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| Id | 129 | |
| Author | Belfiore, E., ; Bennett, O., | |
| Title | Rethinking the Social Impacts of the Arts | |
| Reference | Belfiore, E. & Bennett, O. (2007). Rethinking the social impacts of the arts. International Journal of Cultural Policy, 13 (2): 135-151. |
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| Link to article | http://wrap.warwick.ac.uk/53054/1/WRAP_Belfiore_Rethinking%20the%20Social%20Impacts%20of%20the%20Arts-IJCPversion%20FINAL.pdf |
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| Abstract | The paper presents a critical discussion of the current debate over the social impacts of the arts in the UK. It argues that the accepted understanding of the terms of the debate is rooted in a number of assumptions and beliefs that are rarely questioned. The paper goes on to present the interim findings of a three-year research project, which aims to rethink the social impact of the arts, with a view to determining how these impacts might be better understood. The desirability of a historical approach is articulated, and a classification of the claims made within the Western intellectual tradition for what the arts ‘do’ to people is presented and discussed. |
The paper presents a critical discussion of the current debate over the social impacts of the arts in the UK. Introduction One of the consequences of government funding of the arts a consequence that resounds perhaps even as much as the art itself is the public debate about its social value. Public debate about the value of the arts thus comes to be dominated by what might best be termed the cult of the measurable; and of course it is those disciplines primarily concerned with measurement namely economics and statistics which are looked upon to find the evidence that will finally prove why the arts are so important to individuals and societies. The Autonomy Tradition: Rejecting Instrumental Logic The third strand of thinking we have identified is a grouping of arguments around the view that - whilst the arts might well have educational cognitive humanising or other powers - the value and importance of the work of art resides firmly in the aesthetic sphere. Interestingly the adoption of a historical perspective reveals that ultimately the theoretical reference of the present label that is the so-called theories of art for arts sake developed between the eighteenth and the nineteenth centuries in France and England originated in fact from a misunderstanding and distortion of Kantian aesthetics.
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