After the war the arts came back stronger?

Charlotte Higgins in her article, “After the war the arts came back stronger” had a self-prophesying ring about it. (Please see Ms Higgins erroneously says that the war was the last time cultural organisations ground to a halt. The Arts Council developed from the Council for the Encouragement of Music and the Arts (CEMA) that was set up during World War 2. In June 1945 CEMA became the Arts Council of Great Britain. Maynard Keynes, in a palpable conflict of interests, became the first Chair of the Arts Council and also the Chair of the Royal Opera House Covent Garden.

In 1945/46 the English Folk Song and Dance Society (EFSDS) received £500 and the Royal Opera House £30,000. In today’s money this would equate to £22,098 for the EFSDS and £1,265,888 for the Royal Opera House. The grant for the Royal Opera House in 2017/18 was £24,772,000, a nineteen-fold increase on 1946 and the English Folk Song and Dance Society was £432,046, representing a nineteen-fold increase. The level of funding for each organisation has remained the same.

For other forms of music such as jazz, folk and brass bands to get a place in the sun their needs to be a paradigm shift and reformation in the funding of the arts in England. The Arts Council’s latest strategy, Let’s Create, is a document full of pious hope and shallow intellectual tropes is the intellectual equivalent of chewing rubber spaghetti – a document written by arts bureaucrats for arts bureaucrats. There are no art form policies. In fact, all arts forms have been boiled down to just two elements: culture and creative practitioners. To recover from the pandemic, a Marshall Aid Plan for the arts in England is essential, coupled with a realistic strategy and tactics that ensures equitable funding for under-represented music and art forms. Once that is in place, an organisation is required that can deliver it. This may not be the Arts Council, which for the past 75 years appear to have been preoccupied with their flagship organisations to the detriment of all the other arts, art forms and creators.

The All Party Parliamentary Jazz Appreciation Group urge Arts Council England to reinstate National Lottery Projects Grants

Press Release

The All Party Parliamentary Jazz Appreciation Group urge Arts Council England to reinstate National Lottery Projects Grants

When Arts Council England announced its £160 million emergency rescue package to deal with the coronavirus crisis in March 2020, arts organisations and individuals alike were rightly delighted by such a swift and positive response.

However, an important creative cause is in danger of falling through the cracks. Jazz music, an increasingly dynamic cultural force, and a renowned and invaluable stimulus to many kinds of musicmaking beyond its own borders, has in recent years been significantly dependent on the National Lottery Projects Grants Scheme for the planning of tours and creative projects. The scheme has now been suspended to release funding for the emergency measures – but no provision for its jazz commitments has been suggested in Arts Council England’s responses to queries.

The All-Party Parliamentary Appreciation Group (APPJAG), the influential jazz enthusiasts’ lobby group of MPs and Peers, is now urging Arts Council England to restore the National Lottery Projects Grants Scheme at the earliest opportunity. Individuals and bands seeking to organise tours 12 months or longer ahead cannot wait for the present crisis to be resolved and need to begin approaching promoters and venues now.

On March 28, APPJAG co-chairs John Spellar MP and Lord Mann, and deputy chair Chi Onwurah MP wrote to Darren Henley, Chief Executive Officer of Arts Council England, to raise these concerns. Following an exchange of correspondence on the subject, Darren Henley’s closing response on April 20 observed that protecting the infrastructure of venues used by performing artists required the Arts Council’s full capacity at present, and that although future planning would be difficult for some time, ‘our view is that wider and much greater uncertainties remain, such as what government restrictions may be in operation in the future, and the economic consequences of the intervening period on culture’s infrastructure.’

APPJAG is of the opinion that this response is particularly unhelpful in the jazz context, and will continue to urge Arts Council England to expedite the restoration of the National Lottery Project Grants Scheme with urgency, if ACE is not to make worse an already bad situation for jazz music in the culture-funding pecking-order. It would be ironic if bands and musicians whose current live work has been cancelled, should  also find themselves with no work next year – hopefully in post-Covid-19 conditions – due to the withholding of a relatively modest investment that would enable them to set up their 2021 bookings now.

For further information please contact:

Chris Hodgkins

Tel: 0208 840 4643


Notes to editors

The All Party Parliamentary Jazz Appreciation Group (APPJAG) currently has over 116 members from the House of Commons and House of Lords across all political parties. Their aim is to encourage wider and deeper enjoyment of jazz, to increase Parliamentarians’ understanding of the jazz industry and issues surrounding it, to promote jazz as a musical form and to raise its profile inside and outside Parliament. The Group’s officers as at the inaugural meeting on 26th February are  Co-Chairs, John Spellar  MP and Lord Mann, Vice Chairs, Alison Thewless MP and Chi Onwurah MP, the Secretary, Sir Greg Knight MP, the Treasurer is Ian Paisley MP. Officers are: Lord Colwyn, Baroness Howe and Baroness Healy.APPJAG run the Parliamentary Jazz Awards that celebrate and recognise the vibrancy, diversity, talent and breadth of the jazz scene throughout the United Kingdom. The awards have been running since 2005.

The Secretariat is Chris Hodgkins with the assistance of Will Riley-Smith and Louis Flood. The contact address is: the web address is:

“Britain dwells on its past, but has no vision for its future”

Timothy Garton Ash in his article “Britain dwells on its past, but has no vision for its future” (The Guardian, 22nd May 2020), sets out where we are now but fights shy of a vision of where we want to be. Asking Keir Starmer to propose a future will undoubtedly provide some useful policies but I fear it will not provide the UK with the representative structure to expedite them.

What is required is a political reformation that will deliver a federal system of government, a reformed and slimmed down House of Commons, an elected second chamber, proportional representation, the voting age lowered to 16 and all citizens resident in the UK who pay taxes – no matter what their nationality – have the right to vote; finally voting is made compulsory by law.

For years Governments of every political stripe have ignored the deindustrialisation of the UK and held themselves in thrall to the city and the service sector. The first priority should be a programme of “green” reindustrialisation including fostering, reinforcing and developing the industry that we have. Make it much harder for the City to treat companies as gambling chips, set up a seriously big industrial development bank that will lend for industrial investment rather than property speculation and require publicly financed services to buy domestic.

“The world looks to British theatre. So let’s get it back on track…”

“The world looks to British theatre. So let’s get it back on track…”

So ran the headline in the Observer on Sunday 24th May 2020. It was an article by Oliver Dowden, Secretary of State for Digital Culture Media and Sport. ( ) The article presented the new task force and working groups which was the same old storey with the usual suspects in place. Of course the arts needs to find ways, innovative or otherwise to get back to where people can turn up and experience a live performance. What is required is not spin but substance; a bold vision and bolder actions. Firstly there needs to be a Marshall Aid Plan for the arts, secondly the development of a joined up national arts plan that brings all the components of the arts togeather from pubs to cinemas; from opera houses to folk and jazz clubs, from theatres to art galleries. Thirdly, a national arts festival embracing Wales, England, Scotland and Northern Ireland, a festival where all arts forms, in their widest possible sense, and musics are equally represented. The Festival, like the Festival Britain in 1951, should embrace not just the arts but science and technology. Finally there needs to be a reformation in the funding of the arts with an organisation that can deliver a rolling, realistic and coherent national plan for the arts that ensures equitable funding where under-represented musics and art forms finally get a place in the sun.

Reinstatement of Arts Council national lottery grants to help jazz musicians and volunteer jazz promoters.

The Arts Council has announced a rescue package but has suspended national lottery grants that would help jazz musicians and jazz promoters organise tours and plan ahead – to organise a tour or project you have to plan over a year ahead. The suspension of the national lottery grants will now add to the misery.
The Arts Council needs to reinstate national lottery grants immediately or they will make a bad situation even worse.  Any help in this area to reinstate national lottery grants would be welcomed by jazz musicians and  jazz promoters. 

Briefing on the Arts Council’s rescue package.
The Guardian article:
The Arts Council have offered a rescue package of £160 million paid for by emergency reserves and suspended national lottery grants by which they mean National Lottery Project Grants, The Arts Council budget for 2019/20 had National Portfolio Organisations receiving £409 million (£341 million grant in aid plus £68 million national lottery funding); £97.3 million in lottery funding and strategic funding of £72.2million. The Arts Councils rescue package is welcome but a little odd as £90 million for National Portfolio Organisations is already in the budget. The rescue package is therefore £70 million.  Strangely enough the £70 million of strategic funding appears not to have been touched. A judicious use of the strategic funds and their emergency funds would have delivered the rescue package and negated the need to suspend national lottery grants.
The Arts Council has suspended the fund that would be of crucial help to jazz musicians and promoters.  

Your Chance To Perform – A Chance To Help Jazz Musicians And Promoters

The Guardian leader on culture was looking at music through rose tinted spectacles Monday 23rd March 2020

The leader article ( Amid the pandemic music send a message about things eternal, Monday 23rd March 2020 on culture and music completely missed the point which is the  meltdown of music; especially among underrepresented music such as jazz, blues and folk. The available research shows that jazz musicians had 45% of their incomes coming from live performance, 24% from teaching and 19% from royalties, broadcasting, recording and 12%from non musical sources. Their incomes along with the myriad of volunteer and small jazz promoters that make up the bulk of their work have all fallen off a cliff. The Government needs to address this problem with urgency, a scheme that pays an average of self employed musician’s annual income for the past three years over the next three months; or as long as it takes would hold the fort. Whilst this action is unparalleled it is crucial that the  hinterland of music talent, this national asset, is not laid waste by Government dithering. This incredible resource of talent would help, along with the rest of the arts and creative sector, in kick starting the economy and  acting as a key export.
Furthermore as soon as is humanly possible the Government and cultural institutions need to be looking at ensuring the creative industries and the  self employed such as jazz musicians, are enabled to revitalise the economy and the nation. For that you are going to need a Marshall Aid Plan for the arts and creative industries. To do that, the time would be right to take an iconoclastic approach to reshape, reconfigure and reform cultural organisation to deliver the plan

Does Jazz Get The Money Due To It – Jazzwise March 2020

I was bemused to read in the article “Time for Change” that Arts Council England gives 16% of its music funding to jazz. My last calculation in “Public Investment in Jazz 2012-2022” (see showed that of the total funding of music for Regularly Funded Organisations was £359 million of which jazz accounted for £6.9million or 1.9%.
For the avoidance of doubt the audience for opera is 1.67 million attenders, for classical music 3.29 million and for jazz 2.67 million. The subsidy per head for 2021/22 for opera is £21.35, for classical music is £5.80 and for jazz it is 64 pence per head. There is plenty of room for improvement.

Rebirth of the cool – Streaming helps jazz reach new audiences – up to a point Lord Copper

There was an article by Sarah Marsh in the Guardian on Monday 29th July 2019 that rising numbers of younger fans spark a UK jazz renaissance and streaming sites report growth in young listeners and festivals are signing up more jazz acts.

However there are two caveats. Streaming as a marketing tool allows jazz musicians to get their music heard by new audiences; the downside is that for the jazz musician to earn the National Average Wage of £27,600 in 2015 terms, they would have to have their music streamed 38 million times – if you are Ed Shearing, earning $6.6 million from “Shape of You”, this is not a problem as it took 1.318 billion streams to do it. But in a world where people are getting used to cheap or free music, streaming poses a problem of endemic proportions for jazz. There is also a major problem for the jazz musician with the “Value Gap”, which is the disparity between the value upload services such as YouTube takes out from music and the revenue that is returned to the music community.

The second caveat  is the notion of the “Product Life Cycle”,that helps understand the patterns of reinvention and renewal in jazz; where this creativity will lead to in terms of the career path of the jazz musician and how they are supported and sustained. Renaissance, revival or reemergence the music will look after itself, it is the infrastructure that needs to be developed and kept in constant repair.

How will our museums survive if they subject every donor to to an ethical audit?

There was an an article in The Observer by Mark Lawson “How will our museums survive if they subject every donor to to an ethical audit?” (24th March 2019) that drew attention to the ethical angst, dichotomy and perhaps hypocritical nature of arts patronage amongst established institutions. The industrialist Sir Henry Tate was the early benefactor of the Tate Collection. Tate’s fortune was founded on the importation and refining of sugar, a commodity inextricably linked to slave labour in the Caribbean.(Reference, The British Museum is full of artifacts purloined from around the world. The problem is the there is no policy for the arts in the United Kingdom, a policy that would ask where are we now; where do we want to be and how are we going to get there? An intrinsic part of the national arts policy should be an ethical policy so that funded organisations can be held to account.