Access and the Arts

Access is a fierce concern in the arts in the UK at the moment.

As Government cuts have dragged on for years, this has impacted on access on all fronts and undermined what progress had been made in recent decades.

ACCESS AND THE ARTS

K E N N TAY L O R Access is a fierce concern in the arts in the UK. Government cuts have dragged on for years, reducing equitable access to culture on all fronts and undermining the progress that had been made in recent decades. Couple this with a period of intense cultural shifts and the spotlight has been turned on access, not for the first time, and hard questions are rightly being asked.

Access to the arts, or lack thereof, has to be considered on different levels.

This includes physical and sensory access to art and art venues, financial access to art or the tools to make it, and access to education facilitating the consumption, critique and creation of art. To this we can add access to the platforms that help define the art that is valued, paid for and consumed by large numbers of people, and lastly access to the time and space it takes to even think about art.

The challenges vary between access to the consumption of art and access to making and platforming it. In this multimedia age, these have to an

extent blurred. However, a hierarchy remains. A large number of people may be able to put their pictures on Instagram or sell works on Etsy, but it’s not a meritocracy as to who gets their images selected by a major gallery or has their jewellery designs used in a shoot in Vogue.

Let’s talk first about who gets to consume. Though not impossible, it’s hard to produce art without having consumed a significant amount of it first. With the Internet there is ostensibly more access to all forms of visual culture than ever. There are also now more contemporary arts centres in the UK than ever before. So, there’s potential abundance. However, if your personal circumstances are such that you may never have been given the opportunity to think about what you’re consuming, to examine it in detail or explore beyond what major organisations want to feed us through powerful communication channels, access is not equal.

Not everyone is given the chance to explore and create art from a young age. For many reasons art is not just in the purview of a lot of families, often after parents have been denied opportunities themselves. With life getting harder for poorer families,I local cultural services and youth support being shut,II and disability support services being axed,III fewer young people from disadvantaged backgrounds have opportunities to develop their interests and talents. So, the first layer of people who have been denied access to the arts falls away.

Schools once offered young people at least some chance to engage with different aspects of the arts. Now we see the stripping out and devaluing of arts education at all levels. Except of course, in the elite, private schools, which have heavily invested arts programmes.IV Meanwhile school trips to cultural venues – which for many are the first if not only opportunity to experience such things, my own first visits to a theatre and an art gallery were with school – are being hugely

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cut back.V Those who may have interests in creative areas and talents they’re not even aware of yet, are not being given the chance to develop.

Instead they are pushed down narrow and often irrelevant paths of learning, and told they’re stupid or a failure if they don’t conform. Any attempt to change access to the arts further upstream are always going to have minimal impact unless things change within the mainstream education system. So, another layer of people denied access to the arts falls away.

Some have concerns about imposing art upon people. It is true that ideas of ‘high art’ have historically been used to devalue and undermine popular culture and those ingrained in it. Yet it can’t be ignored that there are always dominant artistic forms linked to power. People from all backgrounds should have the opportunity to get to grips with these and choose whether to adopt them, adapt them or to reject them. Those within the arts who care little about ensuring people’s access to it, who even see it as patronising, are usually those who have always taken it for granted.

They have been fed enough art to be able to reject aspects of it even as others are barely getting their first taste.

who now struggle to access enough support even for their basic needs, find it even harder to find support to engage with the arts. More people denied access fall away.

We then need to consider who gets to create art. Making art requires no license, materials can be cheap and some people have made a success of this. However, for most people making art does require first having experienced it, as well as having the time, drive and, crucially, confidence to begin. Inevitably those facing the most disadvantages are cut off first.

Without early opportunities, the field of those who may pursue art has already been narrowed. That’s before we get to the Governmental and growing societal narrative pushed even on those who do know deep down that they want to create, that studying the arts at a higher level is a bad or irrelevant thing. Thus, another layer of people who may have had a path in the arts falls away.

For those who do want to study, the cost of arts higher education in the UK is extortionate, our fees are now the highest in the world,VI while at the same time arts studios and facilities are being ‘value engineered’ out of institutions. The number of tutors and student contact time with them is also being reduced – time which is perhaps most vital for the more disadvantaged students. Some places have seen the de facto end of visual art higher education, leaving local young people with little option but long, expensive distances to travel should they want to pursue study. Yet another layer of people denied access to the arts falls away.

Any attempt to change access to the arts further upstream are always going to have minimal impact unless things change within the mainstream education system.

It’s not just young people who are having opportunities removed. The slashing of Further Education colleges and other routes for lifelong learning has cut people’s chances to develop interest and skills in art in later life. Simultaneously, austerity and its resulting negative impacts on work, family and community life leave less space for other things. Even if you have a keen interest, the costs for visiting many exhibitions have soared as subsidies have been cut. Disabled people, 52 | ACCESS AND THE ARTS | KENN TAYLOR

Then there are those who find it hard to make it through study even once they’ve started. Without significant financial support from their family many arts students have to work long hours outside study as well as having to live at home.VII Often this means having less time to devote to study and to develop practice and less opportunity to build a support network, and the extra independence and confidence this would bring.

The dropout rate amongst students from disadvantaged backgrounds is generally higher than for their more comfortable peers. So, the next layer of people denied access to the arts fall away.

After study in the arts comes the difficult period when there isn’t a direct, clear or easily accessible path to develop and sustain yourself in the field. The pressure to make a living gets harder as the structural support of being a student disappears. Those with financial backing do not to have to fully support themselves at this stage. Those without disabilities, mental health challenges or caring responsibilities are inherently advantaged: able to focus on developing their creative practice, getting it out there and building further networks. Even if you can avoid some of these challenges, which have been powerfully discussed

by Anna Berry on Disability Arts Online,IX what if you find networking hard? I myself have an anxiety condition that can flare up and make that essential networking exhausting, even at this stage in my career.

Others face far greater challenges and prejudices. Thus, another layer of people who can’t sustain themselves through this period falls away from the arts.

Even for those who do make it onto the first rung of the professional ladder, how does an emerging artist get from a popup show in an empty shop to being exhibited at a major gallery? The path remains remote, distant, unclear. There are more arts centres around the UK than ever,

and some do have programmes supporting emerging artists. Others feel the need to focus on artists already on ‘the circuit’ especially as they’re also dealing with funding cuts, which can make them risk averse and pushed to ensure popularity and critical support. Getting on this circuit is often an arbitrary and unfair process, which requires a lot of time and energy building networks and getting seen. It can also be difficult to apply for grants without some form of track record, not to mention draining and time consuming given the likelihood of rejection. Even for those able to create space in their lives to maintain a creative practice, trying to move beyond local recognition is difficult. Again, in this period of an artist’s development, those who don’t fear destitution and who have been taught how to sell themselves from an early age often win out. For those who struggle, another layer of people falls away from the arts.

Who gets to work for those cultural organisations and funders? The arts is a small sector and like all small sectors it can be a deeply interconnected world. People get to know each other and develop close working relationships as they move around organisations, compare themselves and try to impress each other. To an extent this is inevitable. However, it also leads to a narrowness of ‘how things are done’ and a circle of who knows who.

While things are improving, diversity in the sector has a long way to go.

Those from diverse backgrounds who do enter the sector are often moulded by very similar educational backgrounds, their ideologies dominated by whatever is current in universities at the time. Questions around ‘taste’, ‘quality’ and ‘relevance’ remain decided by a small circle, one that can be very hard to enter.

There’s still an unspoken division between cultural organisations that

are ‘taken seriously’ and the rest. As a recent article highlighted, burnout amongst arts leaders is growing.X There’s a constant battle to get enough funding, keep everything running, deal with unstable governments, a slashed public sector, ever more pressure and paperwork.

Inevitably the burden of this falls on the smaller arts organisations who are less able to call on powerful friends, and who don’t have a team of fundraisers. Already things are deeply skewed against working in the regions: four of the richest areas of London received more National Lottery cash per person than any other part of the UK over 20 years.XI Even though this is slowly changing, the larger cities with big organisations inevitably benefit the most ahead of often poorer cities and towns.

Climbing the ladder in the sector can be hard and slow, requiring difficult choices about moving around. Pay at all levels remains low.XII Many people leave the arts sector as they approach middle age, unable to support families in these situations.

Another layer of people is lost from the arts.

Which brings us to who is left?

This country did very well after the Second World War: allowing more people from different backgrounds into the world of art and culture, helping lead to a revolution in everything from commercial design to visual art and music loved across the world. This has generated immeasurable benefits to the economy. Yet diverse access to the arts is now in decline at all levels. We seem to realise the importance of a rich cultural life to the wellbeing of society more than ever, just as galleries close, local colleges shut arts classes and schools are turned into privatised exam factories. It is certainly not all doom: there has been progress in the increasing acknowledgment of diverse perspectives, more effort towards

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meaningfully engaging the wider public in the arts and a growing number of places to show work.

There will also always be a random and arbitrary element to who and what becomes popular or powerful in the arts. Lots of us want to create, not all of us what to consume what others create. Some people are just better artists or curators or whatevers than others. What we can avoid though, what we must work hard against now more than ever, is the compound unfairness at which every layer more people who don’t fit or who are facing disadvantages in life fall away from the arts. Many never even get the opportunity or space to think about art because so many of their other needs

are not being fulfilled. These issues are not confined to the the arts sector.

They are fundamental to the multiple challenges the UK faces as a society.

This social decay started much further back than 2010, when public sector cuts following the financial crash of 2008 really began to kick in. It’s just grown to cover more areas and affect more people. Much needs to be done, but in small ways we can all do things to create better opportunities for access to the arts, so less people fall away before they have even begun.

ENDNOTES I Hannah, Felicity, ‘Why low-income families won’t ever be able to make ends meet’, The Independent, 2018, https://www.independent.co.uk/ money/spend-save/low-incomefamilies-outgoings-personal-financespoverty-a8432991.html II Bulman, May, ‘Spending on children and young people’s services cut by nearly £1bn in six years, figures reveal’, The Independent, 2018, https://www. independent.co.uk/news/uk/home-news/ children-young-people-services-uk-cutsfunding-local-authorities-labour-toriesangela-rayner-a8285191.html III Ryan, Frances, ‘PIP is a disaster for disabled people. At last the full horror is emerging’, The Guardian, 2016, https://www.theguardian.com/ commentisfree/2016/jun/07/pipdisaster-disabled-access-report-benefits IV Norris, Rufus, ‘Creativity can be taught to anyone. So why are we leaving it to private schools?’, The Guardian, 2018, https://www.theguardian. com/commentisfree/2018/jan/17/ creativity-private-schools-uk-creativeindustries-state V Kershaw, Alison, ‘Cash-strapped schools axing classes and cutting back on trips, headteachers say’, The Independent, 2017, https://www.independent.co.uk/

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news/education/education-news/ education-schools-struggling-financiallyaxing-gcse-a-level-courses-cuttingclass-trips-headteachers-a7620931.html VI Kentish, Benjamin, ‘University tuition fees in England now the highest in the world, new analysis suggests’, The Independent, 2017, https://www. independent.co.uk/news/education/ university-tuition-fees-england-highestworld-compare-students-student-loancalculator-a7654276.html VII Busby, Eleanor, ‘Poorer students three times more likely to live at home while at university, study says’, The Independent, 2018, https://www.independent.co.uk/ news/education/education-news/poorstudents-live-at-home-university-suttontrust-social-mobility-a8229816.html VIII Sellgren, Katherine, ‘Rise in poorer students dropping out of university’, BBC News, 2017, https://www.bbc.co.uk/news/ education-40429263 IV Berry, Anna, ‘How The Art World Exclused Introverts’ Disability Arts Online, 2018, http://disabilityarts.online/ magazine/opinion/art-world-excludesintroverts

X Romer, Christy, Increasingly high risk of burnout among arts leaders, ArtsProfessional, 2018. https://www. artsprofessional.co.uk/news/increasinglyhigh-risk-burnout-among-arts-leaders XI Evans, Felicity, ‘Lottery good causes: Is UK lotto cash shared fairly?’, BBC News, 2018, https://www.bbc.co.uk/news/ukwales-46468787 XII Hill, Liz, ‘Pay crisis builds as arts workers struggle to make ends meet’, ArtsProfessional, 2019, https://www. artsprofessional.co.uk/news/pay-crisisbuilds-arts-workers-struggle-makeends-meet