NCFA Colloquia Report Full Text Final NOVEMBER 2014ncfa.ie/wp-content/uploads/2018/04/NCFA-Colloquia... · Colloquia on Research 2013 – 2014 Full ... ARTS IN IRELAND Foreword 2

NationalCampaignfortheArts:MakingtheCasefortheArtsinIreland.

NCFAColloquiaonResearch2013–2014

FullReport

N C F A C O L L O Q U I A o n R E S E A R C H : R E P O R T 1

THENATIONALCAMPAIGNFORTHEARTS:MAKINGTHECASEFORTHEARTSINIRELAND

Foreword 2

ColloquiaOverview

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AnAgendaforResearch

KeyRecommendations

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12

Appendix1:Emergentresearchthemes

Appendix2:Alphabeticallistofattendees

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ForewordIn2009,EleonoraBelfiore,aUKculturalpolicyacademicandculturalvalueresearcher,wroteanarticle

entitled,‘Onbullshitinculturalpolicypracticeandresearch:notesfromtheBritishcase’.1Takingthebestselling

book,OnBullshit(1986)byHarryG.Frankfurtasthestartingpoint,heraimwastounderstandcontemporary

rhetoricandpracticeintheculturalpolicyfield.Theconceptof‘bullshit’,shenoted,hasaparticularresonance

forthoseinvolvedintheartsandculturalsector,particularlywhenconsideredwithintheframeofpublic

policyandpublicsubsidy.Thisisbecauseitiseasilyassociatedwithinsincerity,‘humbug’,‘mindlessness’,‘hot

air’,‘clap‐trap’,‘balderdash’and‘mumbo‐jumbo’andisdistinctly‘unconnectedtoaconcernwiththetruth’

(Belfiore,2009,pp.343‐5).Theessenceofbullshitistherefore,notsomuchfocusedondeceitfulnessor

manipulationofthefacts,butratherarisesfromadistinctdisconnection,andpoorrelationshipbetweenwhat

issaidandthewaythingsactuallyare.

Theunconnectedconcernwiththetruth,withthewaythingsactuallyareintheartsandculturalsectorin

Ireland,hasbecomealarming.TheartsinIrelandfacecrisisin2014andthegrowingprevalenceofrhetoric,

‘hotair’and‘mumbo‐jumbo’isoneoutcomeofanincreasinglydisconnectedrelationshipbetweenpolicyand

practice.Asresourcescontinuetoshrink,thesectorisweakenedbythelackofacoherentartspolicyand

limitedresourcesarechannelledintoone‐offinitiativesdrivenbyeconomicagendas.Civicboosters,

politiciansandpolicymakerscontinuetoengageinextensivepropagationofperceptionsofIrelandasa

culturalhotbed,relyingonourreputationaleconomyofcreativityandauthenticexpression.Whileatthesame

time,thelackofsustenanceandsupportforindigenousartisticandculturalpracticeinIrelandcontinuesto

decline.Manyculturalpractitionersandorganisations‐thosedependentonpublicsubsidiesofthearts‐have

beenevisceratedthroughcatastrophiccutsofunprecedentedproportions.Thisshort‐termthinking

underminesIreland’sabilitytosustainavibrant,diverse,andrigorousculturalsectorthatisvaluedmorefor

itscontributiontoIreland’sreputationaleconomyandimmediateeconomicneeds.Acontinuationofthis

approachthreatenstodamagetheartssectorirrevocably,astheculturalDNAofartisticandculturalpractice

inIrelandiswitheringandstrugglingtosurvive.

Theperceivedvaluesofartsandculturehavebecomemanifoldintheirusesandthereisdefinitelysomething

newinhowthesectorhasbeenlatterlyperceived.Wenowspeakaboutartsandcultureinmanydifferent

ways:asasectorwhichcontributessubstantiallytoGDP;asanimportantpartofhealthandwellbeing;to

qualityoflife;anessentialfacetofculturaltourism;theregenerationofplaces;atoolforbuildingsocialcapital

incommunitiesoramongthedisenfranchised,andmuch,muchmore.Thisemphasisontheimportanceof

creativityin21stcenturyIrelandis,ofcourse,welcomed.Butthecombinedcommercialandsocialturnofarts

andculturalfundinghasledtoanincreasinginstrumentalisationofartisticandculturalpracticeand

productionattheexpenseofothervalues.Asaconsequence,theartsarenowveryoftenviewed,bythosewho

distributefundsandmakepolicyassimplyameanstoanend.

Artsandculturenegotiateasubtleandusefulrelationshipbetweentheindividualandsociety,butwhatthe

natureofthisrelationshipis‐howitiscreated,andwhereitmightlead‐wedonotknow.InarecentHERA 1Belfiore,E.Onbullshitinculturalpolicypracticeandresearch:notesfromtheBritishcase.InternationalJournalofCulturalPolicy,15(3),343‐359,2009. Tolinktothisarticle:http://dx.doi.org/10.1080/10286630902806080.


report,Hazelkorn,Ryan,GibsonandWard(2013),notethattheopportunitiesandenvironmentsforthe

HigherEducationinstitutionstoengagewithculturalpractitionersandproducersonissuesofcommon

concernwerescarceandthatmoreopportunitiesofthisnaturewereneeded.2Thislackofconnection

betweenresearchersandpractitionerswasfurthernotedintheHEACreativeArtsreport,where‘theresearch

potentialapparentfromcollaborationsbetweenculturalandeducationalinstitutionsappearstobelargely

untappedasaresearchresource’(Hazelkorn,Ryan,Gibson&Ward,2013,p.4).Collaborativeresearchacross

theacademy,governmentandartssector–workthatbringstogetherscholars,policymakers,cultural

producers–ishappeningelsewherebutisararephenomenoninIreland.

TheColloquiawereintendedasartspolicydiscussionsthatwouldsurfacepossibilitiesofhowconnectedand

substantiated relationships between policy and practice could develop. They were intended as a series of

dynamic conversations betweenanumberof activeandkeyartspolicy stakeholders, andweredevisedand

curated by Dr. Tara Byrne, as a direct response to the NCFA Strategy on Research (2013). This document

outlines the NCFA approach to substantiating the arguments for the arts – both qualitatively and

quantitatively. It’s aboutartspractitionersandcultural producersbeing able tomake solid, substantial and

evidence‐basedargumentsaboutthevalueofartsandculture.Thisisbecausewebelievethatagoodevidence

base,foundedonsystematicandappropriateresearch,isthebasisforachangeinwaysofthinkingaboutthe

artsamongpolicymakers.Thisalsoprovidesaninformedandfirmfoundationonwhichtobasepolicy.

The deliberative approach taken to the curation of the Colloquia was a carefully crafted one, intended to

highlight the disparate voices of those drawn from higher education, government, institution, practice and

production.We endeavoured to create openness and dialogue in order to facilitate deeper communication

amongst thosegathered, seeking to establishnew avenuesof communicationbetween researchers andarts

communitiessoastobetterinformpolicy‐makingforthefundedartssectorinIreland.Andthosevoiceswere

clearinwhattheyhadtosay:thevalueofartsandcultureinIrelandneedstobesecuredthroughaconnected

and substantiated relationship of policy to practice through research. Evidence‐based policy‐making ‐ as

distinctfrompolicy‐basedevidencemaking‐needstobegin.Untilthatpoint,theartisticandculturalsectors

willcontinuetosufferfromthegrowingprevalenceofemptyrhetoric,‘hotair’,‘mumbojumbo’and‘claptrap’.

Weknowweneedtoseekoutinnovativeapproachesthatwillyieldbetterresultsandimproveontraditional

modelsforresearch,andforinformationcapture,withintheartsandculturalsector.Thosewhogatheredat

the Colloquia voiced ideas, suggested innovations, collaborations and possibilities in this regard. This

documentaimstocapturetheessenceofwhatwassaid,whatwasheard,andprovidesrobustconfirmationof

theneedandappetiteforresearchandforevidence‐basedpolicymakingonartsandcultureinIreland.

Iwould like to take the opportunity to offer special thanks to all thosewhomade the Colloquia possible –

volunteers,constituencycoordinators,NCFAmembersandhelpers.Withoutyourenthusiasmandsupport,the

Colloquiawouldnothavebeenpossible.Onbehalfof theResearchCommittee,asincerethankyou forallof

yoursupport.

2 Hazelkorn,E.,Ryan,M.,Gibson,A.,Ward,E.RecognisingtheValueoftheArtsandHumanitiesinaTimeofAusterity:Report.HERA,2013.Toretrievethisreport,pleaseclickHERE:


Andfinally,ourspecialthankstoDr.TaraByrne.HerdedicationtorealizingtheambitionsoftheColloquiahas

beeninvaluable.Tara’sknowledgeoftheresearchfieldandhercommitmenttofurtheringanartsandcultural

policyagendainIreland,hasbeenanenormousassettotheCampaign.

TheNCFAbelievesinaculturalecosystemthatiscentraltothevibrancyandprosperityofsocietyatlarge.Its

rootsarevulnerableanddelicate.TheNCFAResearchCommitteeiscommittedtoadvocatingandlobbyingfor

research that will substantiate, invigorate and embolden the arguments for the arts in Ireland – both

qualitativelyandquantitatively.TheColloquiahavebeenan importantmilestone inthiscampaign.Theyare

the realizationof the firstofour four researchobjectivesandhave taken time andenergy togestate. They

haveprovideduswitha clearmandateandpath for the fulfillmentofour three furtherobjectives: tomake

more of existing data, to advocate for research into cultural participation and to lobby for longitudinal

researchonculturalparticipationinIreland.3

KerryMcCall

Chair,NCFAResearchWorkingGroup

June2014

3 3Theexecutivesummaryofthisreportisavailableatwww.ncfa.ie.PodcastsoftheColloquiaspeakers,introducedbyashortwrittensummaryofproceedings,areavailablealso.Inaddition,theColloquiadiscussionpapercanbedownloadedaswellastheNCFAStrategyonResearch(2013)andNCFAPositiononResearch(2013).TheNCFAColloquiaonResearchwerefinanciallysupportedbySenatorFiachMacConghail,amemberofSeanadÉireann.



ColloquiaOverview

TheColloquiaexploredspecificconsiderationsofpolicyandpractice inrelationtoartsandculturalresearch

needs in Ireland.TheseconsiderationswereselectedbyDr.TaraByrneandcomprise fourkeyconcepts:the

public,evidence,culturalvalueandeducation.Thoughthesetermsarenotyetwidelyused in Irishartspolicy

discourses, they can be viewed as representing the building blocks and concerns of international cultural

policy‐making,withanimplicitifnot future impactonpolicy‐making inIreland.Theseconcpetsalsoembody

keypointsofcontentionwithinthepolicyandpracticecommunity.

ForthefirsttimeinIreland,dedicatedpolicyconversationsweresustainedoveraperiodoftimeandinvolved

atruly interdisciplinaryandmulti‐sectoralgroupofpractitioners.Thesepractitioners included:researchers,

academics,policy‐makers,artists,artsmanagers,artseducators,funders,anddatacollectionandcivilsociety

groups (Appendix 2). In targeting this group, the colloquia events aimed to pragmatically match‐make

membersofpotentialresearchnetworks,andtodeepentheconversationaboutartsresearchandthearts in

widersocietyaswaytoinfluencepolicy.Thoughtherewereinevitablymorepractitionersthanpolicy‐makers

andindeedacademicresearchers,thediscussionsside‐steppedindividualfundingpositionstomakevisiblea

palpableinterestinlonger‐termandmoreinformedartspolicyinIreland.

Each colloquy commencedwithaprovocation froman international culturalpolicyacademic, followed bya

situated response from an arts practitioner based in Ireland. These presentations were followed by two

structureddiscussionsinwhichtheinvitedandgatheredparticipantsrespondedtotwoquestionsinaround

tablediscussion. These questionshadbeenposed inadvanceof the event andaimed todeterminehow the

fourkeyissuesandconcepts(thepublic,evidence,culturalvalueandeducation)wereunderstoodandrelated

toresearchneeds.Followingtheseshorttable‐baseddiscussions,aplenarysessionwasheldwhereappointed

rapporteursgavefeedbackonthediscussionsateachtable.Theopeningpresentationswererecordedinaudio

formatandtheindividualdiscussionsinwrittenformat.

TheFourColloquia

Thefirstcolloquytookplaceon15thMay2013,intheNationalConcertHall,Dublin,andaddressedthe

question of the public. This opening session aimed to explore who and what is meant by the public as a

fundamentalpolicytermandhowthepublicisusedandmisused.Whetherthepublicisthemotivationforarts

policyoranawkward impediment?Howandinwhatcontext,doesthepublicengagewiththearts fromthe

outset?Inordertoinvestigatetheseissues,questionsposedtotheparticipantsconsistedof:whatdowemean

bypublicengagementinthefundedartssector?Andwhoseresponsibilityispublicengagementinthefunded

artssector?ThisopeningsessionwaspresentedbyDr.ElizabethSilva fromtheFacultyofSocial Sciencesat

theOpenUniversity,MiltonKeynes,who spokeabout thevariousways that communities and social groups

engage with and encounter arts activities, and specifically, the concepts of taste, distinction and cultural

capital. Dr. Silva’s presentation specifically considered what it takes for individuals to engage with culture

from a class, gender, ethnic and professional perspective, taking into account thosewho don’t engagewith


culture,andwhatitwouldtakeforthistochange.Inthissense,culturewaspositedasaformofeducationand

aresource,inandofitself.Thesearekeyquestionsofculturalcapital,atermthatforsomeindicatesabenign

valuesystemattachedtoaninterestintheartsorculture,but,asDr.Silvaremindedus,equallyrepresentsthe

systems determining how culture and the arts get ‘handed down’ as a capitalisable resource to specific

individuals.Culturalcapitalisessentiallyaquestionofwhogetstobeinterested,andcanaffordtoworkinthe

arts, in the firstplace. In that sense,DrSilvaalsounderlined the relationship between social exclusionand

social, economic and cultural capital, and detailed how social groups rationalise their engagementwith the

arts. Mr. Pat Cooke, Director of the MA in Cultural Policy and Management at UCD, responded to this

presentation, picking up on the topic of taste and the enduring though increasingly meaningless divisions

between‘high’and‘low’culture.Mr.Cookealsotalkedabouttheimbalanceinpolicythinkinginrelationtothe

supply (artists and arts practitioners) and demand (public) of arts provision and the need for longer‐term

thinkinginartspolicycontexts.

The second colloquy took place on 12th August 2013, in the Newpark Hotel, Kilkenny and considered the

question of evidence and evidence building, aiming to address the concept of ‘evidence’ in an arts research

context and the different kinds of evidences.Whethermeasurability is the sole indicator of evidence? And

whether evidence has a discernible impact on policy? To further this agenda, the questions posed to the

participantsconsistedof:whatdowemeanbytheconceptsof‘evidence’and‘impact’inrelationtofundedarts

activity? And how can we collectmeaningfulevidence that satisfies government, public, and sectoral (or

practitioners’)needsandvalues?ThiscolloquywaspresentedbyDr.DaveO’Brien,fromtheSchoolofArtsand

SocialSciences,CityUniversity,London.Dr.O’BrienspokeabouttheUK’sNewLabour‐ledpoliticsofevidence

andculturalvalueinthecontextofmarketlogicandprinciples,themanagerialistlanguageofinvestmentand

return,andthepolicyexpectationsof ‘valueformoney’.Heconcludedbyoutliningthe limitsandrealitiesof

evidence‐basedpolicyandsummeditupinaquotefrompolicyanalystAlexStevens(2011):

Policy‐makerswanttoknowwhatthecostsandeffectsofapolicyoptionwillbe,andonwhomtheywill fall.Itis

rare for researchtoprovidedefinitive answers to thesequestions–evidencewas farmore likely to beused if it

fittedwith thestory thatwas alreadybeing told; astory that usuallyemerged froma complex interactionof the

evidencewiththeinterestsofthepoliticians,specialadvisersandcivilservantswhowereitsjointauthors.

Prof. JohnOHagan, from theDepartmentofEconomicsatTCD, responded to this theme, anddiscussed the

needtousenon‐economicpolicyarguments,inlightofthefactthatculturalpolicieswillneverdeliver

sufficientlyfromaneconomicperspective(whencomparedwitheconomicpolicies),evenwhenalignedwith

thecreativeindustries.Inthisrespect,Prof.O’HaganurgedIrishpolicymakerstoaligntheirargumentswith

thesocialimpactofthearts,whichinhisview,offersamuchstrongercaseforthefundedarts.Prof.O’Hagan

alsoadvocatedthatIrelandfollowthepolicymodelsofsimilarlysizedandresourcedcountries.

Thequestionofculturalvaluewasthetopicof thethird colloquy,whichtookplace inDublinon7thOctober

2013inSmockAlleyTheatreandaimedtoaddressthemeaningofculturalvalueasacontestedterm;andthe

impactofthosewhodetermineculturalvalueonhowit isunderstoodoutsideofthosecircles.Thequestions

posed to theparticipants, therefore, consistedof:how theneeds of cultural/artspolicy stakeholders can be

balancedorreconciledviatheconceptofculturalvalue?Andwhatresearchmighthelpustounderstandand

deliver this concept?This session was presented by Dr. Jim McGuigan, Professor of Cultural Analysis at


Loughborough University, whose talk was entitled ‘Cultural Value Versus Neo‐liberal Cultural Policy’. This

presentationaddressedtheneedtorenewunderstandingsofculturalvalueintermsoffreeandopendebate

through the ‘culturalpublic sphere’.This termDr.McGuigan coined todescribe the “articulationofpolitics,

public and personal, as a contested terrain through affective – aesthetic and emotional – modes of

communication”onthebasisthat“disputeitselfisaculturalvalue”andthat“itshouldbeanunabasheddutyof

publicculturalpolicytoresistcommercialismandnottounder‐writeit”.Thetermfundamentallyrespondsto

the increasingeconomiccultural instrumentalisminculturalpolicyandspecifically, the “globalhegemonyof

neo‐liberalism”. Ms. Sinead O’Reilly, Local Authority Arts Officer for Offaly, followed this provocation by

contextualisingculturalvaluehistoricallyandcontemporaneouslywithinIreland.Sheparticularlyspokeofthe

valuesystemsattachedtoartistsandactivisminearly20thCenturyrevolutionaryIreland,andhowthesewere

perceivedatthetime.ShealsodiscussedthepressuresonartsandculturalpoliciesinIrelandtoday.

ThefourthandfinalcolloquytookplaceinGalwayon 12th February 2014, at theRadissonHotelandlookedat

thequestionof education,a corollary to theopening sessionon thepublic. This sessionaimed toaddress the

centralroleofeducationinboththechild’s(andfutureadult’s)introductiontoartsexperiencesandpractices,

and thewidereducational responsibilitiesof social, cultural andeducationalpolicies. In that sense, this last

colloquy reprised the question and issues of cultural capital and cultural value. Through the questions

discussedateachtable,thiscolloquyspecificallyconsidered:howeducationisunderstoodvis‐a‐vistheformal

and informal educational structures in place? And what structures are needed to advance equitable and

systematicaccesstotheartsforall.Asaresult,thequestionsposedtotheparticipantscomprised:whatdowe

meanbyeducationinanartscontextandwhoseresponsibilityisit?Andwhatresearchwillhelpustofindout

moreabouttheimpact(orcontribution)ofartseducationonartspractices(includingaudiences)?

Dr.JulianSefton‐Green,anindependentscholarworkingineducationandtheculturalandcreativeindustries

in the UK presented and discussed the “problems policymakers have had with the arts in contemporary

educationaldiscoursesandthedifficultiestheartshas instakingaclaimtobeat theheartofcontemporary

visions of learning and knowledge”. Dr. Sefton‐Green discussed how changing definitions of creativitymay

helpsecuretemporarylegitimacy(forthearts)asatouchstone(term)foreconomicgrowth,butthatunless,

anduntil,schools andteacherscanownacommonvisionforacommonculture, itmaybedifficult to avoid

“shoutingfromthesidelines”.

Assuch,Dr.Sefton‐Greenarticulatedhowthepoliticaldiscourseofcreativitycaninadvertentlyleadtothearts

beinghoistedby its ownpetard in the longer term. This situation arises as a result of how research doesn’t

alwaysalignwiththecarefullyconstructedsocialandeconomicargumentsmadetosupportinvestmentinthe

artsineducationorinwidersocietyinthefirstplace,andthushowresearchcanproduce‘unconvincing’data.

Thepresentationconcludedwiththeassertionthateducationcanreinforceelitismintheartsbyfocussingon

narrowdefinitionsofthearts.Also,thatthewideravailabilityofartsactivitiesinmiddleclassschoolscanact

as a cultural reward system for particular classes, and that education needs to temper its increasing

stratificationand itscontributiontocultural capital.Ona finalnote,wewereremindedthatthe languageof

policycanbeconstructive ingivingpoliticiansawayintotalkingaboutthearts,andthushowwespeakand

writeabouttheartsmattersintermsofhowweunderstandthoseactivities.


In contrast,Dr. HanneleLehto,Director, Division forArtPolicy,Ministry ofEducationandCulture, Finland,

focusedonthekeypremiseofculturalrights,enshrinedinherdocument,FairCulture(2007).Thisconcerns

the “realisationof cultural rights and the inclusionof everyone in cultural signification, irrespectiveof their

age, gender, disability, or ethnic, religious and cultural background” (access to humankind’s and one’s own

culturaltradition;physical,regionalandculturalaccessibilityandavailability;diversityofculturalsupplyand

itsmatchingwithdemand;participationinculturalsupplyandculturalself‐expressionandsignification).Dr.

Lehtoalsospokeaboutthedifferent‘ethics’orwaysofvaluingorjudgingcultureintermsofculturalpolicyin

Finland, comprising: the ‘virtue’ ethic (to describe what is often called the intrinsic value of culture, the

independenceof culture frompoliticalpressures, theautonomyof culture, the roleof individual expression

etc.); the ‘responsibility’ ethic (to describe the basis for cultural rights, or for culture to be accessible and

inclusive to thepublic) and the ‘benefits’ ethic (todescribe thevarious social and economicoutcomes from

culture). In conclusion, Dr. Lehto spoke about how the (Finnish) CultureMinistry isworking hard tomake

culture an identifiable national development indicator of success, alongside the economy, ecology, the

environment and social and well‐being issues. She underlined the various research sources available in

Finland that make the generation of statistics and data on culture, a key process and resource within the

Ministry.

In a concluding response, Dr. Marian Fitzgibbon, Head of School of Humanities in Athlone Institute of

Technology spoke about the broader context of arts policy in Ireland. Dr. Fitzgibbon invoked the TV series

BreakingBadasametaphor forthevariouscompromisesanddealsdonewithinpragmaticartspoliciesand

amongstthesector.Shealsoemphasisedtheshort‐termnatureofpoliticsandtheneedforthequickhitversus

thelongertermneedsandthinkingofartspolicy,thekindsofinformationtowhichpoliticiansaremostlikely

to respond, and questioned whether the Department with responsibility for the Arts in Ireland is ’fit for

purpose’,aswellasaskingwhatthatpurposemightbe.

BroaderThemesthatEmerged

Thepurposeof theseopening colloquiapresentationsandprovocationswasessentially to stimulatedebate

andgeneratewiderdeliberationsonthecontexts,positions,concernsandideasofthesector.Inrespectofthis,

anumberofobservationscanbemade.Onabroaderlevel,therewasanairingofviewsandunderstandingsin

relationtotherealpolitikofpolicy‐makinginIrelandandthepressuresonpolicymakerstobeseentodeliver

quantitatively (economicallyand intermsofcultural tourism)on the arts, in competitionwith other,perhaps

morepublically comprehensible, national agendas. Therewere suggestions that artspolicy in Irelandcould

learnfromothersectors(sportspolicy,education)andcountries(avoidingtheirpolicyproblemsormistakes),

but that there was a need to consider the size, resources and contexts of those countries when comparing

Irelandwiththeirpolicymodels.

More philosophical issues raised included the dangers of adopting the language and values of unchecked

capitalismwhileacknowledgingpoliticalrealities,theneedforpersuasionandtheneedforaccountability.The

recurring theme of the links between class structures, arts participation and consumption also arose and

recalled the universal and fundamental difficulty of sustainability and making a living in the arts unless

practitionershaveaccesstofamilialorotherresources.Aproposofthis,itwasuncomfortablyacknowledged


thatunlessanduntiltheartscanofferasustainableandequitablemeansofmakinga living, itwillremaina

marginal,marginalisedandexclusive/excludingsector(somethingaddressedthroughtheresearchproposals

below). These issues had arisen in Dr. Silva’s presentation on cultural capital and Dr. Sefton‐Green’s

addressingoftheassociationbetweentheartsandsocial(class)issuesinaneducationalcontext.

The roleofpolicyas a languageandaway to legitimateormake acceptablepublicdiscussionson thearts,

givingpoliticiansthemandateandabilitytodiscussissuesthatmightotherwisebedifficulttoarticulate,was

another interesting point touched on in a number of different contexts (and again in Dr. Sefton‐Green’s

presentation). This discussion emphasised the importance of policy as form of communication that shapes

publicandpoliticalthinkingaboutthearts,aprocessthatthemeetingsreturnedtoinidentifyingtheneedfor

greater leadershipandadvocacy inthearts at themostpublic level. Specifically, theColloquia identifiedthe

desire formorearticulate,passionateandinformedspokespeoplewhocanleaddebateontheartsandwider

culturalissueswithinapubliccontext,andwhocouldrespondtocontemporarysocietalissues,notjustinthe

contextofausterity,butinthelonger‐term.

AsintroducedbyMr.PatCooke,theColloquiaalsoraisedtheshort‐termnatureofpolicyinIreland,and

recognised the lack of policy more generally as implicit toministerial preoccupations with commissioning

events,programmesandbuildings,ratherthancreatingidentifiablepoliciesandpolicydocumentsembodying

values and principles. These discussions underline the need for longer‐term foundational arts policies that

spandifferentgovernmentsandwhichhavethepotentialforincrementalpolicychangesfromadministration

toadministration.Thispoint also raised thequestionofwhich researchwasmost likely tobeacceptedand

adoptedbyartspolicymakers,andtheviewthat‘evidence’mightnotnecessarilyresultinpolicychange.The

needfordifferentresearchapproaches(morequalitativeandlongerterm),moreresearchersandlonger‐term

research (and policy impact) was also noted. As such, parameters of expectation around any research

programme, regardlessofwhere itmaybe commissionedor funded,need to beagreed.While these issues

broadlycoveredthedrivingforcesinandinfluencesonpolicymakinginIreland,theColloquiaalsoresultedin

morespecificresearchproposals(Appendix1).

TheColloquiaplatformedanumberofkey issues, therefore,butparticularlyhighlightedthesiloednatureof

discussionsinrelationtoresearchontheartsinIreland,aswellasdifficultieswithkeepingpoliciesuptodate

oncurrentartsresearchandpractices.Atpresent,artsresearchinIrelandistypicallygeneratedintwoways:

throughtheacademicworldviaacutelycompetitive,short‐termanduncoordinatednationalandinternational

research grants, or indirectly and infrequently through the state via the Arts Council, the local authority

system(usuallybycommissioningindependentprivateconsultancies)anddata‐basedorganisationsdedicated

toparticularconcerns(i.e.www.artsaudiences.ie). Inaddition, there isa critical lackofresearchorresearch

strategyatArtsDepartmentlevel(incontrasttootherDepartments).Asaresult,thereisalackofcoordinated

andsystematicresearchonthearts,a lackofprioritisingresearchatGovernment levelandarelativelackof

connectbetweenthearts,artspolicyandexistingresearch.Thereflections,contributionsanddiscussionsof

those gathered at the Colloquia, therefore, reinforce the need identified by the NCFA in the Strategy on

Research 2013 for a systematic and coordinated approach to research on the arts and cultural sector in

Ireland.Capturedbelowaresomeofthekeythemesthatemergedfromtheseartspolicydiscussions.Amore

substantialcaptureofthediscussionsiscapturedinAppendix1.


• Theneedforincreaseddialogueandcollaborationbetweentheartsanditspolicymakingsector;

• Theneedforrecognitionofthelinkbetweenpoliticalandpublicsupportforthearts;

• Theneedforregularlyproducedandup‐to‐dateinformationonthearts;

• Theneedtoacknowledgethelinksbetweenclassstructures,artsparticipationandconsumption;

• Theroleofpolicyasausefullanguagetopromotepublicandpoliticaldiscussionsonthearts;

• Theneedforgreaterleadershipandadvocacyintheartsatthemostpubliclevel;

• Theneedtoaddresstheshort‐termnatureofpolicyinIreland;

• Theneedforvariousandmulti‐dimensionalresearchapproaches;

• Theneed fortheartstobemorearticulateaboutthevalues fromwhichtheyoperateandtowhich

theycontribute;

• The need for better understanding from the arts sector of the slow process of policy‐making and

betterunderstandingfromthepolicy‐makingsectorofthelong‐termnatureofartsimpacts;

• Therealpolitikofpolicy‐making inIrelandandthepressuresonpolicymakerstobeseentodeliver

quantitatively (economicallyand in termsof cultural tourism)on the arts, in competitionwithother

morequalitativeconcerns;

• ThesuggestionthatartspolicyinIrelandcanlearnfromothersectors(sportspolicy,education)and

countries(avoidingtheirpolicyproblemsormistakes),butthatthere isaneedtoconsiderthesize,

resourcesandcontextsofthosecountrieswhencomparingIrelandwiththeirpolicymodels;

• The need for the arts to avoid the language and values of capitalismwhile acknowledging current

politicalrealities(andpersuasiontactics)andaccountability(takingownershipofthesector).

ANAGENDAFORRESEARCH

In addressing the dearth of research, research pathways and research resources in the arts, the Colloquia

fundamentally speak to the lack of timely information on arts consumption and participation practices in

Ireland,withabeliefthatthiscangreatlyenhancepolicy‐making.Specifically,theycitetheneedforlong‐term

investigations into the consumption, engagementandpresentationof thearts and the impactof theartson

individualsandcommunitiesinIreland,aswellasthewidersocietal,communityandeducationalcontexts(of

thearts).Theresearchproposalsparticularlyidentifyaneedformoreinformationonthelong‐termimpactsof

theartsandartseducationon individualsandsociety,greater informationonthecreativepracticesthatare

flourishinginIreland,andtheneedtobringIrishresearchintolinewithexistinginternationalstudiesofarts

impacts (well‐being and happiness etc). The sessions also emphasised (to paraphrase the US’s Donald

Rumsfeld)thenecessityto identifytheresearchweknowwehave,theresearchweknowwedon’thaveand

need,theresearchwedon’tknowweneedyet,aswellashowtocollectandusedatainasustainableway.As

partofthis,theColloquiaidentifiedthepracticalneedforadatabaseorinformationpointofaccesstoexisting

research.

As has been hinted at, however, there is a small caveat to this call for research. Expectations around any

research proposals need to be realistic in relation to what that research may yield, and acknowledge the

difficultiesoflinkinginformationtoactualpolicy‐creation,atleastinthemediumorshortterm.Researchwill

notsolveoutstandingandintractableissueswithinartspolicy,particularlythatofthehistoricalandongoing

links between the arts, class and social status, and the sustainability of arts careers. In addition, given the


many factors influencing policy, includingwhat is politically and publically palatable,what is familiar (and

therefore acceptable), various personal and Ministry values, in‐house expertise, and wider government

imperatives, research will not necessarily result in policy change. This situation hints at the manifesto for

research Catch 22. That is, that the recognition of research as an important aspect of sectoral and policy

developmentwill only beachieved ifpoliticiansandgovernments change theirviewsas to thevalue of the

arts, and that these views may only change as a result of research. Nevertheless, in seeking to start

somewhere,better informationandinterpretationis imperativeiftheartsaretobeareflexiveandinformed

sector, and can be used as a benchmark for more informed public and political discussions on the arts.

Research,therefore,isagoodplacetostartintermsofchangingminds.

Arts (and humanities) research in Ireland is both lacking in general, relatively homogenous, and under‐

resourced. It is also struggling for recognition and funding against more economically compelling science,

technology,engineeringandmaths(STEM)research. Ireland’s identificationofresearchasakeycontributor

to enterprise, policy and knowledge (Research Prioritisation Strategy 2012), and as central to its national

competitiveness strategy,havingperformedpoorly in respectof2014’s international InnovationScoreboard

(basedonassessmentsofvariouscountries’researchsystems),underlinesthegeneralneedformoreresearch

in Ireland.However, thesinglingoutof theartsandhumanitiesasaparticularareaof interest toEuropean

researchagendashighlightsthegrowingemphasisonthebenefitsofartsresearch inparticular(theHorizon

2020EUFramework forResearchand Innovation2013).More recently, the importanceof informedarts and

cultural policies has also been endorsed by the determination of Ireland’s Constitutional Convention that

economic,socialandspecificallyculturalrightsshouldbemadepartoftheConstitution(22February2014).

Other countries demonstrate that there are many delivery mechanisms for arts research, including

government‐sponsoredaswellasprivatethink‐tanksandresearchfoundations,theuniversity,andasabove,

direct government commissioning (including local government, the Ministry and through the Arts Council

model).Inconclusion,thisreportsuggeststhatmorediverseartsresearchcanhelpdeepenunderstandingsof

theartsinIreland,helprelateandcompareIrelandwithinternationalresearch,andhelpothers,inparticular

politicians,tounderstandthevalueoftheartsbeyondIreland’sbrand/reputationandculturaltourism.What

research canofferpolicy, therefore, are conceptsand informationwhich can incrementally change thinking

andpolicy‐making,aslongweunderstandthatgoodpolicy‐makingisamarathonratherthanarace.

Dr.TaraByrne

May2014


KEYRECOMMENDATIONSTheNCFAColloquiaonResearch fundamentallydemonstratedtheneedanddesire foramorecoherentand

systematic basis and public (political)mandate for policy‐making in Ireland.We have identified a series of

recommendations4thatemergedandhavedistilledthoseintothefollowing.Theyrepresentapublicmandate

todemandfromDepartmentofArts,HeritageandtheGaeltachtactiononthefollowingrecommendations:

• ConductandpublishanextensiveandcomprehensiveliteraturereviewofartsresearchinIreland,

makemoreofexistingandavailabledataandsustainthecommissioningofrelevantuptodate

informationontheartsregularly.

• Commissionawidevarietyof‘multi‐dimensional’researchasaprioritythattakesintoconsideration

‘everydayparticipation’toassessthefullextentofvalueinthearts,isnotrestrictedtoeconomic

research,andshowsthecorrelationbetweensocialclass,gender,ethnicityandpatternsofcultural

consumptionandparticipationinIreland.

• Promotethebroaddisseminationofaccessibleresearchthatdemonstrateslinksbetweenhealth,well‐

beingandartsparticipation,impactandeffectofartsineducationandartseducationonindividuals,

andtheattitudes,behaviours,preferencesandexperiencesofyoungpeopleinrelationtotheartsin

Ireland.

• StatisticalopportunitiesexisttousetheNationalCensusofIrelandandtheNationalHousehold

Surveytogatherdataonartsprofessionsandonculturalparticipationandconsumptionandthis

requiresendorsement.

• MediaimpactonpublicdebateandopinionontheartsinIrelandrequiresspecificresearch.

• EuropeanopportunitiesexisttoharnessandcooperateoninitiativesthroughthenewEuropean

programmeforresearchandinnovation,Horizon2020,andgovernmentalandMEPparticipationin

advancingtheculturalagendamustbemadeanewpriority.

• Newresearchpartnershipsandcommunitiesmustbesupportedtoreviewcurrentresearchfunding

structurestoestablishnewresearchfundingstructuresthroughgovernmentalcollaborationsand

synergiesandcreateanartsresearchnetworkinvolvinguniversitiesandinstitutesofhigher

education,theArtsCouncil,theDepartmentofArts,HeritageandtheGaeltacht,LocalAuthorities,

workingwithorganisationsandagenciessuchastheEconomic,SocialandResearchInstituteandthe

IrishResearchCounciltodevelopresearchinitiatives,andutilisethepotentialofexistingbodiesand

organisations(e.g.theAssociationofLocalAuthorityArtsOfficers,VisualArtistsIreland,Theatre

Forum)tohelppilotresearch.


APPENDIX1Colloquiaemergentthemesforresearch

Thefollowingproposalsareanattempttorepresentconcrete ideasthatemergedattheNCFAColloquia.The

proposalsare formulated inacademictermsand individuallyposedasaresearchquestion, theconventional

academic research format. Most of the proposals fit within a qualitative framework, though there are

quantitative(measurable)aspectstosomeofthequestions.Someresearchsuggestionswerefelttobeshorter

intermandmorelimitedinscope,andthesehavebeencategorisedasreportsorprojectsratherthanresearch

proposals.While attempts have been made to faithfully accommodate all of the Colloquia suggestions, the

proposals inevitablyrepresentanamalgamof those felt toofferthemostpotentialat thisparticulartimeto

this researcher, and are inescapably shaped and interpreted from a particular perspective, rather than an

exhaustiveaccountofeverythingthatwassaid.

Proposal KeywordsAreasof

policyinterest

Benefitsofresearchtopractitioners

Benefitsofresearchtoartspolicymakers

Indicativecomparableinternationalresearch(notexhaustive)

A)Whatarethesocial(class),gender,professional,ethnicetc.anddemographicculturalconsumptionandparticipationpatternsandtastesinIreland?(Whoisattending,participatingin,andengaginginthearts?)B)Dothesepatternsdifferfromothercountriesandwhy?Focus/outputs:AcomprehensivepictureofwhoparticipatesintheartsinIreland,bothmakingandengagingwiththearts–attitudes,viewsetc.Cultureandidentityissues.Householdsurveysandthecensuscouldenhancethiskindofstudy

CulturalCapital

Localpolicy:DemographicsLinksbetweenplaceandeconomicstatusNationalpolicy:SocialstructuresEducationandclassstructures

Thiscouldenablepractitioners,bothartistsandorganisations,tounderstandtheiraudience,impactsandthegreatercontextinwhichtheywork.

Thiscouldhelppolicymakerstoconsiderwhobenefitsfromandisimpactedbyartspoliciesandpractices,whatthegaps(socially,gender‐related,professionally,ethnically,geographically)areintermsofnon‐engagementandwhy.

Thereisawidevarietyofinternationalresearchonthistopic.ExamplesincludetheUKDept.forCulture,MediaandSport‘s(DCMS):TakingPartSurvey‐anationalsurveyofculture,leisureandsportUnderstandingtherelationshipbetweentasteandvalueincultureandsportInternationalcomparisonsofpublicengagementincultureandsportCultureonDemandreport,proposingpracticalwaystoengagethebroadestpossibleaudienceforculturebybuildingonexistingdemand

Whatisthelong‐termimpact/effectof:A)ArtsineducationB)Artseducationonindividuals?Focus/outputs:Asurveyoncultural,social,professional,educational,psychological,economic,

Education Localpolicy:DemographicsLocalplanningSchoolsNationalpolicy:Dept.ofEducationandSkills‐couldshapeeducationalprovisionandcurriculumandstrengtheneducationadvocacy

Thismighthelpartist‐educatorsandartiststargetparticularaspectsoftheirpracticeandorteaching

Thismighthelpartspolicyproveitswidervalueingovernmentintermsoftheimportanceoftheartstotheknowledgeeconomyandsocietyandcouldensurebetterartseducationalprovision

Thereisawidevarietyofinternationalresearchonthistopic.ExamplesincludetheFinnishMinistryofEducationandCulture(2010c)AttheforefrontofeducationSeetheFinnishMinistryof


personaletc.impacts

Anationalartspolicy

Education(2008),Thefutureisineducationandculture


policyinterest




WhataretheattitudesandexperiencesofyoungpeopleinrelationtotheartsinIreland?Focus/outputs:Asurveywithinterviewsonhowyoungpeopleengagewithandexperiencethearts,whattheythinkofthearts,whatitmeanstothemetc.

Education(informal)

Localpolicy:Localartsprovision,betterlinkupbetweenschools,communitygroupsandartsorganisationsNationalpolicy:Dept.ofChildrenandYouthAffairspolicy

Thiscouldhelpartsorganisationtargetitsprogrammes,itsrangeandscopeofartsevents‐strengthenallianceswithafterschoolprogrammes

Thiscouldpinpointthefuturedirectionoftheartsandthepotentialneedforchangesinsupports–itcouldhelpevaluateartsprovisioninIrelandandwhatisexcludedfromartssupports

A)Whatartisticandcreativepracticesaretakingplaceoutsideofformaleducationsystems?B)Whatrolesdothesepracticesfulfilforthoseinvolved?Focus/outputs:Thisstudymighthelpestablishwhatculturalcapitalsystems‐orthesystemsthatdeterminehowpeopleengageordon’tengagewiththearts–existoutsideofschoolandwhatistheirimpact.Thisstudymightalsoindicatethosepracticesthatparticularlyresonatewithyoungpeopleandwhy.

Education(informal)

Asabove

Asabove

Asabove

Whatisthelinkbetweenwell‐beingandthearts?Focus/outputs:Thiscoulddeliverdataonwhetherartsconsumptionandparticipationpatternsaffectlevelsofhappinessandwell‐beingandwhy

Health/Socialimpacts

Localpolicy:IdentifyinggapsinlocalartsprovisionNationalpolicy:Dept.ofHealthandhealthcareproviders‐thiscouldshapehealthprovisionintermsoffacilitiesinhospitalsetc.(andalreadydoes)

Thiscouldhelpthesectorgenerallyunderstanditselfbetter

Thiscouldbeausefuldocumentintermsofarguingtheimportanceoftheartsandcouldalsoofferlong‐termeconomicsavingsforthestate.

Thereisawidevarietyofinternationalresearchonthistopic.ExamplesincludetheFinnishMinistryofEducationandCulture(2010d),ArtandCultureforWellbeing

Whatisthelinkbetweenhealthandartsparticipationandconsumption?

Healthimpacts

Asabove. Asabove. Asabove. Asabove



policyinterest




Whatistheecologyofcultural,creativeandartspracticesinIreland?Focus/outputs:Therelationshipoftheartstothecreativeindustries,orthemorecommercialorindustrialcreativesectors.ThiscouldresultindataonhowthevariousartisticandculturalpracticesinIrelandarelinked,whereco‐dependencieslie,andwhichsectorslearnanddependmostonothersectors

TheCreativeIndustries

Localpolicy:Localplanning‐thismightinfluencewhereenterprisecentresetcwerelocatedintermsoflocalartsprovisionNationalpolicy:Dept.ofEducationandSkills:ThiscouldbenefittheHEA’sworkoncreatingcloserlinksandcreativepathwaysbetweeneducationalinstitutions–intermsofpotentialstudentpathways

Thisreportiscrucialtocreatingunderstandingsoftherelationshipofthepractitionertoothercreativepracticeswhichcouldbestrengthenedtomaximiseartisticcapacityorharnessedinsomewaytoprovideprofessionalopportunities

Thisreportiscrucialtocreatingpublicandpoliticalunderstandingsofthelinksbetweendifferentculturalpractices.Thiscouldhelpmakethecaseatthegovernmenttablefortheimportanceoffunding(thoughnotexclusively)thearts–aspartofthedelicateecosystemorwell‐springofothercreativepractices.Itmightdemonstratethelinkbetweentheartsandmorepolitically(economically)‘persuasive’commercialisedartanddesignforms‐andshowwheresupportsaremostneeded.

Therehasbeenagrowingrangeofreportsandresearchinterestedinthistopic.SeeKEA’skeyreport,TheImpactofCultureonCreativity2009andKEA’stheEconomyofCultureinEurope2006

Whatisthelinkbetweenpublic/civicdebate,themediaandtheartsinIreland?Focus/outputs:Thisstudycouldrevealtherelationshipoftheartstothequantityandqualityofdebate,exchange,communicationandinteractionwithinapublicsphere

Media/publicsphere/comm‐unication

Nationalpolicy:Dept.ofCommunications,EnergyandNaturalResources

Thiscouldbroadlyincreasethepractitioner’sunderstandingofartspractices

Thiscouldcontributetotheargumentastothedemocraticimportanceofthearts(anditsbroaderecology)atthegovernmenttable.

WhatistheimpactofresearchonartspolicyinIreland,andwhatistheratioofimpactinrelationtoqualitativeandquantitativeresearch?Focus/outputs:Thisstudycouldfocusonlinksbetweenresearchandpolicyandtrackthedevelopmentofpolicywithresearchprojects.

Researchpreferencesintermsofpolicyinfluence

Nationalpolicy:Dept.ofEducationandSkills:thiscouldincreaseunderstandingsoftherelationshipanddynamicsofacademiaandpolicy.

Thismighthelppractitionerstargetresearchmoreeffectivelyintermsofhowitisreceivedandperceivedatgovernmentlevel.

Thiscoulddeterminewhetherartspolicywassufficientlyandcurrentlyinformedandstrengthenthecasefortheartsatthegovernmenttable.Itcouldalsohelpdetermineresearchstrategies(intermsofimpacts).



policyinterest




Irelandandartphilanthropy:canIrelandsustainaphilanthropicfundingsystemfortheartsandwhatcouldthisbe?Focus/outputs:ThisstudycouldconsiderthecontextforphilanthropyinIreland,thelevelofwealthandwillingnesstosupporttheartsandfuturedirectionsinthisarea.

Philanthropy Nationalpolicy:Thiscouldinfluenceprogressivetaxregulation.

Thismightallowpractitionerstotargetparticularphilanthropicgroups.

PolicymakersThiscouldstrengthenthecaseforsustainedfundingoftheartsifitwasdemonstratedthattherewereinsufficientgroundsforartsphilanthropy

Doesworkingwithineducationimpactonanartist’sworkandhow?Focus/outputsThisstudycouldtakeareflexivelookattheartsineducation,focussingonqualitativechangestotheartist’spracticeovertime.

Education/Artists’Practices

Nationalpolicy:Dept.EducationandSkills‐thiscouldenhancetheProfessionaldevelopmentoftheteacherandcurriculumdevelopmentandassessment

Thiscouldgiveartistsandeducatorsadeeperunderstandingoftheexchangethattakesplacebetweentheartistandthestudentandthoseinterestedinworkingineducationmakethechoicetodoso

Howcanmakingart,orworkingintheartsbemoresustainable?Whatisthecareerpathofartists’whowishtoworkineducation?Focus/outputs:Thesestudiescouldconsiderthefundamentalbasisonwhichartistsmakealiving,consideringcurrentmodelsinIrelandandfuturelabourmodels.

Sustainability Localpolicy:PlanningNationalpolicy:Dept.ofSocialProtection,welfarepoliciesandsupports

Thiscouldofferinsightonpotentialcareerpathsormodels

Thiscouldenhancetheoverallunderstandingofthesectorvisavissustainableeconomicmodelsandcouldinfluencemoretargetedprofessionalsupportsforartistsandartpractice.

SeetheFinnishMinistryofEducationandCulture(2010)Creativegrowthandartists’income


policyinterest




WhatisthestateoftheartsinIreland?Focus/outputs:Thisquestioncouldbeinterpretedinanumberofwaysandisthusinherentlycontentious:oneinterpretationisanassessmentoftheoverall

Stateofthearts

LocalpolicyThiscouldhelpmunicipalitiesfocuspoliciesanddirectsupportstogapsinartsprovisionandlowlevelsofsupport.Itcouldalsohelpthemevaluatereasonsforthosegaps

Thiscouldofferpractitionersasenseof‘wheretheyare’nationally,thoughthiscouldnotbeadefinitivestatementonthis.

Thiscouldgreatlyenhanceartspoliciesbyfocussingattentionontheimpactsofthosepoliciesandfutureartsneeds.

VariousinternationalresearchontheVitalityofthearts(orArtsIndexes)addressasimilarquestionSeeFinnishMinistryofEducation,Finland(2003),


‘health’ofthesector(qualitativelyandquantitatively).AcademicAdrianEllishassuggestedthefollowingasindicatorsofoverallvitalityorhealthofthearts:levelsofcapitalinvestment;attendancefigures;statisticsonamateurparticipation;columninchesondiscussionsofculturalpolicyandnewsaboutculturalissuesandpersonalities;levelsofpublicexpenditure;levelsofphilanthropicsupportandsponsorship;numbersofregisteredcharitieswithculturalpurposes;andtheextentofthepotentialcontributionthatpolicy‐makersassertthatculturalinstitutionscanmadetowidereconomicandsocialgoals.

MeansforOverallAssessmentofCulturalLifeandMeasuringtheInvolvementoftheCulturalSectorintheInformationSocietySeetheScottishGovernment’s(2009),HowGoodisourCultureandSport;aQualityImprovementFrameworkforcultureandsportprovision

Whatareopportunitiesofferedbytherecentchangesintheschoolcurriculum?Focus/outputs:Thisstudycouldidentifythepotentialtodevelopnewstrategiesinschoolsvis‐à‐visartseducation

Education

HastheentrepreneurialmodelofcreativitywitnessedintheUKimpactedontheIrisheducationalmodelandhow?Focus/outputs:Thisstudycouldtrackpolicyexpectationsfromeducationandtheirintersectionwithculturalandcreativepractices,consideringhowthisisshapingteachingandthestudentexperience

Education NationalpolicyDept.EducationandSkills

Thiscouldinformpractitionersaboutthepressures,imperativesandexpectationsshapingtheirworkpracticesinschools

Thiscouldinformdiscussionsbetweenartsandeducationpolicymakers

Proposal Keywords AreasofpolicyinterestBenefitsofresearchtopractitioners



AliteraturereviewofexistingartsresearchinIrelandFocus/outputs:

LiteratureReview

Thiscouldbeageneralsourceofinformationtoartspractitionersandcouldhelpavoid

Thiscouldbeageneralsourceofinformationforpolicyandhelpavoidthe

TheScottishExecutive(2004b),‘ALiteratureReviewoftheEvidenceBaseforCulture,theArtsand


Thisstudycouldbeacomprehensivesurveyandcatalogueofvarious(arts)researchsourcesandresearchprojectsinIrelandandofferahistoricalandcontemporaryoverview.

duplicationandunnecessarynewresearchproposals

duplicationofresearch

Sportpolicy’,ScottishExecutiveEducationDepartment,EdinburghScottishArtsCouncil(2008),‘TheEvidencebaseforartsandculturepolicy,abriefreviewofselectedrecentliterature’,ScottishArtsCouncil,Edinburgh.

WhatisculturalvalueinIreland?Focus/outputs:Thisstudycouldofferaviewofhowvalueisunderstoodfrompolicy‐makerspointofviewandthepractitioners’pointofview.ItcouldofferanewdefinitionofculturalvalueforIrishpolicypurposes.

Terminology:CulturalValue

LocalpolicyThiscouldhelplocalauthoritiesdevelopmoretransparentandagreedcriteriaforfunding

Thiscouldincreaseunderstandingofvaluesystemsanddecisionmakingprocessesatgovernmentlevel,alignexpectationsandincreasetrustbetweentheartssectorandpolicysector.

Aswiththelocalauthoritiesdevelop,thiscouldhelpdevelopmoretransparentandagreedcriteriaforfunding.Thiscouldcontributetoamemorandumofunderstandingsbetweenpolicymakersandfunders,andtherestofthesector,increasingtrust,sharedexpectations,andreportingrequirements.

TheFinnishMinistryofEducation(2008),‘TheValueofCulture?’DCMSMeasuringthevalueofculture:areporttotheDepartmentforCultureMediaandSport

Reports/Definitions

/Projects

WhatisartsengagementinIrelandandwhat(qualitatively)happenstous(psychologically,physically)whenweengage/payattention?Focus/outputs:Thisstudycouldbringtogetherevaluationsofthetermengagement,exploringcommonalitiesandagreements,aswellasdivergences.ItcouldofferanewdefinitionofengagementforIrishpolicypurposes.

Engagement Asabove Asabove Asabove

Whatisquality?Intermsof:A)TheartsinIrelandB)Educationandhowcanitbemeasured

Quality Asabove Asabove Asabove


Reports/Definitions

/Projects

Howcanexistingmodelsofresearchandinfrastructuresbeusedtogatherdataonthearts?Focus/outputs:Thisstudycouldcatalogueandcategoriseexistinginformationsourcesandportalswithaviewtoanewconsiderationoftheartswithinthatdata.

Data LocalpolicyLocalpolicymakerscouldhelpgeneratelocalsourcesofartsinformationandusethattoinformtheirpolicies.CouldbealignedwiththeCensus,TILDAandCSO

Thiscouldgeneratevaluableinformationongeneralareasofthearts,livelihoods,practices,geographicalspreadetc.

Thiscouldofferquickandeasyaccesstoarangeofinformation(livelihoods,practices,geographicalspreadetc.)andpromotevisibilityofthearts.Itcouldalsohelppolicymakerstoargueforsustainedfundingingovernment.

Howdoesfundingimpactonartistspracticeovertime?

Focus/outputs:Thisstudycouldtrackaselectedgroupofartistsovertime,fromearlytolaterintheircareers,consideringtheiraccesstoartsfundingoverthattimeandchangestotheirpractices.

Policyimpacts

Thiscouldhelppolicymakerstoevaluatetheimpactoftheirpoliciesandtoargueforsustainedfundingingovernment.

Thiscouldhelppractitionersevaluateartspolicies

Thiscouldhelppolicymakerstoevaluatetheimpactoftheirpoliciesandtoargueforsustainedfundingingovernment.

Howwillfutureartsaudiencesdifferfromcurrentaudiences?Focus/outputs:Thisstudycouldlookatcurrentaudiencesanddeducefromtheseemergingtrends.(NotetheworkofAudienceIreland)

Audiences

LocalpoliciesThiscouldhelplocalpolicymakerstounderstandchangesintastesandconsumptionpatternsandthepotentialneedfornewpolicies

Thiscouldhelppractitionersunderstandtheimpactoftheirpracticesandtobetterunderstandaudiences’needs.

Asleft,thiscouldhelppolicymakerstounderstandchangesintastesandconsumptionpatternsandthepotentialneedfornewpolicies

FinnishMinistryofEducation(2010a),‘Reportonthefuturesofculture’

HowisdatacurrentlycollectedbytheartsinIreland,whatothermodelsarethere?Focus/outputsThisstudycouldconsiderthevariouswaysthat:A)DataisgatheredinIreland.B)Researchisconductedtosuggestmoresustainableandaccessiblemodels.

Datacollection

LocalpoliciesThiscouldgreatlyenhanceaccesstoinformationontheartssectorandcouldhelpavoidduplicationinresearchprojects

Asleft Asleft


Reports/Definitions

/Projects

Whatmodelsofcreativemarketingexist?Focus/outputs:Thisstudycouldgatheranumberofinterestingartsmarketingmodelsandevaluatethesewithaviewtounderstandingthecomponentsofeffectiveartsmarketingcampaigns.

Marketing LocalpoliciesThiscouldhelplocalartsorganisationschoosebettermarketingmodels

Asleft Asleft


APPENDIX2

ListofColloquiaattendeesinalphabeticalorder:AtoLA C EveAnne

Cullinan

MarieFarrell TessaGiblin Eleanor

Hough

AilbheKenny

JimAherne MichelleCarew Michaele

Cutaya

Pauline

Farrelly

Andrew

Gibson

Barry

Houlihan

MariaKiernan

NicholasCarolan TonyFegan Katriona

Gillespie

Aideen

Howard

TimothyKing

B Seamus

Cashman

D Yvonne

Ferguson

Sarah

Glennie

KateHoward WillKingston

MiriamBarry Rosemary

Collier

JennyDagg MartinaFinn RoiseGoan Gerard

Howlin

Maureen

Kennelly

Rebecca

Bartlett

PatrickCollins MitziD’Alton Michael

Finneran

GerryGodley Cormac

Kinsella

NathalieBauer LizComan

JaneDaly LisaFitzgerald J

SarahBeirne MaeveConnolly SheilaDe

Courcy

Noel

Fitzpatrick

H PaulJohnson L

Shauna

Blanchfield

SineadConnolly

SheilaDeegan

Marian

Fitzgibbon

AnuHalonen EveLalor

FionaBooth ValerieConnor

Mary

Dempsey

Mike

Fitzpatrick

Birch

Hamilton

K FionLau

AyomaBowe Prof.JohnCoolahan

Vincent

Dempsey

Rebecca

Fitzpatrick

BrianHand Noeline

Kavanagh

HanneleLehto

SimonBowman

Conboy

PatCooke TobyDennett BrianFleming PhilipHardy RossKeane SarahLincoln

Madeline

Boughton

MonicaCorcoran AnnieDoona JoanFowler JamesHarrold

Fiona

Kearney

PippaLittle

MarieBourke KateCostello AngelaDorgan PatrickFox JennyHaughton

HollieKearns Howard

Linnane

CyrilBriscoe AlanCounihan FergusDoyle MargaretHayes

Alison

Keegan

Kevin

Lonergan

RamonaBurke CraigCox MartinDrury G Karen

Hennessy

Claire

Keegan

RosieLynch

JoAnneButler TomCreed Victoria

Durrer

LukeGibbons Hazel

Hodgkins

Josephine

Kelliher

AnnLyons

MaryButler SheilaCreevy RuthGordon EileenHogan Jessica

Kennedy

JacintaLynch

TaraByrne FergusCronin F JennyGuy Ulla

Hokkanen

Megan

Kennedy


ListofColloquiaattendeesinalphabeticalorder:MtoZM CharlotteMcIvor Niamhnic

Gabhann

LouiseO’Reilly LucinaRussell W

RachelMacree TomMcMahon SineadNi

Ghuidhhir

SineadO’Reilly AnnetteRyan LorraineWall

Anita

MacGabhann

AndrewMcNulty MuireannNi

Rahglaigh

AnnaO’Sullivan ElainaRyan AnnaWalsh

AliceMaher SileMcNulty

Goodwin

PhilipNolan MartinO’Sullivan JimRyan

MagsWalsh

MarieMahon MaryMcPartlan SeanO’Sullivan ElaineWarde

Mark

McLoughlin

ParaicMcQuaid O ShaneO’Toole NathalieWeadick

Fiach

MacConghail

RosaleenMolloy JasonOakley S RobertWehrle‐

Einhorn

RachelMacree MarieMoran CianOBrien P JanSchneider JuanitaWehrle‐

Einhorn

LouiseMaguire SarahMorey DaveO'Brien ChrisPalmer SarahSearson WillieWhite

Mairead

Manifold

MegsMorley RuariOCuiv AndrewPower JulianSefton‐

Green

DebbieWright

EmilyMark

Fitzgerald

LaliMorris Bernie

O’Donnell

ClairePower Cliodhna

Shaffrey

PatMarnane SiobhanMulcahy Helen

O’Donoghue

TanyaPower FergusSheils Y

OrlaMartin MaeveMulrennan David

O'Donovan

ElizabethSilva RayYeates

MartinMcCabe MiriamMulrennan Anne

O’Gorman

Q MarieSilverman PaulYoung

KerryMcCall HeatherMulvaney Margaret

O’Gorman

JaneQueally Bob&Roberta

Smith

LorettaYurick

Aoibheann

McCarthy

AilbheMurphy Sharon

O’Grady

MonicaSpencer

Shelley

McDonnell

AlexandraMurphy JohnOHagan R RoisinStack Z(none)

FergalMcGrath CiaranMurphy JaneO’Hanlon MarieRedmond RodStoneman

Maeve

McGrath

BrendanMurray AngelaO’Kelly ElodieRein

JimMcGuigan EveO’Kelly PeterRobertson T

EinaMcHugh N GinaO’Kelly NualaRoche GiannaTasha

Tomasso

SallyMcHugh PatrickNeeson Deirdre

O’Mahony

MarisaRonan SineadTroy


[email protected]

ThisreportwaspreparedbyKerryMcCallandTaraByrne,July2014.AnexecutivesummaryofNCFAColloquiaonResearchandtheNCFAStrategyonResearchandtheNCFAPositiononResearchareavailableonourwebsite.ShortreportsandpodcastsofColloquiaalsoatwww.ncfa.ie.TheNCFAColloquiaonResearchwerefinanciallysupportedbySenatorFiachMacConghail,amemberofSeanadÉireann.NCFA2014.CreativeCommonsAttribution‐NonCommercial‐NoDerivs3.0IrelandLicense.

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