Description
Book SynopsisIn 1834, Lord Melbourne spoke the words that epitomised the British government's attitude towards its own involvement in the arts: 'God help the minister that meddles with Art'. However, with the outbreak of World War II, that attitude changed dramatically when 'cultural policy' became a key element of the domestic front. Not only a propaganda tool, it aimed to boost morale and prevent a wartime cultural blackout. "The Arts as a Weapon of War" traces the evolution of this policy from the creation of the Committee for the Encouragement of Music and the Arts, in 1939, to the drafting of the Arts Council's constitution in 1945. From the improvement of the National Gallery to Myra Hess' legendary concerts during the blitz, Jorn Weingartner provides a fascinating account of the powerful policy shift that laid the foundations for the modern relationship between government and the arts.
Table of ContentsI. Introduction II. The political reasons for state neutrality in the sphere of arts in Great Britain III. The cultural elites and state intervention IV. Indicators of extended state influence on the arts V. The Cultural Blackout and the Phase of the ‘Welfarist Approach’ VI. John Meynard Keynes and the ‘standard approach’: CEMA’s policy from January 1942 to September 1944 VII. From CEMA to the Arts Council of Great Britain, September 1944 to June 1945 and beyond VIII. Conclusion and Outlook
