ArtsDebate Public Findings Report

8/14/2019 ArtsDebate Public Findings Report

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The Arts Debate

Findings of Research among the

General Public


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The Arts DebateFindings of Research among the General Public

2 February 2007

Prepared for:

COI, on behalf of its client, Arts Council England

Prepared by:

Creative Research

43 The Broadway

London W13 9BP

Tel: 020 8567 6974

Fax: 020 8567 6979

Email: [email protected]

Job No: 539


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Table of Contents

Page

1 Summary of Findings and Conclusions .......................................................... 11.1 Introduction .................................................................................................. 11.2 Summary of Findings ................................................................................... 11.3 Conclusions and Challenges........................................................................ 6

2 Introduct ion ..................................................................................................... 142.1 Background and Research Objectives....................................................... 142.2 Research Method....................................................................................... 152.3 The Sample for the Research .................................................................... 152.4 Timing of the Research.............................................................................. 192.5 The Content of the Discussions ................................................................. 192.6 Structure of the Report............................................................................... 20

3 What is Art? What are the Arts? ................................................................... 223.1 Introduction ................................................................................................ 223.2 What Counts as Art?.................................................................................. 223.3 What Makes Something Art? ..................................................................... 253.4 The Response to Conceptual Art ............................................................... 363.5 What are the Arts?..................................................................................... 39

4 Accessibi lity of the Arts and Obstacles to Greater Engagement ............... 424.1 Introduction ................................................................................................ 424.2 Engagement with the Arts.......................................................................... 424.3 Motivation for Engagement ........................................................................ 434.4 Perceived Accessibility .............................................................................. 454.5 Changes in Accessibility over Time ........................................................... 484.6 Barriers to Engagement ............................................................................. 494.7 Psychological Obstacles to Attendance ..................................................... 504.8 Tangible Obstacles to Attendance ............................................................. 594.9 Obstacles to Participation .......................................................................... 66

5 Benefits of the Arts ......................................................................................... 705.1 Introduction ................................................................................................ 70


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5.2 Are the Arts Beneficial? ............................................................................. 705.3 What are the Benefits? .............................................................................. 735.4 Benefits of the Arts for the Actively Involved.............................................. 86

6 Public Funding of the Arts and the Role of the Arts Counci l ...................... 886.1 Introduction ................................................................................................ 886.2 Awareness and Expectations of the Arts Council....................................... 886.3 Response to Information about ACE.......................................................... 926.4 Expectations of how the Arts are Funded .................................................. 956.5 Response to Information about Public Funding of the Arts ........................ 976.6 Experience of Applying for Funding ......................................................... 100

7 Priorities for Arts Council Funding ............................................................. 1037.1 Introduction .............................................................................................. 1037.2 Funding Criteria ....................................................................................... 1037.3 Reasons Not to Fund............................................................................... 1127.4 Other Ideas .............................................................................................. 1157.5 Impact on Perceptions of the Arts Council ............................................... 1197.6 Accountability of Fundees........................................................................ 1237.7 National Lottery Funds............................................................................. 126

8 Impact of the Discussion.............................................................................. 1279 Conclusions and Challenges ....................................................................... 132

9.1 Introduction .............................................................................................. 1329.2 The Value Placed on the Arts .................................................................. 1329.3 Funding Priorities and their Perceived Value ........................................... 1329.4 Implications for the Arts Council............................................................... 1349.5 Implications for Fundees.......................................................................... 1369.6 Increasing Engagement with the Arts ...................................................... 1369.7 What do we call it? ................................................................................... 138


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-1-Creative Research 43 The Broadway London W13 9BP

1 Summary of Findings and Conclusions1.1 Introduction

In twenty discussion groups and ten interviews across England, some 170

people talked at length and in detail about their attitudes to the arts and the

impact of the arts on their lives as the basis of this piece of research which

begins the arts debate with the general public. The sample was structured

according to a number of variables; socio-economic grade, lifestage and level

of engagement with the arts principally. While peoples attitudes towards and

opinions of the arts were, to an extent, influenced by the first two of these, it

was the third (perhaps predictably) that produced the sharpest differences. It

was also notable that on a number of issues, there was a commonality of view

that cut across all the variables.

This executive summary provides a brief overview of the findings according to

the principal themes. It then goes on to set out our conclusions based on

those findings and some suggestions for what they might mean for the Arts

Council. We appreciate that they are our personal views, albeit founded on

the research findings, and but one contribution to the debate. We offer them

as points for further discussion.

1.2 Summary of Findings

1.2.1 What is art? What are the arts?

The discussion around the age old issue of what is art proved very interesting

and thought-provoking. Examples of what counted as art ranged from visual

art or even simply fine art, through a broad range of traditional art forms,

design disciplines, crafts, artisan and domestic skills. Some respondents

included types of sport, natural phenomena, intellectual pursuits such as

science and maths, and everyday activities like playing games or socialising

in their definition; a case could be made for considering all as candidates.


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However, from the threads of the various discussions, there seemed to be

three components to what truly made something a work of art; if something

had all three in great abundance, then it might be deemed a great work but if

lacking in certain components, it might simply be art or perhaps a creative

activity. The three components are: the original creative idea, the skill and

effort that goes into executing that idea and transforming it into an end

product, and the achievement of a response from an audience.

Other factors also came into play in deciding whether something was art; the

distinction between art and entertainment, the context in which the piece is

viewed, fashion and marketability, personal taste and the quality of the end

product. Given its profile, it is perhaps unsurprising that the issue of

conceptual art was raised early on and strong views were voiced. The

attitudes of those for and against it can be seen in the context of their views

about what makes something art.

The arts, by contrast, prompt a far more closed and constrained response.

They are not seen as a collection of things that one might call art but have a

particular meaning that is focused on traditional, and what are perceived aselitist, art forms.

1.2.2 Accessibility of the arts and obstacles to greater engagement

Access to the arts was not identified as a significant problem. Except for some

exceptions where there was a lack of provision for certain age groups in

certain locations, and where cost prevented greater frequency of

engagement, respondents felt they could access the arts if they really wanted

to. For many among the low engaged, there was no need for the arts to be

more accessible they felt they simply would not take advantage of the

opportunities.

Many older, more middle class respondents, felt that the arts should be more

accessible to those who had few opportunities but they also recognised thatany such attempts to engage such people might be rebuffed.


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While people were able to identify many things that hindered greater

engagement with the arts and these were often shared across groups, there

was little sense that, in themselves, they were necessarily insuperable

barriers and a number admitted they were really excuses. The twin barriers

were therefore shown to be a lack of motivation and inertia.

The obstacles identified as getting in the way of engagement with the arts and

therefore contributing to these barriers divided into the psychological; the

perceptions and preconceptions that reside within people, and the more

tangible obstacles, the things out there over which they feel they have little

control. The former breaks down into

- concern that an event or performance or visit wont be worth it

- peer pressure

- feelings of exclusion or being unwelcome

- uncertainty about dress code and etiquette.

The latter into

- cost

- time

- distance to travel and issues of getting there

- having someone to go with

- booking problems and uncertainty about seating arrangements

- awareness of what is on.

Except among the young, there was not a great call for more opportunities to

actively participate in the arts. Many of the obstacles were the same but the

most significant was that of a lack of confidence in ones ability and the fear of

feeling embarrassed or stupid if embarking on something new.

Respondents were able to offer some suggestions for overcoming these

obstacles.


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1.2.3 Benefits of the arts

There was broad agreement that the arts offer a range of benefits to

individuals and society. Even though some of the low engaged felt those

benefits were less relevant to their own lives, they acknowledged that they

applied to others. The most top of mind benefits were those that had personal

resonance for people; the provision of entertainment and pleasure (universally

appreciated), the enrichment of their lives, the opportunity to express oneself

and communicate with others, a sense of identity for individuals and

communities and the improvement of mental and physical health. Other

social, educational, political and economic benefits were also acknowledged

but they did not seem to have the same impact.

1.2.4 Public funding of the arts and the role of the Arts Council

Only a few respondents had a fairly detailed picture of what the Arts Council

does, of whom a few had either applied for funding in the past or considered

it. Many had heard of the Arts Council but had little idea of its role and somemisunderstandings were evident. There was some association of the Council

with what were seen as the more traditional arts and a perception that either

the largest national companies received most of the funding or that funds

were awarded to politically correct or simply daft projects. There was also

questioning of who might sit on the Council and how they were selected.

In general, the attitude was fairly neutral however and when participants were

given some facts about the Arts Council, they responded positively and with

interest. Its regional decision-making structure, independence from

Government, priorities up to 2008 and examples of funded projects

contradicted what people had suspected. However, its mission and the fact

that it had been around for 60 years led some to feel they should have seen

more evidence of the Arts Council in their local areas.

There was broad acceptance of the need for public funding of the arts; withoutit the arts scene would be much poorer in quality and less accessible. The


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level of current funding was unknown but at 39p per household per week,

seemed very reasonable. However, the total annual spend was seen as

significant and again, the expectation was that it should be seen to be

touching peoples lives. The key questions for most were therefore how were

the funds allocated and against which criteria, questions that they found they

had the opportunity to comment on.

1.2.5 Priorities for Arts Council funding

When asked to take on the role of decision makers at the Arts Council,

respondents did not find it an easy task and this led to some empathy with

those that actually do the job.

When making decisions about which projects to fund, most of the criteria that

were applied were those with a social purpose; they should deliver benefits to

society, they should reach as wide and diverse an audience as possible,

people should gain something positive from the experience and the benefits

should last beyond the period of funding. It was not surprising therefore thatmany of the projects that respondents would fund were based in communities.

In addition, there was a strand of funding that was aimed at preserving

flagship companies and organisations because of the excellence they

exemplified, the source of inspiration they represented for young artists and

the role they performed as part of Englands heritage. This strand came with

conditions however; the desire was to see such high profile companies

become less dependent on public funding whilst justifying their considerable

public funds by ensuring greater access for ordinary people.

The sorts of projects that respondents were reluctant to fund were those that

seemed to support an individual in realising their own (often commercial)

ambitions. It was felt that they, like certain more commercial organisations,

should be able to raise funding from sources other than the public purse. For

individuals, however, the idea of the Arts Council providing loans rather than


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grants or insisting on some community benefit was more acceptable. Public

art was also an area that most chose not to support.

While many were impressed by the diversity of projects that the Arts Council

funds and the audiences that they reach, questions remained about the

balance of funding and how decisions were made. Some also felt that they

had not seen projects that they felt were ambitious or exciting enough in terms

of inspiring new audiences.

There was a call for greater transparency in the Arts Councils decision-

making, the inclusion of a public voice as part of this, the sharing of good

practice among potential and existing fundees, and consideration of how

those that receive funds can be made accountable in a way that is not

unwieldy, constraining or costly.

1.3 Conclusions and Challenges

1.3.1 The value placed on the arts

We conclude that this research demonstrates that the arts are seen as

offering enormous public value.

It shows that among the general public who are given the opportunity to

explore their experience of the arts and discuss the place of the arts in their

lives, there is an appreciation that the arts are of personal value to them,

albeit of varying levels. They may prefer to call their chosen art forms

entertainment in order to distance themselves from more conventional art

forms, but there is an acceptance that their lives are touched by the arts when

a broader definition is applied.

More strikingly, there is overwhelming agreement that the arts perform an

important and valuable role within society generally. A long list of benefits

offered by the arts is readily accepted and those who are less engaged with

the arts recognise their value to others, if not for themselves. The idea of aworld without the arts is abhorrent to all and there is widespread acceptance


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of the importance of supporting the arts with public money. There is an

almost universal call for children to be brought up with exposure to the arts,

for their own sake and for that of wider society.

1.3.2 Funding priorities and their perceived value

Given its mission, to put the arts at the heart of national life and people at the

heart of the arts,and the fact that the Arts Council distributes public funds, it

is not surprising that the criteria that are given top priority in making funding

decisions are

- benefiting society at large

- reaching as many people as possible

- deriving lasting benefits.

Great value is put on community based projects that will deliver benefits for

individuals and wider society whereas other areas of funding lead to negative

opinions about the delivery of public value. The most contentious areas are

- high levels of funding for the large, national companies

- funding for individuals and

- public art (which often happens to be conceptual).

If these are to be areas of funding for the Arts Council, then their value needs

to be communicated.

The problem for the national companies and organisations seems to be their

ready association with elitist arts that much of the population is not interested

in or if they are interested, are unable to access. There was little appreciation

of efforts they are currently making to try to widen access or these are thought

to be ineffective. Their principal role is seen as an exemplar of excellence in

their specific art forms and in their ability to engender a sense of national

pride. They represent a legacy for the future, something to which the young

people engaged in the national youth organisations, for example, can aspire.

While this perceived value justifies funding to a degree, there is a need to


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communicate how public funding is employed and what is achieved through it.

Moreover, if the public are correct in their suspicion that access is not being

widened as a result of current funding, then perhaps different techniques to

encourage new audiences are needed.

Mainstream thinking is that public art funded by the public does not deliver

value either because people find it hard to understand (and dont wish to find

out what it is about) and/or the context in which it resides (e.g. outside a

hospital, in the middle of a roundabout) affects perceptions of its value (the

money would be better spent inside the hospital). High profile and admittedly,

semi-figurative works such as the Angel of the North seem to have more

chance of being assigned value, even if they take time to grow on you.

The funding of individual artists was not seen as being of great benefit to

society; the launch of a career and commercial success were not the outputs

that the public envisaged from Arts Council funded projects. If this funding is

to continue, then perhaps messages about the needs of the artist, size of the

awards, the matching of funding and repayment if success results, may be

helpful in changing perceptions.

Alternatively, given that the commercial motive is one of which the public is so

suspicious especially when it comes to the use of public funds, then perhaps

the Arts Council (and Government) should give the economic importance of

the arts greater emphasis in communications on the subject.

1.3.3 Implications for the Arts Council

The first implication of the varying levels of approval for different types of

projects, is perhaps to raise the question of whether the Arts Council should

establish more clearly defined funding streams possibly, community

projects, national companies and individual artists. This might help public

perceptions because they would see that each project was not competing for

the same pot of money but was competing for funds against similar types ofapplications. The application and decision-making processes could also be


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tailored to the types of candidates. The real and ongoing challenge for the

Arts Council would be to decide on the size of pot available to each funding

stream.

The research revealed much latent interest in what the Arts Council is and

how it uses public money. To combat accusations of institutional exclusivity

and satisfy this interest, there is a need for the Arts Council to build a higher

profile for itself and step out from its role in the back office. This is not to say

that it should market itself through costly campaigns but it needs to create

awareness of what it is trying to achieve and what this means for the public,

artists and arts organisations.

The Arts Council needs to become associated with the broad range of

projects of a high quality that it funds and to inform people of opportunities

open to them. It should publicise the fact that information, advice and

guidance are available and be more proactive in providing this. The website

is a starting point with tools like the feasibility check suggested by one

respondent but there is an expectation of help readily available at the end of

the phone as well as staff being prepared to visit applicant groups. This couldhave serious implications for staffing and the expectations of applicants will

need careful management as they are likely to be high.

Greater transparency is required to offset the suspicion that exists about

funds going to favoured people and companies. As groups begin to feel that

the Arts Council is a potential source of funds, they will demand to know how

and why funds have been allocated, both as initial awards and as continued

funding.

The Arts Council, with its overview of publicly funded arts in England and its

mission to increase access, will need to provide information about best

practice in the arts. While the arts go hand in hand with creativity and

originality, information about the more mundane side of the operation of

community projects could be usefully shared to ensure optimum

effectiveness. This should include the sharing of lessons learned from less

successful projects.


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There is clearly a desire for members of the public to contribute to decision

making at the Arts Council alongside the specialist expertise that they

recognise as essential. The concept of a more democratic rather than

collegiate approach would seem to have some merits especially for the

community-based projects. Many of those that took part in the research

seemed to have the local insight, the ability to be open-minded and a genuine

interest in the arts and what they can offer, that would equip them to fulfil such

a role.

1.3.4 Implications for fundees

A requirement for there to be in place a clear statement of the aims of a

project or group, the monitoring of the use of funds and an evaluation of the

outcomes against aims, was seen as only common sense and as something

demanded by other funding sources. There was no desire for this process to

be complex, restrictive, costly or overly cumbersome and most assumed that

something along these lines was already in place. If the Arts Council and its

role are to become better known and its decision making is to be seen as

transparent, then the meeting of these responsibilities by fundees will be

expected and required.

1.3.5 Increasing engagement with the arts

Access to the arts is not perceived to be a major issue. Some feel that theyhave as much to do with arts as they would like; others would like to be able

to do more and claim that if certain obstacles were removed, this would make

it easier for them to do so. Certain of these obstacles are very tangible and

seem very real for example, the lack of provision for certain groups in

specific locations, and the cost of access. However, if the twin barriers

impeding greater engagement with the arts are more generally a lack of

motivation and inertia, the question seems to be, would more people engage


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with the arts or do so more frequently if the various obstacles they cite were to

be overcome?

We suggest that the most important obstacles, especially for those we have

called the low engaged, unengaged or anti-engaged are the psychological

ones, those that prevent people even considering attending or (god forbid)

actively participating in some form of the arts. Central to any strategy for

combating these obstacles and thereby having any chance of increasing

engagement among these groups will be providing reassurance. People need

to be reassured that, whatever the art form,

- it is for people like them

- they will feel at ease

- they will enjoy it.

This is not to say that the more tangible obstacles are unimportant. If some of

these can be lowered, then perhaps they can contribute to creating this vital

reassurance. Thus, the arts need to be

- available in a popular, familiar form where the emphasis is onfun and enjoyment

- available more locally

- well publicised in the sorts of places that reach the intendedaudience

- publicised in an appealing way that tells people what they willget out of it.

We suggest that an analogy could be drawn with the way in which museumshave developed over the last twenty-five years. In the past, the focus in

museums was on the collections and exhibitions were very object based,

offered minimal interpretation and delivered very serious and academic

communication that was inaccessible to most ordinary people. They have

become places in which the emphasis is on the communication of ideas,

where multi-media, hands-on experiences happen and where learning takes

place alongside entertainment and having fun. Visitor numbers and a broadersocio-economic profile attest to their success.


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Some of the most popular and inclusive events that enable people to sample

the arts seem to be the outdoor festivals (sometimes, but not always called

arts festivals), carnival and street performance. The open nature of these

events means that anyone can wander through, they can move on if they are

not enjoying something and there are other distractions like refreshments and

the facility to socialise that add to the experience. There would therefore

seem to be an opportunity to use such events as a means of exposing people

to new and familiar art forms in a familiar setting.

Another tactic that might be exploited is using children to bring their parents

into the arts. Parents say they will respond if their children request interaction

with the arts so perhaps they should be given the opportunity to do so by

making inexpensive, local events and productions available.

1.3.6 What do we call it?

Finally, we have noted the restrictive and even negative associations for many

people of the term, the arts. The options for confronting these seem to be

- to maintain and support the accepted meaning as the

traditional arts but make these more accessible

- to create another term with a wider meaning such as arts and

entertainment

- somehow to widen and popularise the meaning of the arts.

We would favour the last of these because clearly, the arts world is always

changing and new and emerging art forms are earning their place within it.

Moreover, defining the boundaries between the arts and non-arts is not easy

as the exercise looking at what counts as art, demonstrates. The arts

therefore needs to become a flexible receptacle for a changing range of

activities perhaps defined according to the three requirements of the

creative idea, effort and skill, and gaining a response.


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We suggest that this shift in meaning is best achieved, not by a self-conscious

campaign that risks alienating the very people it seeks to engage, but instead

by a slow and more subtle repositioning of the Arts Council and its association

with a broader range of funded projects.


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2 Introduction2.1 Background and Research Objectives

In its 60th

anniversary year, the Arts Council is seeking to create a value

framework incorporating a measure of public value which, over the coming

years, will act as a driver for its policies, resource allocation and evaluation.

To help in development of the framework, the Council has instigated the arts

debate aimed at eliciting and discussing the views of a range of stakeholders

on

- how the arts are currently perceived and valued

- how the Arts Council can enhance its delivery so that it creates

greater value for the public

- how the needs of different stakeholders can be balanced against

the aspirations of the public.

For the first stage of the arts debate, the Arts Council commissioned research

among the general public looking at their experience and perceptions of the

arts. This report sets out the findings of this exploratory research. The

specific objectives were to explore how different segments of the population

experience the arts in terms of:

- perceptions of what is and should be covered under the term,

arts

- accessibility of the arts in everyday life

- perceived benefits to themselves and others

- perceived role of the arts locally, regionally, nationally and

internationally

- expectations for the future

- barriers and incentives to participating in the arts

- awareness of the Arts Council and its role


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- attitudes to funding of the arts and how this should be prioritised.

2.2 Research Method

In order to be able to explore peoples views fully on this wide range of topics

around the core subject of the arts, a qualitative approach was adopted. The

major part of the research consisted of twenty discussion groups with

members of the public; a format that allowed people to exchange views and

bounce ideas off of each other and develop them in discussion.

In addition, ten interviews were conducted with individuals or groups of two or

three people who were actively involved in various arts activities at

grassroots level. They were either volunteer organisers of the groups or

active and long-standing participants. The purpose of these interviews was to

gain a deeper understanding of the particular benefits derived from active

participation and the funding issues faced by groups.

2.3 The Sample for the Research

2.3.1 Discussion Groups with the General Public

The twenty discussion groups were each made up of people who shared

certain characteristics; they were broadly similar in terms of their socio-

economic group (ABC1 or C2DE), their age and personal circumstances

(often called lifestage) and their level of engagement with the arts.

Participants were invited to take part in the research on the basis of their

responses to a screening questionnaire (included in the appendices).

The table on the next page summarises the structure of the sample. We have

provided further explanation of what the variables mean below this.


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participate in one or more art forms. Each group included people with

interests in different art forms and was split between men and women.

Many groups included people from BME backgrounds and overall, 14% of the

sample was Black, Asian or of dual heritage.

The groups were held across England in a mix of urban, suburban and rural

locations, with two and occasionally three groups in each government region.

Groups were held as far North as Carlisle and Newcastle-upon-Tyne, as far

South as Eastleigh, to the West in Tiverton and Much Wenlock and to the

East in Great Yarmouth and Holt.

2.3.2 Interviews with the Actively Involved

The people who took part in these ten interviews were engaged in the arts in

a variety of ways. Six interviews were with people who led or participated in

arts groups. These were

- a craft club set up by a group of mothers to raise money for a

primary school but who are now considering selling their

jewellery and crafts as a business

- a community project led by a couple of women involving local

schools and residents in improving a local park; the first stage

was the design and installation of a series of mosaics in the play

area

- an annual rural arts festival

- a creative writing group based in a theatre in a market town

- a choir specialising in early English music

- an amateur dramatics group.

Two interviews were with volunteers who had set up or helped set up local

arts activities and classes for children and young people


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- one was originally based largely on dance and was specifically

for children of African descent, but it has since broadened its

activities and audience

- the other involved saving a local community centre from

development for the local community and turning it into a centre

focused predominantly on the arts.

The final two interviews were with people who took part in the arts in some

way and in one case, with career ambitions in them

- one was with a recent graduate from a drama college who is

working part-time while auditioning for roles

- the other was with a man who had always been interested in the

arts but since becoming the victim of criminal injury and being

unable to work had turned to art (in part as therapy) and

exhibited his work.

2.4 Timing of the Research

The research was carried out in November 2006 in two waves so as to allow

for a review of progress and any modifications that might be needed mid-way.

While no changes were required to the screening questionnaire, small shifts

of emphasis were made in the group discussion guide either because we felt

we should tackle an issue in a different way or because we wished to explore

particular issues in greater depth than time had allowed thus far.

2.5 The Content of the Discuss ions

The group discussions involving people with a low level of engagement with

the arts lasted around two hours while those with people with a medium or

high level of engagement lasted up to three hours. This extended time was

felt to be essential, not just because there was a great deal to cover but

because we wished to give people the time to think about and get into the


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For those with less time or inclination, the previous section provides an

executive summary of the findings and the conclusions we have drawn based

on these.


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3 What is Art? What are the Arts?3.1 Introduction

The way in which we tackled the issue of what people felt should be covered

under the term, arts, was by asking them to think about not just what wasart,

but what was notart and the things that fell somewhere in between, or things

about which they were unsure.

Each group member was given a pad of post-it notes of different colours (for

art , not artand art?) on which they wrote things that they felt fell into each

category. These were then stuck onto a wall (or boards if a wall was

unavailable) by each member while others, if they felt so inspired, could add

to their own lists. The three collections of ideas (which are provided as

amalgamated lists in the appendices) then led to a discussion in which the

reasons behind peoples choices were explored and developed.

This exercise proved extremely illuminating and whilst the particular items and

where they were placed varied, certain items and themes emerged fairly

consistently. This enabled us, after review and in a bid to save some time on

this issue, to arrive at a set of items that we could give to participants in the

second wave of research and to sort according to whether they considered

them art, not art or art?

3.2 What Counts as Art?

The immediate response of many was to think of art in terms of visual arts

and even fine art while others listed things that might commonly be seen as a

catalogue of the arts, taking in ballet, sculpture, theatre, literature and so on.

Some immediately took a broader perspective and might include crafts

(jewellery making, glass making) or aspects of design (graphic, car,

landscape, lighting) or domestic or artisan skills (breadmaking, quilting, hair

styling, bricklaying, wrought ironwork). Once more conventional boundaries


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had been crossed by one or more group members, others might take up their

lead and follow quite willingly.

We felt that there was a greater openness to a broader definition of art among

the women than the men and possibly among younger people (though some

of the very young seemed to lack the experience and vocabulary to broaden

their thinking).

There was a notable difference in the number and range of outputs of people

who were engaged to a low level with the arts and those who were engaged

to a medium or high level. In the table below are shown what constituted art

for the two low engaged groups in the first wave of research compared with

two medium engaged groups that illustrates the difference in the scope of

their thinking.

Low Engaged, Pre-family, C2DE Low Engaged, Family, ABC1

BuildingsFilms x 2FoodFootball x 2

GraffitiOld buildingsSport - "The Art ofFootball"

ArchitectureBalletBooks x 2Buildings

Cinema x 3CookingD I YDancingGarden designMusic - all genresOperaPantomimePoetry - Shakespeare etcTelevisionThe natural world

Writing fiction booksMedium Engaged, Family, ABC1 Medium Engaged, Family, C2DE

AdvertisingAthleticsBridgesBuildingsCarpentryChessChildbirthChildrens' concerts

(strangling the cat!!)CinemaComics

ActionsArt galleriesBalletBody artComedyContemporary picturesCookingDrama

DrawingEmotionsExpression


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ConcertsCookeryFashion designFlower arrangingGraphicsHalf a sheepHistoryMad contemporary designMathsMotor racingMusicMusicalsNature (sunset / sunrise?)NovelsPersonal photos

PrintsRock concertsScienceSexSome musicSport (eg. Football)

Fashion showsLifeLoveMarriageMosaicsPaintingRelationsSculpturesSome TV shows on artWords

From just these examples, it can be seen that the boundaries of art were

pushed out rather far by some people. Some of the perhaps more surprising

thresholds to be crossed were those relating to

- sport

- nature and natural phenomena

- intellectual pursuits such as science and maths

- everyday human activities such as sex, shopping, playinggames, socialising etc.

The most expansive might argue, for example, that essentially art is about

communication and since so much of what humans do is about

communication (and indeed, this is what makes us human), then art is an

intrinsic part of the human condition and therefore, life.

Within any art form, people might differentiate between things they would

deem to be art and those they would not.


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3.3 What Makes Something Art?

A lively and thought-provoking discussion tended to follow the display of

items; participants were sometimes frustrated that there were no simple

definitions of what made something art. They witnessed not only

disagreements within their groups but also within themselves as they

changed their mind in response to new points. Many found the discussion

very interesting nonetheless and at the end of the session, said how it had

made them more open to what art was. This also resulted in many thinking

that they were more involved with art than they had previously thought and for

most, this was a positive thought.

Distilling the various arguments that were offered, there seemed to be three

key components to what made something art. Art involves

- an initial creative idea on the part of the artist based on a desire

to communicate something

- effort and skill on the part of the artist to bring that idea to

fruition in the form of an end product

- a response to the art work from an audience.

There was much debate around each of these steps and we have tried to give

a flavour of this below.

3.3.1 The Initial Creative Idea

Before a work of art is produced, it has to reside or be created in the artists

mind as an idea that he/she wishes to express

Now I wonder if thats a clear definition? You have to thinkabout it. It has to be borne of the mind or the spirit before youcan say, This is an art form. If its just scribbled on a bit ofpaper, its not. (Retired, ABC1, High engaged, Urban)


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Indeed, some equated creativity with art anything creative or indeed,

expressive, is art and therefore could include a DJ deciding which tracks to

play, or dancing when drunk in a club

Art is expressing your opinions and your mind through certainactivities. ((Dependent single, C2DE, Low engaged,Suburban))

Its all expressionism and all expressionisms are art in someway. (Dependent single, C2DE, Medium engaged, Rural)

It was assumed by many that the idea should be an original one (even if it had

been inspired by someone elses work) so that works that copy faithfully

something that already exists are not necessarily art

If we are just copying to learn how to do something, it is a skillthat we are using rather than if we were embroidering freehandand did something completely creative, then that would be art.(Post-family, ABC1, High engaged, Suburban)

One or two took this requirement for originality to an extreme level hence for

them, performing a play, musical or a piece of music was not art because you

were repeating what had gone before or new comedy sketches were art but

old, well-used jokes were not

To me, art is starting with an idea and ending up in a physicalcondition. For me, plays and these things couldnt be art.Maybe Im very ignorant but to me, art is an idea and creation.(Retired, C2DE, Low engaged, Urban)

The notion that to be art, the artist has to have the intention of

communicating an idea led to debate about whether something can still be art

if this is not the prime intention of the artist ie. the work is a by-product of

some other intention. A chimpanzee (or young child) might not set out to

produce an aesthetically pleasing painting but happens to do so; someone is

snapping pictures of their friends to capture a moment but one of the

photographs happens to be very good; a footballers prime motivation on the

pitch is to score goals but in doing so, he demonstrates great artistry in his

ball skills. Can these be examples of art? A number of people argued that

football, in particular, had all the elements of art


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Sport. I am not sure if it is art, but a really good football matchwhere you have got drama and emotion and things, and gracesometimes, that could be art. (Family, ABC1, Mediumengaged, Suburban)

This creative aspect of art also fed into a discussion about whether natural

phenomena a beautiful landscape or sunset or a spiders web, for example -

could be classed as art. The majority view tended to be that since (unless

you subscribe to the notion of Intelligent Design), such phenomena are not

the result of someones creative thinking, they would not count as art. They

would only do so if someone human intervened to record them in some art

form or changed them in some way

It is not really art though because it is sort of just whats there. Imean obviously, if you took maybe a photo of it you could saythat is art, but if you are just walking down a normal road andyou see a nice view, it is not particularly art. (Dependent single,ABC1, Medium engaged, Suburban)

But others homed in on the response that such phenomena could evoke - this

might be similar to that evoked by a great work of art

I put spiders web down as Not Art, because although they canbe really attractive with frost on them and all that, it is not Art

I would say that was Art

It is creative

It is natural Art

But you could argue that there is absolutely no intent on thepart of the Spider to produce anything other than something to

catch its prey in

But in my eyes it looks beautiful and when the sun shines onit, it produces that effect. (Post-family, ABC1, Medium engaged,Suburban)

The trouble is, if it raises an emotion of any kind, you knowwhat you said, like a beautiful sunset or a beautiful day canmake you happy. Something that you see, if it stirs any kind ofemotion, then surely it is some kind of art really? If it makes youfeel something about it. (Family, ABC1, Medium engaged,

Suburban)


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On occasion, the inclusion of domestic and artisan skills as art was qualified

by the requirement that they involved a degree of design or creative thought.

Therefore to be art, they did not involve simply following a pattern laid down

by someone else but also some original thought and some expressive

purpose; that is, they had to go beyond the purely utilitarian.

Such discussions made some participants reconsider their own or others

achievements; the bathroom installer, the man who had built his own house,

the toolmakers in a family

I built my own house, but Ive never thought of it before as anart form. But when I sometimes Ill stand and look at it, and Ithink, Oh yes. And like you said, you can always think ofanother way of just improving things. So, yes, as the arts - ifyou look at it that way, anything that isnt totally practical andtotally essential, thats got any kind of whistles and bells, is art.(Post-family, C2DE, High engaged, Rural)

I was just thinking about how, how far do you take this art? Myson and my husband are tool makers. And when I watch themmake something on a machine which then goes off and turnsinto an enamelled pot which sells thousands Moorcroft. Andpeople buy it because of this fantastic enamelling and artwork.And my son made the tool that made that. And, to me, that isfar, thats really, really clever that hes got the imagination andhes not someone thats given to high flown descriptions ofanything And to most people, its huh, manufacturing. But itsnot, he creates. It is creative. (Post-family, C2DE, Highengaged, Rural)

Indeed, the idea that in fixing cars in their job, they might somehow be

involved in art made some of the low engaged warm to the task.

The inclusion of science or maths as arts depends on similar thinking

someone has to have the capacity and vision to arrive at the original germ of

an idea (or hypothesis) and then works away to realise (prove) that

hypothesis

If you take someone like Einstein, I still cant picture these blackholes that he was on about all those years ago. And having hadthis, this imaginative drive or inspiration, he then spent the next,

I dont know how many years, going through God knows howmany reams of paper and God knows how many pens andpencils, to prove that there were these black holes, which I also


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dont understand. But I think an artist a scientist can seesomething, then works towards it. (Retired, ABC1, Highengaged, Urban)

3.3.2 The Process of Realisation

For the majority, those producing art had particular skills or talents that

differentiated them from other people; art was not something that everybody

could necessarily do unless they had a talent for a particular art form. For

most respondents, those skills and talent manifested themselves particularly

at the stage of realising the idea rather than in just having the idea in the first

place.

Artistic talent was often seen as something that one is born with and although

it might be developed later in life, an innate ability was important. For most,

there were people who were creative and others who were not and supreme

talent was met by awe

You could just stand in a room and view this marvellous

painting, and stand there for an hour and be absorbed withnothing actually happening except you are absorbing the sheerimmensity of what somebody has produced. You know, it is thatsort of thing that is just overwhelmingly not just, I couldnt dothat ever but isnt it wonderful that in this world something ofsuch beauty is created by somebody for us all. (Family, ABC1,Medium engaged, Suburban)

A dilemma arose when groups had discussed whether a broad definition of art

might mean that everyone was involved in art in some way and might be

called an artist

I would say I was more involved in art because like nail art andthings like that, girls always paint their nails and stuff so theydbe, thats more artistic and when you say like cake designingand stuff, when you make a cake at the weekend or something,you dont really think of it as like being an art form anddecorating it, but I suppose it is

I think it is more like the effort you put into it, like, it obviously

takes a lot of effort to make a cake. (Dependent single, ABC1,Medium engaged, Suburban)


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If you went to art classes and you produced a piece of art, evenif it was awful, I suppose it would still be art, wouldnt it? (Post-family, ABC1, Medium engaged, Suburban)

The use of computers as part of the development of an idea was commented

on in some discussions; for some it detracted from the human being at the

centre of the process while others accepted the computer as a tool to aid the

process. In the same way with respect to artisan skills, a tool such as a wood

turning lathe might be involved but some level of human input was assumed

in directing that tool ie. it was not a fully automated process.

3.3.3 The Response

There was a very broad feeling that for anything to be art, it had to evoke a

response of some kind. It was not enough for someone to create something;

it only became art when it was met by a response

I still dont think a work of art can exist in a sort of a vacuum,that Ive created a work of art, therefore it is, therefore Im an

artist. I think there has to be, even if its only one, one secondopinion, who appreciates it

Somebody has to be moved spiritually, intellectually, in someway, to define it as an art. (Retired, ABC1, High engaged,Urban)

For many, this response should ideally, be a positive and pleasurable one a

sense of liking the end product

It is about how much enjoyment you get out of it, you see itmore as an art if you enjoy it more. (Dependent single, ABC1,Medium engaged, Suburban)

But others recognised that often the response was not about liking something.

Works of art could instead provoke dislike, distaste, anger or they could

simply provoke thought, they could make you see things in a new way or

teach you something

I would say it couldnt be art if nobody enjoyed it


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I would say that there are things that people think are artisticand some people think that they are not

Some paintings are pretty gruesome, arent they?...

They stimulate interest, dont they? (Post-family, ABC1,Medium engaged, Suburban)

People often spoke of wanting to be moved, inspired or changed by a work

of art in some way

For some, art is anything that can move you

And is pleasurable to watch

Is a form of art, if it brings your emotions out. (Family, C2DE,High engaged, Urban)

But I think we might have to change our perception in someway, art, I think it has to make some changes within yourself.Its something you look at or read or get involved with, I think ithas to somehow change you to be called art. (Retired, ABC1,High engaged, Urban)

To me, it would be someones ability to make me feelsomething. (Post-family, C2DE, High engaged, Rural)

A really good drama, different portraits and landscapes,sculpture that inspires and is thought provoking, something thatgives you a different perspective. Sometimes you seesomething and you think wow, this gives me a differentperspective on things so that would be art

Whether it is just commercial or whether it is trying to provokesomething extra. I always think art is trying to provoke thehuman response. Something that is not just basic, it issomething extra. (Family, ABC1, Medium engaged, Suburban)

I dont think it has to be a warm fuzzy feeling, it could be areally sort of bad feeling but it still made you feel somethingrather than just sort of looking at it because oh, as long as itsmade you feel something. (Dependent single, C2DE, Mediumengaged, Rural)

There was some discussion about the importance of understanding what the

artist was intending with the work of art. Most seemed to accept that this was

unlikely to be the case and some liked the idea that you had to try and work

out what the artist was trying to say


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You might just not understand it, like whoever created it mighthave created it with emotion but then you might not feel it fromthat piece of art but it doesnt mean that its not art it just meansthat you appreciate different kinds of art. (Dependent Single,ABC1, High engaged, Suburban)

On the other hand, some clearly wanted their art to be undemanding; they

could immediately get something out of it.

3.3.4 Other Factors

A range of factors were also seen as coming into play in influencing whether

something was considered art or not. The picture was rarely straightforward

however as shown by the various arguments set out below.

The Distinction between Art and Entertainment

On a number of occasions, participants dismissed certain aspects of art forms

as art because they saw their principal purpose as entertainment, with

enjoyment as the intended result. Reality TV shows were rarely classed as art

unless they involved a certain level of competence in a performance art such

as singing or dance. The status of soap operas was unclear. Grounds for

describing them as art would be the fact that they involve acting (a skill that

requires talent), and the fact that they may not be entirely enjoyable to watch

because unpleasant things may happen or they may set out to convey

lessons as part of their message.

The converse point was made in the same discussion; works by Dickens thateveryone would now see as art began life as instalments in papers and could

be seen as soap equivalents of the Victorian age.

Some of those who said they had little to do with the arts felt that they were

interested in entertainment but not in art precisely because entertainment

operated at their level while art went over their heads

I think art is perceived as being stuffy, you know a bit over thetop. I dont know if its the media thats made it like that but if youcant understand it, like Shakespeare, the words and that, thats


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art you know. Anything lower than that, like they have roundChristmas -whats it? pantomimes. People dont class it as artso much...

Its a condition of mind if you like. You see something, you do

something, thats entertainment, thats nothing to do with art.(Retired, C2DE, Low engaged, Urban)

I wouldnt have classed Peter Kay and the comedian thing asthe arts cos theyre funny and you would want to go and seethem! (Pre-family, ABC1, Low engaged)

Context for the Work

The key example given of this was the perception of graffiti as art and how

this changes depending on the context. Unwanted and apparently unskilled

graffiti in inappropriate places was definitely not art while imaginative, well-

produced graffiti displayed in galleries or even permitted spaces, was

Graffiti on buildings can be really, really threatening, but somegraffiti is worth a lot of money. My son actually sold Banksypaintings in Bristol, and he sold them for about 1,000 and theygo for 40,000 to 50,000. If you see graffiti in a town it isthreatening, I think. (Post-family, ABC1, Medium engaged,

Suburban)

Slides in the local park might not be art but in Tate Modern

I mean, it's like the slides in the turbine hall, I think thats art. Alot of people dont think it's art but I think it's art because theartist says so. Thats why it's art, it's there. (Craft club)

One of the low engaged groups commented that art was what went on in their

local arts centre while entertainment happened at the local theatre (their

preference was for the latter).

To confuse the picture a little, the example was given in one group of two

disused cooling towers near Sheffield that many now perceive as art and are

campaigning to retain them as part of the landscape.

Fashion and Marketability

There was recognition that what is considered art varies with time and

fashion; several participants spoke of fine artists or composers who were


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unappreciated in their own lifetime. This was adopted as the basis for arguing

that many popular modern art forms may come to acquire classical status in

time (see the point about Dickens above also)

I think that is the trouble with the arts. It can be very snobbyand people can very snobby about it, like rock music is not anart form, it has to be classical. But classical music was thepopular music of that time. (Post-family, ABC1, Mediumengaged, Suburban)

If someone or some body that is respected in the art world passes judgement

on something as a work of art, then it becomes accepted as such

I mean, one of the first that we had was Tracey Emins beddidnt we? I mean, there was always a lot of speculation whenyou know, she won the prize but why? It was an art form and itwas decided that that was an art form, if you see what I mean

Tracey Emin, I would argue, said it was art and a number ofpeople bought the fact that it was art, it doesnt mean to say it isart, it is just that she sold the concept. (Post-family, ABC1,High engaged, Suburban)

Personal Taste

There was broad acceptance that what is art to one person will certainly not

be art for others and certainly, some of those, particularly in the low engaged

groups, seemed to put this into practice, perversely dismissing anything they

did not like as art!

The point was made that one did not necessarily like or appreciate the same

art forms as ones children, yet they are still art. Conversely, you might regard

what your children produce as art because of your natural bias whereas

nobody else would.

Some people had noted that as they had got older, their own tastes had

changed so attitudes to art should not be seen as fixed

Is it something that you have to be exposed to for a long timebefore you start to learn to appreciate it?...

I think the older you get as well, you appreciate differentthings


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I would agree to that

You have got to get rid of your prejudices, havent you?(Post-family, ABC1, Medium engaged, Suburban)

I think it is a learning process. If you are introduced to ityounger you are more likely to appreciate it. I think you do startunderstanding it, obviously much more as you get older.(Family, ABC1, Medium engaged, Suburban)

Quality

The issue of the quality of the work was something that might be inferred from

what was said rather than an explicit discussion. As we have seen, a certain

level of skill and talent was assumed and yet in broadening their definition ofart to include more popular and accessible art forms, the issue arose of

whether these involved high levels of skill.

To circumvent this dilemma,some groups chose to identify different levels of

skill. They would not necessarily equate a play performed by an amateur

dramatics group with that put on by professional actors. Another group

differentiated between a routine performed by a gymnast and one which

resulted in a wonderful display. In this way, one might differentiate between

art and great art

The trouble is, great art is linked with skill. You dont want someballet dancer who is just going to trundle around. The trainingthat has gone in and the appreciation, it really is a skill to get tothat level. I think, the same with an artist, the greatest artist musthave had a skill that other people havent got and thats whatsets us apart from sort of the man in the street I think

When you say that, they all started from somewhere so in theearly years you are saying what they produced wasnt art, andthen in later years, what they produced is art. So I mean, thatsa bit of a weird argument, isnt it really?

You were saying about it being art and then great art, well, isthere a difference between the level of anything? So it is not thatit is not art, it is making it as good as art. (Post-family, ABC1,High engaged, Suburban)

Younger people in a single dependents group differentiated between good

and bad art; the former was hard to create, the latter not


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I think it's just a case of good and bad art. It's still art even ifyou've got no talent. It's like you're expressing yourself so that'sart but it might just be rubbish." (Single Dependent, ABC1, Highengaged, Suburban)

3.4 The Response to Conceptual Art

Conceptual art was mentioned frequently during this part of the discussion

and recorded by a number of people on their post-it notes in various forms

(animals in formaldehyde, half a sheep, anything that wins the Turner prize,

pile of bricks, unmade bed, Tracey Emin). These were always included within

the art? or not art categories. The debate about conceptual art offers no

new arguments but it is perhaps interesting to see how it plays out in the

context of participants definition of art.

The supporters, who were in the minority, argued that

- the talent of the conceptual artist is seen most readily at the

initial stage of coming up with the original idea

I think it is about peoples ideas and their imagination,they dont necessarily have to be skilled, you just have toget those across. (Dependent single, ABC1, Mediumengaged, Suburban)

Its the thought, isnt it, I suppose. What you are sayingabout the bed, when that first came out I was like, what aload of rubbish but the other point is that sometimeswhen I get out of my bed and I look at my bed, I think Icould just jump straight back into it. So I suppose that is

the creative side of it, isnt it? that is showing you aboutlife itself, its not just about the unmade bed, its showingyou like how busy your life is. (Pre-family, ABC1,Medium engaged, Suburban)

- sometimes the process by which a piece is created is an

important part of the work and this might not be evident from the

finished item

The problem with art in exhibitions and in galleries andstuff is that people see the finished product but not thework thats gone into it so like it could have taken years


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to come to a piece of paper thats blank. Frankly I dontlike that but it would have taken quite a long time to get tothat point and there has been a lot of work behind it

I saw this programme where there was this big

splodge like different paint all over the place and this bigcanvas about the size of this room and I thought, what amess. And then they showed how it was made and itwas some woman strapped to this thing hanging from theceiling with loads of paint pots around it flying round theroom and I was like, yeah

Did it change your opinion on the piece?

Yeah, probably give it a bit more value because

someones like flying across the room to make it

..But surely then the actual piece isnt the art?...

Its what she did

Yeah, its what she did to do it is the art. (Dependentsingles, C2DE, Medium engaged, Rural)

- the response that is evoked by a piece is very important and can

take many forms it may be conveying a message about life, it

may be a physical response. Moreover, if a piece provokes

argument, this is a valid response

It (cow in formaldehyde) was just like floating, it wasabout this high off the floor wasnt it

It was black and white as well. ..

I thought it was superb. (Pre-family, ABC1, Mediumengaged, Suburban)

Yes, theres in Tate Modern, they have got a light boxand when I first saw it I thought this is everything I hateabout conceptual art. You know you go to Tate Modernand you go past a couple of rows of genuine skilfulmoving art, you know, and then you go past some reallypretty fantastic wooden sculptures and then you arrive atthis box and I thought, oh God, this is crap. And I go inanyway. And it is just a light box...

How big is it?

It is big enough to walk in, the size of a publicconvenience I suppose But it was genuinely a, it wasnt


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spiritual, I wouldnt go that far but it certainly didsomething to you which was beyond what you wouldnormally expect from life. (Post-family, ABC1, Highengaged, Suburban)

The arguments of the detractors were fairly consistent

- the original idea lacks merit (although they generally do not

know what it is) and the artist is not trying to express any real

emotion

But it wasnt creative (Tracey Emins bed). Forsomething to be creative, it takes a lot of thought and alot of time and effort. (Post-family, C2DE, Low,

Suburban)

I wonder why she felt she had to get a response like that.I wonder, Im trying to wonder why she would want to dothat, to evoke such a response

She said that it was to prove that art was in everydaylife, from the unmade bed and dirty underwear and allthis, that this was art at everyday living at its rawest. Andthis was art Im not saying that I understood it, but thatis what she said. (Post-family, C2DE, High engaged,

Rural)

Sometimes I think some people are just trying to beprovocative. They are just trying to provoke you to thinkthis is art because it is provoking a response. So anunmade bed, a pile of bricks and just being controversialfor the sake of it. I just think that they are taking an easyride. (Family, ABC1, Medium engaged, Suburban)

- there is little skill shown in the execution of the idea too often,

conceptual art consists of displaying everyday items

I just think it is, like, you see a lot of things like, oh, thereis a wheel barrow with tools in it, that is just life, thats notart. No effort has gone into that. (Dependent singles,ABC1, Medium engaged, Suburban)

Skill has to be involved in art and if you think, I could dothat and know it is facetious and that it is modern art andwe have to accept it and whatever. You know, a pile ofbricks is still a pile of bricks whether it is laid because the

shadow falls this way or whatever. It doesnt do it for me.(Family, ABC1, Medium engaged, Suburban))


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- very often, the piece fails to communicate anything - people

simply dont get it. Any response is not a genuine emotional

one rather, it is a false one based on what other people say

about the piece or an emotion that has been provoked

gratuitously by it

The fact that the final piece is always really vague andpeople go to see it and theyre like, oh, it means all thisand it probably doesnt. I dont like the way that itsshown to people and people respond to it the critics andstuff. (Dependent single, C2DE, Medium engaged,Rural)

But I do think that art is snobbery. I think there is a lot ofart that is almost like The Emperors New Clothes, webelieve it because we have been told it is good. (Post-family, ABC1, High engaged, Suburban)

I think those people are people who have been told thatit is art and are buying it because it will increase in valuebecause it is a commodity. (Family, ABC1, Mediumengaged, Suburban)

The discussion about the intrinsic value of a piece that demonstrates great

talent and skill in its execution compared to the value that is assigned to a

piece of conceptual art by those who are prepared to pay high sums for such

work, revealed in many participants a fear about being duped by so-called art

experts.

3.5 What are the Arts?

It became very clear in the first wave of research that while participants might

talk about what counts as art in a fairly free-wheeling way, their definition of

what counts as the arts was not the same thing at all. Moreover, people were

switching between the two terms and what they meant at various points in the

discussion. In the second wave therefore, we asked explicitly about the arts

and whether they were a collection of all the different things that might be

called art or whether they were something distinct from this.


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The common response to this question was that there was a fairly established

and rather narrow definition of what made up the arts. This might be based

on what you had learned at school or formal courses run by colleges; arts

programmes on channels such as BBC2 and Channel 4 also set some

boundaries. The list of art forms that were offered as the arts therefore, not

surprisingly perhaps, reflected (with the exception of combined arts) those

that make up the Arts Councils core remit; literature, music, painting,

photography, theatre, ballet, opera and so on

Traditionally ballet would be the arts the arts are stuffier; itis paintings, theatre, and ballet mainly

It is traditional. (Family, ABC1, Medium engaged, Suburban)

We reckon the arts - classical music, anything to do withmusic really, I think youll find what you mean by the arts iswhen you go back to secondary school and you look at what youdid, you had art, drama and music, anything which is basedaround that. (Pre-family, C2DE, High engaged, Rural)

Everybody saw the arts as less accessible than some of the art they had

been discussing. They were certainly middle class, if not even more elitist,

and this was acknowledged even by the highly engaged

But with that, the arts, you do tend to confine it to a few thingsand then it is elitist and it is middle class but when you look at allthese things here, and put them under the arts then that is adifferent thing altogether, in my opinion. I wouldnt have thoughtabout it in that way. (Post-family, ABC1, High engaged,Suburban)

Indeed, the arts were defined for some of the low engaged by their very

exclusiveness and exclusivity they were the things that they had nothing to

do with and moreover, they felt the arts wanted nothing to do with people like

them

Its all the stuff I have no or very little interest in. (Post-family,C2DE, Low engaged, Suburban)

Opera, ballet. They are two things which I cant understand forthe life of me. (Retired, C2DE, Low engaged, Urban)

I just thought it was acting and theatre and stuff, opera andsometimes Id rather shoot myself in the head than listen to


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opera, Im not kidding you. (Dependent single, C2DE, Lowengaged, Suburban)

Its true, the arts are really something which is there for theupper classes and actually they would rather the rest of us

stayed away. (Retired, C2DE, Low engaged, Urban)


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4 Accessibility of the Arts and Obstacles to GreaterEngagement

4.1 Introduction

In this section, we look briefly at current levels and forms of engagement with

the arts, views on how accessible the arts are and what are the things that get

in the way of having more to do with the arts.

4.2 Engagement with the Arts

The extent to which people attended arts events or actively participated in

the arts was not explored in detail in the discussions as this would have taken

up too much time. It was clear however, that the frequency and range of

engagements fitted with expectations in terms of low, medium and high

engaged; that is, people who felt they were very interested in the arts and

devoted much of their leisure time to the arts attended events quite

frequently and were more likely to do something in the arts than those who

were fairly interested and either said they would like to do more if they could,

or the arts were but one of their leisure interests.

The types of engagement, as might be expected, varied with lifestage and

social class. For example, the engaged single dependents were doing a lot

in terms of creative participation (rather than attending events) although this

tended to be related to very specific art forms and was often done as a solus

activity (eg. playing around with Adobe, drumming, singing, dance, painting).

The involvement of those with families was often directed to their children

helping them with arts/crafts projects, organising tuition or classes or going on

occasional family outings to arts events, generally the theatre. The broadest

sampling of the arts was evident among the retired respondents and, to an

extent, the post-family lifestage (although many were still tied up with

careers). Some were members of choirs, am-dram groups or took art

classes; a few played instruments and a number had hobbies such as card

making, flower arranging, dress making, photography and so on. They visited


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the theatre, concerts and art galleries and a few were friends of their local

arts venue.

By contrast, the low engaged had very little to do with what they would term

the arts and some were so antagonistic to the very idea that we termed them

the anti-engaged. Their involvement might take the form of playing on

arcade dance machines or drinking in pubs where live music was playing

(although they did not go there for it). Some went to the cinema occasionally

but they would not see this as taking part in the arts. Many of the older

respondents were involved in domestic activities such as decorating, baking,

gardening. Interestingly, during a couple of the discussions, it emerged that

one or two people had been to a local dramatic production and while they had

enjoyed it, they were either unwilling to acknowledge or simply did not see this

as an example of the arts.

4.3 Motivation for Engagement

The subject of how people had become interested in the arts was one raised

within the groups by respondents themselves; often when they brought up the

question of why others were not interested. The common view was that their

attitudes and to an extent, tastes, had been moulded in childhood, perhaps by

the interest in the arts of their parents or their family generally and the

opportunities they were given to take part in some art form or attend a

performance. Others pointed to the influence (sometimes when they were in

their teenage or even adult years) of a specific individual; a teacher, relative

or a member of their peer group who had drawn them into the arts and a few

were switched on to the arts by the impact of a particular artist or

performance they had seen. A number of respondents talked about their

interest arising from being dragged along to galleries or theatres by a partner

and how this initial reluctant sampling had turned to genuine interest.

Congruently, those who were little engaged with the arts often pointed to the

attitudes of their parents or lack of opportunities where they lived as the things

that had set the pattern for them. As a consequence, they now felt a lack of


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interest in the arts and little curiosity to find out if they might enjoy something.

Perhaps their interest lay elsewhere (such as in sport).

There was therefore a commonly evinced view that to increase engagement

with the arts, one had to grab people as children

And also, if you are exposed to it as a child or it is somethingthat your family does, then it becomes the norm doesnt it? Sothe stigma of perhaps going to something like that isnt there

Okay, so if there is a family history o f doing this sor t ofthing i t becomes quite normal for the children to do it

And also they would be encouraged to do it as well

And you might come back to that again as well. If you werebrought up in an atmosphere where art is respected, even if youmight leave it for years, you still have that grounding if you havebeen to a school where you have learned it, you can come backto it, cant you? (Post-family, ABC1, Medium engaged,Suburban)

Some felt that ones tastes and capacity to become engaged in the arts

change with age. Some felt that they had become more receptive to certain

art forms as they grew older although they were still very aware that they had

certain comfort zones which they were reluctant to leave. Preoccupation

with childrens needs and interests often overruled ones personal

engagement when one had a family but it was suggested that you often

picked up your own interests later in life.

Those who are actively involved in the arts were motivated to take part in

their current activities by three main, and not ne

ArtsDebate Public Findings Report

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