Glasgow's Red Road Flats before demolition
Creative Scotland’s failure to ensure that arts companies felt valued and understood has generated much anxiety and attracted much criticism. Announcing the end of the medium term funding stream which its predecessor The Scottish Arts Council euphemistically termed ‘flexible funds’ for 49 organisations BEFORE sharing with the majority of those companies the names and priorities attached to replacement short and medium term funding streams has naturally threatened the stability of the sector. Its like a local council who has plans for a brand new housing scheme or a new town serving eviction notices to residents of tenements without first showing them the lovely new homes and gardens in which they will live. While not all of the residents will want to leave behind their old loved but run-down homes, the town planners will genuinely believe its better for health and wellbeing and for many that will be true. Of paramount importance is that the families always have a home and are never threated with being thrown out on the street. Many artists now feel that they are being evicted without a home to which to go .
The arts community always protests when there are cuts. But the outcry from artists to this situation differs significantly from past protests. The varied and intelligent blogs, tweets, letters and comments shared digitally has raised the level of debate from being a single channelled protest to a sophisticated identification of key issues. These are not only from artists such as the playwright David Greig but from other cultural leaders and commentators who, in being freelance or portfolio workers, have more in common with the artistic community than with the salaried and pensioned executives of some of the foundation funded organisations or the staff of Creative Scotland. Equally importantly, contributors from the wider political media have reflected on ideological elements as well as the more traditional lampooning.
When we change the way we communicate, we change society
Clay Shirky in Here Comes Everybody
In the past, such protests have always been dealt with behind closed doors. The arts community would make representations to the Culture Minister in a private manner . That Minister might then direct its cultural intermediary to make changes in an equally non public forum, communications advisors would work with individual trouble makers to allay concerns and the old order would be restored.
This time, David Greig responds to a request from Creative Scotland to have a meeting by publishing an open letter.
Scottish Cultural workers feel they are part of a success story, making world class work on thin resources. This is not a career to us, this is our life. By approaching the sector as a problem, or as recalcitrant, or as slow thinking luddites you have immediately put them on the defensive. You need artists to be open in order that together you can explore imaginative ways to respond to the funding issues
The chief of CS communications responds on twitter. CEO Andrew Dixon comments on blogs.
All of this creates an unprecedented open conversation which, if it continues, could have a powerful effect on how the arts community in Scotland can play a full part in leadership and decision making instead of having to react angrily to poorly communicated decisions.