By Anna Rosser Upchurch
This vital new ebook bargains an highbrow background of the ‘arts council’ coverage version, choosing and exploring the information embedded within the version and activities of intellectuals, philanthropists and prosperous aesthetes in its institution within the mid-twentieth century. The ebook examines the historical past of arts advocacy for nationwide arts regulations within the united kingdom, Canada and america, supplying an interdisciplinary procedure that mixes social and highbrow historical past, political philosophy and literary research. The ebook has a lot to supply teachers, cultural coverage and administration scholars, artists, arts managers, arts advocates, cultural policymakers and somebody attracted to the background and present second of public arts investment within the West.
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Additional info for The Origins of the Arts Council Movement: Philanthropy and Policy
R. UPCHURCH The Elmhirsts considered the arts central to their project and began by encouraging local amateur productions as part of the estate’s activities (see Young 1996, Chap. 9, for a more detailed account of the following discussion). In most cases, Dorothy oversaw the arts projects, often responding to suggestions from friends and family members. Through these connections, they became financial backers for a play titled Journey’s End, which became a West End, and, later, international success.
Williams argues that the central value held by the Bloomsburys was ‘the unobstructed free expression of the civilised individual. 61–62). 62). Williams calls this concept the ‘central definition of bourgeois ideology’ and ‘a philosophy of the sovereignty of the civilised individual’ which today cuts across most democratic thought. He finds Bloomsbury’s time in the development of this concept significant: In its theory and practice, from Keynesian economics to its work for the League of Nations, it made powerful interventions towards the creation of PHILANTHROPISTS AND POLICY ADVISORS 25 economic, political and social conditions within which, freed from war and depression and prejudice, individuals could be free to be and to become civilised.
The estate sponsored classes in actor training by Michael Chekhov and by Kurt Jooss in dance, and hosted Hans Oppenheim, the composer, who taught music, and Willi Soukop, the sculptor. In 1934, the Elmhirsts hired Christopher Martin to provide program management and budget oversight to this burgeoning arts program.