucreativity as people bring individual experien

bear in finding solutions to challenges that caprofessional or otherwise. As many more cultua part of everyday life, people will need both accommodate and respond to them, and to fedoing so. Cultural and sporting institutions p

which that will depend and that has implicatiareas, from communities to foreign policy. Aswith others around the world, their cultural bwill be of paramount importance in wider intnational relations.

Culture and sport: clearing up some ca

confusions

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enough to equip citizens with the other types of capidecide what aspects of culture to acquire or consum

Halperns answer is that, ultimately, cas a matter of choice: the cultural breadth aindividual depends on what he or she chooHalpern does make two significant assumpdiscerns that the provision and safeguardinsufficient resources and opportunity to mamatter of public policy. Second, he also bridiverse as opera, football and television vie

the single bracket culture, a point of viewBoyle, Chief Executive of Supporters Direcrole of sports clubs as cultural institutions

The problems of defining culture in prehearsed.38 In some instances, the term cu

the wider, anthropological definition of a cguiding set of beliefs. Peoples aspirations rooted in this diffuse, complex and elusive Cultural influences shape our responses tobeliefs, situations, challenges and other peoways in which the calculus of these responseconomics. As Sir Partha Dasgupta, Profesthe University of Cambridge, notes, culturpreferences, expectations and our notion o



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and opinions that comprise culture and throufind expression: the cultural realm. Bill Ivey, the National Endowment for the Arts in the Uexpressive life.42 This distinction, between canthropological sense and the media and formis manifest, is important and has pivotal beari

policy and also the relationship between publculture and new and more traditional media.

The academics Tak Win Chan and Johnconclude that cultural consumption may be dtowards confirming an individuals membersh

status group or network, characterised by a vawhich cultural activity has some particular imthe perspective of an anthropological view of broadened idea of cultural forms that the ideaimplies, it becomes clear that cultural choices

people relate to society and its constituent groa very different perspective on cultural policyinstitutions can help make sense of that in relpast and the present.

Case study: A History of the World in

The British Museum and the BBC have c100 objects from the Museums collections

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their own collections that reflect world perspective of their particular area. Malso have the opportunity to upload imchoice to the project website, adding pemounting archive of responses and opi

forms.44

On the surface, it may seem easier to position on sport than on culture. It is posway in which it isnt quite possible to do c

reflected in the current policy approach to defined and predominantly health-orientedmore tangible and delineated area of activicricket would seem a good and measurablephysical activity that counteracts such heal

obesity. Studies conducted within the CASthat the healthcare cost saving generated bbetween 1,750 per person (badminton) an(health and fitness), and that the total econby doing sport varies between 11,400 per and 45,800 per person (health and fitness

Nevertheless, as David Halpern obseorganisations like Supporters Direct and FManchester recognise, sport also comprise

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outcome might be better health, the decision achieved to play cricket, badminton, or to sgym is a cultural one, and will be driven by considerations, such as the desire to join a clumodern, gym-going lifestyle, or otherwise.

The confusions discussed above have a v

bearing on public policy. If public money is tculture and sport, then a clearer understandinthey are a good and how policy-makers can enwell spent. By separating them from the overathe cultural realm in its anthropological sense

to see why cultural forms might be funded in beyond existence for their own sake. Policy caculture in terms of its institutions. In the end,policy concerning itself with the survival of thand the structures of cultural policy, from the

Bodies to the DCMS itself, and missing the wimportance of culture.Institutions and professionals should be

to something that is at the very heart of our btheatre, for instance, comprises part of the gensustenance of culture just as a hospital is part service. By consequence, cultural institutions or theatres can legitimately be asked to responthey see in the public and audiences that they

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they relate directly to public policy and thepublic realm:

capabilities can be enhanced by public policy, but adirection of public policy can be influenced by the effparticipatory capabilities by the public Having gr

things one has reason to value is (1) significant in itoverall freedom, and (2) important in fostering the have valuable outcomes.47

Much can be drawn from the theory o

relation to cultural policy. In order to be efempowered citizens of the cultural realm, pcultural capabilities by which to act responindividuals in relation to the cultural oppoby which they are surrounded.

It will only be possible to develop a sculturally capable if culture is seen as an esPeople need to be informed not only abouthem and the implications that they will haconfidence and awareness of the structurescan become effective. Cultural capabilities

a broad education in the cultures of othersby which to experience the forms in which



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empowerment through which young peopwith creative practitioners. By recognisingwork, they were able to articulate a point young people were able to recognise similawork of others. In this way, they realised tcreated by hand or by dint of imagination

conversation between values. This is centrof capabilities in reading the signs and symaround them.

Similarly, the young participants wsignificance of exhibiting or showing work

communication. This stimulated a sense oprompting learners to take into consideraothers would view their work, developing sensibilities as a result. Vitally for commerpeople were also given the opportunity to

members of the public would pay to see. Inable to recognise that their individual cregenerate careers and other opportunities.

From a capabilities perspective, teaprofessional practitioners also came to reavalidating work through exhibition and rand values expressed demand response animportant part of providing capabilities ithe means to be seen and heard. It is impoh h l d

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Here the insights of marketing are useful. Aadvertiser has written:

You cannot control your people, your customers or ytrying. Too much time and energy is spent in the wrmanaging. Managing relationships, customers, p

journalists and so on. Managing is a polite way to sthis idea and youre off to a start. Equally, stop pretspecific thing happen in the future. Recognize you ateam; coach them in how to interact with each othe

Cultural capabilities are important bepeople to interact within the cultural realm

As Deputy Prime Minister, Nick Clegg hassocieties, populated by powerful citizens, mproduction and distribution not only of ca

importantly to the production and distribuCultural institutions are part of this distribdistributing the communicative awareness approach described in the case study aboveinformation by which people can relate to The British Museum, for instance, has conconcepts of power and society in a series ofleaders, a theme continued in other areas osuch asA History of the World in 100 Objects.



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behaviour in the cultural realm legitimately aimpinging on personal freedoms and damagincultural production.

Case study: The Red Room

The Red Room theatre group is a small enLondon, but working across the UK. ThroRed Room has worked on Oikos, a projeusing theatre to examine the implicationsand, in particular, how communities mig

and abstract a concept. The project is basthat is sustainable both financially and enplaywrights have been commissioned to rechallenges of climate change in new ways,about what it means for communities and

groups on the production of their work.The project also depends on innovaworking in new ways that both meet the crespond creatively to the theme of the worcollaborated with the Berlin-based architeKaltwasser and Folke Kobberling, who spbuildings from reclaimed materials to buiwood and glass that is sourced by donatiosites, found in skips and given by the gene

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other government departments, in particulEducation, will be essential in developing trole for cultural institutions that is far morthem at the present with policy. Learning innice to have, it is a basic component of soc

In the current financial circumstance

ignore the need for cultural capabilities. ThIf people do not have the capabilities to pathe culture around them, then there is a sersociety in which they live. The concept of cconnects the different meanings of the cult

this chapter. The forms, media, institutionsculture make the cultural realm manifest. Tparticular approaches to culture and, in respeople create culture anew, be it an adoptithe principles within it. Access ranging fr

participate to the education and skills that and confidence in approaching cultural forrepresentation of new cultural forms in con must therefore be seen as a necessary parfrom the perspective of ensuring capabilitigovernment has legitimate grounds for inteensure a fair society.


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3 Evidence of pot

Research in the cultural and sporting sectors revealsparticipation and the growing importance of these aCulture and sport are almost unique in policy termsthings that people choose to do of their own free will

democratic and expressive significance. The evidenareas will be important in the future as young peopparticipation as the norm and the means to participa basic part of life, and so underlines the need for cu

A new potential

If predictions had been made 15 years ago cultural institutions would play by 2010, thlong way off what has been achieved todaythe Royal Shakespeare Company (RSC) hadramatically different public role, with actoand amateur dramatic groups performing oof its remit as being to contribute to the pu

Evidence of potential


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phenomena such as social software have blurrhierarchies of professional, amateur and publvidual cultural and creative talent like that of onto the public stage, so cultural institutions responded to change by developing more opeand repositioning their expertise in relation to

Evidence of avidity

The DCMS annual survey, Taking Part, tells umonths to December 2009, 67.3 per cent of ad

two or more different cultural or sporting secsectors are almost unique in policy terms in thpeoples active choice. By consequence, the letion represent an avid population. Put anothethe UK population wantto participate in cult

activities and 94 per cent participate in eithesporting activities. Furthermore, as the list of by Taking Partshows (appendix 1), these figurforms of culture. However, as the number of vposted online demonstrates, when activity beyinto account, the evidence for the demand foreven stronger.

Such demand implies that people value experiences that cultural activity or institution

b d h

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Sources: Visit England, Visits to Visitor ALibraries and Archives; Department for CFree Museums; English Heritage, England



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shaped the society in which they live, but alsoinvolved in it to contribute their values and sh

Source: Taking Part

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cultural and sporting activities, the most coteering are organising and running events, a

Professional innovation, such as that working with volunteers, reveals a sector th

Source: Taking Part



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generations. In this way, activity in the culturb h f k d

Source: Taking Part

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its service at 10.4 million, where its actual coauthority was 6.5 million.66 It is further testiof the sectors and the degree to which the pubthem that, as the gravity of the current economspending on cultural services actually rose.

Such demand gives cultural production

significance.67 Overall, the most reliable estimsector indicate that it contributes about 10 peGVA each year, and that excludes the part plaand heritage.68 Furthermore, cultural educatistimulate the creativity that drives the knowle

economy.69

However, as the new Secretary of Media and Sport recognises, culture has valuebeyond this. The shift needed is from seeing wbe it manifest in peoples choices as consumersurveys such as that in Bolton as a demonstoutput and a substitute for public funding, tosenting a growing appetite that needs meetingfrom which further policy innovation might b

This value is evident in small scale philawhich must be seen not simply as a means of activity, but primarily as a vehicle by which ind

can contribute to the cultural realm. For yearsfrom the British Museum and the Royal Opersuch as cricket and football have proved amon

f l l

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reduced their budgets by between 10 and 8

recession.70 Nevertheless, smaller scale exaindividual citizens can be keen to spend ththeir time contributing to culture overall. Tsupporters who clubbed together in an atteManchester United Football Club in 2010,

care for the club as a social, rather than finsame city, FC United, a club set up in oppoof Manchester United by the Glazer familystructure to fund operating costs of 125,00supported the clubs sporting success. As a

club said:

Its very pleasing to hit our cash target, but the succcannot be measured in purely monetary terms. Succmeasured by the fact that we have fulfilled our commaffordable and accessible football. And it is measurehave been empowered to be able to influence the fut

Similarly, in August 2010, Arsenal FCFanshare scheme, which is intended to supthat the club is more than a business or inv

social value besides.73 Such enterprise is amalso help fill gaps for which public money prompted new methods of fundraising and



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funding in the cultural sector. In 2009, the re

advocated micro-payments as a means of moncontent and similar innovation could apply insector.74 The principle has also worked in relacontent and in many ways continues a traditiofor public statuary and other projects in the c

During the renovation of the South Bank Cenbought people a plaque on a seat, bearing eiththat of a friend or family member. In 2007, 4raised to buy Turners watercolour The Blue Ri

Alongside money from Tate, the Art Fund and

members of the public contributed by buyingthis was visualised on Tates website as each extra pixel, until eventually, through collectivwidespread charity, the image ofThe Blue Rigi

Case study: The Staffordshire Hoard

In 2009, a lone metal detectorist discoverof gold and 1.3kg of silver in a field in Stafsingle biggest find of Anglo-Saxon treasureclipsed the Sutton Hoo find, which amou

precious metals.In material terms, the find is worth

social, cultural and historical importance

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piggy bank to help save the treasure.

individuals, manifest in gifts small ancoalition of funders, heritage agencies secure a significant heritage asset as parealm.76

One of the recommendations of this pbecause culture is so important to society, part of the CSR activities of organisations.government and cultural professionals nee

avidity and appeal described in this chaptecase for culture more strongly, ensuring tharepresented in terms that will allow for invbusinesses as well as individuals. In particufor Business, Innovation and Skills (BIS) sculture is represented in the advice given torespect.

To support this, a further recommendmakers and cultural professionals could comeasures of social return on investment (Ssector.77 More widely, third sector organisa

play an important role in policy delivery working with vulnerable groups such as thin care and governmental investment in t

h b h b l h

Cultural participation and the future



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p p

Alongside financial contributions in the presesporting sectors play an important role in eduthat, in a matter of years, will grow up to be pEvidence from the CASE programme shows tparticipants have improved their test scores bparticipation in arts results in a positive impa

(by 12 per cent improvement in test scores), a 1619 per cent improvement in test scores) askills (by a 1017 per cent improvement in tesencouraging because participation by young pis extraordinarily high (over 90 per cent in th

It could be argued that much of this is dcurriculum, but the fact remains that more yoparticipating in cultural and sporting activitiesignificant. There is a good chance that these grow up to be cultural citizens. Participation young has been shown to result in participatioso a strong demand for cultural and sporting future can be expected, especially if the legacyworks as planned. CASE research enables polpredict that greater engagement in culture whto drive greater engagement as an adult. It sh

visit museums and attended art events as childto do so when older, and that this effect is mathroughout their lifetime.80

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Source: Taking Part



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Source: These graphs have been adapted


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4 Culture sport a

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4 Culture, sport a

Separating the idea of the cultural realm from the faccessed and made manifest allows a different apprThe questions asked in making cuts and as determinplans for the comprehensive spending review can on

basis. The full value of the sector to society can only understanding in place alongside a fundamental chwithin the sector itself.

Cutting from the right cloth

If capabilities are a rationale for the states cultural activity, the question remains as toinstitutions the public sectorshouldprovideobservation in relation to arts policy that ittended to focus on the so-called serious ar

inclusion of artforms such as grand opera aothers such as soap opera has wider relevaand soap opera can function as media by w

i lt b it i thi th t

Culture, sport and policy


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in culture because it is something that we crea

respond to through human interaction, whethin place or not. However, because culture is sdeterminant of society, it is vitally important taccess to its full range and diversity and that tplace for them to do so reflect their opinions a

changes to which they are subject. There canthe provision of the forms that provide oppordo so.

The implications of this argument are wdetail because they are foundational to how p

policy-makers alike can rethink the importancactivity. Policy should concern itself with cultinstitutions as giving people the spaces, oppoby which to participate in shaping, taking parresponding to the culture of which society is cmeans that policy decisions should be based orelate to peoples capabilities in relation to thepeople within society have equitable access tocultural beliefs represented within it? Is thereopportunity for people to express themselves

Answering these questions will require a new

put into practice and this poses challenges nogovernment, but also to the cultural and sporthemselves.

and when funds do not allow for them bot

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and, when funds do not allow for them bot

deciding between the two.A new way forward will depend on a

of purpose within the cultural and sportingin the sector must consider how they relateof the cultural realm. Cultural and sporting

become more responsive to their audiencesdifferent needs that they can meet at commnational levels. From this basis, it will be pclearer, more needs-driven rationale for thefunding. It also enables policy-makers and

sense of what they are funding and why, anand sporting activities fulfil basic communneeds this does not diminish their integrity

The cultural sector as a whole is alreausing public funds as a basis from which tosupport in this way. Many institutions are icreative, seeing their work as being driven and changes in society. As a result, they hamany have proven the timeworn assumptioarticles in the press, that the cultural sectorbusiness to be completely and unfairly fals

provides a way forward for cultural policy. sophisticated understanding of why policywith culture, funding based on the princip

d l l f l

However the change process at the RSC h

Culture, sport and policy


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However, the change process at the RSC h

by the response to the changing environmorganisations business and operations.

In this way, the RSC required staff organisation, from areas that range from facting company, to consider their work in

organisation as a whole and its audiencesopening the theatre and its operations, to redesign of the new Royal Shakespeare Thupon-Avon brings about greater interactiand its staff, and the audiences. In partic

around a thrust stage that enables actors space as the public.A further change came with the gre

the acting company in the educational woorganisation. Actors now undertake postgeducation, and working with Creative aEducation (CCE) the RSC is at the hubnetwork of schools, similar to that describabove (p 37). Importantly, the RSC now aamateur dramatic groups, giving them ththeir work on stage in Stratford.

Far from detracting from or dilutinwork of the acting company, the process oforganisation has enabled the RSC to go fr

h b

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5 Taking the cultuof a nation

Policy-makers have begun to recognise the inadequaapproaches in making decisions intended to contriband peoples well-being. At the same time, measuremsporting sectors has led to a growing realisation on t

makers and cultural professionals that participationrelation to society more widely that are part of cultudo not come at the expense of integrity. Combined wapproach, this creates more legitimate grounds for ipolicy intervention.

While culture and sports professionalcourse, seeding a growing awareness of whsociety as a whole, policy more widely is chFrench president Nicolas Sarkozy asked Jeconvene a team of fellow economists, amon

Prize-winners Amartya Sen and Joseph Stigeffectiveness of market-driven theory as a mpublic policy. They concluded that:

Taking the cultural pulse of a nation

The social aspects of cultural participation are

Taking the cultural pulse of a natio


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The social aspects of cultural participation are

outputs. They are part of the experience of paand reflect an individuals involvement in the This means that policy-makers need to undersin cultural activity across the population betteand sporting policy has hitherto focused on c

rather than responding to the wider flow of cubase will have to be developed to meet new nTaking Partprovides a good starting poin

potential to be a vital way of understanding soa whole. If, as it should, culture is to play a sig

policy-making more widely, then the evidencedeveloped accordingly and become a means ocultural pulse of a nation.

Currently, the evidence for participationaggregated and includes those who have:

used a public library service at least once in th attended a museum, gallery or archive at least

months engaged in the arts at least three times in the p visited at least two historic environment sites

months participated in 30 minutes of moderate intens

active recreation on three or more days in the

sport. Culture and the arts are valued for m

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sport. Culture and the arts are valued for m

social reasons and sport for reasons more awhich reflects the availability of public funcompared to culture. A visit to the gallery ito lasting memories and learning; a game obecause it impacts on health.

As its domain-based approach revealsused as the basis for making decisions withfunding: the information it gathers reflectspolicy is structured in relation to the culturthe public mind, the distinction between h

or the visual arts and a gallery, is less clear-pation guidelines described above imply. Pfootball to rugby, or the visual arts to musireasonably deny that each is important: it isciously or not one is their preferred outlof the benefits of cultural participation eithgiven time. Equally, a visit to a museum orto a persons experience of the cultural realway as heritage.

This means that the rationale of the gmeasurement does not equate to the ration

behaviour. A judgement of whether or not cannot be based on peoples attendance at because what the government should value

h d f l d

screening in a regional arts cinema, or a two-m



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g g ,

on YouTube by a seven-year-old in South Amfrom the strict perspective of public policy, Ghis new team at HM Treasury have a duty to athe public pound, just as the taxpayer has a ribility. In the future, measurement must seek b

cultural participation as a whole and within thpation in the publicly funded sector and so buhow the public formulation of culture is reflecrealm more widely.

Nevertheless, the evidence gathered in t

sporting sectors already demonstrates that cuactivity has implications way beyond what arethought of as cultural and sporting domains. education, on society, on awareness of contempeoples are not the final word on the impacposition from which to step back and think an

relationship between government and cultureTaking Partshows that participants in sp

activities are more likely to feel satisfied with While it is possible that those who are more lipants in sports or culture are also more likely

social activities, it is clear that sports and cultfor societal behaviours that others are not accparticularly, Taking Partalso reveals that those

l f fl h l d

Case study: The Museum of East A

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The Museum of East Anglian Life is anStowmarket, Suffolk. It is dedicated toskills, equipment and buildings, and hidentity of the area.

The museum is also run as a soc

from the basis of its collections and valinequalities in the local labour marketmeaningful, work-based activity. In adwill of local people as volunteers who nof labour that can sustain the organisaknowledge and stories about the subjecpeople a chance to connect with their hin its sustenance.

Alongside providing opportunitimuseum also offers a variety of accrediNational Vocational Qualifications to

topics that range from horticulture, to museum based operations. In this wayonly generate income, but act as a valuprovider to the local area and as a hoseducational bodies from City and Guil

Skills Council for environmental and lthe same time, it sustains interest and and industries that it represents.

Th h l d l d

Focusing on capabilities

Measurement of the cultural sector has suffer



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retrospective a focus. The assumption is that amuseum, participating in the arts or taking paactivity will have imparted some benefit to thegroup. In effect, the foundational principle haeven if it is learning, is bought with the expen

amount of money and is a sealed deal. This prchange. By funding such enterprises, public fto ensure the basic existence of a good in the institutions provide access and opportunity init is nota means of purchasing social outcomeadditional benefits.

By seeing cultural participation in generprovision of institutions and other cultural foopportunities in place by which to participaterealm and, ultimately, the formation of societythink in terms of potential. Participation brin

that in turn accrues and feeds greater participimportant qualification is that participants aremore about a given cultural or sporting form,participating in the creation of culture anew. Tthey must also be given greater say and owner

formation of the culture of which they are a pCultural capabilities require that people

chance to participate in the cultural realm as aibili f i i F hi b i

institutions and individual professionals to

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for the needs of citizens enables them to decultural capabilities.


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6 The evidence fo

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A capabilities-based approach to culture, and the grcultural skills brought about by social and technologgaps in cultural provision take on new significance.trends in research and policy-making have led to a rgovernmental success, and a new focus on the ideaCASE research demonstrates that cultural and spordemonstrable contributions to this agenda. Howevesector also reveals that there are geographic and socprovision and opportunities, which pose significantand specific policy agenda such as localism and the

time, the new thinking for cultural policy outlined ithe need for greater and different knowledge about p

Well-being

Twin developments in research and policy-context for cultural policy. Recent researchthe detrimental effects of inequality to soci

h l k h h h

Improving our societys sense of well-being is, I believe,

The evidence for change


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challenge of our times.91

In the 1970s, the economist Richard Easparadox that confounded the growth-driven amodern economics.92 Beyond a basic threshol

material wealth seem to make neither people happier. Recent research confirms this and mthat, beyond the lower echelons of earning, wincrease individual happiness; increasing ineqindividuals that arises from a culture of pursudemonstrable and ultimately costly social ills.

At the same time, research into the benesuggests that happier individuals are more sunumber of areas of their lives including marriincome, work performance and health. The coassumption is that well-being is the result of s

also precedes it. Well-being may in fact be ththe desirable characteristics, resources and suwith happiness.94Alongside a governments dwell-being of citizens, aspects of society that eare therefore also likely to have additional ben

productivity and health.The British Household Panel Survey ha

data on well-being since the early 1990s. More

for Environment, Food and Rural Affairs p

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indicators for sustainable development, whincorporated well-being.96 More centrally, published by HM Treasury recognised the being, and identified it as an area in which economic research was needed.97At the sam

surveys such as Eurobarometer have begunassessments of well-being in the data they g

Culture, sport and well-being

The UKs new government recognises the rcultural activity and well-being. The coalitithat a vibrant cultural, media and sportingour well-being and quality of life.98 Until ndifficult to prove this beyond common sendifficult to judge the effects of different po

gathered by the CASE programme now endo so.

Initial estimates generated by CASEgain in subjective well-being (SWB) associsport or attending a live cultural event is eq

household annual income of between 5,00depending on frequency and activity. Comaspects of life that have an impact on well-b

f f l l d

significant benefit. What, then, of the other th



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whose taxes are spent on cultural and sportinTaking Parttells us that, of those who did

two or more cultural or sporting sectors, 18.9 participated in only one sector and 13.8 per ceparticipated in any sectors.99 Distinctions also

participation. As we have seen, across society,to participate in arts activities when young areparticipate when older; however, within that, differences according to educational backgrou

At the same time, women show significaparticipation than men; people from white bahigher rates of participation (66.8 per cent) thBME backgrounds (57.4 per cent), especially populations; and people from upper socio-ecoparticipate at a rate that is significantly highesocio-economic groups (75.1 per cent compare

cent). Taking Partalso reveals that there is geoinequality (see appendix 5). The most sociallythe country also seem to be the ones with the cultural and sporting participation. Readers nofBilly Elliotto realise the opportunities that a

There could be many reasons for differerate of participation in different areas or by diperson. In particular, just because 14 per cent

h l l d

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Source: Oskala, A and Bunting, C,Arts Enfrom 2005/06 to 2007/08.100

degree to which people feel themselves to be



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empowered participants in the cultural realmCultural participation is an essential par

and fulfilment of a cultural citizen and so an esociety. It is more than a means of imparting khelps develop the fluency, confidence and ski

respond to that knowledge and hence is impopeople to manage and take part in society, thedescribed by Amartya Sen.

In this light, and while socio-demographcannot necessarily be taken to relate to educaness, evidence available about peoples trust irevealing and offers an indication of the effeccultural capabilities might have. Television dosource of information and news (figure 12).

As the Taking Partdata shows, televisionsignificant media of the cultural realm: it is th

cited free-time activity, with 88.5 per cent of rmentioning it. As such, it must be a part of poin light of the arguments presented in this pamspecifically, CASE research has demonstratedrelationship between television consumption

culture and sport, identifying a positive assocthose who watch culture- and sport-related TVengagement in those activities. The authors o

l d h

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negative. For better or for worse, the flux o

h i t d it I thi d t

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shapes society around it. In this way, and tthe cultural realm as a space for the public Sen writes, government must continually adifferent opinions and outlooks are represe

There is also a need for longitudinal d

activity. At the moment, the evidence demoimportance of cultural and sporting particiindications are that it will only become modefine many of the challenges governmentyears to come. As a result, only longitudinastudy data of the impact of participation wunderstanding of how policy must respondthe future and how effective measures takecapabilities will be.

A major recommendation of this papevidence is gathered in Taking Partthat will

to respond to this need:

Questions should be asked about motivatiWhy do people visit cultural attractions or

How does participation in culture and spo

Taking Partshould also seek to provide a fucultural realm. What do people choose to dHow does this break down in relation to th


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7 Th f t fli

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7 The future of cupolicy

A Big Society will depend on policy that relates effeclevel, institutions and cultural practitioners should to meet specific and local needs. They are best placehow best they can be provided for and monitor the sapproach could contribute significantly to the agenmodels of funding should be devised with a mind to At the same time, large scale national institutions aprovide a logic to the cultural realm and an importtouchpoints for culture and the validation and reprexpression that it comprises. They also house goods,

collections, that are important to society, must be prfor citizens to access and, in many cases, are also staeach case, a capabilities-based approach to understaculture provides new ways of approaching the goverresponsibilities in relation to the cultural sector. Thi

implications for the sectors management of itself anof how government, the sector, and the public itself psociety will face in the future.

real importance of focusing on culture, and so

been flawed

The future of cultural policy


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been flawed.In part, cultural policy is about helping

respond to the change around them, and provwhich individual responses can combine to mwhole more adaptive to change. Government

and local levels needs to move from a model ware in practice bought, to one in which fundsector is seen as enabling it to function in the ways outlined in this pamphlet. Although thisfor expenditure on the sector, at heart it requishift. Far from being the icing on the cake, cushould be seen as supporting an elemental paup society. A more democratic understandingequitable sense of culture must also include rechoices that people make and the cultural forengage.

If policy is to do full justice to the role oforming society, this leaves two distinct challe

What models of cultural participation shouldhow?

And what capabilities do people need to makopportunities, and how should the state provi

purpose of the enterprise in hand good e

Rooms use of salvaged material and the us

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Room s use of salvaged material and the usachieve cultural ends.If policy is fully to reflect the cultura

society as a whole, it must respond to cultuoutside the publicly funded sector. The am

Society mean that government must ensureoutlets for participation in the cultural realconundrum policy faces is that the intervenundermine the integrity and necessary indeforms. Ways must be found to ensure bothindependence.

This is where the role of experts is imdramatic groups want to work with the RSthe organisation and the professional valueThe performance of elite sportsmen and wparticipation of thousands of Saturday foo

cricketers. Public capabilities are not incomrespect for and valuation of professionals. institutions to provide representation to diculture and recognition of them as being psociety as a whole. They are also repositori

expertise by which those cultural forms caninterpreted. This requires that cultural proagenda outlined in this paper, fulfilling the

l f h k d

agenda, reconceptualising the relationship be

society putting in place the structures that cal l l h i l d



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society, putting in place the structures that cacultural realm. These include:

developing new organisational structures thinking anew of the relationship between cu

place and working with local government acc taking the lead on helping people and societycultural capabilities that they will need

Developing new organisational structu

Wider social change necessitates change in orthinking about how and why they operate. Thevolution of social values, and the changing fdescribed by Sen, Stiglitz and Fitoussi. In thewidely and alongside a focus on new criteria s

has resulted in a new focus on organisational employee ownership, cooperative structures aorganisations. Policy-makers and others have the potential of such organisational forms in rand its governance, and have also begun to tu

means of structuring the individual action necsome of the big policy challenges of today. Inpolicy, where peoples will to participate must

Such structures could have real advan

sector for several reasons. First, they can pli i l h d bili i b

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sector for several reasons. First, they can plgiving people the power and capabilities bactive role in shaping society. This would spolicy needs of reflecting the culture of whbut also chime with general changes in peo

and desires. As Geoff Mulgan has noted, tterm trend towards more people wanting wwell as a means, a source of fulfilment as wCertainly, this would reflect the motivationin and around the cultural realm.

Second, employee and user-led modeto create a cultural sector that more truly reUK today and is based on specific local nemore involved in orienting the direction thsporting institutions follow, then the sectororganic representation of the cultural realm

responses generated by The Red Room in change and organisations elsewhere are orireflective of a communitys beliefs and the generate. Cultural practitioners work with responses to big problems that have integr

recent years, policy thinkers have become ithe need to take into account public behavchallenges, like climate change and obesity

d d l l l

demands for austerity, and the long-term need

sector in a way that reflects culture more widel l d t i ld th f h



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sector in a way that reflects culture more wideemployee-led enterprise could therefore have play in how cultural funding might be reconsthe wider policy demands of the Big Society. Tin cultural and sporting participation shows j

activities are in providing meaning in peopleand small scale philanthropy show that peopltime and money to culture. Policy should valupotential of crowd-sourced funding, not just asource of human and financial resource, but ainfrastructure for the social impetus necessary

Society.Small-scale enterprises, like the Museum

Life, show that artistic and heritage ends can integrity using practice that is driven by indivthey act out of personal or social preference. H

enterprise needs basic structures of support bAt the moment, public funding for culture is dmuch by market failure. At the small scale of should be reversed and the democratic potentemployee-led models, and the social goods th

should be harnessed to createmarkets. The evconsumption and activity as it stands suggestsopportunity is there. More work is needed to

d l h

leisure and cultural facilities, initiativ

300,000 residents across the Wigan bocomprises external funding self genera

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3 , gcomprises external funding, self-generaannual grant from Wigan Council. It social enterprise, and so, like the Musesurplus income is invested in improvin

for local people and the users of the sersocial enterprise, WLCT also runs a trthat are deemed not to be charitable, s

Among other things, WLCT has culture and sport in the life and societyperspective of those involved. Its cultur

individuals from the public, private anfocuses on developing recreational resocultural opportunities for the communserve. WCLT has also expanded its buFrom the perspectives of both financia

service delivery, WCLTs enterprise wicontract with Ashton, Leigh and Wigadeliver weight management services. Ia contract to deliver leisure services forYorkshire. In the financial year 2008/

trading subsidiaries generated surplus

C lt f l d l l

councils as suppliers and have done so withou

integrity to their cultural cause, with wider sospringing from the cultural benefits that they



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g y ,springing from the cultural benefits that they example, in a very direct sense, the Museum ohas won the contract to supply the local counHowever, cultural practitioners are more than

of services. They provide for sense of place itsservices are too often seen as a cost at local levare an opportunity and should be valued for tplay a central part in localism. As councils sethow best to allocate resources, culture shouldtheir thinking.

At the same time, just as separating the of culture has influence on policy, cultural inspractitioners should also think in these terms which the service that they offer contributes tFar from being a process of instrumentalisatio

on the avidity that there is for cultural consumitself, and the realisation that the result of parexpression, encounter and consolidation of vaintegral to society.

In tandem with examining the potential

employee-led models, local government officedifferent delivery methods in the cultural sectdeveloping networks of practice and learning

h l d f

cultural practitioners directly. There are op

for different approaches that might providmore thought must be given to this both a

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pp g pmore thought must be given to this, both aespecially, at local level. An example of onescheme of using empty shops and other slaad hoc and short-term arts projects. In 200town centres rose from nearly 10 per cent inyear to over 12 per cent at the end of Decemhave atrophied in the recession, losing shoplarge spaces but also iconic, like Threshers

Woolworths. From the perspective of a couof place, shuttered windows are more than

productivity: they are signs of an ailing orgschemes like the Empty Shops Network, a populate vacant spaces with temporary artan answer.111 Rather than funding new cultuenterprises directly, councils could give dis

their control to cultural practitioners on a twould have the effect of ensuring that a spused and bringing new attitudes and opini

A further option would be for councicultural activity through tax credits or othe

reducing the overheads of cultural practitioin recognition of services that cultural activcouncils and the concept of place. In the cul ld b d ff l f l

there remains a need for larger institutions th

require more significant levels of funding. Thinstitutions like the National Theatre the Bri



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institutions like the National Theatre, the BriThe Sage Gateshead. It also includes larger incurrently part of local government themselvesMuseums and Art Gallery, or its counterpartsNewcastle and elsewhere, and also those that funding from local authorities, like ehe RSC. be added heritage sites, like Stonehenge, thatin relation to concepts of history and identity,sporting organisations, such as the Lawn Tenwhich has recently turned to UK Sport for he

performance.112 Society and local areas need insort. In the case of national museums, there isobligation to preserve collections for the benegenerations, and this means that the security, the collection is a central responsibility, and t

make up a very significant part of annual expHowever, alongside the value of museum

cultural institutions also provide a logic to theFirst, they provide centres of excellence wheredevelop the capabilities by which to read and

As the critical success of the RSC shows, this incommensurate with excellence understood as art or sporting activity of the highest qualit

l h ll b h

in a national institution in the country into

assimilate himself was very significant.113

Juworking on the Creative Partnership schem

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working on the Creative Partnership schemvalidation and recognition of this sort is crcoherence of the cultural realm. Different cneed showcasing and recognising. In demobecause they constitute the expression of acapabilities perspective, because they provwith an audience for his or her statements the opportunity to access the beliefs of othare important because they can present a cdifferent cultural expressions, brought tog

it in the collections of a major museum likethe repertoire and programming of the RSprovision for an area, as at Wigan.

Third, they provide an infrastructure In practical terms, larger institutions can o

support to smaller institutions and culturalorganisations as galleries and concert hallsand performance spaces to individual prodmuseums, such as Birmingham Museums aprovide hubs for services, such as conserva

North East, The Sage Gateshead has grownmusical ecology that existed before it was bresources and support to smaller producersl ff l d h

spending review become clear, and the sector

new funding environment it faces. This proceterm. It will require a period of negotiation, t



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q p g ,between the public and the cultural institutiomakers that serve it. To this end, this paper coa series of provocations to stimulate and infor

At the moment, the DCMS is among thegovernment departments, both in terms of buimportance attached to it. However, it is clearevents in the domains for which it is responsibgovernment as a whole. An overall recommenthat the importance of culture be recognised f

government. To support this, the structures omaking could be developed in a number of w

Provocation 1 Reinvent the DCMS: DCMS couultimately as a smaller department, to focus o

expression in the cultural realm and how cultdifferent policy areas. It would be empoweredculture across government, identifying areas igovernment departments could beneficially spand championed by the secretary of state at ca

would be responsible for and further supportof cultural responsibilities to ministerial briefdepartments, such as Education, Business, In

Critically, this would require that other gov

recognise the importance of the cultural dipolicy area. At the moment, they do not, an

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p y , y ,essential that the cultural department provarguments to persuade them to do so and tstate leads it in doing so. A further task of would be to communicate to the sector pol

Whitehall, identifying further areas in whicsector contributes to policy concerns. In thdepartment would be smaller than the exisintroducing some of the efficiencies that thsituation requires. Functions could be divid

ministries (an example might be cultural dForeign Office), and a Council for Culturaprovocation 2); an example might be the missues as the import and export of cultural the objective of

Documents

Culture Shock _Timothy Mahea