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• W1971470982 abstract "Discouraging Democracy: British Theatres and Economics, 1979–1999 Baz Kershaw* (bio) If all economists were laid end to end, they would not reach a conclusion. —George Bernard Shaw A society is democratic to the extent that its citizens play a meaningful role in managing public affairs. If their thought is controlled, or their options are narrowly restricted, then evidently they are not playing a meaningful role: only the controllers, and those they serve, are doing so. The rest is a sham, formal motions without meanings. —Noam Chomsky An Era Ends In January 1983, two leading liberals, one American one English, shared a stage of the National Theatre in London. The American, J. K. Galbraith, one of the world’s great economists, was here to lecture on “Economics and the Arts,” a gesture which was generously aiming to reinforce the political hand of the Englishman. This was Sir Roy Shaw, champion of equal educational opportunity for all, advocate of the democratization of culture, and currently—as the then Secretary-General of the Arts Council of Great Britain—the most powerful arts mandarin in the land. Galbraith’s argument, as usual, was urbane, subtle and marked by the kind of modesty that only international celebrity provides. He spoke of the interdependency of economics and the arts, of the responsibility of artists to speak out on matters concerning the national wealth as well as the national health, of artistic achievement as essential to industrial development. The underlying theme of the lecture was the need for a mutually respectful partnership between cultural producers and money makers, between creative artists and business people. This meant eliminating the traditional suspicions shared by the two sides, which in turn implied a recognition of equality of knowledge and expertise. And to prove the point by example, in a characteristically self-effacing gesture, the American visitor paid a cheerfully oblique and, in this particular year, [End Page 267] suitably stunning compliment to his host: “Let us not . . . believe for a moment that there is some supervening financial wisdom to which those who guard our artistic treasures should be subject.” 1 Galbraith’s liberal vision certifies a mutually beneficial symbiosis of art and money, culture and commerce, creativity and industry all working towards a “civilization” in which the rapacity of the market may be paradoxically tamed by the general rise of an affluence more or less shared by all. We can securely surmise that he still believed such a symbiosis would have to be reinforced by the good offices of the state, in the form of subsidy or tax breaks for art—this was after all an Arts Council lecture, and Galbraith’s The Affluent Society had been recently reprinted by Penguin for the eighteenth time—but he did not explore this increasingly unpopular theme in the lecture. Instead, he referred to its chief enemy in “the exuberant enthusiasm of Mrs Thatcher and Mr Reagan for the economics of Professor [Milton] Friedman” and added an ironic coda about their supporters: “It is a well-established feature of the free enterprise system that fools and some other people will be separated from their money.” 2 You can almost hear the affluent asses shifting uncomfortably in the plush seats of the Olivier Theatre. Meanwhile, behind the scenes of Britain’s arts bureaucracy, Galbraith’s kind of thinking was being separated from policy. Not long after the lecture Roy Shaw retired as Secretary-General of the Arts Council, to be replaced by Luke Rittner, champion of business sponsorship of the arts. As Rittner’s appointment was made, despite much internal opposition at the Council, by Sir William Rees-Mogg, who in 1982 had been made Chairman of the Council by the Conservative Minister of the Arts, Paul Channon, we can safely assume that Prime Minister Thatcher approved of the change. Public support for Thatcher was rising in the jingoistic wake of the Falkland’s war of 1982, and six months after Galbraith’s lecture she won a surprise victory in the general election of 1983 for a second term of Government. The “free” market was reinforced at the top of the economic agenda, the post-war political consensus entered its final death throes..." @default.
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• W1971470982 date "1999-01-01" @default.
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• W1971470982 title "Discouraging Democracy: British Theatres and Economics, 1979-1999" @default.
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