For the past 24 years, London’s October Gallery has attracted exhibiting artists from as far afield as Papua New Guinea and Mongolia, as well as hosting performances, educational workshops and talks. Up until four years ago, the gallery was run without any core funding. However, a grant from the Association of London Government (ALG) provided much-needed financial security, in the form of a four-year grant, contributing £10,000 annually. But this week, the gallery’s application for continued core funding was refused by the ALG, despite a high recommendation rating. Yesterday, the gallery’s directors expressed their dismay that the decision to fund the organisation had not been deferred along with other companies.
‘I find core funding in London almost impossible to come by,’ said Elisabeth Lalouschek, the gallery’s Artistic Director. ‘We wanted to slightly raise the salaries of our staff, who are on very small wages – and we keep losing them,’ she lamented. ‘It was wonderful to have that continuous support from the ALG.’
Chili Hawes, the gallery’s Director, added: ‘We applied again to the ALG for a larger grant so we could pay an Education Officer, to enable us to carry out education for refugee groups, outer London communities and the disabled… We thought we should really start valuing the work we do, and have London audiences appreciate what we are doing more. We can’t do that without this funding, unless we do it for nothing.’
A number of arts organisations around London were shocked to learn last week that their core funding grants from the ALG would be either cut or withdrawn altogether, following the association’s review of its funding scheme. Although access to the arts is a government priority, ironically, those worst-hit specialise in education and outreach programmes with the homeless, ethnic minority groups, young people, the disabled, and ex-offenders.
According to the ALG, the authority received funding requests totalling £20 million from more than 200 cultural organisations across London, but with only £12 million to go around, concluded ‘tough decisions [had] to be made.’
However, at a meeting between ALG councillors and grant applicants two days ago, the authority agreed to defer its decisions on a number of the applications. Although some organisations which were previously refused funding had this decision overturned, those promised funding now face the uncertainty of grants they had secured being reallocated. Others, like the October Gallery, the London International Festival of Theatre (LIFT) and The Place, were distressed to learn they would not receive any further funding from the ALG.
Organisations currently in receipt of ALG funds welcomed the authority’s decision to extend financial support until the end of June, with a verdict on the deferred applications expected to be reached in mid-March. However, there was a sense of disbelief and confusion among arts professionals yesterday, as organisations grappled with the wider implications of the ALG’s actions.
Graeae Theatre, the UK’s premier company creating work for and by disabled people, was informed its funding from the ALG had been withdrawn, until Wednesday’s meeting deferred this decision. ‘At least the ALG were prepared to admit the process was flawed, and are having a rethink,’ the company’s Executive Producer, Roger Nelson, commented. ‘Although, it hardly seems fair that organisations like ours, and others with good lobbying techniques, are back in with a chance while the less well-known groups are still shut out.’
Richard Oyarzabal, of London’s only homeless theatre company, Cardboard Citizens, was also relieved the company’s previous ‘no funding’ recommendation had been deferred – but agreed the process has been unfair. ‘Those on the recommended funding list are now in the unfortunate position of thinking they had secured grants, but have to go back in the pot again, and may end up on the “not-recommended” list,’ he said.
Others questioned the ALG’s geographic rationale in distributing the funds.
‘They are trying to put pins in the map, if you like,’ said Jonathan Petherbridge, of children’s theatre company, London Bubble. ‘Geographic spread has got to do with access. If you are a specialist company like Cardboard Citizens, people are going to come – from different boroughs – to that organisation, because they have a particular interest.’
Tony Graham, Artistic Director of one of London’s two major children’s theatres, Unicorn, described an example of the problematic geographic rationale experienced by its sister organisation, Polka.
Based in Wimbledon, Polka has been undertaking educational work with schools for more than 20 years. It is now threatened with having £90,000 cut from its budget, while, simultaneously, the nearby Wimbledon Theatre was initially promised inaugural funding to establish an education post. ‘What is the point of awarding an organisation educational money to do work with schools, when a company like Polka… That’s what its job is! It’s life is now seriously threatened.’
The fact that the majority of companies affected operate within socially-inclusive frameworks has a number of arts professionals questioning decisions that undermine acknowledged government funding priorities – to make arts accessible to wider audiences. However, sources stressed the finger of blame shouldn’t necessarily be pointed solely at the ALG, but take into account the way all governing bodies are funding the arts in London.
‘What [this situation is] really doing is indicating there isn’t a cohesive strategy for London,’ Graham asserts. ‘There doesn’t seem to be a clear sense of collaboration, or “joined-up” thinking, between the ALG, the Arts Council and the Department for Culture, Media and Sport (DCMS).’
The National Campaign for the Arts is currently negotiating talks with London Arts, to discuss how the peak body plans to respond to the ALG funding cuts. Meanwhile, sources have also questioned the degree to which London Arts consulted with the ALG over changes to its funding policy.
While, on the one hand, some claims indicate London Arts was in consultation with the ALG throughout its review, other comments have suggested otherwise.
In a statement released yesterday, London Arts Executive Director Nigel Pittman said: ‘The deferral of decisions provides us with the opportunity to be consulted by ALG officers in their consideration of applications from arts organisations currently in receipt of joint funding. We hope to see an outcome which, so far as possible, protects the successful partnership arrangements between the Arts Council, ALG and the London boroughs, which have enabled a range of arts organisations to provide valuable services to communities throughout London.’
However, the overwhelming feeling in London’s arts community at present indicates it is this very joint relationship which isn’t working, and urgently needs to be addressed.
In a letter to Mayor Ken Livingstone, Victoria Todd, Director of the NCA, recently wrote: ‘The ALG action is particularly disturbing, as it suggests that the different bodies responsible for funding culture in London are failing to co-ordinate their strategies and actions.’
But Graham concluded, somewhat more positively: ‘The optimistic spin on all this is, maybe, [it] will bring about a real attempt by those organisations – the ALG and London Arts – to really start to work together.’
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