The History of the Arts Council of Northern Ireland, 1943–2016: Between the State and the Arts

Description

This book presents the history of the Council for the Encouragement of Music and the Arts (CEMA) in Northern Ireland from its conception in 1943, and its successor organisation, the Arts Council of Northern Ireland (ACNI). Exploring the political and social impact of cultural policy in Northern Ireland, the book illustrates how the arts developed during the twentieth century and sheds light on the relationship between politics and culture. The author takes a closer look at the responsibilities of ACNI, and examines its interaction with the unionist government, which sought to influence how the organisation distributed its grants. Spanning the outbreak of the Troubles in the 1960s and the Peace Process in the 1990s, the ACNI evolved through a period of conflict and change, and therefore this book argues that there was an undeniable link between the changing political environment and the management of the arts in Northern Ireland. The arm’s length principle is analysed in relation to ACNI, examining the influence that the state had upon its management and governance. Offering a unique historical overview of the arts in Northern Ireland, this interdisciplinary book fills a gap in Irish history and presents insights into cultural policy, conflict resolution and political history. Contents Abbreviations List of Figures List of Tables 1 Introduction Evolution of the Notion of Arts Arts, Culture and Tradition in Northern Ireland Building a Gaelic Ireland Unionist Identity Cultural Policy Main Questions Notes Part I CEMA, from a Temporary Wartime Measure to a Permanent Institution (1939–1951) 2 Arts and Culture in Northern Ireland Before the Second World War Culture and the Authorities Ulster Culture, Ulster Identity Ulster Drama20 A Cultural Desert?: The Arts in the 1930s in Northern Ireland Notes 3 Creating CEMA Institutional Beginning of CEMA (NI) 1940‒1943: False Start 1943‒1945: CEMA (Northern Ireland) The Arts During the War CEMA’s Policy: Being Part of the War Effort A New Artistic Buoyancy Rise of Regionalism Notes 4 Establishing CEMA in the Political and Cultural Landscape of Northern Ireland CEMA (NI), Its Incorporation and the Arm’s-Length Principle CEMA’s First Steps The Festival of Britain Notes Part II The Evolution of CEMA/ACNI: Politics, Culture and the Arts (1950s–1960s) 5 The Artistic Policy of CEMA/ACNI: Educating the People “Increase Accessibility”1 Touring New Partnerships: Local Arts Committees New Partnerships: Local Authorities Social Outreach Criticism and Challenges “Improve the Standard of Execution”63 Declining Support for Amateur Arts Direct Provision of the Arts The Ulster Orchestra (UO) The Grand Opera Society (GOS) The Visual Arts The Project of a National Theatre112 Notes 6 Politics, Sectarianism and CEMA/ACNI The 1950s: Political Encroachment and the Arts The Question of the National Anthem The Bonefire Over the Bridge From CEMA (NI) to ACNI: Criticism of the Council The 1960s: The Arts and the O’Neill Government Greater Interest in the Arts The End of the “Cultural Border”77 Notes 7 A Regionalist Agenda in Northern Ireland? The Ulster Folk and Transport Museum The Ulster Museum Ulster Arts and CEMA/ACNI Notes 8 1968‒1972, A Transition The Beginning of the Troubles and the Arts Consequences of the Crisis on Art Performances Arts as Community Relations: Literature and Traditional Arts ‘Ulster 71’ The Reform of the Arts Council Notes Part III Artistic Policy in a Violent Political Context (1970s–1990s) 9 In Times of War: A New Role for the Arts Conflict Resolution Theory Peacemaking and Peacebuilding Community Relations A New Community Relations Framework in Northern Ireland First and Failed Attempts at Peacebuilding Community Relations (1969‒1975) Lord Melchett Culture and Peacebuilding Multiculturalism, the Anglo-Irish Agreement and Education From Two Traditions to Cultural Diversity The Community Relations Council (CRC) Notes 10 Isolationism of ACNI Limited Artistic Activity in the 1970s Multiple Closures Visiting Northern Ireland Self-Censorship Keep Calm and Carry on The ‘Big Three’22: the Lyric Theatre, the Ulster Orchestra and the Grand Opera House Interplay Diversification of Funding Support from District Councils The Economic Potential of the Arts Notes 11 Community Arts and Their Development in Northern Ireland Defining Community Arts Nationalists and Community Arts Artists in Their Community: The Field Day Theatre The “Cultural Struggle”27 Emergence of New Artists: The Example of Martin Lynch ACNI, an Unwilling Participant Professional Arts and Amateur Arts: An Old Battle Community Arts? no, Thank You Notes 12 ACNI and the Peace Process Arts in the Community Arts in Situ Young Arts Traditional Arts Literature ACNI and Cultural Traditions Reforming ACNI The Priestley Report (1992) The Arts Council (Northern Ireland) Order (1995) A New Strategy for ACNI Notes Part IV ACNI’s Integration into a Northern Irish Cultural Policy (1998–2016) 13 A New Institutional Framework The European Union and the Funding of Culture Indirect Funding: INTERREG and Training Programmes Culture Programmes In Northern Ireland: PEACE I‒IV New Labour’s Cultural Policy: The Economic and Social Role of the Arts Culture and the Arts as a Prerogative of the State The Department of Culture, Arts and Leisure (DCAL) A New Legislative Framework: Support for the Irish Language and to Ulster-Scots Notes 14 The Government and the Economic Potential of the Arts Urban Regeneration and Cultural Tourism In Belfast In Derry/Londonderry The Cuts The Creative Industries Notes 15 ACNI: A Contested Development Agency ACNI and the Government The Arm’s-Length Principle Lobbying the Government ACNI’s Strategies ACNI and the Social Purpose of the Arts Reconciliation Re-Imaging Communities The Irish Language and Ulster-Scots North/South Collaboration Outreach Social Inclusion: Older People, the Disabled and Ethnic Minorities The Economic Argument Arts Infrastructure Arts and Business The Creative Industries Innovation Fund Exporting Northern Ireland Through the Arts Notes 16 Conclusion Notes Appendix Index