How will the arts community reap the benefits of the £1.5 billion government arts revival package and what has been the impact of Covid-19 on artists? We find out.
Ashokkumar didn’t identify as neurodivergent until he was in his 40s, and it was a seminal moment for his artistic practice. Since then, he has been focused on researching and writing about disability and neurodiversity. He is currently Associate Artist with Disability Arts Online and a Development Artist with The Spark Arts. Ashokkumar has also developed a number of exhibitions in Taiwan for National Cheng Kung University and A-Glow space.
Speaking about the current state of affairs in the Arts community in the UK, Mistry said, “Just as we were coming out of austerity and seeing a growing investment in the arts, the sector is again reeling from the effects of the pandemic. Many venues, large and small see no real prospect of reopening in the format they were accustomed to. One thing that many people did not appreciate was the impact of the Black Lives Matter protests on the arts.”
“There has always been an absence of diversity both in terms of race and disability in the arts.The Pandemic offered the perfect time for reflection and exploring the reason behind some of the problems the sector has faced in terms of diversity. Once the fog of "I'm too busy to do anything" cleared and people stepped back to look at the sector, they were appalled,” he added.
“Funding has a big question mark across it as the bulk of it is always reserved on large institutions. No one really knows what funders big and small are doing. Many of them are reevaluating what should be funded and where cuts need to be made,” said Mistry.
Giving insight into the measures being taken to overcome the challenges of the pandemic, Mistry said, “The growth in online performances has been breathtaking. There are major productions such as "Fleabag" that are showing on streaming platforms. We are also seeing how people can return to large venues in a big way. Many venues and artists are looking for new ways of safely bringing live audiences together in indoor and outdoor spaces. This work will take time and there will be casualties along the way,” he said.
Mistry addressed the point of any roadblocks hit by artists and entrepreneurs: “A lack of artists space especially for visual artists was a big problem. During Lockdown the problem was accessing existing space. I have a studio in which I paint in oils and had to wait two months before I could use that space. At that time I started to work at home with different media.” He feels that “the agility of artists allows us to see opportunities even amongst devastation”.
Sharing his thoughts on the £1.5 billion government arts revival package, Mistry thought,
“Most of it will be swallowed up by directors' salaries and just keeping places closed and artists and innovators will see little of it. There has historically been an imbalance in the English arts sector weighted towards institutions and away from artists. This really needs to change.”
“I think BAME in a bubble can never survive. I hate being labelled an Asian artist. It feels like people expect me to break into a dance routine. I doubt the BAME community will see much change until the mainstream sector starts seeing them as equals. I think if the BAME led arts wants to survive, they themselves need to look beyond the lenses of the stereotypes they are seen through,” said Mistry.
If arts and culture in the UK is to truly flourish, everyone from local music venues to freelancers artists need to receive these funds.
Jiten Anand, is the Director of Inspirate, a social enterprise that creates inspirational experiences to connect communities with 21st century culture. Commenting on the state of the arts community in the UK, he said, “Just like any industry, the Arts community in the UK has been impacted with venues closing or shutting down, events being postponed and loss of work for freelance artists. There has always been a sense of resilience with the artistic community here in Leicester and although things have slowed down, people in the industry are continuing to make culture accessible in new ways. An Indian Summer's online festival is one example of that.” Anand has been instrumental in bringing to life a breadth of cultural events through his work in Leicester, including An Indian Summer (marking the 70th anniversary of the subcontinent's partition in 2017).
Speaking about roadblocks hit by entrepreneurs, he said, “There have been a large number of emergency packages that have been sought by organisations such as Arts Council England to deal with the ramprications of Covid-19.”
Commenting on the £1.5 billion government arts revival package which has been very well received by the arts community in the UK, he said, “If arts and culture in the UK is to truly flourish, everyone from local music venues to freelancers artists need to receive these funds.”
Asked if he thinks that the BAME community in the UK will get their due within this package, he said, “I think it's crucial organisations such as the Arts Council continue to support diverse led organisations and the agenda around access, inclusivity and diversity does not become a secondary conversation.”
