Bibliography
Another Standard, Culture and Democracy: The Manifesto, (London, Comedia and the Shelton Trust, 1986).
Arts Council of Great Britain, Community Arts. A Report of the Community Arts Working Party (London, Arts Council, 1974).
Arts Council of Great Britain, Community Arts – A report by the Arts Council’s Community Arts Evaluation Working Group (London, Arts Council, 1977).
Atashroo, Hazel, “Beyond the ‘Campaign for a Popular Culture’, Community Art, Activism and Cultural Democracy in 1980s London”, (PhD Dissertation, University of Southampton, 2017).
Bertrand, Mathilde, "More than one finger on the shutter? Photography as Collaboration and the Legacies of Community Photography in Contemporary Practice", Photography For Whom #2, Ed. Anthony Luvera, Coventry : Coventry University, 2021.
Bertrand, Mathilde, "The Half Moon Photography Workshop and Camerawork: catalysts in the British photographic landscape (1972-1985)", Photography and Culture, 11:3, 2018, 239-259, DOI: 10.1080/17514517.2018.1465649
Bertrand, Mathilde, « Les Community arts en Grande-Bretagne : un mouvement artistique engagé, 1968-1990 », in John Mullen, Laurent Curelly (Eds) Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media), Revue Française de Civilisation Britannique, XXII-3 | 2017. DOI: https://doi.org/10.4000/rfcb.1523
Bertrand, Mathilde, “‘Making the Art of Fun Freely Accessible’: Community Arts Practices and the Politics of Leisure in Britain in the 1970s and 1980s”, ANGLES/ French Perspectives on the Anglophone World, 2017. https://journals.openedition.org/angles/1225
Boal, Augusto, Theatre of the Oppressed (London, Pluto, 1979).
Bianchini, Franco, “GLC R.I.P. Cultural Policies in London 1981-1986”, New Formations, N°1 (Spring 1987), pp. 103-117.
Bishop, Claire, Artificial Hells. Participatory Arts and the Politics of Spectatorship (London and New York, Verso, 2012).
Conservative Party, Conservative Party General Election Manifesto, 1979.
Dickson, Malcolm (Ed.), Art with People, (Sunderland, AN Publications, 1995).
Doustaly, Cécile, « La décentralisation des politiques culturelles », Revue Française de Civilisation Britannique [Online], XIII-2 | 2005. https://doi.org/10.4000/rfcb.3426
Doustaly, Cécile, « Le soutien public à l'art en Angleterre du XIXe siècle à la fin des années 1960 : de la démocratisation de la culture à la démocratie culturelle? » Thèse. Dir : Jean-Claude Sargeant, Paris 3, 2007.
Doustaly, Cécile « Les Politiques de soutien à l’art en Angleterre depuis 1990 : « exception britannique », dirigisme ou modèle hybride ? », Revue LISA/LISA e-journal, Vol. V - n°1 | 2007, 6-32.
Doustaly, Cécile, « Les politiques de démocratisation culturelle en Grande-Bretagne de 1940 à nos jours : légitimation ou instrumentalisation ? », Territoires contemporains, Université de Bourgogne, 2013, http://tristan.u-bourgogne.fr/CGC/publications/Democratiser_culture/C_Doustaly.html.
Freire, Paolo, Pedagogy of the Oppressed (New York, Herder and Herder, 1970).
Greater London Council, The State of the Art or Art of the State? Strategies for the Cultural Industries in London (London, GLC, 1985).
Greater London Council, Campaign for a Popular Art. A Record of Struggle and Achievement: the GLC’s Community Arts Programme 1981-1986 (London, GLC, 1986).
Gray, Clive, The Politics of the Arts in Britain. (London: Palgrave Macmillan, 2000).
Hall, Stuart, “The Great Moving Right Show”, Marxism Today, January 1979, pp. 14-20.
Hall, Stuart and Jefferson, Tony, Resistance Through Rituals; Youth Subcultures in Post-War Britain, (London, Routledge, 1993).
Harvest, Felicity and Merkel, Karen, “Community Arts and Cultural Democracy”, January 1987, unpublished paper.
Hebdige, Dick, Subcultures. The Meaning of Style, (London, Methuen, 1979).
Hetherington, Janet and Webster, Mark, “From Handbooks to Live Labs: The Impact of Ideas from the 1970s and 1980s on the Training and Education of Community Artists Today”, in Jeffers and Moriarty (ed.), Culture, Democracy and the Right to Make Art (London, Methuen, 2017), pp 183-202.
Hewison, Robert, Culture and Consensus: England, Arts and Politics Since 1940, (London: Routledge, 2015).
Higgins, Lee, Community Music: In Theory and In Practice (Oxford, Oxford University Press, 2012).
Hillman Chartrand, Harry ; McCaughey, Claire, "The Arm's Length Principle And The Arts: An International Perspective - Past, Present And Future", in Who's to Pay? for the Arts: The International Search for Models of Support, M.C. Cummings Jr & J. Mark Davidson Schuster (eds.) American Council for the Arts, N.Y.C, 1989.
Jeffers, Alison ; Moriarty, Gerri ; Culture, Democracy and the Right to Make Art. The British Community Arts Movement. (London : Methuen, 2017).
Kelly, Owen, Community, Art and the State: Storming the Citadels (London: Comedia, 1984).
Matarasso, François, “All in this Together: The Depoliticisation of Community Art in Britain in Britain, 1970-2011”, in Eugene Van Erven (ed.), Community Art Power. Essays from ICA 2011, (Rotterdam, Rotterdam Wikjtheater, 2013), pp. 214-239.
Matarasso, François, A Restless Art, (London: Calouste Gulbenkian Foundation, 2019).
Mortier, Janie, « L’âge d’or de l’Arts Council ou comment faire une politique culturelle sans le dire », QWERTY, Vol. 8, Oct 1998.
Nigg, Heinz and Wade, Graham, Community Media, Community Communication in the United Kingdom : Video, Local TV, Film and Photography (Zurich, Regenbogen-Verlag, 1980).
Peacock, Keith, Thatcher’s Theatre: British Theatre and Drama in the Eighties (Westport, Greenwood Press, 1999).
Philips, Deborah and Whannel, Garry, The Trojan Horse: The Growth of Commercial Sponsorship (New York, Bloomsbury, 2013).
Sinclair, Andrew, Arts and Cultures; The History of the Fifty Years of the Arts Council of Great-Britain (London, Sinclair-Stevenson, 1995).
Thatcher, Margaret, The Downing Street Years (London, Harper Press, 2011).
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Notes
See Owen, Kelly, Community, Art and the State: Storming the Citadels (London: Comedia, 1984); Alison Jeffers and Gerri Moriarty, Culture, Democracy and the Right to Make Art. The British Community Arts Movement. (London : Methuen, 2017).
See Cécile Doustaly, « Les politiques de démocratisation culturelle en Grande-Bretagne de 1940 à nos jours : légitimation ou instrumentalisation ? », Territoires contemporains, Université de Bourgogne, 2013, http://tristan.u-bourgogne.fr/CGC/publications/Democratiser_culture/C_Doustaly.html.
See Janie Mortier, « L’âge d’or de l’Arts Council ou comment faire une politique culturelle sans le dire », QWERTY, Vol. 8, Oct 1998; Cécile Doustaly, « Le soutien public à l'art en Angleterre du XIXe siècle à la fin des années 1960 : de la démocratisation de la culture à la démocratie culturelle? » Thèse. Dir : Jean-Claude Sargeant, Paris 3, 2007 ; Cécile Doustaly, “La décentralisation des politiques culturelles”, Revue Française de Civilisation Britannique [Online], XIII-2 | 2005.
See Mathilde Bertrand, « Les Community arts en Grande-Bretagne : un mouvement artistique engagé, 1968-1990 », in John Mullen, Laurent Curelly (Eds) Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media), Revue Française de Civilisation Britannique, XXII-3 | 2017. DOI: https://doi.org/10.4000/rfcb.1523
Paolo Freire, Pedagogy of the Oppressed (New York, Herder and Herder, 1970); Augusto Boal, Theatre of the Oppressed (London, Pluto, 1979).
See Mathilde Bertrand, “‘Making the Art of Fun Freely Accessible’: Community Arts Practices and the Politics of Leisure in Britain in the 1970s and 1980s”, ANGLES/ French Perspectives on the Anglophone World, 2017. https://journals.openedition.org/angles/1225
"underground, adj. and n." OED Online, Oxford University Press, June 2021, www.oed.com/view/Entry/211700. Accessed 23 June 2021.
See Stuart Hall and Tony Jefferson, Tony, Resistance Through Rituals; Youth Subcultures in Post-War Britain, (London, Routledge, 1993); Dick Hebdige Subcultures. The Meaning of Style, (London, Methuen, 1979).
Malcolm Dickson (Ed.), Art with People, (Sunderland, AN Publications, 1995), p. 16.
Drawing on an analysis of the movement from its early years, François Matarasso provides a rights-based definition of community arts : “Community art is the creation of art as a human right, by professional and non-professional artists, co-operating as equals, for purposes and to standards they set together, and whose processes, products and outcomes cannot be known in advance”. A Restless Art. (London: Calouste Gulbenkian Foundation, 2019). p. 51.
Lee Higgins, Community Music: In Theory and In Practice (Oxford, Oxford University Press, 2012), p. 29.
The “New Activities Committee” (1969) was replaced by the “Experimental Projects Committee” (1970-73) to take into account artistic forms and practices such as Arts Labs, community arts but also performance art. In the same spirit, in 1973, the Arts Centres Sub-Committee was also created, in order to encourage the creation of cultural centres in provincial towns which would “accommodate the local amateur as well as the visiting professional”. “ACGB and Arts Centres”, guide to the catalogue of the Arts Council of Great Britain Archives, https://www.reading.ac.uk/ftt/research/ftt-givingvoice.aspx?#ACGB Accessed March 2020.
Heinz Nigg and Graham Wade, Community Media, Community Communication in the United Kingdom: Video, Local TV, Film and Photography (Zurich, Regenbogen-Verlag, 1980), p. 30.
Owen Kelly, Op. Cit., p. 15.
Arts Council of Great Britain, Community Arts. A Report of the Community Arts Working Party (London, Arts Council, 1974), p. 9.
Ibid., p. 10.
Ibid.,p. 10. Another report in 1977 confirmed that community arts were “consistent with the Council's chartered duties”. Arts Council of Great Britain, Community Arts – A report by the Arts Council’s Community Arts Evaluation Working Group. (London: Arts Council, 1977).
In 1972, out of a budget of £9,3 million, the Arts Council financed fifty-seven community arts organisations for a total of £176,000 (1,8% of its budget). The next year, £350,000 were attributed to seventy-five projects. (Heinz Nigg and Graham Wade, Op. Cit., p.30; Kelly, Op. Cit., p.15). By 1978, grants given to community arts reached a million pounds, see Andrew Sinclair, Arts and Cultures; The History of the Fifty Years of the Arts Council of Great-Britain (London, Sinclair-Stevenson, 1995), pp.184-5, p.224. This still represented insufficient funding spread out among numerous organisations and constituted only a fraction of the Council’s overall budget of about 52,3 million for the year 1978-79 (1,91%). See Clive Gray, The Politics of the Arts in Britain, (London: Palgrave Macmillan, 2000), p. 49.
Felicity Harvest and Karen Merkel, “Community Arts and Cultural Democracy”, (unpublished paper, January 1987), p. 1.
Private foundations such as the Calouste Gulbenkian Foundation – UK Branch were regular supporters of projects. Other government schemes provided support such as the Urban Renewal programme or the Manpower services. It is also important to underline that many community artists lived on unemployment benefits and some chose or resorted to squatting.
Owen Kelly, Op. Cit., p.15; Heinz Nigg and Graham Wade, Op. Cit. p. 9.
Cécile Doustaly, « Les Politiques de soutien à l’art en Angleterre depuis 1990 : « exception britannique », dirigisme ou modèle hybride ? », Revue LISA/LISA e-journal, Vol. V - n°1 | 2007, p. 6-32.
Thus echoing Lord Melbourne : "God help the minister that meddles with art!". Quoted by Harry Hillman Chartrand & Claire McCaughey, "The Arm's Length Principle And The Arts: An International Perspective - Past, Present And Future", in Who's to Pay? for the Arts: The International Search for Models of Support, M.C. Cummings Jr & J. Mark Davidson Schuster (eds.) American Council for the Arts, N.Y.C, 1989.
Thatcher, Margaret, The Downing Street Years (London, Harper Press, 2011), p. 632.
Quoted in Andrew Sinclair, Op. Cit., p. 248.
Business sponsorship had the added advantage of allowing companies to project a positive brand image. See Philips Deborah and Garry Whannel, The Trojan Horse: The Growth of Commercial Sponsorship (New York, Bloomsbury, 2013), p. 99.
Philips Deborah and Garry Whannel, Op. Cit., p. 103.
Robert Hewison, Culture and Consensus: England, Arts and Politics Since 1940, (London: Routledge, 2015), p. 229.
Ibid., p. 246.
Ibid. p. 246, and Keith Peacock, Thatcher’s Theatre: British Theatre and Drama in the Eighties (Westport, Greenwood Press, 1999), p. 36.
Robert Hewison, Op. Cit., p. 152.
Claire Bishop, Artificial Hells. Participatory Arts and the Politics of Spectatorship (London and New York, Verso, 2012), p. 187.
The concept of cultural democracy had been discussed through the 1970s within the movement, but Owen Kelly was the first community artist to write consistently about it in 1984 and propose that it become a core objective for the movement. See Owen Kelly, Op.Cit., p. 97.
François Matarasso, Op. Cit., Chapter 9, “Community Art and the Cultural Revolution (1968-1988).
Another Standard, Culture and Democracy: The Manifesto, (London, Comedia and the Shelton Trust, 1986), p. 10.
Ibid, p. 40.
Margaret Thatcher, Op. Cit. p. 2011.
Robert Hewison, Op. Cit. p. 212.
Stuart Hall, “The Great Moving Right Show”, Marxism Today, January 1979, p. 14-20.
In Manchester, Merseyside, South Yorkshire, Tyneside, the West Midlands and West Yorkshire.
Robert Hewison, Op. Cit. p. 237.
See Hazel Atashroo, “Beyond the ‘Campaign for a Popular Culture’, Community Art, Activism and Cultural Democracy in 1980s London”, (PhD Dissertation, University of Southampton, 2017), p. 45; Greater London Council, Campaign for a Popular Art. A Record of Struggle and Achievement: the GLC’s Community Arts Programme 1981-1986 (London, GLC, 1986).
Hazel Atashroo, Op. Cit., p. 18.
Greater London Council, Op. Cit., Campaign for a Popular Culture, p. 17.
Ibid. p. 19.
Greater London Council, The State of the Art or Art of the State? Strategies for the Cultural Industries in London (London, Greater London Council, 1985), p. 6.
Franco Bianchini, “GLC R.I.P. Cultural Policies in London 1981-1986”, New Formations, N°1 (Spring 1987), p.107. Emphasis by the author. See also: “[The GLC’s Community arts sub-committee] wanted to fund activities which not only benefitted that long list of people who are discriminated against in our society – the working class, women, black people, people with disabilities, Irish people, gays, lesbians, the elderly, the unemployed, young people - but which also linked with cultural campaigns fighting to overcome the reasons for their oppression.” Greater London Council, Op. Cit. Campaign for a Popular Culture, p. 17.
Robert Hewison, Op. Cit. p. 238.
The See Red Women’s Workshop’s archive is accessible online. https://seeredwomensworkshop.wordpress.com/ Accessed 24th June 2021.
See Mathilde Bertrand, "More than one finger on the shutter? Photography as Collaboration and the Legacies of Community Photography in Contemporary Practice", Photography For Whom #2, Ed. Anthony Luvera, Coventry: Coventry University, 2021 ; "The Half Moon Photography Workshop and Camerawork: catalysts in the British photographic landscape (1972-1985)", Photography and Culture, 11:3, 239-259, DOI: 10.1080/17514517.2018.1465649
Greater London Council, Op. Cit. Campaign for a Popular Culture, p. 39.
Ibid., p. 38.
Ibid., p. 3.
Ibid., p. 2.
Felicity Harvest and Karen Merkel, “Community Arts and Cultural Democracy”, (unpublished paper, January 1987), p. 1.
Margaret Thatcher, Op. Cit., p.284.
Margaret Thatcher recognised that “the left-wing municipal socialists and their subsidized front organisations were astute campaigners, trained and adept at exploiting every weakness of presentation of the Government’s case”. Margaret Thatcher, Ibid., p.305. The GLC fought the case for abolition every inch of the way.
François Matarasso,“All in this Together: The Depoliticisation of Community Art in Britain in Britain, 1970-2011”, in Eugene Van Erven (ed.), Community Art Power. Essays from ICA 2011, (Rotterdam, Rotterdam Wikjtheater, 2013), p.216. Matarasso adds p.225 that the semantic change also reflected ideological evolutions: “[by 1988], politically at least, the idea of community was becoming rapidly discredited by an ascendant neoliberal ideology. The word was treated with suspicion by academics and radicals alike; it seemed increasingly tainted, particularly as Government co-opted its positive associations to rebrand policies such as the ‘community charge’, ‘community policing’, and ‘care in the community’.”
Hetherington, Janet and Webster, Mark, “From Handbooks to Live Labs: The Impact of Ideas from the 1970s and 1980s on the Training and Education of Community Artists Today”, in Jeffers and Moriarty (ed.), Culture, Democracy and the Right to Make Art (London, Methuen, 2017), p.192; François Matarasso, Op. Cit., p. 216-7.
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