Last week I went to an event at the British Library that celebrated 10 years of Arts, Humanities and Research Council (AHRC) funded research in culture and heritage organisations. The AHRC is one of several major UK-based funding bodies that supports university-based research. However, in 2006/07, it became possible for libraries, archives, museums and galleries to gain ‘Independent Research Organisation’ (IPO) status and access AHRC funding. Conveniently, AHRC have produced a glossy summary of this work, titled ‘A Decade of Success’. It showcases examples of how academics and researchers have worked together with public-facing cultural institutions on exhibitions, displays and collections, to the benefit of everyone. It got me thinking about how museums and galleries tap into the research resource.
Academic research affords opportunities to go deeper into material culture, asking the big questions and challenging perceived thinking, all of which fuels the development of collections care and presentation, as well as audience engagement and participation. What I find daunting is the sheer volume of research that is out there – it could inform museum and gallery practice to a much greater extent, if only we had the chance to read it, think about, action it, then feed that learning into further research in the field. In the film, The Matrix, Trinity has the necessary knowledge to pilot a helicopter downloaded into her brain as she walked towards the machine. It is practically instantaneous. When faced with the mountain of research reports on arts engagement, I wish I could have all of it directly downloaded into my head, Matrix-stylie. No such luck. Instead, I browse and graze, finding out about a bit of this and a bit of that, in a way that doesn’t feel at all systematic . As a result, I experience a very middle-aged, geeky version of FOMO (fear of missing out).
The most recent example of interesting research to pass under my nose is the King’s College London report, ‘Towards Cultural Democracy: promoting cultural capabilities for everyone’. It’s the primary public output of the Get Creative Research Project, the evaluation strand of the Get Creative campaign, led by BBC Arts in partnership with a range of UK cultural organisations (including Arts Council England, Crafts Council, Fun Palaces, 64 Million Artists, Creative Scotland and others). The central argument is that existing cultural policy promotes a ‘deficit model’ – in which “those who are positioned as non-participants are told implicitly or explicitly, that they should participate more” – and this thinking needs to be overturned, so that broader definitions of creativity and cultural capability are recognised and supported. The report acknowledges the necessity of funding and advocacy for established art organisations and the creative industries, but it also adds ‘everyday creativity’ to this priority list, incorporating the work of amateurs and self-organised groups that is “neither directly publicly funded nor commercially profitable”.
There are many positive and constructive recommendations in the report, particularly around cultural democracy – “when everyone has the power (whether or not they chose to exercise it) to pursue and realise cultural creativity, thereby co-creating versions of culture” – and cultural capability – “the substantive freedom to play (and try things), to spend time with other people (to affiliate), and to make sustained use of our imagination, senses and capacity for thought”. However, I also found other sections of the report to be contradictory. For example, ‘everyday creativity’ is referred to as “invisible” because it flies beneath the radar of cultural policy and cultural organisations, and it is, by its very nature, defined as being outside the structures of the arts and creative industries. The solution to this seems to be to bring it into the fold – “as our case studies illustrate, previously unrecognised, un-institutionalised cultural creativity can come to be recognised, legitimised and supported by arts organisations and funders, or become profitable within markets”. Surely as soon as ‘everyday creativity’ crosses that threshold, it is no longer ‘everyday creativity’ because it has been absorbed into the system. ‘Everyday creativity’ isn’t invisible to the people doing it; and is the presumed gift of being “recognised [and] legitimised” something that is even sought? There is a distinct whiff of ‘deficit model’ to this argument.
On the one hand, the report recommends that “cultural organisations have the potential to go much further in co-creating cultural capability, and to do so more strategically… this includes providing space for people to tell their own stories (metaphorically, and sometimes literally), and providing support for people to set up their own creative groups”; but on the other hand, the report also recognises that “there is an enormous and amorphous grassroots of individuals and groups who are going ahead with their cultural creativity with little or no concern for arts policy discourse or state support [my emphasis]”. Similarly, it also states that, “Voluntary arts groups are a hugely important part of (everyday) cultural creativity in the UK, and yet it seems that a relatively low number of them have signed up for the Get Creative campaign so far. This is likely to be due to a combination of factors, including that there is often little appetite for networking across art forms among these groups [my emphasis]”. Reading between the lines, this suggests to me that many people are happy doing their own thing and don’t wish to be organised, tidied up, or categorised. I agree that it’s important to acknowledge and celebrate ‘everyday creativity’ that happens outside the system, and that the arts and creative industries would benefit from a better understanding of this work, but I don’t think that the characteristics that make ‘everyday creativity’ distinctive need to be disrupted.
While I don’t agree with all of it (or have possibly just misunderstood it), I really enjoy reading reports such as ‘Towards Cultural Democracy’. They introduce me to new terminology and new ideas and prompt me to form an opinion on something I might not have given much thought to previously. It’s also really helpful to get a sense of the ‘direction of travel’ in the sector – what starts in research can flower into policy and become the prevailing logic. Just think of Falk and Dierking’s work on ‘museums as social experience’ – revolutionary 20 years ago and common place today.
If anyone knows of a one-stop online shop to find the latest arts-related academic research, please drop me line.