THE THERAPEUTIC STATE

State subsidy for the arts in Britain has been determined by a variety of political and social factors over the last two hundred years. This article examines the recent emergence of a therapeutic ethos that has come to shape arts policy in the United Kingdom. It begins with a survey of existing literature describing a shift in Britain’s arts policy since the 1970s. It examines the limitations of existing explanations and suggests another explanatory factor – the growing valorisation of the arts as a therapeutic tool to address social problems. This can be seen in two historically convergent trends: the challenge to cultural authority through the emergence of a therapeutic understanding of creativity, and the reorientation of political activism around issues of culture and wellbeing. Finally, the article considers how and why these ideas became institutionalised in Britain’s main arts policy body – the Arts Council.     

Men at home,men and home in two Anglophone novels by Indian women writers

Postcolonial Indian women novelists writing in English have been deeply concerned with addressing the ways in which ‘home’ in patriarchal societies is an ambiguous space, characterized by unequal gender relationships that make it a terrain rife with violence, and feelings of alienation and discontent for women. Through the lens of two contemporary Anglophone novels by Indian women writers, Arundhati Roy’s (1997) The God of Small Things and Manju Kapur’s (2006) Home, this article evaluates the significance of the relationship between male identities, politics and domestic spaces in India. Focusing primarily on two bourgeois male characters, Estha and Vicky, the article examines, in depth, their painful coming-of-age in terms of the complex intersection of gender, class and age hierarchies in the domestic arena and demonstrates the centrality of the concept of home to their sense of self and space.     

Aims and contradictions of cultural diversity policies in the arts: a case study of the Rich Mix Centre in East London

In recent years, the concept of diversity has become prominent in cultural policy, echoing community arts philosophies of the 1960s and 1970s that questioned the notion of universal artistic value and argued for greater recognition of the relationship between cultural identity and inequality. Cultural diversity policies today implicitly challenge the liberal‐humanist discourse of ‘the best’, and emphasise what is ‘relevant’ to particular communities. Official policy rhetoric can often hide contradictions that are only apparent in practice. How does ‘diversity’ shape the way organisations engage with audiences and does this contradict the still present discourse of ‘universalism’, with its emphasis on value judgements? This paper explores this tension through the study of Rich Mix, a multi‐functional arts centre in London's multi‐ethnic East End. It argues that Rich Mix is caught between discourses of universalism and diversity, leading to confusion over the project's rationale and ambivalence amongst artists about how their art is judged.