The making of a programme diary : a study into the programming of arts presentation at arts centres in Britain

This paper examines the framework, processes and mechanisms of arts centre programming defined as the presentation of professional arts and cultural activities. Whilst acknowledging the diverse roles played by arts centres particularly in their local communities, the paper is focused on the function of professional presentation. The findings and analysis are based on qualitative research, consisting of both personal interviews conducted at nine arts centres in Britain and a review of the literature. The paper starts with the outline of the context in which professional presentation at arts centres works. It then proceeds to describe empirical findings and evolves into analytical and theoretical arguments. The unit of analysis is firstly arts centres in relation to arts companies and artists, and then the work of arts centre programmers. Finally the scope of discussion is widened in Part 3 to examine arts centres as a whole in the larger cultural production system. The paper consists of three major parts. Each part is of a different nature and may serve a different primary readership as follows: - Part 1 seeks to give a basic understanding of the ways in which the presentation of professional arts is programmed at arts centres in the UK. Particular attention is paid to the relationship between arts centres and visiting performing arts companies. This part is largely descriptive and explanatory and meant to form a foundation for the later discussion. Those who are not very familiar with the work of arts centres in Britain may find the details useful. Experienced practitioners working in arts centres may wish to skim through this part by reading summaries attached at the end of each chapter and go directly to Parts 2 and 3. - Part 2 analyses the making of programme diaries by examining the behaviour and discourse of venue programmers. This part is explanatory and analytical. It may well be helpful for artists and administrators of arts companies in particular, as it offers an insight into programme making. - Part 3 draws on the findings presented in Parts 1 and 2 and develops a theoretical and conceptual discussion. Its focus is on arts centres as a whole and examines the arts centre ‘sector’ in a wider context. This part may be useful for policy-makers in the arts funding system and practitioners in arts centres, as well as cultural policy academics and students. The paper aims to contribute to the two following research fields in different but interconnected ways: - to the study of cultural policy by providing insights into how arts centres construct their programme diaries and by analysing their place in the large cultural production system - to the sociology of culture by highlighting the distributive aspect of the arts and culture, a phase of cultural production relatively under-researched in the literature compared with the phases of creation and consumption