I am delighted to welcome the delegation from the Arts Council, namely, Ms Olive Braiden, chairperson, Ms Mary Cloake, director, Mr. Maurice Foley, deputy chairperson, and Ms Rosaleen Lenihan. You are all very welcome to the meeting. I invite Ms Braiden to make her presentation.
Role and Functions: Discussion with Arts Council.
Ms Olive Braiden
I am thankful for this opportunity to meet the committee and update it on developments in the arts, which is within the scope of the Arts Council. We look forward to working with the new committee. Its members are welcome to visit us in the Arts Council in Merrion Square to see more closely the work we do. The council has specialists in many areas of the arts and we would be happy to arrange for those specialists to meet the committee. We have experts on traditional arts, dance, film, local arts, theatre, literature, architecture, music, visual arts, opera, circus and street arts. I know many members individually and I look forward to working with them as a committee.
I am joined by Mr. Maurice Foley, deputy chairperson of the Arts Council. He is a business man but has been involved in the arts for many years. He was chairperson of the Irish Museum of Modern Art, a member of the board of the Irish Chamber Orchestra and involved with many other arts organisations. I am also joined by Ms Rosaleen Lenihan whom I am sure members know as an actor, a writer, a performer, etc. I am also joined by Ms Mary Cloake, director of the Arts Council. They will all be available to answer questions after my brief introductory remarks.
As members of the committee will know, the past few years have been a busy period for the Arts Council. The funding of arts organisations is what most people associate with the Arts Council and while that is a significant one, it is not our only role. We spend much time on development work and advocacy for the arts. That has been one of the contributing factors in raising awareness of the arts in recent years.
One of the outcomes of our strategy, entitled Partnership for the Arts, was to reform funding programmes to make them more suited to artists' needs. Instead of one fixed revenue funding programme, we introduced five tailored programmes. These cover once-off awards, project funding, a small festival scheme, programming grants, annual funding and funding of what we call our regularly funded organisations. The aim of the change was to allow greater tailoring of programmes to suit arts organisations. In the past we had a sort of one-size-fits-all application, which was far too onerous for small organisations in particular. One of the really good outcomes of Partnership for the Arts has been meetings by the Arts Council with each organisation to discuss their programmes and funding needs. Since I became chairperson of the Arts Council almost five years ago, it has been our objective to move the council closer to the needs of artists, to listen carefully to what we are being told, and to respond to that.
The Arts Council has enjoyed a decade of strong financial growth. Between 1997 and 2002 the council enjoyed increases of 80%, while between 2002 and 2007 funding increased by a further 67%, going from €47.67 million originally to €80 million in 2007. That was a great increase but from a very low base.
The funding package for 2008 as announced by the Minister, Deputy Séamus Brennan, was €82.1 million. That was the figure in the Estimates, which together with a supplementary Estimate of €3 million, brings the total distribution to €85.1 million. This represented an increase of 6.4% on the original 2007 allocation of €80 million. It is always complex when we get supplementary Estimates during the year, but such an Estimate is always welcomed by arts organisations and artists.
In the circumstances of the public finances and the limited increases being awarded on all fronts including benchmarking, we are pleased that the Government maintained its existing commitment to the arts. Over the course of the year, however, I intend to work to see if we can get further provision from the Minister for Arts, Sport and Tourism for 2008.
In the context of the arts plan, the Arts Council will continue to work to achieve in excess of €100 million per annum as our allocation. We had been in contact with everybody about that before the budget. Without this allocation, difficult decisions had to be made and inevitably there were disappointments for some organisations and for many groups around the country, especially when there were applications for double and treble the amounts actually available. It also requires rescheduling of the arts plan over a longer period if we are to implement it in full, which is our objective and which was the objective of all political parties before the general election.
With the €3 million supplementary Estimate we recently received, we have allocated €845,000 to what we call regularly funded organisations, which essentially are the larger key Irish arts bodies. We have had to give them a much smaller allocation than we had hoped but this additional money will, I hope, help them with their new plans and programmes.
I intend to continue to make the argument throughout the year as to why the arts continue to need greater investment, including all areas of the traditional arts which are close to our hearts in local areas. The arts sector as a whole has never reached a sustainable level of funding and until it does it will never fully find its feet.
The Government is right to continue to focus on capital investment, despite more straitened times. However, in the context of overall national finances the amount required by the arts — €20 million to really have our arts plan in place — is tiny and will not limit room for manoeuvre on any major policy areas such as health, education or social welfare.
It is well recognised by all management gurus that innovation is the key to the future. Big organisations identify creativity as the key ingredient for success in industry and in the economy. Companies are willing to pay huge multiples to obtain highly creative businesses. Even though we are told there is a global downturn, the creative economy continues to grow at much higher levels than the rest of the economy. The arts are a key stimulant of innovation and creativity, which is why their funding is an investment for Ireland. It is an investment that does and will pay huge dividends in tourism, education, social regeneration, our international reputation and community life. When we receive additional resources our intention is to invest in arts provision for children and young people generally, and very importantly to invest in improved the living and working conditions of artists, some of whom live close to or on the bread line.
Touring is also a big priority for us. Arts organisations should all be able to take their work to other locations in Ireland, which improves regional access and arts availability. The Minister, Deputy Brennan, doubled our touring fund, which is a welcome and much needed development for us. I have no need to tell the committee that Ireland is one of the great cultural destinations of the world, primarily because it is enlightened enough to continue the admirable free admission policy that so many tourists find unbelievable and stunning. In addition to free access to all our arts organisations, visitors get to see world-class shows. In time, with the development of the new Abbey Theatre, the new Wexford Opera House, a new National Concert Hall and many other buildings around the country, we will be able to see shows, exhibitions and other artistic endeavours in all these world-class venues. It is the Arts Council's ambition to ensure the people and the quality are there in the arts sector to substantiate the Irish cultural reputation and to populate, as members know from their constituencies, the network of arts venues which exist throughout the country. This is investment in people and is why current spending in the arts is so important. The infrastructure is in place in many areas but it is important the Arts Council has the funds to ensure the programmes are in place as well.
The figures show that by 2020, Ireland will have a population of 7 million with approximately 1.5 million additional people moving to the Dublin-Belfast corridor. As well as engineering to cope with all of this, we need imagination and creative stimulus in the country. That is where the arts can play a very important role. The arts need to be adequately funded and developed. This is why I hope we can all work together to achieve that.
I welcome the Arts Council delegation. I have to leave at 5.05 p.m. to speak on the Social Welfare Bill 2008 in the House so if I rush out, I am not being rude. I will try to return. I will put the Arts Council delegation's mind at rest by assuring it that I am not going to talk about the budget. However, I want to talk a little about funding because as Ms Braiden said, much of its work is development work, raising awareness and advocacy for the arts. If one talks to performers, venues or any of the organisations, the story is always about money and funding, which I suppose is inevitable. It strikes me that much money is going into the arts but perhaps it is not always going in the right direction.
I refer to the acceleration in the number of venues provided in the past number of years. The venues complain about the lack of current funding for programming, touring, etc., and in many instances, they cannot put on the type of performances they would like or cannot open for as many days as they would like. They also complain about the lack of refurbishment funding which crosses the boundary between capital and current funding. There seems to be much capital funding available through the ACCESS programme so if people apply to build another venue, most get funding. There seems to be a continuation in the flow of applications to build more venues yet there does not seem to be funding available to run them once they are built.
Much capital work, including refurbishment work, needs to be done — for example, new lighting in venues — and it is being funded by current funding. Is that a way we could help venues so they could put money into performances, advertising, etc.?
I refer to the Percent for Art scheme for which I presume each Department has a certain budget. The Arts Council has been involved in drawing up guidelines for it. It seems there is much money there which is perhaps not always spent as well as it should be. Having travelled around the country and seen some of the pieces on roadsides which are called "art", one could not help but wonder whether a few daffodils would be better. I am not criticising all the pieces as some of them are very nice. Perhaps some of the pieces are being chosen by people who do not have much expertise in terms of knowing what is a nice piece of sculpture or art.
There is a small amount of money for the smaller projects which is perhaps not as well used as it might be. I understand one can draw on it for a performance, programme teaching, etc., and not necessarily for a piece of work. Has the Arts Council made representations to the Department to try to draw all of this money together and to use it more productively? It is a great scheme but perhaps we are not getting the best bang for our buck.
I welcome the delegation. I apologise but I too must leave for another meeting shortly. I thank Ms Braiden for the presentation and setting out the council's broad plans. An issue which comes up regularly and which is important to the council is multi-annual funding. Will Ms Braiden comment on the lack of multi-annual funding and on the added bureaucracy?
In regard to planning, I understand it is very difficult to engage an international artist and that one must plan two to three years in advance. A substantial amount of money must be committed and it is very difficult to do that if one does not know what one's funding will be. Will Ms Braiden outline the difficulties of not having multi-annual funding?
I refer to the arts and education committee and the promised report. I understand from the Minister that it is the responsibility of the Arts Council. Will Ms Braiden outline what stage the report is at, the importance of arts in education and the overlap between the Department of Education and Science and the Department of Arts, Sport and Tourism? It is important this is moved forward. We have been asking questions for a while and I believe the buck is being passed back to the council.
Will Ms Braiden comment on the Arts Council's commitment to amateur drama, which is very important socially? In rural Ireland, in particular, amateur drama is hugely important at a social level. Perhaps Ms Braiden will comment on the council's commitment to promoting and encouraging amateur drama.
I propose to allow members ask questions after which Ms Braiden can give a comprehensive reply. If any other members wish to get involved at that stage, they may do so.
I welcome the Arts Council delegation. It wonderful to see it here. I wish to ask a couple of wonderful questions to which I hope we will get answers, although not about funding. Ms Braiden said the Arts Council has never reached a sustainable level of funding but it probably never will. Charles Handy once asked "How much is enough?" The Arts Council is not there yet. As the Green Party spokesperson on the arts, I will be delighted to press for funding for the council in as tangible a way as possible.
I refer to the arts for children and the support of same. That is a key area for the Arts Council. In Carlow, we are lucky to have a young theatre group, Blackstairs Children's Theatre, which operates in the tiny village of Rathanna. It puts on the most marvellous shows. Deputy Upton referred to amateur drama in rural Ireland and it is particularly strong in my constituency, especially in Carlow, as the Chairman will know. We would like to see funding and support for the arts for children.
Recently I took a group of children to see "Great Expectations" in the Gate Theatre who had never been to a live performance. To see their faces as they watched the actors and actresses on the stage was a fantastic experience. They have been so geared up to Nintendo, Game Boy and television console games. This was their first experience of live theatre and they were absolutely charmed.
I am delighted the Arts Council has received increased funding for touring. Well established acts and plays should tour rural areas in particular. There is a wealth of wonderful opportunities in the arts in the capital but I would like to see the Arts Council push that out to rural areas so that people have the opportunity to see the acts, pictures, sculptures, etc.
I am delighted to say that County Carlow is pushing ahead with its visual project which will be tremendously exciting. If one has a good idea, a dynamic local authority and a generous benefactor of land, one can create tremendous artistic vibrancy in a county. I thank them for the support and very much appreciate the breakdown for Carlow-Kilkenny set out here.
I went to see the first film by the Young Irish Film Makers, called "Suckers", in Kilkenny the week before last. Like those under 12 who went to see "Great Expectations", these young teenagers had a most marvellous evening. It was their wonderful first night, seeing their film on screen. Their artistic director watched that unfold. It is the sort of activity which the Arts Council can push forward to get younger people involved in the arts. I thank them for the presentation.
I, too, welcome the chairperson and the members of the Arts Council. We in Dublin Central are probably spoiled for access to arts in general. Deputy Connick and I were comparing notes——
There is nothing on my list.
—and there is no comparison. We have considerable access to the arts in general, for instance, to The Lab on Foley Street which is proving very successful. I congratulate the Arts Council and Dublin City Council in particular which in recent times has improved greatly how it becomes involved in the arts.
I want to plug community arts. I have seen at first hand small theatre groups and arts groups based in the community. Groups such as The Smashing Times Theatre Company do significant work with local inner city communities. Sometimes such groups find it difficult to access adequate funding. They are not looking for vast sums of money. They are merely looking for support and access to adequate funding.
There are quite a number of new communities, particularly in urban areas. For instance, the Chinese and Polish communities in Dublin Central are greatly interested in the arts. How will the Arts Council relate to such interest in the future and are there opportunities for additional funding in that regard in the wider EU context?
Like my colleagues, I am delighted to see the members from the Arts Council present. I am delighted also to see Ms. Rosaleen Linehan at the meeting. I have been a fan of hers for many years and it is good to see a celebrity in the House.
A Member
Another one.
She is now competing with the politicians' big egos. I am delighted to be a member of this committee because this is an area in which I have considerable interest. At home in New Ross, County Wexford, I have been involved in many community arts projects in terms of being a board member of St. Michael's Theatre, being involved with the JFK Dunbrody Festival which I chair, and being involved in many other community projects such as those my colleagues mentioned previously.
I have a number of questions because I have always found myself part of the team that submits applications for funding. Deputy Cyprian Brady stated we were comparing funding and I suppose the fact that Wexford is not doing as well as Dublin is down to population.
The definition of arts is sometimes a little too strict. Is that a matter the Arts Council could address? We have been refused funding on a number of occasions for not fulfilling the criteria. It is an issue in that community groups may find it difficult to break down that barrier.
Another query relates to the ratio of co-funding. The likes of St. Michael's Theatre in New Ross, for example, must get co-funding from the local authority and the level of funding from the Arts Council is largely dependent on the level of funding from the local authorities. Sometimes it is quite difficult because one is arguing the case and trying to get a great deal of money out of a small pot which must go around to everyone. The linkages cause difficulties, especially for some of the rural theatres.
My third query relates to money going in the right direction. Wexford County Council's arts officer, Ms Rosaleen Molloy, does excellent work. The percent for arts scheme was a fantastic idea. Deputy Olivia Mitchell mentioned previously some of the pieces are a little on the iffy side, so to speak, but it is usually committees, made up of councillors and local people, who pick them.
That is exactly my point.
Some of us are not too bad. We would like to think we are pretty good. We are working on a stunning project in New Ross, a statue of the late John F. Kennedy. It was a local community who worked on that and it will look really well.
I am mindful of projects that have been successful. The commissioned Vincent Kennedy piece, "The Hook: A Place & A People", which is a fantastic project, is really different. It is eight pieces of music which he composed under the percent for arts scheme. In the case of funding, it would be helpful if someone could point us in the direction and if there were a little more advice from the Arts Council to local authority members.
The community arts groups have considerable potential. I am mindful of groups such as rock schools for young people, drama groups, which have been mentioned previously, and local theatre groups. The amount of work being done locally is phenomenal. I could be out every week in the County Wexford area attending functions that Wexford County Council funds. It is amazing — everything from book launches to films and library days.
The Arts Council does great work. If the committee can be of any assistance in trying to increase its funding, we would be delighted to do so. Perhaps the delegation could come back to us on some of those points. Like other members, I apologise that I also must leave at 5 p.m. to attend a meeting.
A few years ago I had a row with the Arts Council about its funding. Again, today I note the funding: Dublin, €38,381,000; Cork, €5,318,000; and poor Mayo, €884,000. What has the Arts Council got against Mayo? We never had as many artists and people involved in the arts. Even in the bad old days when there was no arts funding in this country, when I was vice-chairman of the arts committee of Mayo County Council and it was not popular to go out looking for money for the arts, the county council itself tried to provide funding to encourage artists, particularly women in rural areas. Such women, who were kept at home, had wonderful talents and no way to express them. The only way they got an opportunity to express themselves was when they went out to art classes. We have found there are wonderful artists in the county who would have been kept at home but for that opportunity.
The Arts Council should look more favourably on Mayo. In my town of Westport there is the Custom House Studios, which my party in Government delivered to the town. In the case of the building it took a long time to get the act together. The county council and the Arts Council provided funding for it and it has been a wonderful success. There is not enough room for the number of people who want to use it. I am glad to see it being supported. The Linenhall Arts Centre in Castlebar is another project that has been well worthy of support. While those are the larger projects, I want to see the small projects supported.
There is another question which I asked of Deputy Olivia Mitchell but which the delegation might be able to answer. I note the reference to Ms Maria McGarry and I am delighted the Arts Council supported her. Ms Rosaleen Linehan might advise me on this. A young lady who has a wonderful personality came to my clinic a few weeks ago. She went to England for interviews involving 7,000 people to be an actress. The guild concerned narrowed the number down to 700 and she was one of 39 selected, but she had to postpone taking up the course this year because she has not got funding. Can the Arts Council support this young lady? Given that there were 7,000 starting out, 700 hundred called for interview and she got one of 39 places, if she does not get the opportunity it would be wrong. Is there such funding available or is there anyone on the Arts Council who can support this young lady?
I dtosach, is mian liom fáilte croíúil a chuir roimh an toscaireacht ón gComhairle Ealaíon. Molaim an obair atá idir lámha acu. I welcome the delegation and compliment them on their work. I especially welcome Ms Rosaleen Linehan, one of our national treasures. Through her art and humour she has helped lift us out of them doldrums on many occasions and she is to be complimented on that.
This committee previously discussed the issue of amateur and professional arts. In particular, I glanced through the helpful series of Arts Council essays on the value of the arts. We agreed on previous occasions that there was need for a debate on this issue. We used the term "community" when referring to "amateur" art. In his contribution, John Waters said "There is a sense nowadays that the arts are something that people need, perhaps in much the same way as they need the odd glass of wine or bar of chocolate." Emer O'Kelly, arguing in favour of elitism, stated:
Art as a hobby is very different from art as a profession. The painting group and the amateur drama association are hobbies; those participating are by and large, not driven to make art as the professional artist is driven. It is the participation, rather than the art, that is paramount.
I wonder if that is a good basis on which to make a case for funding, particularly where the public is concerned. As the Irish document with which we were presented states: "tá sé tógtha againn, cad chuige nach dtiocfaidh siad? — we have built it, why do they not come?"
It is evident that less than 7% of people indicated an interest in drama for instance, or would attend plays. From what I can see, the same is true of the visual arts. The Arts Council expressed concern about the lack of support from the public. Is it wise to suggest that an amateur drama group is not necessarily driven by an artistic attitude? I do not accept that. If it is, then the matter must be debated. When local groups put on plays, they get full houses whereas touring groups might be lucky to have between 50 and 80 people attend their performances. That matter must be addressed.
I referred previously to an art exhibition in Listowel by a local artist which attracted large crowds. In the region of 18 paintings were sold on the night. A few weeks later, an exhibition by an international artist attracted eight people and no paintings were sold. There is a need for much more discussion on this matter to attract more interest from the public in the Arts Council as an institution. I intend no criticism of the Arts Council because I have the highest admiration for the work it has done. I also admire the manner in which its representatives listened to members on previous occasions discussing local marching bands. I do not know whether those bands were successful but several people raised the matter at our previous meeting. Such bands play an important role because it is from their ranks that budding professional musicians often emerge. For example, Frank Patterson came through the local opera, choral and dramatic society in Clonmel. We should consider how many more people followed this route.
If the documents — or essays — with which we have been presented are to influence policy, they should be examined more carefully.
Cuirim fáilte roimh Ms Braiden agus na daoine eile ón gComhairle Ealaíon. Gabhaim buíochas leo as ucht an méid oibre atá déanta acu.
Senator Ó Murchú referred to the way in which we view art. I compliment the Arts Council on the great allocation it provided in respect of Cork. I pay tribute to the arts officer of Cork City Council, Liz Meaney, who is a very dynamic and vibrant individual. When Cork was European Capital of Culture in 2005, she ensured that the city's culture and art were displayed in a good light.
I direct my first question to Ms Braiden. Ms Rosaleen Linehan, who is present, and Mick Lally are seen as two of the big names in acting here. However, there are many actors, artists and other performers who are struggling and who are not making a good living. The Arts Council's report indicates that 50% of those surveyed earn less than €7,500. What is the position as regards these people? What criteria are used by the Arts Council when it allocates funding? Is this done on a county or a group basis? There are many community groups involved in the promotion and propagation of art, drama and live entertainment. I am aware of one group in Bishopstown, Cork, which is struggling to pay for a tutor to provide art classes for its women members. Consideration is required in respect of matters of this nature.
There is a huge level, and rightly so, of Government investment in the St. Patrick's Day festival. A total of €50,000 has been allocated in respect of the festival in Dublin. For what purpose will that money be used?
I accept that increasing numbers of people are participating in the arts, be it through attending at different events or whatever. In the context of demystifying the arts and making them more relevant to people, I refer to the issue of education in schools. Several years ago, Ms Linehan visited the local school in Ballincollig and a performance was put on in the assembly area. This did more for the young people who were present than would a trip to the Cork Opera House or the Everyman Palace Theatre. What is the position as regards education in schools and how are we trying to demystify the arts to encourage people to participate?
I thank our guests for their presentation. I represent Mayo and I am interested in the criteria employed in respect of the allocation of funding. Are these criteria based on the number of applications received or the level of population in an area? How does the system work? Is such funding provided in respect of professional groups or their amateur counterparts? I attended a musical, "Titanic", which was performed for the first time in the Republic, on Monday night last in Ballinrobe. I was informed that it takes €100,000 to produce the show and the run will only last eight nights. A great deal of good work is being done.
Cuirim fáilte roimh an Chomhairle Ealaíon. Ní raibh mé in ann an méid ar fad a dúirt na finnéithe a chloisint, os rud é go raibh mé ag cruinniú eile. Níl dabht ar bith ach go bhfuil obair maith idir lámha ag an gcomhairle. Is féidir liom an obair atá á dhéanamh i dTír Chonaill, ag Chomhairle Chontae Dhún na nGall i gcomhoibriú leis an gComhairle Ealaíon, a fheiscint nuair atá mé ag taistil tríd an chontae.
The work done by the Arts Council in conjunction with local authorities is fantastic, particularly as it makes art available to people in rural communities. Some people would argue about pieces of art and state that they are not to their taste or liking. However, at least people are being exposed to art and that is important. We must ensure that art is both relevant and local. I agree with Senator Ó Murchú on the debate relating to professionalism versus amateurism. When something is done on a local basis, it appeals to more people.
My first encounter with politics came through my involvement in amateur drama. The then President, Dr. Mary Robinson, invited a classmate and me to visit Áras an Uachtaráin on foot of our achievement in the field of amateur drama. It was that type of recognition of what we were doing that probably led me to be present at this meeting. I come from Gweedore, which has a proud history in amateur drama.
Most people's first brush with the arts is through amateur drama, particularly the Féile Scoil Drámaíochta, but the number of schools participating in this has dwindled. Ten years ago, one would not get into the theatre if one did not arrive half an hour early because of the queues. The pressure on schools and teachers to deliver the curriculum is a challenge in itself without having to incorporate drama and the production of a play. Could the Arts Council support this festival, given that it is many people's first brush with the arts and they progress from there? People who have been involved in Aisteoirí Ghaoth Dobhair are in "Ros na Rún" and some are famous actors, producers, writers and musicians.
I welcome the funding available for arts events in Donegal outlined in the council's annual review. Many could not have taken place without this funding. Like all politicians, however, I would like more funding. With regard to funding under various EU programmes, does the council advise groups on what funding is available and how to prepare applications? Does it encourage groups to apply for the funding? I recently visited Brussels and my impression was insufficient applications for funding are being made, in particular, for audio-visual projects. Has the Arts Council a role in that regard?
I invite Ms Braiden to respond to the issues raised by members. Deputy Olivia Mitchell had to leave and she has requested that her issues be dealt with when she returns. The other members of the delegation may participate as they so wish.
Ms Olive Braiden
I will group the questions and ask my colleagues to respond. Many members asked about the arts in education report. Deputy Mary White asked what we were doing for children. Senator Doherty recalled doing drama as a young man, which led him to where he is today and more drama. Ms Cloake will outline where the arts in education report stands and Ms Rosaleen Linehan will also talk about the issue.
Ms Mary Cloake
We have been in ongoing discussions with officials in the Departments of Arts, Sport and Tourism and Education and Science since the report was completed in May 2007 and we are at the point of coming to an agreement, which will involve the three bodies implementing four of the report's main recommendations. We expect the issues to be resolved in a matter of weeks and, at that point, we will make an announcement. Although it has been slow, definite progress has been made.
Ms Rosaleen Linehan
I am inspired by the questions and I could stay for four hours if the committee could put with me but I will pick up on specifics which have been tangents in my own life. I am overcome to be in Leinster House where my father served as a Fine Gael Deputy for Donegal North-East for 30 years. I visited very often when I was a child and politics still runs in my veins. My father, like many fathers, was horrified when I became an actress. He was a good solid man from Brockagh, Glenfin.
Inspiration is at the centre of the huge structure of the Arts Council. It does not matter whether it comes from a film, music or a play. It is the inspiration to bring something out in somebody through sheer joy or explaining something they did not know previously. My first inspiration was Sinéad Bean de Valera who used to produce a little play every year in Loreto College, St. Stephen's Green, Dublin, which I attended for 14 years. I was three when she cast me as the púca in one of her little plays. That was amazing because I had the play at home.
I also had my mother at home, who was a piano player and singer and she was a funny woman. Isaac Stern said "Everything begins in the home" but now that is not the case as much, which is one of the reasons arts in education has become much more important. The reason it does not begin at home as much is most mothers are working and they do not have the time my mother had to sit me on her lap with a cigarette hanging out of her mouth telling me how to sing Moore's melodies. That time is not available and that is one the reasons arts in education has become much more important.
When I joined the Arts Council, I did not think it had much to do with me because I never received a grant, but I had worked in the Abbey and Gate theatres which are grant aided. Following my five years on the council, I am passionate about what it does because it touches everybody's life from Mizen Head to Malin Head, which is very important. Ms Cloake will be better able to reply to the question about what happens to the girl who obviously has enormous talent, but it involves a great deal of luck.
I was a late baby and when it came to my education, my parents were old and they thought they could not put me through college. They visited the bank manager in Ranelagh and asked him if he could get me into the bank. In those days, banking was not a career. One sat in the back counting money and girls did not even work as cashiers. The bank manager said to my mother: "Is she the little one you said was very bright?" My mother said she was. He said, "Don't put her in here. I'll give you an overdraft. Send her to university." One of our great actors won a scholarship to RADA but it was not enough to cover him so he placed an advertisement in the back of the Irish Independent saying he needed additional money and someone gave it to him. This is not a whinge but the reality is theatre actors do not make much money. If one acts in the odd film, one can put something in the bank for a pension but it is always very difficult.
I refer to Senator Ó Murchú's question, which also deals with education. Everyone is an amateur at the beginning and I do not agree at all with elitism or any form of snobbery. Everyone working in the amateur drama movement is strong and the groups are very sophisticated. The group in Athlone is doing difficult international plays and not Mag's Kitchen, for example. I refer to working in the Guthrie Theatre in Minneapolis, named after Tyrone Guthrie, a giant of theatre. Fortunately, it is being run by our own Joe Dowling. It is an extraordinary theatre, which belongs to the community. The people are proud of it and they do their plays in the theatre because it is totally democratic. Professionalism raised standards and our production standards have enabled us to bring our plays all over the world. Everyone is an amateur to begin with, however, and to think otherwise would be stupid. Joan Rivers has a piece about women who are artistic and have no place to go to. She has a saucy way of talking but she said of a woman in the home with an artistic bent that "it is like trying to give birth with your legs tied together". I have not been using too much Arts Council-speak but from Malin to Mizen people do not even know they have been reacting.
I will tell the committee about one last thing my daughter said which I thought was wonderful. She works in a small school in County Kildare. She had a Nigerian in her class who rejoined it after Easter. The children had been singing, "Seven feet was his height with some inches to spare". My daughter Evanna said to him, "Good Lord, you have got so tall during Easter," and he responded, "Am I as tall as Kelly, the boy from Killane?" That is where we are at.
Ms Olive Braiden
Another question was: what is the Arts Council doing for new communities and how will they be included in its funding programme? Ms Cloake will respond.
Ms Mary Cloake
I refer to two types of new community, one of which is comprised of people who have come from overseas to live in Ireland and the other where new towns or housing estates have been developed and there is a need for cultural facilities. The Arts Council is conscious that people from overseas who have come to live in Ireland bring with them a rich cultural perspective. There are many examples worldwide where the arts have been enriched and reinvigorated by the influx of new communities. We have established a formal partnership with the Department of Justice, Equality and Law Reform which will be announced in the next few weeks. This will enable us to study in detail how the Arts Council and the Department can work together to ensure people will have access to cultural facilities and that the super skills people bring with them to Ireland can be made widely available. In the past ten years, for example, samba music has become very popular at community level. The influence of people from Africa is evident. We wish to support new communities working with older communities to draw out the best from both traditions. This is a high priority for the Arts Council and a formal programme is being launched.
I refer to a good scheme, The Artist in the Community. Since 2002, 80 artists have been enabled to work for periods from six weeks to six months with communities from County Mayo to south central Dublin. This is a very good programme because people do not need to go to a gallery or concert hall or attend a formal place. They can work with an artist and get to know him or her in a sustained relationship. We have been able to increase the funds for this scheme this year and in 2009 hope to roll out a much wider scheme which will be aimed specifically at younger people.
I refer to the Percent for Art programme. As Deputy Mitchell said, this programme can be used to create sculptures on the side of the road. Deputy Connick referred to Vincent Kennedy used by one of the most imaginative local authorities. The scheme is being used to commission new music pieces, to employ visual artists to be in residence in schools, hospitals and to work with both new and older communities. I refer to a magnificent concert in the National Concert Hall when Vincent Kennedy brought the New Ross Pipe Band to Dublin. He matched it with the Rathfarnham Concert Band and a project group from County Donegal called In Tune which is involved in cross-Border work. He had 130 people on the stage of the National Concert Hall, amateur and professional musicians, expert and beginner. They had all come together under the aegis of the Percent for Art scheme and it was a wonderful achievement. There are many imaginative things that can be done with the scheme. The Arts Council and the Department of Arts, Sport and Tourism have set up a group to review the guidelines. The limit for spending under the scheme is €64,000. Even if a building or construction project costs €10 million, the maximum that can be expended is €64,000. I am sure the new reform guidelines will make proposals to increase the limit. It is amazing what imaginative work can be achieved with the funding allocated.
Ms Olive Braiden
Senator Buttimer asked what could be done to demystify the arts. I think Rosaleen Linehan answered that question.
She is a very good ambassador.
Ms Olive Braiden
She has answered a good number of questions.
Deputy White asked how much was enough. We were talking about funding and the need for an extra €20 million to bring the figure up to €100 million agreed by all parties. I ask Mr. Foley, a finance man, to answer the question as to whether this would be enough to sustain the arts.
Mr. Maurice Foley
There is no final answer to that question. As a practical matter, the Arts Council believes that if it had €100 million, it has a clear plan on how it could be spent to enhance the provision of arts across the community. It would enable the council to fund more organisations in order that there would be greater diversity. Currently it is funding approximately 330 organisations, apart from individual artists. This number could be increased ensuring more diversity and allowing more organisations to benefit. Second and just as important, it would enable some of the major and medium-sized organisations to greatly enhance their programming. Many organisations have fixed overheads and may have to employ some permanent staff and retain artists on contract. The value of the additional money is that they can do more. The leverage provided by additional money in the arts can be considerable, partly because most arts organisations do not have significant overheads and there is a high volume of volunteer work within communities. This means that relatively small amounts can make a big difference to many organisations. The short answer is that €100 million would bring us a long way down the track but when we have that sum, I am sure we will come back and explain why we could use even more. There is no better answer to the question.
Ms Olive Braiden
I refer to the importance of multi-annual funding programmes mentioned by Deputy Upton.
Mr. Maurice Foley
Multi-annual funding programmes are important. As has been pointed out, many organisations need to plan ahead. International artists must be booked a long way ahead. Programming is made more complex for many organisations by the fact that, in theory, they do not know how much money they will have in a particular year until the end of the previous year. They will not know if they will have any money in January until towards the end of December. It is difficult but not impossible for them to operate because people will always think their way through issues such as this. In order to address such difficulties the council has developed the concept of what we call regularly funded organisations. There are approximately 70 such organisations which we judge to be of national importance and so structured that some assurance as to their future is helpful to them for planning purposes. While they do not receive any commitments or guarantees, they at least have what a banker might describe as a "letter of comfort"; in other words, there will be a degree of continuity in their funding, provided they continue to operate to existing standards. Although not as good as a guarantee, this approach partly addresses the issue. I understand the Minister is sensitive to this point which I hope he is pursuing with the Department of Finance. The issue does not solely affect the arts, as many other aspects of public provision are affected by the same problem. We would like our case to be considered.
A question was asked about current and capital funding for venues.
Ms Olive Braiden
We will respond to that question when Deputy Mitchell returns.
I welcome the delegation and apologise for being late. The meeting I was chairing dragged on a little. It is nice to see Ms Braiden and her colleagues.
I congratulate the Arts Council on successfully convincing the Minister to increase its funding allocation in recent budgets. It is obviously doing its work well. I have a couple of observations, on which I seek a response from the council. Local theatre and music groups in villages and towns in all our constituencies organise festivals and other community projects. How can we make progress and reach a larger audience? How can county councils increase their involvement in community projects?
Ms Olive Braiden
I will ask Ms Cloake to answer the Deputy's questions and discuss Arts Council funding for local authorities. We were asked the reason the council will only match local authority funding. We consider it very important to provide matching funding because it encourages local authorities to provide arts funding.
Deputy McGinley wishes to make a brief contribution.
I apologise for missing the initial submissions. I welcome the delegation and acknowledge the excellent work the Arts Council is doing for the arts, from A to Z and in every part of the country. Like Ms Linehan's father, I have been a Member of the House for many years. I am pleased to have walked in his footsteps yesterday in the Finn Valley where he is still fondly remembered by many.
One of the most enlightened developments in recent years has been the appointment of arts officers in local authority areas. County Donegal is fortunate to have an enlightened and progressive arts officer and this has been recognised in the allocations the Arts Council has made to various projects in the county in recent times. Does the council have a scheme in place to assist Irish artists who are invited to exhibit their works abroad? I am aware of several artists who were unable to attend prestigious events in Italy to which they had been invited due to lack of resources.
Many of the artistic publications on topics such as the islands or the culture of specific areas appeal to a small interest group and demand for them is limited. Is the Arts Council in a position to assist such endeavours?
I have observed great changes in the arts, as more resources have become available and the arts become central to our lives. As a former teacher, I would like more to be done for the arts at all levels of education. When I was teaching, the arts were considered a subject to be taught on a Friday afternoon. They should be a more integral part of the curriculum.
I ask the delegation to respond to my question on the action taken to deal with the issue of actors and performing artists on low incomes.
Ms Olive Braiden
I will ask Ms Linehan to answer the Senator's question once Ms Cloake has addressed the issue of local authorities.
Ms Mary Cloake
The network of county councils is our chief partner in developing the arts at local level. For many years we have been conscious that the arts officer at local authority level knows much more about what is happening on the ground than we do. This is the reason the Arts Council works closely with arts officers. This is a magnificent year for local authorities and the arts because, for the first time since 1985, there is a complete complement of arts officers in that every local authority now employs an arts officer. We want to mark this achievement in a particular way.
The Arts Council work with local arts officers involves the provision of funding for each arts officer's programme. We also have a scheme to encourage local authorities to work together. County councils, especially in the midlands, come together and co-operate on projects. In addition, a new scheme was introduced because the level of sophistication now required in local arts development has grown. The special fund allows local authorities to employ specialists in traditional music, public art, visual arts and so forth. Those are the three main areas of support we provide. We would like to give county councils three or four times the level of funding we currently provide because our work with them is very effective.
We were discussing venues and so forth. We will address the issue of capital and revenue funding when Deputy Mitchell returns.
On audiences, we carried out a study in 2006 which showed that 85% of people — most of the population — attended at least one arts event each year. What is happening to change arts provision, however, is that millions of people are accessing the arts through DVDs, MP3 players, iPods and so forth. The very best of drama is shown on television and playwrights, Eugene O'Brien for example, are moving from the Abbey Theatre into mainstream television drama. People are part of the audience for the arts, although they may not realise it. A major priority for the Arts Council in the next two and a half years is to encourage those who like listening to music on radio or watching a good drama on television to consider visiting their local arts centre to see a show.
We were asked about the criteria used in deciding whether to provide funding for organisations, the definition of the arts used by the Arts Council and the reason some counties appeared to fare better than others in terms of funding. The reason some counties do better than others is sometimes connected to population, history or simple demographics which have little connection with the arts. Arts Council staff will give any Senator or Deputy a detailed one-to-one briefing on the reasons some organisations in a county were awarded funding while others failed to secure funds and set out what the latter group could do differently. We would be pleased to listen to observations and suggestions Members may have on how the arts in their county or constituency could be supported.
Ms Olive Braiden
Mr. Foley will address some of the questions asked by Deputy Mitchell on capital funding. The Deputy also noted that some of the many venues being opened were not being used because not enough money was available for programming and asked how we could marry these two facts.
Mr. Maurice Foley
The first issue to recognise is that capital funding programmes in the past ten years have been extraordinarily successful in that they have produced all over the country and in Dublin's suburbs many serious arts centres, including some which are interesting from an architectural viewpoint. Everyone who supported them can take credit. Insufficient annual funding is an issue for many of them, in that they do not have enough funding to do everything they would like to do. Unfortunately, this disconnect between capital and revenue funding is not confined to the arts. I do not need to mention this to the committee, as there is a similar problem in many other parts of public provision. However, we have to look after our part of the territory.
Before Deputy Mitchell came back, I indicated that one of the ways in which we would be able to spend the additional €15 million to €20 million, for which we have clear plans, was in providing greater support for some venues. We have to cut our cloth extremely thinly. When a new venue comes on the scene, in many cases the only way to support it is to take money from an existing venue. That zero sum game is not an easy one to manage. In the end it comes down to not having enough money and to the disconnect between the provision of capital and thinking about the consequences for revenue.
Perhaps I was not clear, but my question was whether representations had been made to the Department which has all this national lottery money to give out in order that some of the money, rather than going to new venues, would be used for capital refurbishment work, as opposed to trying to pay for the painting of a building? There does not appear to be any scheme for the refurbishment of venues when reinvestment is needed.
Mr. Maurice Foley
It is a matter of definition to some extent. Ms Cloake may be better able to deal with the matter.
Ms Mary Cloake
My understanding is that new ACCESS schemes will place a heavy emphasis on refurbishment, repair and renewal, rather than new build. That is because recommendations have come from a number of quarters, including the Department of Finance, the arts community and local authorities, indicating that it would be preferable if we could do up existing premises rather than have new ones.
It is good news that this is happening. Does Ms Cloake have any idea when the new ACCESS programme will start?
Ms Mary Cloake
No, but that is my understanding.
My other question was related to the Percent for Arts funding which I accept does not come directly within the Arts Council's remit.
Ms Mary Cloake
We discussed this issue briefly when the Deputy was out of the room. We are represented on a committee for this purpose. The scheme has huge potential to be broadened in its definition. We spoke about the Hook Head commission and Mr. Vincent Kennedy. The main issue relates to working with local authorities. We have just appointed a public arts specialist, Ms Jenny Haughton, who works full time with us and who can support that work. The ceiling will probably have to be raised because even in the case of a multi-million euro project it is €64,000. We are investigating whether that can happen.
The Arts Council is looking at a way to get more bang for its buck but in addition to value for money, projects must have artistic merit. Will Ms Cloake please elaborate on this?
Ms Mary Cloake
Yes, they can also be focused on community-based work where the intention is to involve people who have to live with the creation of a piece. Although there are some wonderful sculptures, it does not always have to be a sculpture; it can be a music or dance commission. I am aware of some really clever ones.
Ms Olive Braiden
A question was asked about applications and criteria.
Ms Mary Cloake
I do not want to stray into a discussion about an individual organisation but would be glad to brief each individual member. We have different schemes. We have a title by title grant which offers assistance to the publications to which Deputy McGinley referred.
European funding is important. We have a focused programme, the cultural contact point. People who are looking for European funding or partners, as one has to have a partner to receive European funding, or assistance in preparing their proposals and applications can contact the cultural contact point at the Arts Council and we will support them. We work very closely with our partner organisation, Culture Ireland, to assist Irish artists in taking their work abroad. This is very important, as the arts are one of the best selling points for Ireland in the international arena. It is important for us to get the best of our artists to visit and perform overseas. We have an arrangement with our sister body, Culture Ireland, that between us we will support artists in doing so.
Ms Olive Braiden
One question was on struggling artists, many of whom are on the breadline, and how we can support them. I will ask Ms Linehan to reply to that question.
Ms Rosaleen Linehan
I have stopped struggling. My children are in the arena. I have four children, one of whom is a composer and pianist who is currently working with the Royal Shakespeare Company. He is to play a Beethoven concerto in Bulgaria in three years' time. Another son runs the Sydney festival. This is not a blurb for my children; there is a punchline. He was involved with the Dublin theatre festival. My next son is a film critic and features editor in The Irish Times while my daughter is a national school teacher. I can say from the bottom of my heart that she is the most creative.
The other question was related to struggling artists. Everybody's youngest son is God. My youngest son is the pianist-composer who has finished his studies in Trinity College. He has always been totally vague. Artists are totally vague. They are not very good at filling in application forms. He had to continue his piano lessons in London. His brother, the one who runs the Sydney festival and has a business head on his shoulders, sent out 20 letters to friends asking for £200 each, as it was then, to support him. That brought in a sum £4,000. Somebody in London who was connected with the arts and had a beautiful grand piano invited him to stay. The lessons cost £160 sterling for one hour. My beautiful child ended up advertising shows in Leicester Square in the cold in November with a hat pulled down to his shoulders. Members may be familiar with sandwich boards advertising cheap theatre tickets for shows such as Les Misérables. This is funny but it is not. That is how struggling artists live. It is not airy-fairy and it is not beautiful music in the Garret as in La Bohème; it is pretty tough and very sad. Fortunately, Aosdána helps, but it does not help actors or music performers. It is difficult at both ends. There is joy and hardship in the middle. The joy one gets from one's work more than compensates for the rest.
Ms Olive Braiden
I think we have covered everything, unless anybody would like to ask a supplementary question.
I thank Ms Braiden and the other members of the Arts Council for their address. I wish them continued success. From the contributions of members who represent constituents it is evident that we know the contribution made at every level of society. I hope the council receives the extra €20 million in the not too distant future.
Ms Olive Braiden
I thank the Chairman very much. We invite all committee members to the Arts Council. They are welcome to come at any time. Just give us a call to arrange a time that suits. We will recommence our breakfasts to which we will invite people on a constituency basis in order to let them know exactly what we are doing. We really enjoyed being here.