Dáil Éireann díospóireacht -
Thursday, 6 Apr 1995

Vol. 451 No. 7

The Arts Plan 1995-1997: Statements.

Minister for Arts, Culture and the Gaeltacht (Mr. M. Higgins)

Is mór liom go bhfuil an deis seo agam ráiteas a dhéanamh i dtaobh An Plean Ealaíon 1995-1997 a foilsíodh cúpla seachtain ó shin. Is í an Chomhairle Ealaíon a dhréachtaigh an plean seo i ndlúthchaidreamh le mo Roinnse agus tar éis dom iarraidh orthu, ag deireadh na bliana 1993, dul faoin togra tábhachtach seo.

Nuair a chuir an Chomhairle an plean faoi mo bhráid, fuair mé cead ón Rialtas é a fhoilsiú láithreach, cé nach raibh deis acu teacht ar chinneadh faoin bplean agus a bhfuil ann ag an am.

Dá bhrí sin, tá an díospóireacht atá ag tarlú anois sa Dáil faoin bPlean Ealaíon 1995-1997 thar a bheith tábhachtach. Tugann sé deis chuí do Theachtaí a dtuairimí a nochtadh faoi agus tá mé ag súil go gcabhróidh an díospóireacht Dála seo liom nuair a chuirfidh mé an plean go foirmiúil faoi bhráid an Rialtais go luath. Ní haon áibhéil é a rá, dar ndóigh, go mbeidh sé níos éasca agam aidhmeanna an phlean a chur os comhair an Rialtais nuair a bheidh na tuairimí nochtaithe ag na Teachtaí Dála. Chomh maith leis sin, nuair a chuirtear san áireamh an díospóireacht sin, na freagraí agus na meastacháin a thiocfaidh ón Rialtas, réiteofar an bealach chun na cuspóirí sin a chur i gcrích. Thar aon rud eile, ba mhór an chabhair dom féin da mbeadh sé soiléir maidir le díospóireacht na Dála go bhfuil gach taobh den Teach fabhrach don phlean.

Tá An Plean Ealaíon 1995-1997 foilsithe ag tráth suimiúil i staid ealaíon agus cultúir na tíre. Ó ainmníodh mé mar Aire Ealaíon, Cultúir agus Gaeltachta dhá bhliain ó shin — agus tá sé ar intinn agam fanacht sa phost sin, is cuma cad a deir na nuachtáin — tá méadú mór tagtha ar an soláthar airgeadais atá ar fáil d'ár n-institiúidí cultúrtha náisiúnta agus don Chomhairle Ealaíon féin. D'éirigh liom, san am gearr sin, méadú de 52 faoin gcéad a fháil ar an soláthar airgeadais do na hinstitúidí cultúrtha náisiúnta agus méadú 60 faoin gcéad a fháil don Chomhairle Ealaíon. Taobh amuigh de sin, tá a fhíos ag Teachtaí nach raibh soláthar airgid ar bith ar fáil do thionscal scannáin agus éist/fís nuair a ainmníodh mé mar Aire. Is mór liom, dá bhrí sin, go bhfuil £3.25 mhilliún ar fáil do Bhord Scannáin na hÉireann i mbliana agus go bhfuil éileamh mór tagtha ar an líon iarratas ó chomhlachtaí agus ó dhaoine gur mian leo infheistiú a dhéanamh i dtograí scannáin faoi alt 35 den Acht Airgeadais, 1987, leasaithe.

Tá sé soiléir do chách, dá bhrí sin, gur tráth suimiúil é seo do chúrsaí ealaíon agus cultúir mar a dúirt mé cheana féin. Ach, mar Aire Ealaíon, Cultúir agus Gaeltachta, níl mé sásta glacadh leis an dul chun cinn cuimsitheach seo amháin. Ó toghadh mé mar Theachta Dála, bhí mé i gcónaí ag moladh go leagfadh an Rialtas amach a pholasaí faoi chúrsaí ealaíon agus cúlturtha ar bhonn struchtúrtha pleanáilte, agus is mór liom, dá bhrí sin, go bhfuil an aidhm phearsanta seo bainte amach agam anois leis An Plean Ealaíon 1995-97 atá ar fáil. Tá an díospóireacht Dalá tábhachtach seo ag tarlú inniu sa chomhthéacs seo agus tá mé ag súil le cead an Rialtais a fháil chun an plean a chur i bhfeidhm chomh luath agus is féidir.

Ba mhaithe liom a chur in iúl do Theachtaí chomh maith go mbeidh leagan Ghaeilge den Plean Ealaíon 1995-97 ar fáil go luath.

I very much welcome the opportunity to make a statement on The Arts Plan 1995-1997. The plan was drafted by the Arts Council in close consultation with my Department and following a request by me to An Chomhairle Ealaíon at the end of 1993 to draw up such a plan. It sets out a strategy for the development of arts and culture in our society over the next three years, building on the exciting advances which have been made in this area since my appointment as Minister just over two years ago. In essence, it seeks to address the many years of neglect of the arts by successive Governments and to place State support for arts and cultural expression in our society on a sufficiently high plateau within a relatively short period of time. This overall strategy of securing a plateau of State support is designed to ensure a continued and self-sustaining dynamic in our society for the benefit of all our citizens after implementation of the plan. The plan addresses current funding of the arts by An Chomhairle Ealaíon over the next three years, seeking funding levels of £19.5 million in 1995, £21.8 million in 1996 and £26.1 million in 1997. Separate arrangements exist within my Department concerning capital funding of arts and culture infrastructure, which I will explain later in this contribution.

I was pleased to obtain the approval of the Government to publish this plan last February in advance of its formal consideration of its content and its funding implications. The document was published in English initially, but I am pleased to say that an Irish language version of the plan will be available shortly, thus emphasising the inclusiveness of its overall objectives. Publication of such a plan in advance of Government consideration may be considered to be somewhat unusual but it demonstrates the commitment of this Government to the arts in general and, more particularly, the Government's willingness to secure the views of the public and their representatives in this House before giving final consideration to the plan. The Arts Plan 1995-1997 has already been debated in the public domain since its publication in February and I take heart from the fact that public reaction to date to its content has been broadly favourable. It is only appropriate that the House has an opportunity to play its full part in this process and it goes without saying, therefore, that I welcome this debate on the plan in Dáil Éireann and I hope to secure broad cross-party support for its content and strategies so that Government approval for its implementation in the shortest time period possible can be achieved before very long.

This document represents only the second major attempt by an administration to articulate policy on the arts since the foundation of the State. The only attempt by Government to draw up a White Paper on arts and cultural policy was made in 1987, when the then Government — in which my party also participated — published the White Paper on Access and Opportunity. Unfortunately for those of us who saw great potential for the development of the arts in this White Paper, its publication was overtaken by a general election, a subsequent change of Government, and the effective demise of the document. This second attempt affords us an opportunity to correct this deficiency in arts policy and planning.

The plan has my strong endorsement and I intend to pursue vigorously with my Cabinet colleagues the opportunity presented in it to develop the arts in a planned and strategic manner. The significance of the plan for me is that it is targeted at all policy makers rather than at the narrow arts community who have long been convinced of the necessity for significant investment in the arts infrastructure of the State. As the House will be aware, since my election as a Teachta Dála I have been campaigning for a planned strategic approach to be taken to the development of the arts in Ireland. I was particularly pleased to realise this objective in the context of the negotiations following the general election in November 1992 when a secure commitment to such an approach was given in the Programme for a Partnership Government of the Administration which was formed in January 1993.

The programme stated: In order to ensure the fullest development of our cultural life and to untap the potential that exists in abundance throughout Ireland, the Arts Council will be asked to operate on a co-ordinated three yearly plan for funding of the arts. This commitment by Government has been further consolidated in the policy statement of the three Government parties in the current Administration in the document A Government of Renewal which states:

The momentum achieved in the cultural sector over the past two years will be continued. It is now accepted that support and encouragement for the contemporary arts and the protection of our natural and built heritage are central issues of social and economic significance.... The Three Year Plan 1995-1997 prepared in consultation between the Arts Council and the Department of Arts, Culture and the Gaeltacht will be the basis for a programme of action.

The commitment in A Government of Renewal towards an arts plan is stronger than that given in the Programme for Government of the previous Administration, something which I very much welcome.

I emphasise that this plan was not formulated in any exclusive, élitist or insular manner. An Chomhairle Ealaíon drew from the views of a broad cross-section of our society and, as such, the document can be viewed as a comprehensive evaluation of the arts and their requirements now and for the future. The process undertaken involved wide public consultation in the first instance, and, as I have already indicated, subsequent detailed discussions with my own Department in a partnership framework with shared objectives for the enhancement of the arts in Ireland. This is a significant development in what might be described as the development of a strategic alliance between An Chomhairle and my Department. This has led to the finalisation of this plan and its continuation will represent a key factor in how we can achieve the plan's objectives in a cohesive, structured and effective manner in the minimum time period possible. It is crucial to realise that it is only through such partnerships and co-operation that the objectives of the plan will be achieved in a co-ordinated way in the most appropriate period of time. An Chomhairle recognises this and the plan makes it clear that its success will depend on An Chomhairle Ealaíon engaging in partnerships at national, regional, local and international level.

In addition to the contribution from my own Department, the drafting of the plan was crucially informed by submissions received from individuals and organisations representing a cross-section of the community — from bodies in the arts and culture section, local authorities, education bodies, youth agencies, groups representing the disabled and other marginalised groups in our society. An Chomhairle also commissioned research as a further strand to the consultation process. This research initiative involved four separate but important exercises: research on "The Public and the Arts" carried out by University College Dublin dealing with audiences and participation in the arts; research on "Managing the Cultural Sector" carried out by the Smurfit Business School; a paper on "The Economics of the Arts in Ireland" written by the distinguished economist, Joe Durkan and a report on "The Employment and Economic Significance of the Cultural Industries in Ireland" carried out by Coopers and Lybrand.

The time available does not allow me to go into any detail on this research so I will quote from one of them. The Coopers and Lybrand report shocked some people but it did not surprise me. It pointed to the significance of the arts sector in the economy with gross revenue in the order of £450 million, employment amounting to 21,500 full-time equivalent jobs and with a minimum export value of £100 million. This compares very well with almost three times as many employed in the cultural sector as in the computer hardware industry at 7,500 and not far off the total employment in banking in Ireland at 24,000. The report suggests it is high time that the arts are taken seriously as a positive contributor to our economic development. With the pervasive problems of unemployment in the traditional sectors, the opportunity must be seized to develop innovative employment creation strategies where the arts can play an even greater role.

In summary, apart from the powerful cultural arguments there is an overwhelming case for the arts in an economic sense, particularly in relation to employment creation, innovation and sustenance.

A case in point where this can be demonstrated is our film industry. There is no doubt that the injection of support from the State which the industry received in recent years has created an atmosphere where innovation and artistic expression is flourishing while, at the same time, real and tangible returns to the economy are becoming apparent. The benefits to the economy in the key areas of job creation, the procurement of goods and services from Irish companies and the enhancement of the skill base of Irish personnel are factors which have now been clearly demonstrated by the recent publication of a report on the economic impact of film production in Ireland in 1993. This report draws from an independent objective database, which IBEC is overseeing and was compiled by its audiovisual production federation, my Department, Bord Scannán na hÉireann, RTE and Film Makers Ireland. The 1993 analysis covers the first 16 feature films, major television dramas and animation projects which commenced that year. It must be remembered that the initiatives were in place mid-year.

The combined budget of these projects was £50.5 million, £30.5 million or 60.5 per cent of which was spent in Ireland. A total of 4,191 Irish people were employed on the projects which is the equivalent of 480 full-time jobs on an annual basis. Most significantly, the analysis indicates that the cost to the Exchequer in terms of section 35 film investments and support from Bord Scánnan was £6.1 million but that the actual return to the Exchequer was significantly greater at £7.7 million. There was a net balance. Yesterday the National Heritage Committee of the House of Commons reported on the British film industry and recommended to the British Government that it introduce a scheme similar to that which prevails in Ireland and comments favourably on its analysis of our measures following submission of material to it which it sought from us and its visit to this country.

Miss Quill

Well done. If it wishes to second the Minister he must say "no, no, no".

Mr. Hilliard

Marvellous.

Mr. M. Higgins

It is entitled "The British Film Industry" and was published yesterday, House of Commons reference, volume 1, HC 57/1. The plan before us is based on an increasingly sound contention that in addition to their intrinsic value to Irish society — a value which is accepted by all sides of the House — arts and cultural activities can make an enormous impact in the economic and social spheres through the creation of sustainable and rewarding employment, the creation of an attractive environment for tourism and the energising and boosting of the morale of local communities. The research commissioned by An Comhairle in the context of the plan gives full backing to my contention that arts and culture matters can no longer be regarded as peripheral or marginal to the concerns of our society or our Government, but rather that they must be placed at the centre of our economic and social strategies for the future.

Turning to the content of The Arts Plan 1995-1997, I can inform the House that, if fully implemented, the plan would ensure a wide range of benefits, a summary list of which includes: notable increases in the levels of arts activity in the nine centres identified as a priority zone — Laois, Wicklow, Donegal, Westmeath, Offaly, Tipperary, Leitrim, Roscommon and Longford; greatly enhanced opportunities for communities all over Ireland, especially those for whom provision has been limited up to now, so as to encourage real participation in terms of availability and access; the consolidation of key arts facilities, especially arts centres, municipal and other galleries which will become the focal points for arts activity offering a quality service to their areas and generating creative and innovative work; a considerable increase in awards to artists ensuring a steady delivery of new work and an appropriate support structure with special provision for writers in the Irish language; and a dynamic programme for touring in music, dance, theatre, opera and exhibition in co-operation with the Arts Council in Northern Ireland.

I am also pleased to report to the House that the strategic objectives of the plan are concentrated around the critical issues and values of quality, creation, access and participation, North-South co-operation, strategic partnerships, and research-based policy. Addressing the issue of quality, it is the stated aim of the plan to secure the highest standards achievable within each of the art forms and to strengthen the position of art forms which are currently considered weak. On creation, the aim is to improve the status of artists and art workers and to foster a climate which encourages innovation.

With regard to access and participation, it is planned to encourage real participation in the arts in terms of availability and access, with particular reference to young people, children, people with disabilities and taking account of social as well as geographical barriers. I warmly welcome the fact that the importance of targeting young people is particularly emphasised with a decision to allocate 15 per cent of Arts Council funding to young people and children from 1995 onwards in comparison with the funding level of 6.5 per cent in 1994 towards this group.

On North-South co-operation, An Chomhairle has set the objective of promoting further co-operation in and through the arts. I do not need to emphasise how important a role the arts can play in promoting an understanding and a growing respect for the different traditions, and versions of them, on this island and I believe that the emphasis which An Chomhairle has placed on this in its plan could and will greatly assist the peace process on this island in the short term. I am pleased to inform the House in this context that there already exist considerable links on a North-South basis between the two Arts Councils on the island, which are engaged in regular dialogue, which includes a joint annual meeting and a special joint committee established after my meeting with Minister Ancram in Stormont last summer. The councils also exchange minutes of their respective meetings and jointly fund a European Affairs Officer. The two councils also propose to jointly appoint an Arts Co-operation Officer very soon, with the remit of initiating, broadening and encouraging collaboration in all forms of arts activities, with particular emphasis on cross-Border touring and exchanges. There is also significant involvement from the North of Ireland in the L'Imaginaire Irlandais project which will involve a wide range of contemporary artistic and cultural events taking place in France from April-August 1996. I welcome the fact that five of the 17 Irish artists to be featured in the core visual arts exhibition in Paris next year are from the North.

The aim to secure maximum benefit for the arts through strategic partnerships is already bearing fruit. What I described earlier as a strategic alliance between my Department and the Arts Council is the first such example. Another example relates to the new arrangements involving myself, An Chomhairle Ealaíon and the three national cultural institutions dealing with the contemporary arts — the National Concert Hall, the Irish Museum of Modern Art and the National Theatre Society — whereby An Chomhairle now provides me with its expert advice on the funding requirements of these institutions annually. An Chomhairle and myself are as one in confidently believing that these new arrangements are to the benefit of the institutions concerned. The artistic integrity of the institutions in devising and operating their own programmes is not affected and, over time, I expect that the primary and distinctive roles of these institutions as institutions of national cultural policy will be reinforced and reinvigorated. This in my view is the right way forward. For far too long there have been too many individual strands in contest with each other over limited resources, with a net result that progress in one area often meant regression in another. The need for a co-ordinated approach has been evident for some time. Partnerships can steer the development of a balanced arts infrastructure with the involvement of both the public and private sectors.

I very much welcome the fact that the strategic objectives of the plan have been articulated so clearly and concisely. I also very much support the fact that the plan adopts an area-based approach to the development of the arts in Ireland, committing An Chomhairle to the creation of centres of energy and excellence at local, regional and national level throughout the country. This is an approach which very much fits in with my own policy priorities to replicate centres of energy and excellence which already exist in our capital city and in other strategic centres of population. The strategic centres identified in the plan are Cork for the visual arts, Galway for film, Waterford for theatre and Limerick for music. I am aware of some concerns about this particular approach, to the effect that it in some way will exclude sections of the arts community from their chosen discipline in centres of population designated as centres of excellence for one particular discipline.

I welcome the opportunity to make it clear that this is not how either I or An Chomhairle Ealaíon regard this strategy. The fact that a particular centre of excellence is to be nurtured will in no way exclude artistic expression in other disciplines in that city nor will it inhibit other developments in the designated discipline surfacing elsewhere. For example, the identification of Waterford as a centre of excellence for theatre will in no way result in all theatre activity concentrating in that area. Indeed, I have already agreed to substantial sums for investments in theatres in Longford, Galway and Sligo.

The designation of Waterford is about the awarding of recognition to a wonderful and large theatrical facility in the south east, the Theatre Royal, which must be retained as a regional flagship for this arts discipline. This approach will strengthen what we have in the capital and include a necklace of others that will reach standards of excellence and have the function of co-ordinating and drawing together what we consider to be of crucial regional significance. Around that there will be flowering of expressions everywhere, but at least this will be seen as a positive regionalisation and its aim is to foster excellence within the concept of positive regionalisation, but it neither excludes nor inhibits the development of anything. As a politician of another tradition once said: "May a thousand flowers bloom". I very much hope that the foregoing assurances will allay the apprehensions of some groups and individuals about the concept of centres of excellence.

Miss Quill

It is the fertiliser about which they are worried.

Mr. M. Higgins

We are already seeing the benefits of the creation of centres of excellence with the relocation of the Irish Chamber Orchestra to Limerick. I should point out to Deputy Quill that centres of excellence are interested in income, money and investment but they must be established in a co-ordinated manner which we shall discuss.

The relocation of the Irish Chamber Orchestra in Limerick was a first step in redressing the serious imbalance in providing music in the west and it led to interesting consequences. This step, aligned to the development of the magnificent Concert Hall at the University of Limerick and the advancement of education programmes in both research and performance at that university, combined with the arrival of the brilliant Professor Micheál Ó Suilleabháin, acted as a catalyst in attracting substantial sponsorship from Toyota Ireland for the development of a five-year programme in the performing arts — £100,000 each year. I warmly commend Toyota Ireland for this extremely generous sponsorship. The concept of centres of excellence in the regions will succeed by creating alliances between the public and private sectors and by exploiting the dynamic implicit in pride in one's own community and region, a feature of regional activity.

However, the regional policy given emphasis in the plan will not mean scaling down the arts infrastructure in Dublin. While it is my express intention to upgrade arts activity and infrastructure in the regions, it will not be achieved at the expense of downgrading the infrastructure in our capital city. This is not a strategy for decentralisation; rather it is a policy of positive regionalisation. In this context the plan has been announced at a very opportune time, a time when I have succeeded in attracting a considerable sum, in excess of £67 million, Exchequer and European Union funding for arts and cultural capital infrastructure over the period 1994-99. These funds are additional to the funds which will be made available to An Chomhairle Ealaíon over the period 1995-97. They will enable me to combine investment in arts infrastructure in our national cultural institutions based in Dublin, notably the National Museum, with a capital programme for the arts involving a strong regional emphasis as a means of redressing the imbalance of our arts infrastructure between Dublin and the regions. Already a number of significant regional projects have been approved under this capital programme. In the case of the Longford Theatre, work is almost complete and the magnificent new facility will be officially opened later this month. Other projects approved include the Municipal Theatre in Galway, the Crawford Gallery, Cork, the refurbishment and extension of facilities at the Hawkswell Theatre, Sligo, and the development of the Hunt Museum in Limerick.

As many Deputies will be aware, I recently invited proposals for funding under this capital programme for the arts this year. However, I should point out that already the scheme has been well oversubscribed and the process of evaluation of projects has been made extremely difficult by the quality and quantity of the some one hundred and seventy applications I have received. It is my intention to establish an advisory committee shortly to assess these applications when I shall seek to involve representatives of my Department, An Chomhairle Ealaíon and the regions.

As I am touching upon the subject of the funding of buildings for arts and cultural infrastructure, I should mention that architecture is included in the plan under the broad category of the visual arts. While there may be only a few specific references to the discipline, its needs must be considered under the wider issues of creating awareness and appreciation of the visual arts in general, for which there are definite proposals. One of the greatest problems facing architecture at the moment is the lack of understanding of its importance as an integral part of our culture. In this regard, the Department of Arts, Culture and the Gaeltacht and An Chomhairle Ealaíon have formally supported the establishment of a working group, co-ordinated by the Royal Institute of Architects of Ireland, to prepare a proposal for a national policy on architecture, a draft of which will be submitted in the autumn. The results of this exercise may be incorporated into relevant sections of the plan, where appropriate.

The Arts Plan 1995-1997 represents a major step forward in realising the full potential of the arts here. Of course, the plan cannot address every issue in the short term. Priorities have to be set which will lead inevitably to dissatisfaction in some quarters. In many ways there has been a great wave of expectation and an enormous demand. It is very good to note the creativity within the community but it is difficult to make choices. The art forms of music, opera, dance, visual arts — including architecture — films, literature and drama all are at varying stages of development and have very different needs. The plan will act in a co-ordinated strategic manner to advance, develop, promote or consolidate the different art disciplines, as deemed necessary, so as to establish a cohesive arts infrastructure for the future.

It will not be part of my function to determine the funding for any particular discipline over coming years or to determine where such funding should be directed. The funding the Government will determine for An Chomhairle Ealaíon for the period 1995 to 1997 will be used by An Chomhairle in accordance with its statutory responsibilities on a strictly impartial independent basis. It is statutorily independent of me and will enjoy that statutory independence. I have described the relationship as one of autonomy with responsibility.

I am sometimes asked about the philosophy at the base of this relationship. It makes an assumption concerning creativity, that creativity is something based on our shared symbolic relationship with each other, that exists in every child and adult and which it is important to nurture. Rather than make provision for something haphazard, élitist and inaccessible, the thrust of the plan is drawn from a democratic theory of culture, stressing activity, participation, energy and, in particular, the social basis of creativity itself.

I look forward to hearing Members' views and thank them for the dialogue and partnership we have been able to establish across all parties in discussing the arts here. I commend The Arts Plan 1995-1997 to the House.

Miss de Valera

I was disappointed that the arts plan had not been published before reading about it in the newspapers and even more disappointed the Minister did not see fit to discuss it and present it to the House before now. This debate would not be taking place but for the initiative of the Fianna Fáil Party.

However, I welcome the announcement of a plan which is exciting and places emphasis on the need for participation in the arts. This plan brings the arts into the public domain, into the mainstream of economic and political thinking. It is about the democratisation of the arts and against élitism. In an age of ever-growing materialism it is imperative to recognise that the arts are an important part of the self and pave the way for self knowledge and self expression. The functions of the State should not be concerned only with utilitarian and economic activity. Since industrialisation/urbanisation there has been a changing attitude to the arts, once seen as élitist, a luxury, an unnecessary expense. The arts were seen to improve the quality of life but were perceived to attach a price tag to that quality of life which led to a very limited perception of and attitude to them. However, in recent years I have been very heartened to observe an acknowledgment of their role in all our lives. It is a most important aspect of all our lives and because of that recognition there is a growing demand for equality of access.

In 1951 the first Arts Council Director, Paddy Little, encouraged the development of an arts policy. He believed in a policy of art for the people so that the community could benefit as a whole. In his view the key to development was to support artistic activities in rural areas and that the council should support the amateur and the professional. In 1972 the Arts Council's plan, which was referred to as the five point plan, reiterated this philosophy and mirrored the philosophy of Roosevelt's federal arts project in the 1930s. While I acknowledge the interest and the commitment of the Minister it would be wrong to believe that the arts are the preserve of any one party or any one Minister. Since the foundation of the State, particularly since the second Dáil, there has been an acknowledgment of the importance of the arts.

In the budget of 1967, a former Minister for Finance, Charles J. Haughey, increased the Arts Council grant-in-aid by 50 per cent. The late Donogh O'Malley drew attention to the need for more arts and music in the curriculum. Former Deputy Haughey also emphasised that State planning for the arts was essential and he introduced the tax free status for creative artists. Later still he was interested in not only promoting but doing all he could to ensure the Temple Bar project got off the ground.

Section 35 tax relief was first introduced in the Finance Act, 1983, to aid the film industry and a Fianna Fáil Minister for Finance updated section 35 in the 1994 Finance Act. Thanks to the Fianna Fáil Leader, Deputy Bertie Ahern, Collins Barracks will soon be turned into a museum. The National Heritage Council, set up many years ago by Fianna Fáil, suggested and, indeed, supported this project but the then Minister for Finance, Deputy Bertie Ahern, made the finances available. It is disingenuous of the Minister for Arts, Culture and the Gaeltacht not to acknowledge that without the partnership in Government with Fianna Fáil in 1992 he would not have been in a position to implement the many projects which have emerged since then.

The kernel of the arts plan must be the whole question of education. Ciarán Benson's report in 1979 on the place of the arts in education went to the heart of the problem and was endorsed by the Arts Council at the time. In 1983 the council again emphasised that proper recognition must be given to art, music, drama and dance in our primary and post-primary schools. In 1985 Deaf Ears published detailed statistical evidence of the scandalous neglect of music in our school curriculum. In the same year only 2.9 per cent of the total number of candidates sitting the leaving certificate took the music examination. The number of students taking music in the leaving certificate today still remains a pitiful number.

It is only just, however, to praise the work being done with regard to the arts in our schools: the arts in schools scheme, writers' visits to schools, musical recitals in schools and the work of the Team Education Theatre Company which, this year, celebrates its 20th anniversary.

The recent Green Paper on Education was most disappointing in its treatment of the arts. I urge the Minister for Education with her colleague, the Minister for Arts, Culture and the Gaeltacht, to take this matter seriously so that the arts will feature widely in the White Paper on Education. Every subject in our curriculum should have a connection with the arts. It would be unwise to try to decompartmentalise the arts. Local authorities, because of their links with the schools and other links in regard to programmes such as VTOS and unemployed projects, can create not only an interest but give expression to the arts programme. The three Deputies in the House — the Minister, Deputy Máirín Quill and I — discussed the issue of arts and heritage in the education programme. With increased emphasis on local history and heritage in our schools the arts would be part of that new philosophy and should be encouraged. I agree with the Minister that education should not just be a matter for the younger people of our community, it should also be introduced in courses for adult education, particularly for those who left the education system at an early age and wish to re-enter it.

I congratulate the Arts Council which has acted on the Ace report in partnership with FÁS, the Combat Poverty Agency, CAFE and the Ireland funds in introducing community arts training in a range of contexts and in a co-ordinated manner. Community arts highlight those who have been culturally marginalised while at the same time recognising those who have been marginalised due to geographic, social or economic conditions. Community arts activity is both self consciously educational and developmental. Women's writing groups are significant in community arts projects. This has given recognition to a group which has not been recognised in its proper light to date.

Community arts have been seen by some as an unorthodox cultural activity and the approach has been negative because there is a temptation to impose what we believe to be the arts on the general community rather than allow the community express what they would term as an arts activity. The whole area of the arts has yet to be mapped. The Arts Council has provided a wider and more expansive understanding or arts policy through the years. We have had the recognition and provision of four professional artists, a network of buildings to create access and the establishment of regional arts programmes. I am pleased at the strong commitment in the Arts Council to ensure community arts are not only recognised but integrated in this whole approach.

Has the Minister been able to give proper consideration to stocking and funding the Arts Council to take on these extra responsibilities? The word "access' is extensively used in regard to the arts. What do we mean by "access"? Access to what? Access for whom? Access granted by whom? In this context the Ace report states: "In short, access as an end is still a concept belonging to a version of cultural practice defined from a position of possessing the centre and of certainty about the nature of art".

In the western world, community arts emerged in the 1960s to counteract what was seen as élitism in the arts. Community arts emerged in different forms in different countries depending on the social, economic and political conditions. There has been more demand for access to the arts as unemployment, poverty and alienation among the young and women, in particular, is unfortunately increasing. The arts are seen as tools which can help people take control of their lives by expressing economic and social issues relevant to their own community. Voluntary groups have also been using the arts to develop techniques for dealing with poverty.

In the past there was an élitist attitude towards community arts and some people felt that they undermined artistic standards. This demonstrated a failure to recognise community arts as a legitimate activity, addressing developmental concerns and creating a better understanding and appreciation of the arts by all. Arts officers can be of tremendous help in this regard. I am pleased to be able to say that Clare County Council was the first council to appoint an arts officer more than ten years ago. The total number of arts officers appointed to date is 20. What measures does the Minister intend to take to encourage the remaining local authorities to appoint arts officers?

The Minister will be aware that people working in the arts wish to be part of an industry with great potential for employment, particularly of young people. The allocation of extra funds would enable new full-time and part-time jobs to be created in the arts and further programmes, pertaining in particular to education, could be initiated. This measure could be furthered through greater co-operation with agencies such as the Music Network, CAFE, Poetry Ireland, local authorities, the Department of Education and the Department of Arts, Culture and the Gaeltacht.

We are all aware of the very low salaries paid to people involved in the arts and of the bad conditions which they have had to endure over the years. There is also an over-dependence on FÁS schemes, and it has been suggested that the Department of Social Welfare is the best employer of the arts. The Arts Council appreciates that arts organisations are experiencing difficulties from both a human and financial resources point of view. This recognition will give heart to those people in the arts who face difficulties on a daily basis. The music industry has been growing in recent years and now employs more people than the indigenous computer sector. It is a labour intensive and lucrative industry, yet those working in it say that the Arts Council would need to increase its annual funding by £150,000 per year if stark and immediate consequences are not to ensue.

There is little reference in the plan to the dance medium, both classical ballet and contemporary dance. By letting three companies fight it out to the death to test their viability this medium is being put on a commercial footing only. A lack of funding by the Government has led to the demise of ballet which is regarded as a minority interest. When the Bolshoi and Kirov ballet groups visited Ireland they attracted large audiences who had an appreciation of ballet. I believe this is indicative of the interest which exists in both ballet and contemporary dance.

In 1985 the report Dancer and the Dance made a number of recommendations for restructuring dance. I am very interested in hearing the Minister's views on this report and on how he sees things developing in this area. Does he intend to support the dance medium? Does he agree with the approach adopted by the Arts Council and how can this approach be expanded?

Mr. M. Higgins

It is a pity that little was done in this area during the past ten years.

Miss de Valera

The Minister is responsible for this area and I am sure he will give attention to this medium. Why was there such a delay in filling the vacancy for a dance-opera officer in the Arts Council? I am delighted to hear that this vacancy was recently filled. People interested in dance and opera were disappointed that they did not have a voice on the council.

The RIAI has said that there is a need to address the imbalance in the arts plan in regard to architecture. There is no formal representation of architectural interests in the plan and as far as I am aware — I am open to correction on this point — there is no architect on the Arts Council. Architecture must be recognised as an expression of our culture and heritage. Does the Minister support the donation of funds to the Arts Council? I was very interested to read letters to The Irish Times on this subject. It was felt that the Arts Council believed that architecture was more lucrative than other sections of the arts and, therefore, did not need as much funding or support. I do not accept this point as architecture is a very important part of our culture and heritage.

A significant number of architects are either unemployed or earning less than the average industrial wage. The RIAI, which is interested in initiating conservation and restoration programmes, would like to see a new approach to the teaching of architecture and would like to be in a position to promote any programme which would create an interest in architecture among students. While the history of art is part of the school curriculum it has little to do with contemporary art. Consideration should be given to expanding this part of the school curriculum so as to acknowledge the importance of contemporary architecture. I am disappointed at the lack of attention paid to architecture in the plan. Thanks to the generosity of IBM there are approximately 10,000 buildings on the architectural archive records. Further support should be given to the architectural section of the arts rather than assuming that it can continue without any assistance.

I accept the good intentions of the Arts Council in terms of setting up centres of excellence but the arts cannot be filed away into neat areas or packages. Rather it should be left to the people in the regions to determine their own creative and artistic direction. I appreciate that the council is seeking to regionalise the arts and to improve standards but I am afraid that centres of excellence could have the opposite effect and lead to exclusivity. Why can we not build on the structures already in place? I am very worried that this proposal could be regarded as an imposition from the top rather than something which is evolved from the bottom up. I am not criticising the Arts Council but people who love the arts, work in the arts and are very much a part of the arts world are afraid this proposal could have a detrimental effect. This issue should be further discussed with the Minister and the general public.

With regard to the regions, and the world of theatre in particular, the Minister will be aware that the Association of Regional Theatre Producers, comprising 11 companies outside Dublin, has responded with "dismay and disappointment" to the Arts Council's allocation to its companies. The Druid Theatre is in receipt of a 2.8 per cent advance, yet it is the only company in the country, apart from the Gate and the Abbey, that has to run its own building. Red Kettle has received one of the most troubling small increases. An article in The Irish Times of 9 March 1995 stated that the potential for arts here is growing from the bottom up, but the one arts employer in the country is now in jeopardy. Waterford is supposed to be the centre of excellence to cover the area of theatre. Gallowglass in County Tipperary was also dismayed by the small increase it received in funding. Is it because the full £19 million needed for the arts plan for 1995 has not been forthcoming that the council is in a position to implement only the broad thrust of the three year plan?

In regard to funding the plan, the Minister has been quoted in national newspapers as stating that funding could be found from a separate provision once support is forthcoming from the Cabinet. Is this likely and, if so, when can we expect it and in what form? In The Irish Times of 9 February the Minister is quoted as suggesting that some amendments to the plan may be required. Will he elaborate on that? Will they dilute its main thrust? The Minister has also been quoted as saying that adjustments may be made to the timetable for funding the plan. What does he mean by that? Does he believe that some of the new initiatives costed for 1995 could be deferred?

How does he intend to use his discretionary fund which was increased by 62 per cent, to £4 million? Will he outline his priorities and the criteria used in making them his priorities? Can he confirm that the Arts Council has made advance additional commitments for 1995 on the assumption that the three year plan will be supported? What support, in turn, will the Minister give to the Arts Council in this regard? I understand Temple Bar alone will need an additional £500,000 in 1995. Can the Minister provide £26 million for the plan by 1997 and continue that figure on an annual subvention? According to the Arts Council, this is the minimum needed to provide proper management of the arts. It will create a substantial increase in employment in the arts while investment in cultural activities will further encourage tourism.

It is important that the Minister works in close contact with the Arts Council, but certain procedures must be followed as it is imperative the council is allowed maintain its independence and integrity. After all, the Arts Council long predates the Minister and for him to talk about a "strategic alliance" suggests an unhealthy claustrophobia — a sense of exclusion, a closed circle. This in no way should be taken as a criticism of the Arts Council; I have tremendous respect for its work. The basic principle underlying the establishment of the council in 1951 was the need to keep the arts at arm's length from political interference. To allow complete artistic freedom the Government must be confined to creating the conditions within which the arts can blossom. What should be achieved is economic planning and cultural laissez faire.

On 29 November 1988 the then Taoiseach, Charles Haughey, stated in the House that he saw the Arts Council as a primary agency for the distribution of State funding for the arts, yet the Minister is deciding the funding for the Abbey over the council's head but out of its funds, although the council maintains an advisory role.

Mr. M. Higgins

That is not true.

Miss de Valera

Does the Minister wish to be as powerful a patron of the arts as the Arts Council?

Mr. M. Higgins

The statement made by the Deputy is not true, she should check the facts.

Miss de Valera

Is the Arts Council being deliberately marginalised in favour of direct funding from the ministry? If this were true, there would be a great danger of politicisation of the arts.

Mr. M. Higgins

This is the classical Fianna Fáil way.

Miss de Valera

I emphasise that I am not being critical of the Abbey or the Arts Council, I do not have a quibble with either. I want to ensure that a political climate exists in which the Arts Council can comment freely on arts policy without fear or favour, especially where there may be a difference of approach between the council and the Minister. The council is not merely another arm of the Department of Arts, Culture and the Gaeltacht. For the arts to flourish a dialectic must be encouraged between the Arts Council and the Minister, otherwise the whole process will lack transparency, openness and accountability.

I support the council in its wish to establish a strong relationship between the arts councils, North and South. All of us who have read the Framework Document will be aware that the area of culture features to a large extent in regard to Strand II, something which I am sure all Members would support. I support the dynamic programme of touring in co-operation with the Arts Council in the North.

This is an opportunity to address the whole area of the arts. There has been an increase in attendance at arts events, from 60 per cent of the population in 1981 to 78 per cent in 1994. The arts have become more appreciated and are now looked on seriously and positively. Further interest and participation can be encouraged through our education system. The study carried out by UCD in 1994 demonstrates the growth in interest and success of the arts in the past ten years. The emphasis on Irish in the plan is rather weak although I note there will be a special provision for writers in the Irish language, something for which the council should be congratulated.

Music is flourishing in Limerick and the chair of music in the University of Limerick, Micheál Ó Suilleabháin, has a tremendous talent and vision in the area of music. The orchestra which was recently located there has created a renewed interest in that area of music in the region.

In this age of marketing, an agency to promote the arts abroad is essential and the arts plan makes provision for this in the proposal to establish an international arts agency. There is much to recommend the plan and I support its main thrust. I hope the necessary funding will be made available. I look forward to the review at the end of the three year plan and firmly believe there will be substantial positive changes during that period.

Miss Quill

Arts and culture form an essential dynamic force in any society. The artistic impulse and a vibrant arts experience generates energy, innovation, creativity, initiative and self-reliance, necessary qualities in Irish life today. In addition, the arts make a direct contribution to the economy and economic development, details of which have already been given very convincingly by the Minister.

An appropriate level of investment in accordance with proper planning can create self-sustaining employment in the arts directly by creating jobs for practising artists, in art administration, in art organisation, among the suppliers of art materials and indirectly in the tangible benefit to and enhancement of an area that results from holding festivals based on art and the inward investment that results. Growth in the arts is a great economic asset.

I welcome the publication of the arts plan because it is important that planning for the arts should be built on sound and strategic principles. I am grateful also that we have been given the opportunity to debate the plan in detail so that the Minister and its framers can give a hearing to insights, experiences and opinions from other sources and other parts of the country. It is particularly important to do that before the provisions of the plan are fully formalised and become the cornerstone of Government policy.

I have the greatest respect and regard for the members of the Arts Council and its achievements to date. I come neither to bury Caesar nor to praise him but to put points of view that I hope will be listened to. If they are I would expect the result to be a better plan which will achieve the aims and objectives set out. I ask that my comments not be seen as destructive to what I believe to be a thriving sector.

Central to this plan is an acknowledgment that artistic and cultural development here has been patchy indeed, and that the regions have not kept pace with the capital city. That is outlined graphically in one of the area based maps on page 13 of the plan which shows a strip of nine counties where there has been little artistic activity since the inception of the Arts Council. Running down through the middle of this country is a wasteland of artistic development. Since my election to this House I have consistently raised the question of the disparity of funding and incentives between the capital city and these regions in particular. There is a formal acknowledgment of that in this plan and a pledge that efforts to redress this imbalance will commence immediately and intensify during its lifespan. That is to be welcomed and encouraged as much as possible because it is a sad reflection on all of us that public moneys should be spent in a way that does not provide equality for all regions. Attention must be drawn to the disparity in Arts Council funding between Dublin and the regions — two-thirds of the Arts Council's budget is spent in the Dublin area, in which one-third of the country's population resides. That cannot be ignored.

The Arts Council must begin immediately to examine its own policies and the thinking that has led to that. To enable it to have the perspective that will propel it into making decisions based on a more equal distribution of funding, it should now relocate outside Dublin. In the context of regionalisation, of strengthening our policies and funding for the regions, the first thing the Arts Council must do is to look to itself and, in an effort to bring about change within the regions, it must be ready to change. The Arts Council should now be invited not to proceed with its plan of extensive and expensive refurbishing of its building in Merrion Street but to seek to relocate and base itself in one of the provinces. Commencing the implementation of the plan from a different location would be a significant gesture and a profound encouragement to people who are trying to develop the arts in the undernourished and under-funded areas. People are looking at the success of the film board in Galway and see the kind of fresh thinking that could come from the regions. They think it is a good principle that could apply to the Arts Council. I do not suggest for a moment that it should be relocated in Galway. Nor do I suggest any location, although it did occur to me last night as I thought about this that there is a fine under-used building in Athlone, one of Michael Scott's earliest, that might be suitable. It is the principle that I want to put forward. It would be good for the arts community in Dublin to have to travel out of the capital and be required to negotiate their funding in the same manner as people who come up from Cork or down from Donegal or over from Wicklow. That exercise itself would be good because when an agency like this is located in an area for too long an incestuous relationship develops. It would do no harm if we were now to break that, and it would be the best assurance that could be given to those who live in the regions that the Arts Council will radically reappraise its own budgetary decisions. It would be the most significant gesture of encouragement that could be made to people who live in the regions and who now look to the implementation of this plan to effect change in their own area.

I put that forward as a serious proposal and agree that an area based approach as outlined in the plan is the correct one from now on. However, if this area based approach is to work, we must look to the local authorities in every area. The local authorities, each of which I hope will soon have an arts officer, must become the engines of growth in their area. It will not be possible for the Arts Council, no matter where it is located, even if it sits in a boat in the middle of the Shannon, to generate out of its own resources an appetite for growth and development in certain areas. It is important that it puts forward a model to devolve autonomy to the regions. That is the correct way to remedy the disparities which have appeared in the past 25 years.

I take issue with the concept of areas of excellence put forward in the plan despite the fact that it was a county man of mine, Sean Ó Faoilain, when chairman of the Arts Council, who introduced this concept. I would agree with it if we were starting with a tabula rasa but we are not. There is too much tradition, too much infrastructure in place and too big an audience has been built up to be ignored in the new plan. The idea put forward in this plan is artificial and ignores the realities. It is a bureaucratic notion out of tune with the arts.

I do not wish to be parochial but it would be difficult to take issue with the argument that Cork city is and must continue to be the centre of excellence in music. It is the city of Arnold Bax, Fleischman and Seán Ó Ríada. It has the oldest and finest school of music on these islands; an international choral festival which has won enormous acclaim throughout the world and which enters its 42nd year in a week's time; eminently successful jazz and folk festivals; and Studio an tSullain, the rich legacy of Ó Ríada based in Ballyvourney. Cork has built a fine reputation as a city of festivals and a centre of excellence in music with a fine audience for concerts, festivals and musical events.

It is my fear that the Minister might well ask, since it is already established as a centre of excellence, why I am so concerned about it. I made a quip earlier about fertiliser. I am concerned that funding will be funnelled into new areas of excellence and what is in place already will be neglected and natural audiences diluted. If that were to be an unintentional result of this plan it would not be good for the country. I caution the Minister, therefore, about getting tied into the notion of centres of excellence.

It was a good idea to relocate the Chamber Orchestra in Limerick as well as the centre of contemporary music. They were good decisions. My only regret is that Mícheál Ó Súilleabháin did not continue at UCC. My experience is that excellence centres around people, not places. If one has people with exceptional talent, excellence becomes established in an area.

In that respect, there is one element of the Arts Council's plan about which I am deeply concerned, that is, the decision to cut off the scheme of awards designed to assist people with exceptional talent to study abroad. That is a major mistake. If people have exceptional talent either in music or dance and wish to study abroad, they should be assisted in so doing. I have been told that the programmes of grants will be phased out over the period of the plan from 1995 to 1997 and replaced by new programmes and schemes based within Ireland. The word "delimiting" was used recently in another context. This decision will limit the talent of a tiny number of people who have the ability and capacity to study abroad. The Arts Council should continue to assist them. By studying abroad very often they can reach new heights and receive instruction from tutors and teachers to whom they would not have access here. In time they could be induced to return home where their talent and the experience gained abroad could be harnessed. This is a backward step and I ask the Minister to reverse it.

The explanation which has been given is that the Cork School of Music will be in a position next September to confer its own degrees, but it will be years before graduates who commence their degree course next September will be in a position to compete or before the school itself will be able to compete with schools such as the Guild Hall in London. I hope this happens in time but until then provision must be made to enable the top 1 per cent to study abroad in places such as the Guild Hall while being grant-aided by the Arts Council. The current scheme which has enabled extremely talented people on the verge of genius to study abroad in different institutions should not be dismantled. That is very important.

Deputy de Valera raised the subject of dance. It has been a great lack that in recent times the Arts Council has not had a dance officer. The results are evident throughout the country. As a discipline, dance in all its forms has been neglected by the Arts Council in terms of funding. This matter has to be redressed quickly. I was told yesterday that the Arts Council now has someone acting in a consultancy or advisory capacity with a view to putting an advisory group in place within the Arts Council to advise on the growth and development of dance.

I do not wish to be parochial but Cork was to become the headquarters of the National Ballet. With this in mind, Cork Corporation spent almost £750,000 in refurbishing the beautiful Firkin Crane building which is attached to the butter market, one of the most historic buildings in Cork which had been left in virtual ruin, to form a home for the National Ballet. Additional funding was also raised on a voluntary basis. We now have the most exquisite theatre but in the meantime the National Ballet has been disbanded.

Mr. M. Higgins

By the Arts Council, not by Government.

Miss de Valera

Lack of Government funding.

Miss Quill

The building is still there and I hope the point I am now making will be taken into account when the Arts Council is formulating policy for dance. The tradition built up around the ballet in Cork and the great work carried out by people like Joan Denise Moriarty and the late Professor Fleischman must be maintained. That work must not be let go to waste.

The plan states that a more detailed policy and action programme on drama will be drawn up during the first year of the plan. I hope it is because we have a great richness of playwrights and production companies. I believe there are 28 playwrights currently working here.

Mr. M. Higgins

It is approximately that figure.

Miss Quill

That is phenomenal in a country the size of Ireland and it must be regarded as one of our great strengths from an arts point of view. I look forward to having that detailed plan worked out in the near future. The time has come to look to the Abbey as our national theatre. In recent times, the public relations work surrounding the Abbey has not been as constructive as it should be — perhaps deservedly so.

Mr. M. Higgins

The mischief makers have been there as well.

Miss Quill

That may well be the case but regardless of that the Abbey must define its role as a national theatre in terms of the times in which we now live and the other theatre provision in this city and around the country. The Abbey must be subject to the close scrutiny a good family doctor would undertake of a patient, which might involve giving strong medicine but which would result in a much stronger patient. Perhaps the Abbey needs a dose of strong medicine with a view to having a stronger national theatre. The Abbey must be a more dynamic force, not just in Dublin but around the country. It must have greater interaction with regional production companies. Its present touring policy is minimalist. More adequate funding and a more relevant touring policy is urgently needed in the Abbey and that must be taken into account in the context of the drama plan.

In addition, the script department of the Abbey must develop much closer links with regional production companies which would be of great benefit to all the people involved. We should encourage access to the Peacock with a view to having co-productions between production companies in the regions but that can only take place in a planned way. A number of production companies in the provinces would welcome that type of interaction and it would not be impossible. The time has come to reinstate the Abbey Theatre as a major force for the development of drama.

Access to arts in education is still very poor. During the debate on the Green Paper on Education, I argued strongly that there ought to be much greater emphasis on art education as part of the curriculum of formal education. Art should be central to education and not just a fringe benefit for some students whose parents believe the subject is important. It should be available to every student but that is not the case. Until that happens, the best efforts of the Arts Council, the contemporary arts community and the Minister will fail. That is where the core of the problem lies. Young people must be encouraged to have an appreciation of art and a realisation of the importance of art in their lives. Part of our social remit must be not only to bring art to people in disadvantaged urban areas but to bring with it the prospect of creating jobs for those people by developing the arts.

That is vitally important and I hope when the White Paper on Education is published it will contain some strong measures that will seek to remedy the lack of art education in our schools.

I seem to have constantly referred today to Cork people, but I have a clear recollection of the late Professor Fleischman speaking at the opening of a choral festival in the City Hall in Cork about 20 years ago. Approximately 20 girls' choirs from around Ireland were competing in the schools section but only one boys' school had entered. On that occasion, Professor Fleischman asked if we could blame young boys for vandalising our public buildings, putting graffiti on walls and generally behaving like louts and hooligans when there is so little education of the emotions within our education system. Very little has been done in the meantime to remedy that huge gap in our formal education curriculum. This problem must be addressed if we are to achieve the objectives of this plan. In that respect I welcome the promise of a 15 per cent increase in youth provision and in theatre in education because it gives recognition to what I am trying to highlight. It is a strong measure to attempt to remedy the problem I have outlined.

Deputy de Valera spent a good deal of her contribution talking about the importance of architecture and the fact that architecture has received only mimimalist mention in the plan. That is a major weakness in the plan. Architecture is currently in a limbo. Up to now we have been unable to attach it to either our heritage programme — although that is beginning to improve now — or our arts programme. In a country that has very patchy conservation legislation and which has a poor traditional civic culture, we must make stronger efforts to promote awareness of our architecture. Every time we get an opportunity to so do, we should not pass it up because good architecture is probably the first and, in some cases, the only artistic experience the public will have. Undoubtedly, our artistic tastes are formed by the buildings we view every day. If we do not see anything other than dreary, badly designed and badly maintained buildings, can we be blamed if we do not want to go to art galleries, the theatre or the ballet? I ask the Minister to include architecture in the plan.

Mr. M. Higgins

I am sure we pay the fees on the bad ones as well.

Miss Quill

We might have a more discerning clientele if there was greater emphasis on architecture and fewer developers would be prepared to pay for the badly designed buildings.

The time has come to publish a White Paper on the arts because the whole area of funding for the arts has become so complex. A great case can be made for the publication of a White Paper on the arts so that the whole issue of funding and public policy can be democratically debated in the House. Nothing but good could come of that. I ask the Minister to accede to that request as a matter of urgency and I hope it will not suffer the fate of the previous White Paper as a result of an election being called.

Mr. Dukes

Tá sé an-deacair greim a fháil ar bhrí agus stádas an phlean seo. Bhí mé ag ceapadh agus mé ag éisteacht leis an Teachta Máirín Quill anois díreach, go bhféadfá a rá ar shlí gurb é an rud atá againn anseo ná páipéar glas nó b'fhéidir páipéar bán, níl a fhios agam. Léigh mé go han-aireach ar fad réamhrá an Aire sa phlean nuair a deir sé — agus tá mé ag léamh anois ón gcáipéis atá os ár gcomhair: "The Government have agreed on my recommendation to publish the Arts Plan in advance of the detailed contents of the plan being considered". Dúirt an tAire an rud céanna ar maidin. Níos faide anonn sa réamhrá deir sé:

I have already commenced the process of inviting the comments of Government Departments on the plan. When this has been completed later in February it will be possible for the Government to examine the plan in detail and arrive at a decision for its implementation in accordance with the policy agreement for A Government of Renewal.

Dealraíonn sé go bhfuil slippage beag sa chlár sin, mar ní dóigh liom go ndearnadh an obair sin go mí Feabhra. Anois tá mé ag léamh an réamhrá a scríobh Cathaoirleach na Comhairle Ealaíon, Ciarán Benson, agus an ailt ag deireadh an réamhrá sin:

The assistance of the Minister and his staff has been vital to the formulation of this plan [ana chuirtéiseach ar fad.] The Arts Council is committed to supporting the Minister and the Government in realising an historically significant plan for the arts in and of Ireland.

Dealraíonn sé, ó na focail sin, gurb é tuairim an Chathaoirligh nach plean sealadach é seo ach gur plean seasta é: gurb é seo an plean deireanach. Bhí mé ag léamh an "Executive Summary" sa phlean féin — agus tá siad sin éirithe damanta faisiúnta na laethanta seo, le "Executive Summary" ar gach rud. Chonaic mé, ar leathanach 13 —"Analysis of Additional Funding Required", gur caitheadh £13.2 milliún i 1994 agus go mbeidh £19.6 milliún ag teastáil i 1995, £21.8milliún i 1996 agus £26.1 milliún i 1997. Beidh £19.6 milliún ag teastáil i mbliana chun an plean a chur i gcrích.

I meastacháin 1994 don Chomhairle Ealaíon, feicim gur caitheadh £13.3 milliún sa bhliain sin. Tá sé sin diabhal leis an figiúr céanna atá sa phlean. Feicim gurb é an meastachán do chaiteachas an Chomhairle Ealaíon i 1995 ná £14.25 milliún, méadú 7 faoin gcéad ar an bhliain roimhe sin ach £5.3 milliún níos lú ná an méid airgid atá leagtha amach sa phlean. Níl a fhios agam cad a tharlóidh don méid sa difríocht sin. An é go bhfuil sé i gceist ag an Rialtas an t-airgead breise sin a chur ar fáil tar éis na díospóireachta seo? An bhfuil sé i gceist ag an Rialtas an t-airgead breise a chur ar fáil go tapaidh, mar shampla, níos túisce ná airgead do rudaí eile atá ag teastáil? An bhfuil a fhios ag an Aire an bhfuil plean ag an Rialtas chun an t-airgead seo a chur ar fáil i gcaitheamh na bliana? Cén saghas "scheduling" a bheidh ar an gcaiteachas sin: cad as a thiocfaidh an t-airgead?

Mr. M. Higgins

£2 milliún sa cháinaisnéis.

Mr. Dukes

£2 milliún sa cháinaisnéis, ach tá £3 milliún eile le cur ar fáil. Ag léamh dom anseo, caithfidh mé an cheist a chur arís: cad as a thiocfaidh an t-airgead? I 1994, bhí deontas i gcabhair £8.3 milliún ag an gComhairle Ealaíon agus fuair an Chomhairle geall le £5 milliún ón gcrannchur náisiúnta. Toisc go bhfuil a lán gealltanas eile le comhlíonadh as airgead an chrannchuir náisiúnta, rudaí a chur Fianna Fáil isteach sa chlár nuair nach raibh an t-airgead acu agus a chaithfimid comhlíonadh i mbliana agus i 1996, ní dóigh liom go bhfuil seans ar bith aon saghas tobar nua a airgeadú ón gcrannchur i mbliana nó sa bhliain seo chugainn. Tá an t-airgead go léir caite ag Fianna Fáil roimhe seo. Ní bheidh ach £1,207,000 le fáil ón gcrannchur náisiúnta ag an gComhairle Ealaíon i mbliana. Beidh deacracht ann an t-airgead a chur ar fáil.

Iarraim arís cad é stadas an phlean seo? An páipéar glas é nó an páipéar bán é nó an plean seasta é le hairgead a chaitheamh? Más plean seasta é le hairgead a chaitheamh, cathain a bheidh an t-airgead ar fáil agus cad as a thiocfaidh sé? Tá sé deacair an phlean a phlé gan an fios sin a bheith againn. Dealraíonn sé gurb é an rud atá i gceist anseo ná go bhfuil meamram ón Aire chuig an Rialtas foilsithe anois agus go bhfuil sé á phlé go poiblí. B'fhéidir gur maith an smaoineamh é sin agus gur chóir é a dhéanamh i bhfad níos leithne ná i gcúrsaí ealaíon amháin — i gcúrsaí talmhaíochta, mar shampla, nó i gcúrsaí cáinaisnéise — mar is próiseas anspéisiúil é. Níl a fhios agam an próiséas é a bheidh á leanúint go rialta nó go minic ag an Rialtas.

I tend to be more than a little suspicious of prescriptive plans for the arts. However, I understand the anxiety of the Arts Council to have a clear framework and concept for its activity and in that context the publication of a plan of this kind and debate on it — I am not criticising the Minister for having this debate — is very useful. Among the difficulties the Arts Council has experienced down the years have been the lack of a clear framework for its activity and the obligation on it from year to year to live in a hand-to-mouth fashion. This has made its planning very difficult and has created a number of difficulties for the bodies it helps.

I agree entirely with Deputies de Valera and Quill that the arts in education is the key to the basic concept of what the Minister is trying to do. Exposure and access to, familiarity with and appreciation and criticism of the arts at an early stage must begin in school. I am a realist about these matters and I hope other Members are also, and if this subject is not introduced in schools it will be introduced in only a very small proportion of homes. The less interest that is created in schools, the more restricted and allegedly the more elitist the whole area will be. The interest generated in schools will in time create the market for arts that is necessary for a flourishing arts activity. I will return to the question of the market in a moment. It is only by developing an interest and appreciation among young children that we will create a market for the arts.

On arts and education, the document refers to "persistent and widespread effects of the neglect of the arts in the education system" that has resulted "in inadequate funding of the arts by Government". Later on in the document there are further comments on education and I am delighted the Minister for Education is here to give her view. "Such provision will not mask the Department of Education's inactivity on arts in education, nor will it compensate for the failure of the education system to meet the entitlement of young people to a high quality arts education in Irish schools". That can only be read as a smart rebuke to the Minister for Education. Does she agree with the view of the Minister for Arts, Culture and the Gaeltacht and if so what does she propose to do about it? Paragraph 3.4 of the Executive Summary states: "Meaningful provision for the arts in education will have considerable impact on the work of the Council". That is an under-statement. Meaningful provision for the arts in education is the essential key to the development of energy and creativity in art. In a sense it matters relatively little how much we spend on the things the Arts Council has been properly spending money on, and making very good decisions, if there is not the basic foundation for involvement, appreciation and the development of creativity coming from the place of arts in our education system. I do not find that reflected anything like strongly enough in this document.

The plan sets out the areas of priority and there are curious things in it. Paragraph 3.7.2 states:

The Council places a primary importance on its support for working artists. It intends to continue this support by identifying their imaginative freedoms in a flexible and useful way. Therefore, the Council will look with sympathy and understanding on the choices of individual practitioners who wish to pursue their work independent of any of the arrangements outlined in this plan.

I do not know what exactly the council means by that but it smacks of over-weening paternalism.

Miss Quill

This is post Iron Curtain.

Mr. Dukes

People who have the effrontery and nerve to be creative in areas that the council or the Minister have not thought about will be looked at kindly and with understanding. We then come to the rest of the confusion because two sentences later there is the following statement: "The financial implication of this is an expansion of the current bursary scheme to allow the unconditional purchase of time by the writer or composer or visual artist, so that they can complete their work". That is remarkably generous, even if it is work that is independent of any of the arrangements outlined in the plan. I find that this rather paternalistic and deterministic approach to the arts runs all through this document and I have to confess it worries me. Planning for the arts is what gave us the things we used to laugh about in the old Soviet Union such as ode to the heroic machine tool operator or a lengthy epic poem on the struggle of the Sverdlovsk Oblast number two machine tractor station in increasing food production. That is what art planning can do — I may be exaggerating a little and I would not deny that my tongue is slightly in cheek but that is the kind of thing that art planning can give you.

I shivered earlier when I heard the Minister quoting that famous phrase "let a thousand flowers bloom" and I hope he is not going back to that type of planning of art which perverted and corrupted a flourishing native art in China over decades. It stifled and suffocated it and millions of Chinese were forced to go into theatres and endure the most mind numbing nonsense perverted out of a culture that had always been lively, earthy and could adapt to umpteen regional variations. However, planning with some higher objective in mind perverted all that. I hope the Minister Deputy Michael D. Higgins, although I am afraid it is part of his make-up, will not try to plan art in that way because that would be the end of creativity.

I agree with a number of matters proposed in this document. The major findings on which this plan is based include an opinion survey conducted to find out what people think of art and what its place in their life should be. Paragraph 2.3.2 states: "The results show clearly the arts are regarded positively and that they are considered important ... 74 per cent feel that the lack of arts education at school is a significant obstacle to developing an interest in the arts," I am delighted to find that is appreciated. There are some other findings that I would take with a grain of salt before I see the questionnaire such as: 73 per cent agree that arts education is as important as science education. The significance of that view depends on how the question is put; if you prompt people they will say things. "66 per cent feel that as much importance should be given to providing arts amenities as is given to providing sports amenities". If that is misread it could cause trouble. I am quite sure that if you got the population of any parish together and asked them if it is as important to provide for the arts in the parish as for the GAA sports field and whether they would use the £200,000 in the parish fund for the arts or for the sports field you will not get 66 per cent of people opting for the arts, they will opt for the sports field. We should not build unrealistic expectations on the kinds of answers we get to a survey like this.

We then come to the section that deals with the economics of the arts. This is the core of the problem. There is a reference to a paper by Mr. Durkan of UCD who has been a very prolific and fruitful source of surveys of various kinds and clearly an addition to the policy making process. In paragraph 2.4.2 it is pointed out that: "justification for Government expenditure in the arts derives from market failure and the benefits, in terms of social welfare, that may be realised from correction of this failure".

The concept of market failure is fraught with danger. In the next paragraph it states that this is thought to have implications for the Arts Council in terms of its input to the sector, correcting market failures and steering some elements in the direction which conforms to the council's vision. That is a dangerous road to go down. I am not sure it is a market failure. There is a contradiction there and the Minister knows better than that. The market is not separate from people, it is the sum of what people decide to spend their money on. If they decide to spend their money in insufficient quantities for our taste we cannot blame the market for that. It is the people who have decided to do so. It would have been more sensible for Mr. Durkan or the Arts Council to make their argument for the arts on a more respectable basis because the dismal science of economics, if properly used, can provide a more respectable, conceptual basis for this. Instead of arguing this nonsensical notion of market failure, which must rest on the assumption that someone, usually the Minister, knows better than anyone else what is good in terms of art, they could argue instead that there are substantial external economies to the arts both in social welfare and satisfaction terms which do not accrue to the individual theatre or art group but which provide the basis for Government intervention.

I was interested that Deputy Quill picked out the map of priority zones. There should be some explanation as to why they were picked. What is the reason? It is not true to say that the blue band down the centre of the country is in any sense a cultural wasteland. It is an area where we do not find many of the things which have been funded by the Arts Council up to now but you will find, in many cases, flourishing forms of popular art that does not come anywhere near the Arts Council, for example, traditional music — some are criticised, for example, Ceoltas Ceoiltoirí Éireann and pubs that promote popular music — amateur drama and painting groups. If delineation of that famous blue zone is an expression that the Arts Council feels that its activity has not been widely spread in those areas let us say that but not present these zones as areas of cultural deprivation, which they are not.

Mr. B. Ahern

I welcome the arts plan and the opportunity to discuss it. Some weeks ago I raised on the Order of Business the possibility of devoting Government time to debating it and I am glad we have achieved that. I thank my party Whip and the spokesperson, Deputy de Valera, for continuing to pursue the issue. I have no doubt that, through the good offices of the Minister for Arts, Culture and the Gaeltacht, the Government has provided time for the debate. It is good practice that an excellent report prepared some months ago should be debated and that the Opposition has forced a debate on it so soon.

Much time is spent discussing legislation, economic, financial and social matters, the EU and Northern Ireland. All to rarely we have an opportunity to debate arts and culture, which gives the misleading impression that we do not appreciate their importance or potential. This is a good opportunity for all sides to underline their united commitment to a flourishing arts scene in our country.

It might be useful to look back and see how far we have come in recent years. Ireland has a high cultural profile which is totally out of proportion to our size. In the field of literature we have four Nobel prize winners. Irish writers have made a decisive contribution to world literature in the 20th century. We also have painters, musicians, actors and film makers of whom we can be very proud.

We are probably one of the few states whose political independence was based on cultural revival which had two complementary but competing elements. The Gaelic League concentrated on the revival of the Irish language and its associated culture. In parallel, the literary revival set about creating an Irish national theatre and a literature rooted in Ireland and its traditions even though it was in the English language. At independence, the country possessed limited resources and the main encouragement by the newly independent State was given to developing a national cultural life of our own with priority, understandably, being given to re-establishing the Gaelic tradition in the centre of our cultural life. A number of important initiatives were taken such as the inauguration of Radio Éireann, the establishment of the Irish Folklore Commission, and the Institute of Advanced Studies, which provided a home for refugees of high, intellectual calibre from Europe, as well as the design of stamps and a fine coinage, which we have to this day. The Chester Beatty collection was secured for the State.

Outside officially supported culture, State support was limited. The Gate Theatre, like the Abbey Theatre at its inception, was established by private initiative backed by old money. The main negative was a restrictive censorship but that existed in other countries as well at the time. In many ways it was writers who were the dissentient minority from the 1920s to the 1950s. We had many interesting post-revival writers, for example, Patrick Kavanagh, Flann O'Brien, Brendan Behan, Sean Ó Faoláin and Kate O'Brien. We had fine painters like Paul Henry, Evie Hone and Mainie Jellett. The situation opened up in the 1960s. The establishment of RTE in 1961, of course, was to have the most profound cultural impact. The reform of the censorship laws carried out by Deputy Lenihan was one of the most successful liberal reforms carried out in this country, effected at one go, and not giving rise to any significant subsequent complaint. This freed access to all material of genuine artistic interest. No Irish writer or artist has felt seriously inhibited since. The ROSC exhibitions awakened an interest in modern art which was to lead to the establishment of a new cultural institution, the Irish Museum of Modern Art, in the late 1980s. From 1981 we had a National Concert Hall.

The Arts Council was set up in 1951 and the principle of autonomous administration of the arts, at arm's length from Government, was established over time. It is important to maintain that arm's length relationship. There is obviously a danger, particularly when the Minister has at his right hand a former Secretary to the Arts Council, of attempting to oversteer from the Department. Even an enlightened ministerial despotism in the cultural area would be undesirable.

Charles Haughey, as Minister for Finance, showed great interest in the arts. He introduced the renowned tax-free status for writers and artists which showed a special respect by this country for artistic achievement. However, as this mainly benefited established artists and writers, the Aosdana scheme was set up to provide a guaranteed income to writers and artists during creative periods when income might be low. Another of his very successful initiatives was saving the Temple Bar district, which is a hive of creativity and the establishment of the National Heritage Council.

During the late 1980s, the Government also began extensive refurbishment of all our main national cultural institutions. I am particularly pleased to have been associated, as Minister for Finance, with the initiative to move the collections of the National Museum to Collins Barracks, so that they can be displayed properly rather than held in storage. We also took the decision to transfer the magnificent Chester Beatty collection to a more central location in one of the outbuildings at Dublin Castle and to facilitate the establishment of the Hunt collection in the old Custom House in Limerick.

As a former Minister for Finance with responsibility for the Office of Public Works, I am aware that enormous tribute should be paid to the professionalism and flair of that office, particularly over the last 20 years. It has carried out quite magnificent restoration work of the highest professional quality. It has looked after our antiquities, acquired heritage properties for the State, and opened up places of interest to the public, not least Government Buildings. It has always had the strongest backing from the Fianna Fáil Party. It made a fine job of the Casino in my area in the 1970s and the future of Castletown House will be secure in its hands. Glenveagh Castle, with its very chequered history during the land war, is another magnificent monument to its professionalism.

The Office of Public Works has been subjected in recent times to much ill-informed abuse. I would be prepared to back its judgment to the hilt. It needs no lessons on the sensitive protection of the environment or ecological habitats from anybody. Ministers should try to avoid becoming hostage to élitist cliques, who have absolutist and doctrinaire views about areas with which they are not always intimately familiar. I accept that our national heritage cannot and should not be reduced to pure considerations of commercial gain without regard to long term environmental effects and in the last analysis the broad national interest should take precedence over local interests.

It is often possible to find ways of reconciling conflicting interests, and the Office of Public Works is a responsible and intelligent body. I am deeply sorry that the overwhelming wish of the local people of Clare — who are decent people who have worked hard on the issues in which they are involved and are a lot less well-heeled than most of the objectors — has been ignored and overridden, but there has always been a strong élitist authoritarian streak in socialism that totally disregards the views of ordinary people.

Apart from this area, Fianna Fáil Ministers worked well with the Minister, Deputy Michael Higgins. The arts in Ireland over three decades owed a great deal to the interest and initiative of the former Taoiseach, Mr. Charles Haughey, who was a patron of the arts in the same way, though on a smaller scale, as President Mitterrand and other rulers in many countries in the past. However, it is welcome that we now have a Department with a full Minister and an integrated responsibility for arts, culture and the Gaeltacht.

During our time in office together, two initiatives were particularly important. The Fianna Fáil-Progressive Democrats Government had commissioned the review into the film industry, in which the former Taoiseach, Deputy Reynolds, was particularly interested. As a result, we implemented its recommendations and I incorporated tax incentives in the 1993 Finance Act. The Irish Film Board was re-established. We have a flourishing film industry and I note that the British film industry is furiously lobbying its Government for the same incentives to be extended to it. I congratulate the Minister for his part in bringing Robert Bruce back to Ireland. Also, as a result of the efforts to resolve the controversies arising from the 1990 Broadcasting Act, measures have been implemented to encourage independent film producers.

The other initiative which was at the planning stage and to which the Minister has given further impetus, is the introduction of Telefís na Gaeilge. While there are many critics of it, it is right that as an independent state we should offer the same facilities to Irish speakers, as offered to Welsh speakers through Channel 4 Wales. Anything less would not be consistent with our national self-respect or our pledge to promote as far as we reasonably can, the Irish language, for those whose first tongue it is and for others deeply committed to its use. We look forward to this proceeding. Tá Fianna Fáil lán taobh thiar de Theilifís na Gaeilge agus taobh thiar de gach iarracht chun an Ghaeilge a chur chun cinn ar fud na tíre.

The advent of the national lottery has enabled us to greatly increase funding to the arts. During the eight years that Fianna Fáil was in office, funding for the Arts Council more than doubled from £6 million a year to well over £13 million. This was increased to over £15 million by the Minister in this year's budget to enable a start to be made on implementation of the arts plan. The final decision on the level of funding would always be taken in the budget context as the provisional Book of Estimates is based mainly on the continuation of existing commitments. I am sure that a renewed partnership between Fianna Fáil and Labour would have come to the same decision.

Obviously, the plan is very ambitious financially and otherwise. It is not possible to increase expenditure in real terms on all fronts. Indeed, a tight rein on expenditure is essential to our future welfare, including the welfare of the arts. We have commitments to increase expenditure on ODA, and to provide funding for Teilifís na Gaeilge. I agree that the arts provide considerable direct employment as well as economic spin-off potential. I wish the Minister well in arguing for the additional funding, but he will, if necessary, have to select the most important priorities. Since the arts plan was published, a White Paper on science has been prepared, which also contains very worthy and important proposals.

The arts have something in common with CIE, if those involved in both will pardon the comparison. The arts provide an important service, albeit of a less material kind. When one takes into account tax and PRSI from CIE employees, this largely cancels out the subsidy to CIE. Joe Durkan makes much the same argument in his study on the economics of the arts. One could not afford too many heavily subsidised sectors which make only a limited net contribution to the revenues of the State. However, the net point I am making is that the arts, like public transport, represents, from an Exchequer point of view, self-financing employment. The Minister and I had many discussions and agreed on that point. Where possible, efforts should be made to increase private sector patronage of the arts as well as door receipts without making prices prohibitive and turning too many people away.

The main thrust of the arts plan centres round a priority identified by the former Taoiseach, Deputy Reynolds in his 1992 Ard Fheis speech when he said:

I would like to see a greater popularisation of culture, to make it more accessible. I attach particular importance to the Arts Council's efforts to support and maintain Arts Centres throughout the country ... It should also be the ambition of every town to have a centre, where local history, heritage, famous people and the life of the countryside around are celebrated.

I warmly support the plan to ensure the spread of arts facilities around the country, not just in the main centres of population. There needs to be a broader range of entertainment for young people, and cultural facilities provided in every town with a sizeable population catchment area. Encouragement of the arts should be part of the active remit of every local authority. We must try to extend access to culture and enjoyment of it to all sections of the population, and ensure it is not mainly a middle class preserve.

I place the whole area of restoration of churches, houses, halls, monuments and community facilities firmly within the area of local art. As Minister for Labour I was privileged to be associated with the great work done by FÁS in conjunction with local groups and communities. The fantastic work in the James Joyce Centre in North Great George's Street is just one of hundreds of examples of this important artistic work.

In some areas of folk music and popular music, Irish groups and performers have established a tremendous international reputation. We also have a niche reputation in, for example, the Wexford Opera Festival. There is also a proven opening for chamber opera, suitable to a country this size, and one opera group has performed abroad in the Prague festival and elsewhere. Nevertheless, Irish performers in some fields essentially have no choice but to pursue their training and careers abroad. There is a very clear case, as set out in the plan, in the more expensive areas, such as opera and ballet, for combining forces with Northern Ireland, and sharing costs and facilities. Performances can be staged in a number of venues around the country. We do not need to go to the expense of a purpose-built opera base in one location. The Framework Document also envisages this type of cultural co-operation, and it should be an area of least contention to Unionists like John Taylor. As the report points out, with the lapse of the Irish Ballet Company we are deficient in the area of dance and ballet.

Another obvious area for harmonisation between North and South is heritage protection, where the law is less firm in the North, as Tuesday's "Prime Time" programme showed.

We are able to do very little to support Irish artists or touring groups abroad. The Cultural Relations Committee is run pretty much on a shoe-string. When we have the arts structures that we want at home, we will have to look at what more we need to do to promote Irish culture abroad.

I and my party strongly support the Arts Council plan for the arts and we are pleased we contributed to bringing it quickly before the House. In taking some credit for the presentation of the plan, I acknowledge that the Minister was prepared to support us when our proposal went to Government. While providing overall funding will take somewhat longer than suggested in the plan, that is not unusual.

When my party is back in Government in the post-1997 period, if not earlier, within the financial parameters, we shall endeavour to sustain what has been achieved and finalise the overall implementation of the main features of this arts plan.

Our party spokesperson, Deputy Síle de Valera, pointed out our priorities in the arts and how they should be advanced. Subject to any changes, developments or modifications deemed necessary whenever we resume office we shall sustain and continue to develop whatever goals have been achieved by then.

Mr. Flanagan

Listening to the Leader of the Opposition party, for a moment I thought I was attending a Fianna Fáil Ard-Fhéis. Probably that suspicion was compounded when I heard him quote significantly from an Ard-Fhéis speech of one of his predecessors.

I congratulate the Minister not only on his appointment some years ago as Minister for Arts, Culture and the Gaeltacht but also on his many initiatives in recent years. Nobody can deny his very constructive, significant contribution to his portfolio and the arts in general. While I do not suppose he had any choice in the portfolio offered him, I cannot think of anybody more suited to it, it having been the first time ever in the history of the State a Cabinet Minister was given special responsibility for arts, culture and the Gaeltacht. His efforts so far have been laudable and, I hope, will continue for many years to come.

This debate is on the three-year plan forming the basis of a programme of action on the arts generally. The most important objective of any arts plan must be to achieve a much greater level of participation, by improving access to the arts, particularly for our youth and disadvantaged people while maintaining a regional/socio-economic balance. For too long there has been an elitist perception of the arts which has fostered a closed-shop mentality. Therefore, I am delighted to note the Minister is in the process of removing the barriers and ensuring the arts are brought to the people.

Almost all of the objectives of this plan are laudable — for example, the achievement of higher standards; the encouragement of positive activity in disciplines heretofore under-developed; the encouragement of innovation and access to the arts for young people, particularly for the disabled. The geographic balance struck in the plan through regional centres brings interest and activity within the arts field generally within reach of everyone. Its objectives also include encouraging the enormous amount of activity already taking place in rural areas, not so far recognised as artistic endeavour.

Also important are strategic partnerships between the public and private sectors, in respect of which there have been a number of successful ventures in recent years. Within the context of State development of the arts consideration must be given to joint ventures between the public and private sectors, their overall benefit being significant for the community.

On balance, I was pleased to note the two counties of Offaly and Laois were given priority in the plan. I hope that is not due to an assumption by the plan's authors that those counties represent a cultural wasteland. I should prefer to think they have been afforded priority on the basis of the many activities already taking place there, along with the recognition of the need to harness the great endeavours undertaken, particularly by the voluntary sector at local level. I hope the priority given them by the Arts Council represents a recognition that we already have the congregation and that the church must now be built around which that congregation can flourish.

A three-year plan for the arts in County Laois was submitted to the Arts Council early in 1994 for inclusion in this plan. It is encouraging to note that the county has been designated a priority zone. I hope provision will be made for a planned, integrated scheme of new developmental arts programmes, to co-ordinate and focus Arts Council schemes and projects in education and community arts, in addition to art form events and other national programmes. It is important to negotiate with organisations involved in the development of the arts a priority agenda allocating available resources to counties Laois and Offaly. I know that is what the Minister has in mind and hope he will have sufficient resources to ensure the plan can proceed, as envisaged.

There should be provision for a multiplicity of arts programmes, including community arts projects, residencies, artists-in-schools schemes, touring exhibitions, literary programmes, children's festivals and dance residencies, which will certainly take place in my county in the years 1995 to 1997. Another very exciting project is the proposed arts centre to be located in the old gaol in the town of Portloaise where different art forms will co-exist. If completed, that arts centre will provide access to local, national and international arts, will support the development of arts and artists and provide opportunities for participation and education in the arts. Central to the policy of Laois County Council in the promotion and development of the arts is that everybody should have access to all arts activities. We recognise the need for the development and implementation of good arts practice. Over the next three years each stage of development will be carefully considered and evaluated, a positive approach being adopted to all art forms, creating a healthy environment within which the arts can flourish.

It is important to commend local authorities that have appointed full-time arts officers. It is regrettable that something of the order of 12 local authorities do not have the services of a full-time arts officer. I hope that will be addressed in the immediate future, the benefits for the community generally being significant. The full-time arts officer, Miss Mhuire Ní Chonaill, available to the County of Laois for the past four years, has done tremendous work in the county, of a type and at a level that would not have occurred without her initiatives which were implemented on a shoe-string budget.

The Laois arts centre will be a bonus for the visual arts. There is no purpose-built gallery in the county and exhibitions are held under difficult conditions. The main hall of the county building is the venue where most of our exhibitions are held on a two-monthly basis. Exhibitions are held in the back rooms of pubs and in old and disused halls in an environment one would not wish for in the context of recognition of the visual arts.

In County Laois we have had an average of ten national touring exhibitions of a modern and heritage nature, with local exhibitions making up a county exhibition programme, all funded by Laois County Council. Due to lack of resources these exhibitions are generally housed in county council offices. The principal inhibition on the touring exhibitions is the lack of curatorial staff to assist in moving to rural venues throughout the county where they would be welcome. We have had many touring exhibitions for schools, assisted by the Arts Council.

In spite of the fact that current facilities are extremely limited, amateur drama has flourished. I am sure most rural Deputies will testify to a tremendous amateur drama movement where people give of their time to ensure that many productions are of a standard which professionals would be proud of.

Laois Youth Theatre was inaugurated in 1993 and funding, although limited, is continuing on an annual basis. The youth theatre has succeeded in bringing live theatre to some parts of the county for the first time. The children's theatre has many successful outings throughout the year. In 1994 Laois County Council launched a major public arts project. The Laois sculpture trail started with six limestone sculptures permanently based in the towns of Portlaoise, Portarlington, Abbeyleix, Stradbally, Mountrath and Mountmellick. This was the beginning of a new era in the county and there are plans to add to it in the coming years.

In County Laois we aspire to becoming a centre of high standards for sculptural presentation and activity. Business and State interests have indicated an interest in becoming involved in partnership with the county council. A scheme has been inaugurated under the Department of the Environment to be implemented in association with the major highway, the Portlaoise by-pass, and at other locations as appropriate.

In County Laois we have a sculpture project involving four sculptors working in indigenous wood and an environmental sculpture project involving invited sculptors who exhibit in an outdoor show during the summer months from June to September for a three-year trial period. The carrying out of this programme, in consultation with local voluntary committees, has generated increased sculptural activity throughout the county. The local authority will arrange a suitable maintenance programme for the sculptures involved. Local schools are involved in an educational programme running concurrently with these projects. I make these points to encourage other local authorities to go down the same road. With limited resources we have done much in recent years to foster a culture of artistic endeavour.

The Laois Arts News, a document in the form of a notice board, is published three or four times a year with the aid of a small grant from the county council and sponsorship from local business interests.

We have succeeded in introducing the arts to education by inviting musical companies and artists to different schools throughout the country. Arrangements are being made for schools to visit art exhibitions in Laois county hall. A touring exhibition for schools is arranged annually with the assistance of the Arts Council and the children's theatre.

In addition to the services of a full-time arts officer, Laois County Council has engaged a writer in residence with great success. It is intended to employ one writer every year to work with aspiring writers in the county. The county library service assists in this scheme and acts as an information point for those interested in specific projects such as a Laois anthology or a literary publication which would be eligible under the scheme and funded with the assistance of the Arts Council.

In County Laois we have one of the most modern libraries in the country. This was an ambitious project undertaken by way of a joint venture between the public and the private sector to ensure the people of the midlands have a first class library. It is one of the few new libraries built in recent years. Some people would have us believe libraries are a thing of the past and have been overtaken by the electronic mechanisms of the video and home entertainment. There has been a huge increase in membership of our county library.

We are in the process of engaging a youth arts officer to work with the arts officer, who has been very successful. This position will involve a two-pronged approach: researching the needs and requirements of young people and proceeding to recommend and implement the findings. The arts officer will work with youth arts officers in the National Youth Council of Ireland, the National Association of Youth Drama, Music-base and also the Dance Council of Ireland.

The lack of a venue for the arts is our one difficulty in the midlands and I am sure it is a difficulty experienced in many rural areas. Each town should have an adequate space in which to host touring theatre groups and local exhibitions. We have ensured that we have some form of suitable venue in most towns but I stress that this is difficult without an overall co-ordinated plan.

Laois County Council has identified the need for an arts centre in the midlands. The provision of a venue for the arts in Laois will complement other tourism developments within the county and adjoining areas. The new cluster of tourist attractions being developed will attract increased numbers of visitors to the area. We have identified arts development as an integral part of the services available to the public. During the past ten years we have demonstrated our commitment in this regard by the various endeavours of our arts officer. Audiences for all art forms have steadily built up and the people of the midlands and County Laois need a place in which to enjoy the arts. We have the congregation, now we need the church.

Unlike some local authorities, Laois County Council recognises the importance of arts and cultural activities in the overall economic, social and environmental development of the community, employment creation and improving people's quality of life. Careful investment in the arts will lead to job creation in art-related areas and to significant economic spin-offs, particularly in the tourism and leisure areas. Will the Minister indicate the number of people employed in the arts? In the United Kingdom approximately 2 per cent of total employment is in the arts-media sector. If we were to achieve this target we would substantially increase the number of people in employment.

I am not sure that the concept of regional centres of excellence in Waterford, Limerick and Galway can be married with a broadly based community arts policy. These centres may give rise to a perception of elitism as, by definition, they are exclusive. I hope such centres will not militate against access to and participation in the arts.

There needs to be more co-ordination between the Departments of Arts, Culture and the Gaeltacht, Education, Tourism and Trade, Enterprise and Employment and the Environment and local authorities, all of which have a major role to play in bringing arts to the public and ensuring that the ambitious proposals in the plan are implemented. I ask the Minister, in consultation with the Minister for the Environment, to ensure that all local authorities employ an arts officer. This will cost money but if the work done by the County Laois arts officer is taken as an example it will be money well spent.

Miss Coughlan

I wish to share my time with Deputy Killeen.

An Leas-Cheann Comhairle

Is that agreed? Agreed.

Miss Coughlan

I welcome the opportunity to contribute to this debate. The plan represents a welcome public commitment to increased investment by the Arts Council in the arts. This is an acknowledgement of the tremendous work done by the many dedicated artists and art groups who currently operate on very small budgets.

I am particularly delighted that the plan refers specifically to County Donegal. Deputies are being parochial in their contributions, and County Donegal will be looking for as much money as possible. I look forward to the provision of the necessary funding to implement the plan. In the past decade there has been an upsurge of interest in the arts in County Donegal. However, this has not been matched by an increase in Government funding. Many arts and culture groups in the county are anxiously awaiting acceptance of their applications for funding by the Department.

Many areas of the arts in County Donegal require investment. Donegal County Council has put forward an excellent plan for the development of arts and culture within the county and I am sure the Minister will allocate funding to ensure its implementation. In addition to the Balor Theatre in Ballybofey and the Abbey Centre in Ballyshannon it is proposed to build an arts centre in Killybegs. While we welcome visiting theatre companies, it is hoped to establish a professional theatre company in the county. County Donegal has many amateur theatre groups, for example, the Lifford Players which have to operate on a shoestring budget. I am sure that like me the Minister would prefer if amateur theatre groups did not have to use draughty halls and inadequate facilities.

The plan affords us a great opportunity to emphasise the importance of the arts for young people. Reference has been made to the importance of the role of the Department of Education in this regard. I read with interest the report of the Education convention which referred to the place of arts within education and the concern expressed by the participants at the perceived neglect of the role of the arts in education. Arts are a very important part of the school curriculum for young people and the provision of funding to develop an interest among young people in the arts would be very beneficial.

The County Donegal Vocational Education Committee has invested heavily in music and employed a permanent music teacher. The school of music in the county is still at an embryonic stage of development. Music is of benefit to everyone and it is very important to invest in music schools. There are many areas of the arts in which people would like to see investment, for example, visual arts, festivals and films. It is proposed to build a regional theatre in Letterkenny and I hope this proposal can be brought to fruition with assistance from the Department, the International Fund for Ireland and Bord Fáilte. Many communities involved in the arts are wary of applying for funding, in particular for capital investment, because they believe that even if they procure a building they will not be able to secure the day-to-day expenditure necessary for administration and marketing. This is regrettable at a time when we are trying to promote cultural tourism. Folklore, archaeology, language, music and crafts are new and vital areas of cultural tourism for a county such as Donegal which relies to a large extent on tourism. I hope the Minister meets members of Bord Fáilte and that a compromise package on what he wants regarding the marketing of the wonderful facilities that have been made available in many small communities and what Bord Fáilte may be able to provide will be drawn up. The people of those communities must be encouraged. It is demoralising for them to apply for funding to Bord Fáilte and receive a one line response stating they cannot be facilitated.

Ní fhéadfaí caint ar chúrsaí ealaíon i nDún na nGall gan trácht ar an mórthionchar atá ag an Ghaeltacht agus cultúr na Gaeltachta i gcoitinne ar fhorbairt na n-ealaíon sa chontae, i gcúrsaí litríochta, amhránaíochta agus ceoil go háirithe, agus ceannródaíocht déanta ag ealaíontóirí agus pobal na Gaeltachta le blianta fada anuas. Tá nuabhorradh tagtha agus arís is le tacaíocht ó Údarás na Gaeltachta agus ó do Roinnse, a Aire, a chuaigh pobal na Gaeltachta chun tosaigh. I measc na nuathionscnamh cultúrtha atá ag feidhmiú go suntasach is go héifeachtach sa Ghaeltacht i láthair na huaire tá imeachtaí ar nós Oideas Gael i nGleann Cholm Cille, Glór na nGael i nGaoth Dobhair agus san Fháil Cearrach. Tá súil agam go leanfar leis an obair atá déanta, go mórmhór sa Ghaeltacht, le linn téarma an phlean ealaíon atá ag an Aire agus tá súil agam go mbeidh tionchar mór aige seo ar chúrsaí ealaíon agus cultúir agus go mbeidh sé ábalta tacaíocht a thabhairt do mhuintir na Gaeltachta.

Mr. Killeen

Fáiltím roimh an díospóireacht seo ar an phlean ealaíon. Faoi mar a dúirt an tAire, ba í an Chomhairle Ealaíon a dhréachtaigh é i ndlúthchaidreamh leis an Roinn Ealaíon, Cultúir agus Gaeltachta. Is suimiúil gur foilsíodh an plean sula raibh cinneadh déanta ag an Rialtas air, agus is suimiúil freisin go raibh deis ag a lán grúpaí é a phlé cheana ach go raibh deacracht de shórt ann é a thabhairt os comhair na Dála. Is dealraitheach dá lán daoine i mo thaobhsa tíre go bhfuil cinneadh Rialtais á dhéanamh ar fheachtais thábhachtacha gan gach gné den cheist a iniúchadh agus a mheas.

Tá daoine ann a cheapann nach bhféadfadh Rialtas ar bith, cibé amaideach a bheadh Airí ar leith, cinneadh a dhéanamh foirgneamh atá leath-thógtha a leagan dá mbeadh lán eolais ar chostais agus ghnéithe eile ar fáil acu. Ach, is ceist ar leith í seo agus tiocfaidh muid ar ais chuige go mion minic, ceapaim, go ceann cúpla bliain eile ar a laghad, go dtí go mbeidh daoine ciallmhara i mbun oibre, thar ceann na ndaoine go léir agus ní amháin thar ceann grúpa saibhir le tionchar mór sna meáin chumarsáide. Ach ba chúis imní freisin sa scéim ealaíon go ginearálta dá dtarlódh sé sin. Luaigh cuid mhaith Teachtaí eile go bhfuil gá le neamhspleáchas ón Aire maidir leis an gComhairle Ealaíon agus an gclann ealaíon, agus aontaím leo go diongbháilte.

Má tá maitheas ag baint le hobair an Aire seo — agus tá i ngnéithe áirithe — tá baol an-mhór ag baint lena stíl, leis an ngá atá aige gach rud a bhailiú faoina choimirce féin agus a thaispeáint don tír ar fad gurb é féin, agus é féin amháin, atá i gcumhacht, beagnach ina dheachtóir, ar chúrsaí ealaíon. Ní tharlóidh dul chun cinn folláin i gcúrsaí ealaíon má leantar mar seo le ríocht chultúrtha a chur ar fáil do chairde Aire amháin. Déanfar díobháil agus damáiste agus múchfar lasracha a bheadh ag borradh faoi chóras chothrom oscailte.

Mar sin féin, caithfear fáiltiú roimh an méadú atá faighte ag an Aire ar an méid airgid do chúrsaí ealaíon. Mar is eol dó féin, ba é ceannaire Fhianna Fáil, nuair a bhí sé ina Aire Airgeadais le dhá bhliain, a chuidigh leis an dul chun cinn seo. Mar a dúirt an tUasal Ahern féin, bhí sé i gceist go leanfaí leis sin agus níor airigh mé an tAire ag cur isteach air nuair a bhí sé ag caint mar bhí a fhios ag an Uasal Ahern cad a bhí ar siúl aige agus tá a fhios ag an Aire agus ag gach duine nach raibh mise ann. Ach bhí an bheirt acu ann agus tá a fhios acusan cad a bhí ar siúl.

Tá sé luaite go bhfuil £3.25 mhilliún curtha ar fáil do Bhord Scannáin na hÉireann. Tá dul chun cinn maith déanta sa ghné seo den obair agus is léir go bhféadfaí níos mó a dhéanamh agus go bhfuil sé ag feidhmiú. Is léir freisin go bhfuil sé i gceist cabhair áirithe a thabhairt do scríbhneoirí Gaeilge agus, b'fhéidir, don teanga féin. Ach ag féachaint ar an ngné seo den scéal, inné, ní raibh an Taoiseach sásta teacht ná ábalta freagra a thabhairt ar cheist shimplí as Gaeilge. Ciallaíonn sé nach bhfuil mórán suime ag príomhpholaiteoir na tíre sa teanga dhúchais.

Is cuid den fhadhb go nglacann sé leis, go nglacann a lán daoine leis, nach bhfuil aon ghá snas a chur ar an nGaeilge atá acu agus is mór an trua é sin agus is cuid den fhadhb é. Mar sin féin tá leagan Gaeilge den phlean seo le cur ar fáil agus tá mé ag súil é a fheiceáil. Ní dóigh liom go gcuirfidh olltoghchán deireadh tubaisteach le plé an phlean seo, faoi mar a tharla cheana, ach tá daoine i mo thaobh tíre a bheadh ag súil leis.

I am particularly interested in discussing arts and education. I was a teacher for 20 years and I am sure many of my colleagues would empathise with my feeling of inadequacy in regard to artistic matters. The Minister is contributing to continued elitism in the arts by the image he is projecting as the high priest of the arts.

Mr. M. Higgins

I am not, but if the Deputy wishes to personally insult me, he can.

Mr. Killeen

When people with specific knowledge in, say, painting or drama visited my school, I was impressed by the influence they had on the children and the benefits which accrued from such visits.

Mr. M. Higgins

I did not have as many opportunities as the Deputy, but I have had a better result.

Mr. Killeen

They were comfortable with the surroundings and the subject. It is an advantage to be in that position, but the difficulty is that many of the people I represent are not quite so comfortable and have a sense of inadequacy in some areas of the arts. This is one of the major challenges to be faced by those who have an interest in the arts. I regret that the Minister chose to interpret what I said in the manner he did. I would be more helpful if he were prepared to listen to people's views and take them into account.

The relatively unhealthy approach to the arts and education which is reflected in the ethos I outlined dictates that certain people are the repository of all knowledge not just in the arts but in the area of conservation, the environment and so on. That is as insulting to ordinary people as it is to denigrate the views of people in my area who have a particular view on the question of visitor centres for national parks. It is unhelpful, particularly when these are the people who have preserved the environment for centuries. I am concerned that the outcome of the debate on the arts will be to drive an even greater wedge between those who consider themselves artistic and those who do not. What I have heard today greatly deepens my concern.

Nevertheless one must acknowledge that there is a great artistic energy, which is reflected in the great number od festivals and amateur drama productions held around the country, and in the fact that county arts officers help to organise and support such ventures. County Clare was the first county to have an arts officer and an enormous amount of positive work has been done in that county. Quite a few counties have no arts officer, and that is a great disadvantage.

Deputy Quill referred to the lack of funding for projects outside of Dublin. It would be useful if the Arts Council, the Minister and the Department were to address that. If some of our artistic and cultural activities were to be staged for tourists, it would be of enormous benefit to the economy.

Ennis Tourism propose erecting a major cultural centre which will have great potential. In its document the Arts Council referred to partnerships at national, regional, local and international levels. It is not clear how those partnerships will work, and my thinking on them mirrors some of the views expressed by Deputy Dukes, that an attempt might be made to pull all the developments under a dictatorial umbrella. That would be unhelpful and ought to be resisted.

It should be recognised that the arts would be a major and positive contributor to our economic developments. One of the reports estimated gross revenue at £450 million and 21,500 full-time job equivalents. On the other hand, the findings of other surveys cast doubt on virtually all the figures. They show a rise in attendance at arts events from 60 per cent in 1981 to 78 per cent in 1994 or, in a more comprehensive assessment, 83 per cent in 1993-94. That seems a healthy figure but it should be examined more carefully to see what lies behind it. The report should be thoroughly debated and evaluated. The Minister, and those who are charged with responsibility in the area, ought to be prepared to at least listen to the views of people like myself whom they look down on as not being of the artistic community.

Mr. M. Higgins

That is not true and I never stated it. The Deputy had more advantages in County Clare than ever I had. His remark is unworthy, but I am not surprised by it.

Mr. Killeen

Our views ought to be listened to and considered. It is indicative of the Minister's position that he continues to interrupt and is not being helpful in the matter.

Mr. M. Higgins

Deputies should make a contribution instead of delivering personal insults.

Mr. Killeen

On a previous occasion the Minister made an unwarranted attack on me which I did not understand at the time and which he did not explain.

An Leas-Cheann Comhairle

I must call another speaker.

Mr. Killeen

This debate needs to be conducted in an open manner and clearly it will not be.

Ms F. Fitzgerald

It is clear that some other political decisions are entering this debate on the arts plan. My colleague, Deputy Flanagan, gave a very interesting and descriptive account of the flourishing of arts activity in County Laois to the extent that there is a danger of writing County Laois out of the priority zoning which it has in the arts plan. That is an indication of why we need the sort of macro-level thinking that we see in the arts plan because until recently the approach to the arts has been hit and miss. We have seen the cultural community flourish and develop almost despite the absence of any coherent Government driven policy. There have been attempts at times to rationalise arts policy, and Fine Gael has played a strong role in that.

It is clear that we are at a new and critical stage in the development of the arts, that there is a new awareness, a new support in the country for this. The Minister has been creative and proactive in his approach. I congratulate him — credit should be given where it is due. It is clear that there is a new focus on and a new attention to the arts and the Department has played a critical role in this. The plan is timely and appropriate. The potential for development in this area is enormous. In the past the arts made an important contribution but in the future will make an even more vital contribution to the quality of life of many people. The plan will unleash creativity. It will give people an opportunity to develop their creative talents and should have a strong economic impact which will help with job creation. I hope it will impact on the lives of individual artists and give them support because it is clear from research that they have not felt supported or had their career needs taken into account as much as they ought to be.

I would like to congratulate Ciaran Benson, the chairperson of the Arts Council, its staff and its director on the very productive year they have had in 1994. This plan did not happen in isolation. Quite an amount of work has been done during the year. I will refer to the reports briefly. There is "The Public and the Arts", a survey of behaviour and attitudes in Ireland commissioned by the Arts Council and published in 1994. It is worth putting on record the information that emerged from that report. There is also "The Economy of the Arts in Ireland" by Joe Durkan, a contribution to the debate on the economics of the arts, again commissioned by the Arts Council. Another report, "The Employment and Economic Significance of the Cultural Industries in Ireland", was published in 1994. It analyses the employment levels and economic value of the cultural industries and, again, gives us valuable information. Those reports give us the basis for discussing the arts plan before us today.

I will comment on the role of the Department of Education and highlight the importance of the link between the Departments of Arts, Culture and the Gaeltacht, Education and the Environment. On the question of co-operation between Departments, it is essential that the difficulties be overcome if we are to develop an appropriate arts policy. There has been scandalous neglect of the arts within education. This must be brought to an end. I call on the Minister for Education in publishing the White Paper seriously to consider what policies are needed to develop the arts within education. I will conclude by commenting on the way the Temple Bar area in Dublin is being developed.

The report "The Public and the Arts" contains the findings of a baseline study of audience participation levels in which data collected in 1981 are compared with data collected in recent times. There has been growth in attendances, from 60 per cent in 1981 to 78 per cent in 1994. Attendance figures for all art forms, with the exception of ballet which has been neglected, have increased, with dramatic increases in the case of film and popular music and exhibitions of paintings and sculpture. What these figures show is that, despite the gaps in our cultural policy, the public is expressing its interest in the arts generally.

It is interesting to note that the figures for the purchase of novels, poetry and plays by living Irish artists and records and tapes of classical music also show considerable growth, which is not surprising. There is still, however, a contrast between the regions. Dublin continues to have the highest attendance levels with 90 per cent attending at least one arts event, while the rest of Leinster continues to have the lowest level at 55 per cent.

One of the findings of the report is the source of worry. Despite the fact that the attendance figures show substantial growth among all groups in society since 1981, the gaps between different classes remain. In relation to certain live events and amateur activities the class differential is widening. This is a source of worry and must be linked with what is happening in society. For example, I have studied the report on long term unemployment and I am a member of the National Economic and Social Forum which has addressed the question of how we can break the cycle of long term unemployment and the associated isolation whereby people are cut off, not only economically but also socially in terms of arts activity. In any new plan for the arts we must make special efforts to broaden the appeal of arts activity for as wide a group of people as possible.

When discussing the question of how we should tackle long term unemployment it was mentioned that we should establish a local employment service as a gateway to training, guidance and placement. We need to think along the same lines in this instance if we are to break the barrier identified in this report. Its recommendation, local area development, is obviously the key. Some of the figures show that interest among the public in the arts is at an all time high.

There are barriers to involvement in arts activity. The issues of expense, access and family commitments are given as the main reasons many people do not participate. The determining factors are occupation, class, education, age and region. It is clear therefore that access to education and development of the arts in the regions are the critical issues and they are addressed in the report.

The report states that the education system holds the key to future cultural and artistic development. If this is true I am extremely concerned about the neglect of arts in education. Many children still do not have access to a range of essential creative activity within schools although young children today have a better chance of being exposed to the arts. There has been scandalous neglect and I appeal to the Minister for Education in drafting the White Paper to devise a new policy on this area. If we fail to do this it will have many implications for the future well-being of the population in terms of work satisfaction, personality development, enterprise development and tapping into and developing one's own resources.

I hope that the interdepartmental contact which is necessary can take place. This continues to be a problem within the system we operate. This matter will be considered as part of the strategic management initiative but creative ways will have to be found to ensure that the contact that is necessary between different Departments takes place to ensure the policies needed can be developed. This is of critical importance.

I have referred previously to the document "Making Youth Arts Work". It was clear then that the resources were not being provided to ensure that the National Youth Council received the support it needed.

I wish to link what we are discussing with one of the political issues of the moment — the fines to be imposed on the beef industry in respect of irregularities. It has been mentioned that the amounts in question will be £70 million and £25 million approximately. When we consider what we could do with this money in many other areas and the amounts required by the Arts Council, it puts the matter in context. We have to highlight the policies necessary to develop this area.

There will be increased support for children's arts programmes and involvement in a range of areas, including music, drama, visual arts and dance. I hope also that increased funding will be provided for theatre and education companies and the promotion of children's literature. There will be a new centre in Temple Bar in Dublin, The Ark, which will enable development of special arts programmes for children. I look forward to the development of that centre which I hope will be accessible to children throughout Dublin.

It is clear from a number of these reports that there are strong opportunities available to create jobs in this area. In 1993, the arts sector, as defined, had gross revenue of between £225 million and £250 million in terms of direct Arts Council activities and employed 4,200 directly. Two sub-sectors, music and film, accounted for 75 per cent of turnover and 80 per cent of employment. The Coopers and Lybrand study found that total revenue in the arts sector, using the wider definition, was approximately £450 million in 1993, that it employed 21,500 directly and accounted for 2.4 per cent of total employment with minimum export earnings of £100 million. The question for the Government therefore is the level of intervention in this industry where and when? As it will not be possible to fund all the projects that the Minister and many others would like to see funded there will be a need for an ordering of priorities.

It is extremely important that we focus on local development. I make a comparison with what we have learned in empowering communities and developing community initiative. The model being described is very much in line with what we understand is the best way to help communities to develop.

I hope the Temple Bar area will become accessible and will be used by people in Dublin. It is an important area which should not become just another spot on the tourist map or an area which is for the benefit of one section of our population. I am concerned about what Temple Bar residents have said about the planning in the Temple Bar area. Many who have moved into the area find they are now living next door to a sprawling pub. They are concerned that not enough provision has been made for other types of development in the area and they would like the Department of the Environment to be more active in its development.

A young student working with me surprisingly told me that she had been warned not to go to the Temple Bar area. That may sound a little extreme but it is an honest account. We must ensure that this area has a favourable reputation because of the range of developments projected for it and because of some of the extremely good development that has already taken place there. We must ensure there is the right balance of usage both on a residential and a commercial level. I would welcome comments from the Minister on the future development of the Temple Bar area and the concerns of the residents.

The establishment of the Ministry and work that has been done by a variety of people over the past few years is clearly having an impact. I have met some of the people examining the initiatives taken in the film industry, and I note that the British Film Industry report was published yesterday. No doubt it will copy some of the initiatives taken here to develop its industry. The competition will increase in terms of attracting funds to Ireland but certainly we have a head start which, I hope will benefit us.

The Minister in his contribution mentioned the emphasis on architecture in the report. This is an extremely important area and I am glad the Minister is establishing a working group co-ordinated by the Royal Institute of Architects to develop a national policy. Architecture is neglected but it is important that we develop a greater awareness of the visual arts. This will be greatly helped by the proposals of the working group.

The background work has been done to ensure development in the arts. We have witnessed a breakthrough in this area and the challenge now is to see how this comprehensive plan — and it is worth noting that over 300 submissions for the plan were made to the Arts Council — can be integrated into the policy priorities of the Government at every level up to the year 2000. I look forward to playing my part in ensuring that the arts receive the priority they deserve.

The North-South co-operation element, which the Opsahl report dealt with in such detail when it was published two years ago, is important. There is great potential in this area and some very interesting initiatives in the arts have been taken already in terms of North-South co-operation. They have been taking place quietly in the background and the fears of some people about North-South institutions can be allayed when one considers what co-operation means in the arts and when one examines what has been happening in that area over the past few years. The picture is a positive one and there is great scope for further action.

Mr. B. Smith

I welcome the decision to debate the arts plan in Dáil Éireann. I am glad the previous Government and the Minister for Arts, Culture and the Gaeltacht requested the Arts Council to prepare this plan. Too often in the past, arts were viewed as being somewhat removed from a large segment of the population. With a planned and positive approach, this area will be more accessible to all. As the Minister makes clear in his introduction The Arts Plan 1995-1997, marks a breakthrough in the way in which the State proposes to address its responsibilities to promote the contemporary arts.

It is to be welcomed that the Arts Council has taken a broad vision of the arts. It mentions that the cultural map will alter over the next decade, so I hope that in the next few years the areas of investment in arts will also be altered considerably and each county will be given its fair share of the resources being made available.

I mentioned earlier that the arts were often seen as being removed from the people, but their role in life and their contribution to the economy is evident from the study carried out by Mr. Durkan of UCD. The employment of the full time equivalent of 21,500 people has to be a major consideration in the future disbursement of State funding and this study is justification for past Government expenditure in the arts.

For many years, local groups such as drama societies brought varied entertainment to rural areas and they are to be commended for their courage and tenacity in ensuring that drama has been strengthened considerably. The Cavan Drama Society recently celebrated its 50th anniversary and its 49th annual festival. The community is to be commended for its foresight, courage and persistent work in ensuring that festivals continue to prosper.

There is no formal structure for the provision of arts and arts facilities and some local authorities have given an excellent lead in the appointment of arts officers and in facilitating groups and communities involved in the arts. Some years ago Cavan County Council appointed an arts officer and there has been a considerable upsurge in all art forms since. The help and encouragement given by a local authority can be of immense benefit. It can be the lead agency in this regard in an area.

The arts plan refers to the need to prepare a support structure for local authorities and this is to be welcomed. I regret that County Cavan has not been chosen as one of the priority zone counties because this is an ideal time to foster and encourage co-operation between North and South. All the Border counties should have been given favourable consideration in this regard and I hope their exclusion does not mean they will be left for the next tranche of Structural Funds, which may not be forthcoming, to build up the necessary arts infrastructure.

I mentioned earlier the good work undertaken by many individuals and organisations in fostering different art forms and recently the outstanding work carried out by people involved in organising youth bands has been brought home forcefully to me. I know the maintenance of such groups and the provision of poper facilities and equipment is very demanding financially, and therefore individuals need constantly to raise funds within their communities. Perhaps the Department or the Arts Council would consider giving some form of financial help to such activities. There are some excellent youth bands in my county and in many instances they come from areas where the population is sparse.

Tomorrow night I will be attending the launch of Antoin MacGabhann's cassette, "Matching Beats" in Crover House, Mountnugent, County Cavan and I am glad that Cavan County Council's Arts Office is involved in this launch. Antoin MacGabhann has toured extensively with Comhaltas Ceoltóirí Éireann throughout Ireland, England and America and has contributed significantly to the promotion of Irish music on television and radio programmes.

Antoin MacGabhann has played a major part in ensuring that the music of a famous composer from Cootehill, Mr. Ed. Reevy, is kept alive and, thankfully, some of his music is included on the cassette to be launched tomorrow night. People like Antoin MacGabhann do not just play music, from which they obviously get great enjoyment; they commit themselves to teaching workshops, adjudicating and encouraging the younger generation to become involved in our great musical tradition.

As a regular visitor to fleadhanna, whether at county, provincial or all Ireland level, I am always enthralled by the enthusiasm of musicians and by their magnetic appeal. When we speak to visitors from abroad we realise the strength of our Irish music tradition, particularly throughout Europe, and the knowledge these people have of the various Irish groups and the individual members of those groups. The music tradition is one of the cornerstones of our tourism industry.

We consistently hear criticism of the lack of commitment of our national broadcasting network to the fostering and promotion of Irish music. I do not know if this argument is as valid today as it was previously. Like all Members, I do not hear much radio or see much television, but I get many an enjoyable hour from programmes such as "Céili House" and other programmes produced and presented by Peter Browne, Donncha Ó Dulainn and others. The journey to Dublin late on Monday night or early Tuesday morning is often shortened by good programmes. Local radio is a very good outlet for many young artists and I am sure many stars of the future will have been given their first public profile on local radio. Considering the remit of the Department of Arts, Culture and the Gaeltacht, it would be easy to adopt a sustained approach to the promotion of traditional Irish music and song in the broadcast media. The enormous diversity and vitality of this sector must be co-ordinated and given due promotion.

I have had correspondence with the Minister on the provision of a community theatre in Virginia, County Cavan. Local people are involved in providing a facility for themselves and an additional attraction for the town. I hope the Minister will provide worthwhile grant aid for this project under the Operational Programme for Tourism. The committee involved represents a cross-section of the community. When the project comes to fruition the facility will enable the production of plays, the promotion of arts and ancillary community uses generally.

The arts plan refers to the vital role of local authorities and instances the positive features of such involvement in other western European countries. During 1994 approval was given for grant assistance to develop a Cavan county museum in Ballyjamesduff. A substantial investment was approved under the tourism sub-programme of the INTERREG Programme. The county council took the initiative in advancing this project. The provision of this state-of-the-art museum represents many diverse aspirations. The history of Cavan and Breifne is a microcosm of Irish history. We all aspire to a bright new dawn that will afford us an opportunity to learn from the mistakes of the past and assist us in the difficulties that may lie ahead.

The Cavan county museum will enable the retention and preservation of items of local and national importance in a permanent facility and will result in considerable enhancement of the area, thus contributing to the local tourism industry. Dr. Wallace, Director of the National Museum, is committed to the enhancement of local county museums and I believe she will do her utmost to facilitate the transfer of objects of particular interest and importance to the county museum in Ballyjamesduff. One item that lies outside our jurisdiction in the great mace of Cavan which was sold at auction in Dublin in 1967 and is held in the Ulster Museum in Belfast. My understanding is that this mace was returned to the original donor's family and subsequently sold at auction. It was presented to the Corporation of the Borough of Cavan on 29 June 1724. I hope the Minister will negotiate with the relevant authorities in Belfast for the return of this item to another part of the province of Ulster, namely, the county museum in Cavan. I hope when the Minister meets the UK Minister, Mr. Ancram, he will raise this issue with him.

In the last 12 months the Minister brought before this House two Bills, the National Monuments Bill and the Heritage Council Bill. The National Monuments Bill is an important addition to the corpus of legislation and the Heritage Council Bill as published would have been a welcome measure in this regard also. The National Monuments Bill will be viewed in future as an important measure in the identification, acquisition and preservation of our national heritage. The State has the right to ownership of important objects of antiquity and objects of archaeological interest of national importance. The taking into care by the State of historical sites and monuments should be given a renewed impetus. Such activity in the heritage area is essential in increasing and making more attractive the tourism product available, particularly in rural Ireland.

I mentioned earlier the need to develop North-South co-operation. I recall the Minister meeting the UK Minister in Stormont and I guess their talks centred on areas where co-operation can be strengthened or initiated. I presume there is co-operation between the Arts Council here and the Arts Council of Northern Ireland. The two tourist boards co-operate in marketing this country abroad and they share stands at major tourism fairs. I hope both councils will work together, for example, to help fund Irish festivals held abroad.

The advancement of library and arts projects in schools North and South would be particularly appropriate. I visited schools on the Falls Road, the Shore Road and the Shankill area of Belfast and was very pleased with the schools' programme, Education for Mutual Understanding. That programme with its theme of culture and heritage was introduced as part of the curriculum for all grant-aided schools in the North in 1989. It is a cross-curricular theme which must find a place in the teaching and learning processes in all subject areas. Its objectives are to provide pupils with opportunities to learn to respect and value themselves and others; understand the interdependence of people in the family, local society and societies in the wider field; learn about and value their own culture and traditions and the culture and traditions of others; and learn the importance of resolving differences and conflict by peaceful means. Mutual understanding covers all relationships which young people may form with family, friends and neighbours. The cultural heritage element extends to the culture and traditions of others within the community and from different communities. Pupils should learn that seemingly different peoples may have common roots in their cultural heritage, while appreciating and respecting diversity in cultural traditions.

I value my visits to those schools, those which cater for the Protestant tradition only, others which cater for the Catholic tradition only and integrated schools. It was obvious that all pupils derive great pleasure from their communications with pupils in southern schools. It is incumbent on the two arts councils to co-operate in promoting vigorously arts activities such as music, drama, literature and publications which are vital in the education area.

Schools and education institutions have a vital role to play in the preservation and nurturing of our heritage and culture. A visit to the Ulster Folk and Transport Museum at Cultra, Hollywood, County Down, outside Belfast, is a most enlightening and exciting experience which should be highly recommended to all schools and adults. It gives major coverage to the history of the flax industry, including a flax scutching mill. There are also spades from the mills of the nine counties of Ulster. There is an endless range of farm implements, and cottages have been removed and reconstructed on this site. It is a splendid collection of our material culture and heritage.

I appeal to the Minister, his Department and the Arts Council to give a public commitment that further programmes for practical cross-Border co-operation will be devised. The arts, heritage and cultural resources which are common to the two parts of this island must be made available to both traditions. Our shared heritage is one of our great strengths and easily outweighs many of the differences between the two traditions, about which we hear so much.

Miss Flaherty

I congratulate those who sought this debate, thereby giving us the opportunity to discuss this matter in substance today. It has been an interesting debate so far, with some surprising contributors. It is a sign of the increase in prestige of the arts and its movement to centre position in Irish social and political life that the debate commands the attention of the Leader of the Opposition. None of us would sit up if the Leader of the main Opposition Party were to contribute to a debate on international relations or the beef industry but it is heartening and a sign of the importance and increasing centrality of the arts in Irish political and social life that he would see fit to make a point of contributing to this debate. His contribution was interesting in many ways and, obviously, he claimed as much credit as possible for Fianna Fáil's contribution to development of the arts. I want to express my appreciation of the Minister's role over the past two to three years in developing the arts and putting them centre stage of Irish public and political life. In the past few weeks we have dealt with the Heritage Council Bill and there are other Bills on hand. Almost single-handedly the Minister for Arts, Culture and the Gaeltacht Deputy Higgins, has moved the arts along and has led very much from the front.

There is much work to be done and I have a few useful shots to fire across his bow. Deputy Dukes was concerned about the level of planning and whether the arts were conducive to detailed planning and direction anticipated by the Arts Council. That is an interesting point and we should not shy away from it. To a degree this point was raised again by the Leader of the main opposition Party when he referred to benevolent despots in the context of the arts and the less than happy relationship with the Office of Public Works. I found it rather entertaining that Deputy Bertie Ahern went on to underline the great contribution of the former Leader of his party and he seemed to be quite happy if such leadership were to be given by "rulers, such as Mr. Haughey" but was concerned about despotic tendencies in a responsible Minister — there is a certain confusion in the thinking there. It is all a sign of a good, robust and healthy interest in the issue and has added to the quality of the debate.

The Arts Plan 1995-97 is an important document. Anyone with any interest or involvement in the arts at national or local level should pay heed to it. The Minister is deciding on the resources required to deal with the issues raised here. I certainly support the broad thrust of the plan and that it identifies — the Government programme renews its commitment to it — encouragement of the contemporary arts and protection of our natural and built heritage as central issues of social and economic significance. Ten or 15 years ago that would have been said, but it neither would have been heard or understood by the vast majority in this House and culture would have been seen as a fringe issue. A profound change has taken place, not necessarily led by this House but at least we are not being dragged behind everybody else and an element of leadership is being provided within this House in that we are trying to direct the spontaneous growth in our society.

The Government has made a commitment that this three year plan will be the basis for a programme of action. In that context I welcome the analysis in the arts plan and the identification of priority areas. I certainly will not argue that there is not a great need for development of the arts in the regions. I was interested in listening to Deputies point out what has been happening in their areas that had been identified as cultural wastelands. I accept that the structures identified are important and I see their importance in Dublin. In his reply will the Minister deal with the implications of a strong regional emphasis on the arts for the capital city which in the context of total provision may be very significant indeed, but for huge sections of the Dublin population they may as well be living in the cultural wastelands of the midlands, identified in the plan as a priority area. I would like to ensure that this new emphasis which will see growth in other areas will not lead to stagnation or a reduction of activity in the Dublin area because the needs are very great and have not been adequately identified.

The plan identified a number of issues that are important for Dublin. It identified that there has been an improvement in the general environment for culture in spite of the blockage of access to the arts in education. Many speakers have referred to this and have tried to deal with it seriously. They have identified that major improvements have been made and that there is an acceptance of the economic significance of the arts but they also identify weaknesses. One of the weaknesses identified and, by implication, is inadequately addressed in the context of the Dublin area in the later recommendations, is the arts infrastructure outside Dublin city centre. The city centre does not mean the suburbs I represent, Ballymun, Finglas, Santry, Whitehall, the fringe of the city. Dublin city centre has a developed infrastructure but it is embryonical and uneven in distribution. Very importantly they identified that penetration beyond the middle classes is as yet minimal although I do see encouraging signs in my constituency in the growth of cultural activities in the Finglas-Ballymun area, assisted enormously by the activities of Dublin Corporation. The bulk of that tremendous infrastructure is enjoyed largely by the middle class or, as I suggest, the upper middle class. This issue is important in the context of making decisions as to where investment is to be made in the future and changing that situation in Dublin area.

The plan identifies the consolidation of key art facilities, especially art centres, municipal and other galleries and other points of art activity and suggests that these would bring a high level of service and encourage excellence of work. I totally support the finding on the significance of art centres and major galleries in encouraging activity. My one concern about the plan is that anyone reading it will go away and say Dublin is fine but we have to look after the rest of the country. Dublin is far from fine, although there has been progress in recent years in trying to reorientate as a result of the Dublin arts report to ensure that some of the weaknesses I mentioned such as access by all classes and the weakness in certain geographical areas are addressed. A great deal more needs to be done. The plan rightly identified art centres as areas of critical importance in generating activity.

Debate adjourned.