John Gilhooly Critiques Arts Council England: A Turning Point for Classical Music?

Table of Contents

1. Key Highlights
2. Introduction
3. The Current Landscape of Arts Funding
4. Gilhooly’s Announcement and Its Repercussions
5. The Critique of the Let’s Create Strategy
6. Defending Arts Council England: A Response
7. The Importance of Community Engagement
8. The Role of Arts Council and its Future
9. Historical Context: A Shifting Paradigm in Arts Funding
10. Balancing Excellence and Accessibility in the Arts
11. Conclusion
12. FAQ

Key Highlights

• John Gilhooly, director of Wigmore Hall, announces that the venue will operate independently from Arts Council England (ACE) by 2026.
• Gilhooly criticizes ACE for losing trust and focus within the classical music community, especially regarding its Let’s Create strategy.
• ACE defends its investments in classical music and emphasizes its commitment to fostering various art forms across England.
• A government review of ACE is underway, aiming to restore public confidence in cultural funding.

Introduction

At a time when traditional arts institutions are struggling for recognition, a statement made by John Gilhooly, the artistic and executive director of Wigmore Hall, has ignited a critical dialogue about the future of classical music funding in England. Gilhooly recently declared that his prestigious venue will no longer seek public subsidies from Arts Council England (ACE) starting in 2026. This bold move comes amidst rising concerns about the effectiveness of ACE's funding strategies and their impact on classical arts. Gilhooly’s assertion that ACE has "lost its way" raises pressing questions about the future of classical music, the health of the arts sector, and the responsibilities of funding bodies.

The Current Landscape of Arts Funding

In an era where state support for the arts is increasingly scrutinized, ACE has become a pivotal player in the distribution of public and lottery funds to various artistic entities across England. Each year, it allocates over £500 million of public money, alongside more than £250 million from lottery funds, with classical music receiving notable investment. In its 2023-2026 funding round, approximately £220 million was directed to classical music and opera organizations, reflecting ACE’s ongoing commitment to this art form.

However, the approach to funding has faced criticism from prominent figures within the arts sector, suggesting that priority has shifted from maintaining high artistic standards to a broader, community-focused strategy encapsulated in ACE's Let’s Create initiative. This strategy aims to democratize access to the arts, but critics argue that it risks diluting excellence in the art form.

Gilhooly’s Announcement and Its Repercussions

John Gilhooly’s announcement to sever ties with ACE by 2026 was both a challenge to the status quo and a call to arms for the classical music community. Having secured £10 million in private donations, Wigmore Hall is poised to embrace an independent operational model that Gilhooly believes will enhance artistic ambition and freedom.

"I’m a huge defender of ACE, and I’m grateful for their support in helping us get to where we are," Gilhooly stated, demonstrating a complex relationship with the funding body. However, he conveyed a firm message: "In some ways, it has lost its way... They are effectively asking us to step in and fix the decimation of arts and music education in schools."

This statement points to a wider issue regarding the state of music education in England. Gilhooly emphasized that music education has diminished significantly compared to the robust programs in the mid-20th century, where arts education was a staple in schools, fostering creativity and confidence in children.

The Critique of the Let’s Create Strategy

Gilhooly's main contention lies with ACE's Let’s Create strategy, which he views as misaligned with the needs of professional arts organizations. By employing one set of criteria to judge both community events and high-caliber performances, there is a fear that the unique demands and artistic visions of elite institutions are being overshadowed.

"Championing local and community arts projects is valuable," said John Tusa, a veteran arts leader, "but unless you have the greatest art, the best art, that people want to follow, it’s unlikely that you will get a strong community base." Thus, the underlying concern is that ACE’s current policies may inadvertently foster mediocrity at the expense of artistic excellence.

Defending Arts Council England: A Response

ACE has responded firmly to these critiques. Darren Henley, CEO of ACE, stated that the assertion that the council does not believe in or invest in classical music is "nonsense." He affirmed the body’s commitment to "world-class, internationally significant work" and acknowledged that a diverse spectrum of artistic expressions is crucial to cultural vitality.

Henley pointed out that ACE’s funding serves a wide array of artistic endeavors, stating, "We are here for every art form, every geography, every type of music." He also clarified the financial landscape, noting that Wigmore Hall’s £345,000 annual grant only constitutes a small fraction—about 2%—of its total income, which primarily derives from ticket sales, sponsors, and donors. Henley argued that this financial independence might create opportunities for other organizations that rely more heavily on public support.

The Importance of Community Engagement

Despite these tensions, community engagement remains a focal point for artistic institutions. Wigmore Hall is actively involved in outreach programs, like its Music for Life initiative aimed at individuals with dementia, demonstrating that the intersection of high-art and community values can coexist.

Gilhooly contended that while organizations like his want to contribute positively to community arts, ACE has placed it as a primary responsibility on institutions that were previously dedicated to the highest standards of classical performance. This has led to a scenario where essential educational outreach is being perceived as an obligation rather than an opportunity.

The Role of Arts Council and its Future

The current discussions surrounding ACE and its funding strategy will be further scrutinized as the government has called for a review of the council. With the aim to reconnect people with arts and culture throughout England, this review holds the potential to reshape funding principles and can inspire confidence in various artistic sectors, particularly classical music.

Culture Secretary Lisa Nandy acknowledged, "This review will be the first step to restore people’s connection with the arts and culture in every region of the country." This suggests a possible reconceptualization of how arts organizations might be funded and evaluated, especially as they navigate the complex landscape of audience engagement, financial sustainability, and artistic ambition.

Historical Context: A Shifting Paradigm in Arts Funding

Historically, this discussion paints a broader picture of how arts funding has evolved in the UK. Since the establishment of ACE in 1946, funding models have shifted in response to changing social contexts and economic realities. In the 20th century, a time characterized by greater state investment in arts education and public performances, cultural institutions flourished.

However, the advent of austerity in recent years has rewritten this narrative, leading to critical reviews of arts education and its funding. Voices from within the community are increasingly assertive, demanding that funding bodies retain accountability while ensuring the flourishing of high-caliber art. In essence, the interplay between community engagement and artistic excellence remains at the core of these discussions.

Balancing Excellence and Accessibility in the Arts

In moving towards an effective solution, the importance of balancing accessibility with artistic excellence cannot be overstated. While engaging a broader audience, it is essential to continue championing the arts' highest standards. Gilhooly, alongside several arts figures, argues for a continuum that appreciates both community-based activities and the pursuit of excellence in performance.

As the debate continues to unroll, it is crucial for ACE and organizations like Wigmore Hall to engage in an open conversation, sharing their respective perspectives to arrive at an equitable framework. Solutions could involve reevaluating funding criteria, ensuring that excellence is prioritized while accessibility remains a high value.

Conclusion

The statement from John Gilhooly and the subsequent dialogues about the future of classical music funding mark a significant chapter for the arts in England. Choices made in the coming years will have repercussions that resonate through the very fabric of cultural life. As the classical music community grapples with these changes, a renewed focus on both community engagement and artistic excellence will be essential. Ultimately, this moment may act as a pivotal turning point in reshaping how arts and culture are supported in England, creating a foundation that honors the past while bravely venturing into the future.

FAQ

1. Why is John Gilhooly critical of Arts Council England?
John Gilhooly believes that Arts Council England (ACE) has lost the confidence of the classical music community, primarily due to its Let’s Create strategy, which he feels unfairly evaluates community events and high-level performances with the same criteria.

2. What is the Let’s Create strategy?
The Let’s Create strategy is an initiative by ACE aimed at increasing access to the arts for all, focusing on community and grassroots engagement. Critics argue that this strategy can dilute the standards expected of classical music performances.

3. How much public funding does ACE distribute annually?
Arts Council England distributes over £500 million of public money and more than £250 million from lottery funds every year to various arts organizations across England.

4. What prompted the review of ACE?
A government review has been ordered to assess ACE’s effectiveness in preserving cultural connections and ensuring equitable funding across the arts, following rising concerns from the artistic community.

5. How does Wigmore Hall plan to sustain itself without ACE funding?
Wigmore Hall has secured £10 million in private donations, allowing it to operate independently and pursue artistic ventures without reliance on public subsidies from ACE starting in 2026.

6. What historical shifts have influenced current arts funding models in the UK?
The evolution of arts funding in the UK has transitioned through varying socio-economic contexts, with a notable increase in privatization and decreased state investment in the arts, especially in the wake of austerity measures that brought about changes in funding principles.