A radical vision for arts policy should be at the heart of any progressive government argue Professor Rod Stoneman and Adam Stoneman.

Note: This is not a transcript of the podcast interview with Rod and Adam, but rather the text of a paper by them on arts policy.

Restoring financial support for the arts would hardly amount to a radical transformative vision for the arts.  The major proposals in a recent document from the Labour party, for example, were entirely defensive: ‘reinstate arts funding’, ‘safeguard our galleries and museums’, ‘protect the BBC’.

It does not have to be like this; in 1965, Government Minister Jennie Lee published Britain’s first cultural white paper, ‘A Policy for the Arts: The First Steps’, in which she addressed uneven regional distribution and unequal access to the arts and committed state support for infrastructure. The paper led to the creation of countless museums, galleries and concert halls across the country and completely transformed Britain’s cultural landscape. Rather than attempting to merely return to this post-war model of funding however, we should apply its principles to the challenges of the present.

Access and involvement.

Research shows that well-educated middle-class professionals are most likely to be drawn to the areas of the cultural sector that are dependent on public funding such as opera and theatre, with those on less well-educated unskilled and semi-skilled workers tending to be more involved in the commercial culture industry. Instead of restoring a subsidy model that entrenches this division, we should seize the opportunity to change the funding system in a way that broadens and deepens the audiences that engage with publicly funded arts.

The prevalence of unpaid internships and unpaid labour in the arts presents a major financial barrier to access for those who do not come from privileged backgrounds. Discussion of a ‘real living wage’ to protect arts workers is a good start but there should be a root and branch approach to tackling the lack of diversity in arts organisations, from the shop floor to upper management – of the directors of our ten most popular museums, all are white and only one is a woman.

Renewed and dynamic versions of culture need to be brought out of the institutions into the widest public sphere; for large sections of the population there are invisible barriers to entering galleries, arts centres and concert halls – we can unconsciously assume “those places are not for me”. We should be looking to bring art activities beyond existent facilities to intervene directly in public spaces and within communities. Theatre groups working on civic initiatives, artists’ placements, musical ensembles from housing estates, filmmakers in workplaces and writers conducting workshops in local libraries enable myriad forms of individual and group self-activation. A focus should be placed on facilitating and empowering marginalised communities to speak without constant mediation; this would include the funding of workshops, training and skills-based initiatives, enabling communities to shape discourse about themselves from the very beginning. Importantly this should not be sidelined into ‘community art’ as once-off, philanthropic gestures but should be a guiding principle of national arts policy.

Public art can renew the sense that urban space belongs to all of us. The success of the Fourth plinth project in Trafalgar square, or the use of billboards to display modern painting in Tehran demonstrates this well. Too much of our visual environment is dominated by commercial marketing; companies operating billboards on public land could be required to periodically devote space to classical or contemporary art.

Regional access should be inclusive, localised and democratic; London, and to a lesser extent, the other select urban centres benefit disproportionately from arts funding. Publicly funded theatre, dance,

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