Engaging the reluctant taxpayer

Abstract

A commitment to political neutrality means that citizens have a legitimate complaint when the coercive power of the state is used to advance some particular conception of how it is good to live. In this paper I investigate how to address this complaint in the case of public funding for the arts. There are two promising ways to justify public arts spending. First, as Thomas Nagel argues, the arts are a source of intrinsic values and so command our respect. I reject this argument because intrinsic values are not automatically political values. Second, Ronald Dworkin argues that access to the arts is required to fully participate in social life. This argument draws a connection between the arts and citizenship and so fares better in establishing a political justification for the arts. However, Dworkin relies on the special value of high art relative to popular art, which undermines the neutrality of his argument. I show that a justification can be given that does not depend on the high value of the arts. I develop an account that shows how the arts can support just relations between citizens. This account is in keeping with a liberal commitment to neutrality.     

Who opposes government arts funding?

While the reasons for the controversy overpublic arts funding are well-understood,less clear is the set of variables thatassociates with strong opposition orsupport for arts subsidies. Using data fromthe General Social Survey, this paperbuilds a model to predict opposition basedon ideological, economic, and demographiccharacteristics. The most importantpredictors of opposition are found to bepolitical views, gender, income, privatedonations to the arts, and region ofresidence. The results in this papersuggest that the benefits of public artsfunding accrue primarily to those in thehighest income class, and that supportvaries somewhat according to the level ofgovernment providing the funding. ``The far right is waging a war for the soulof America by making art a partisan issue.And by trying to cut these arts programs,which bring culture, education, and joyinto the lives of ordinary Americans, theyare hurting the very people they claim torepresent.'' Barbra Streisand, in a speech delivered atHarvard University (1995) The National Endowment for the Arts hasbecome a play thing ... for an elitegroup. Newt Gingrich, in an interview on C-SPAN(Lamb, 1994)     

Brigalow bondage: Rural women and the arts

‘The arts’ is a field of activity and power which has traditionally been associated with ‘great men'; women have typically been represented as having only tenuous links with the field. However, in regional and rural areas, women are by far the major arts participants, organisers and educators, and tend to operate not as individuals, but as members of arts groups. Possibly as a corollary, while arts in rural areas recruits substantial community participation, the activity apparently receives little media coverage or support from governments or corporations, relative to other recreational activities.

In this paper I will discuss ‘the arts’ as a social practice, with its own internal rules and logic, and explore the social location of arts beyond the metropolis. To this end I will outline the results of my research to date in the field of arts in Central Queensland, drawing on policy statements and on interviews with (mainly women) rural art practitioners. The paper examines whether the logic of the field of arts changes when it is moved from the city to the bush, and discusses to what extent this can be attributed to the social position of women in rural communities. It attempts to engage with social relations in regional Queensland, and the incommensurability of the public and private spheres. That is, women arts practitioners are actively engaged in a public activity—dealing with funding, public relations and policy implementation—yet are perceived (and, typically, perceive themselves) to be operating largely within the private sphere. This suggests that modes of representation have greater material effects than empirical ‘realities’.     

In Search of True Public Arts Support

Most of the debate over government arts support focuses on direct subsidies to nonprofit arts organizations. In this article, however, I show that a much larger amount of public sector money comes from indirect aid, in the form of tax revenues forgone on tax-deductible contributions by individuals. Specifically, every dollar in direct federal arts funding is accompanied by about $14 in indirect aid. Analysis of the 1996 General Social Survey shows that private givers and supporters of direct government aid fit different demographic profiles, meaning that direct and indirect funding owe to distinct constituencies. These findings lead to a number of implications for nonprofit and public arts managers.

It is sometime proper for the state to encourage and protect dishonorable but useful professions, without those who exercise them being more highly considered for that.
Jean-Jacques Rousseau ¹

     

Do consumers know enough to assess the true value of art? A study of beliefs and attitudes toward the NEA

Contemporary society tends to ascribe economic value to works of art, often neglecting the inherent cultural and social value of art in favor of an aesthetically driven conceptualization of “value.” The largest single financial supporter of nonprofit arts and arts education in the United States—the National Endowment of the Arts—is charged with supporting arts of all types, and not just those that the general public decides are of aesthetic or monetary value. This paper compares how the government of the United States funds nonprofit art initiatives through the National Endowment of the Arts, with how members of the American public perceive the importance and value of art being funded. It provides evidence of beliefs held by the general public about the inherent role and value of the arts in contemporary society. It also offers suggestions for how marketing principles and techniques might be engaged to reduce gaps in the public's knowledge about the arts.     

The Impact of Public Funding on Contemporary Visual Arts

Public policy for supporting the visual arts has historically followed different traditions in France and the United Kingdom. In an environment of fiscal austerity that impacts upon public funding as well as private patronage, and given the tensions between artistic freedom on the one hand, and market constraints on the other, this article examines how these two traditions of financing artists has influenced the direction of the work itself. A brief historical presentation of the two forms of public support and their evolution in recent decades provides a framework for understanding government attitudes and policies on both sides of the Channel. A closer examination of selected artists, chosen here for their representativeness and their international renown, is used to illustrate the changing nature of public support for visual art creation.     

Funding Global Public Goods: The Dark Side of Multilateralism

The funding of global public goods, such as climate mitigation, presents a complex strategic problem. Potential recipients demand side payments for implementing projects that furnish global public goods, and donors can cooperate to provide the funding. We offer a game‐theoretic analysis of this problem. In our model, a recipient demands project funding. Donors can form a multilateral program to jointly fund the project. If no program is formed, bilateral funding remains a possibility. We find that donors rely on multilateralism if their preferences are relatively symmetric and domestic political constraints on funding are lax. In this case, the recipient secures large rents from project implementation. Thus, even donors with strong interests in global public good provision have incentives to oppose institutional arrangements that promote multilateral funding. These incentives have played an important role in multilateral negotiations on climate finance, especially in Cancun (2010) and Durban (2011).     

Foreign aid in the making of economic policy in Sri Lanka, 1977–1983

The paper analyzes the interaction between inflows of foreign aid and the character of the economic policies pursued by the Sri Lankan government between 1977 and 1983. Aid did not support the policies of liberalization and balanced public investment that were preferred by donors. Rather it enabled the Sri Lankan government to push forward with the Mahaweli irrigation scheme on a scale that worked against both liberalization and other components of public investment. The process that led to the adoption and funding of the Mahaweli scheme and continued support for that scheme even after its impact on the overall economic program had become apparent is examined in detail, with particular emphasis on the decisions and behavior of both the Sri Lankan government and of aid donors.     

From Public Support for the Arts to Cultural Policy

Although public funding for the arts had been an element of budget and appropriations business at both the federal and state levels for over a quarter century, the idea that policy justifies and directs these resource allocations has been slow to emerge. This article provides a historiographical discussion of how the issue was framed and of the resistance to the term “cultural policy” through reference to contextual, political, and epistemic factors. It then uses four presidential reports ranging from 1953 to 1997 to track the evolution of political language concerning the policy definition of the arts and culture, the roles and responsibilities of the federal government regarding these, and the emergence of a range of policy issues beyond public funding.     

Can Charitable Donations Compensate for a Reduction in Government Funding? The Role of Information

Are private donors willing to replace cuts in government funding? The authors conducted a survey experiment (n = 2,458) to examine how information about government funding affected decisions to donate money to a large charitable organization in the Netherlands. Providing information about actual budget cuts increased the number of donors. Most new donors were recruited among respondents who had processed the information correctly, underlining the importance of effective communication. The magnitude of the information effect was stronger for citizens with lower levels of empathic concern, who are less likely to donate but can be converted into donors. The authors conclude that policy information shapes not only attitudes but also civic engagement outside the political sphere.     

The control of visual representation: American art policy in occupied Germany, 1945–1949

The development of the fine arts in post-war West Germany was influenced by the Office of Military Government for Germany, US (OMGUS). In mid-1946, a small group of OMGUS officers proposed the development of a fine arts policy aimed at neutralizing the Soviet cultural offensive. They were also interested in overcoming the cultural isolationism inherited from the Third Reich, and in strengthening the link between Western Germany and the democratic West. In 1947 the Monuments, Fine Arts, and Archives Branch (MFA&A) of OMGUS began to develop an active fine arts policy. Its officers organized art exhibitions, provided exhibition space, established art contests, invited international speakers to lecture on art, created art appreciation groups, purchased work by German artists, channeled funds to German artists, and connected German artists with American museums, universities, and art patrons. Formal and informal, overt and covert networks were established to develop German-American artistic relations in the context of a cultural policy emphasizing collaboration.     

A Portrait of Failure: Ongoing Funding Cuts to Australia's Cultural Institutions

Three decades of government budget cuts have placed significant financial pressure on Australia's cultural institutions. Institutions are increasingly trying to attract non‐government funding to fulfil their legislative mandates to collect, maintain, and exhibit Australian and international art, to educate and inform the public, and preserve Australia's political, social, and cultural history. Evidence suggests that, despite these efforts, sources of funding have not changed significantly. Budget cuts are impacting a range of areas including acquisitions, preservation, digitisation, as well as limiting access to researchers and the public. This paper concludes that a public review of the roles played by cultural institutions is required, including consideration of the level of public funding provided. To do otherwise is to ignore the importance of Australia's cultural heritage.     

Compromising the public good? Civil society as beneficiary of gambling revenue

Profits from legal gambling are often channelled to good causes. This system embeds the predicament of whether citizens’ potentially problematic gambling activities should be a source of funding for the public good. In this article, this dilemma is unfolded by the receivers of public grants that stem from gambling revenues. A total of twenty-three representatives of Civil Society Organizations were interviewed as beneficiaries of the Finnish state-owned gambling monopolies. The article illustrates explicit dependencies and hidden ethical dilemmas, suggesting that CSOs may have limited possibilities of making ethically consistent decisions in view of the origin of their funding.     

Public Opinion and the Role of Government Arts Funding in Spain

While several studies have probed the determinants of public support for government funding of arts and culture in the United States, little work to date has addressed the question in Europe. Yet as private cultural funding increases in magnitude in most Western European countries, the answer to this question has policy implications. This article formalizes the theory of the determinants of this public support in a model, employs public opinion data from Spain to estimate this model, and compares the results with those from the U.S. I find that support in Spain increases strongly with age, but is insignificant in most other variables. The article's empirical results yield several lessons for cultural policy design.     

The Balancing Act: Using Private Money for Public Projects

As public resources become scarcer, private donations for capital projects and public services may become increasingly important. Modern donors, using the new philanthropy philosophy common now in the nonprofit sector, may desire more control over the use of their funding than in the past. This research examines the effects of private donations on capital decision making, and explores the balancing act required by public officials between best practices and private norms in this process. The study uses the city of Omaha, Nebraska case, where corporate and individual donors have made significant financial contributions for the construction of a convention center/arena and a baseball stadium. Findings include both costs and benefits of this approach, and may be beneficial for theory‐building related to this relatively unexplored topic, as well as for practitioners faced with similar needs and demands.     

Jürgen Habermas on public reason and religion: do religious citizens suffer an asymmetrical cognitive burden,and should they be compensated?

In his recent writings, Jürgen Habermas asks how the liberal constitutional principle of separation between church and state, religion and politics, should be understood. The problem, he holds, is that a liberal state guarantees equal freedom for religious communities to practise their faith, while at the same time shielding the political bodies that take collectively binding decisions from religious influences. This means that religious citizens are asked to justify their political statements independently of their religious views, resulting in a burden that secular citizens do not experience. To compensate, Habermas demands from secular citizens that they open their minds to the possible truth content of religion, enter into dialog and contribute to the translation of religious reasons into generally acceptable reasons. This article focuses on Habermas’s assumption that religious citizens suffer an asymmetrical cognitive burden that should be compensated, and his claim that his approach to religion in the public sphere is less restrictive than that of John Rawls.     

Lobbying: An art and a science—Five golden rules for an evidence‐based lobbying strategy

In the battle for influence, public affairs professionals make crucial strategic decisions every single day. “Should we go public with this case?” “Who are we going to lobby, and how?” “Should we form a coalition with other organisations?” Public affairs professionals often make these decisions based on their experience or their gut feeling. In practice, lobbying is often more of an art than a science. It is an intuitive and creative process, rarely involving any insights rooted in science. And yet many public affairs professionals are faced with uncertainty about the added value of their activities. “Does what we do really matter?” “What kind of impact do we have?” “Are we making the right strategic decisions?” Some colleagues seek to compensate for these doubts with an overwhelming dose of self‐confidence. An experienced lobbyist recently said during a lecture: “The day I can measure my influence is the day I can double my rates.” Other public affairs professionals are a little more modest and try to assess their impact with key performance indicators. They systematically review the lobbying tactics used. This systematic approach has gained a lot of traction in recent years. The smoky back rooms, the cigars, and whisky of the past are now giving way to evidence‐based lobbying, based on facts, building a bridge between art and science of lobbying.     

Old Pictures in New Frames: Issue Definition and Federal Arts Policy

Over the past three decades, those advocating for arts funding have shifted their arguments. When the National Endowment of the Arts (NEA) was created in 1965, its supporters praised arts and culture for their uplifting qualities, and for their ability to counterbalance trends toward materialism and militarism. By the 1990s, arts advocates were far more likely to use instrumentalist arguments, showing that investment in arts and culture produce other desirable benefits, most notably economic development advances. This article reviews the changing discourse of arts advocacy in several ways: (1) by reviewing and coding Congressional debates on arts funding from 1965–2000, (2) reviewing arts coverage in the New York Times and selected arts periodicals during this same time period. Comparing this case to others in the literature on policy redefinition, the paper argues that cultural advocates have consciously reframed their arguments to broaden their appeal in the face new and more threatening opposition.     

Taken for Granted? Managing for Social Equity in Grant Programs

Managing for social equity performance has long been a goal without much guidance for public managers. We examine social equity performance in the context of indirect governance through the administration of grant programs and, more specifically, the matching of policy responses (grant funding) to social needs. Grant program managers must allocate funding to match needs while also ensuring accountability, but common administrative models that rely on competition can undermine social equity performance. We develop a unique framework to analyze the relative social equity performance of four models of grant administration in general. These models are defined by whether competitions or formulas are used to select grantees and to allocate funding. We test the implications of the framework in an analysis of funding distributions from the nonentitlement Community Development Block Grant program in four states. Our findings suggest that social equity in grant programs is better served when grantors do not rely solely on competitive grant contracting in the selection and distribution of grant funds, which is typical in grant administration. However, policy makers and managers can design institutional arrangements that utilize competition, but in a manner that does not create a bias against more socially equitable funding decisions.     

Working with boards: The experiences of Australian managers in performing arts organisations

Corporate governance has long been a feature of the arts and cultural sector and is a requirement for all cultural organisations seeking public funding, regardless of their size. However, despite the ubiquity of corporate governance in the arts and cultural sector, there is little research addressing the experiences of managers. This study examines the experiences of managers in performing arts organisations in working with their boards, based on data collected across 20 performing arts organisations in Australia using a stakeholder salience lens. Our results indicate that while the board is seen as a key organisational stakeholder, managers have a range of concerns about the governance role of boards, and in particular their limited effectiveness on the dimensions of legitimacy and urgency. We find that arts managers often must wrestle with competing agendas around creative autonomy and the low‐risk appetite of their management boards. Our findings highlight the need to re‐align, particularly in small‐ and medium‐sized organisations, the organisational needs of arts managers with corporate governance arrangements, without detracting from creative endeavours.