Partnership – such a sweet ol’ word, innit? And sweeter still, it seems, in these times of austerity when the calculus of the cuts sweeping through the arts sector seems to dictate increasingly that 2-for-1 or even 3-for-1 deals are not just desirable, they’re essential. I refer mainly to new Arts Council guidance, but also to much noise continuing to come from the ConDems and others on this subject.
It occurred to me to attempt a quasi-algebraic approach to unpicking the logic behind this breathless rush to partnering. Try this: Arts Provision – (Banking Disaster + ConDem Ideology) x Spin over Y {or Ynot} x (Apathy ± Elitism * Real Cost of 2012 Olympics) = Grab Whatever Dance Partner You Can, While You Can.
Has a kind of horrible logic to it, doesn’t it?
In any case, it is hardly news that most arts organisations collaborate as a matter of course. What is more worrying is the growing perception that no aspect of arts provision these days should happen outside of a partnership. It’s one thing to find common creative cause in another outfit or artist and then choose, for various reasons of synergy (including economics) to work together. But being forced to conduct your own shotgun marriage—which is where this all seems to be going—is quite another matter.
There is also the matter of who may be inclined to partner with whom. The big organisations with most artistic and fiscal clout—we all know who they are—will want to work with trusted partners, who tend to be large and/or established themselves; smaller or newer organisations may struggle to get a look-in. This is already happening. Consider a recent Cause4 event about the future of philanthropy in the UK arts scene, featuring Jeremy Hunt, at which many questions apparently were asked and, in some cases, even answered. I wasn’t invited. Were you?
Big Dogs v Little Dogs aside, other difficult questions must be asked here. Is the incessant drum-banging for partnerships solely another example of the ConDems’ tin ear when it comes to arts and society? Or is it also a failure of the sector itself to properly convey a perhaps unfashionable home truth: that if artists and organisations feel compelled to torture creativity into collaborative boxes—as opposed to letting collaborations happen organically—will we soon find ourselves down a bleak path of endless compromise, in which no artistic idea or artist is able to stand bravely alone?
