The Arts as a Weapon of War: Britain and the Shaping of National Morale in World War II (Tauris Academic Studies)

In 1834, Lord Melbourne spoke the words that epitomized the British government's attitude towards its own involvement in the arts: "God help the minister that meddles with Art." One hundred years later, however, with the onset of World War II, that attitude changed dramatically when "cultural policy" became a key element of the domestic front . This book 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. J?rn Weing?rtner provides a fascinating account of the powerful policy shift that laid the foundations for the modern relationship between the government and the arts. This Work Is A Strong Social And Cultural History With New Information On Many Institutions Familiar Today (e.g. Bbc, National Theatre) And It Is A Fascinating Background To The Contemporary Relationship Between Government And The Arts. In 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'. One Hundred Years Later, However, With The Onset Of World War Ii, That Attitude Changed Dramatically When 'cultural Policy' Became A Key Element Of The Domestic Front. 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's 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 The Government And The Arts. I. 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 Maynard 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. Jörn Weingärtner. Includes Bibliographical References (p. [210]-236) And Index. Contents......Page 6 Acknowledgements......Page 8 I. Introduction......Page 10 II. The political reasons for state neutrality in the sphere of arts in Great Britain......Page 23 III. The cultural elites and state intervention......Page 32 IV. Indicators of extended state influence on the arts......Page 44 1. The BBC......Page 47 2. The British Council......Page 52 3. Birmingham......Page 54 4. The National Theatre......Page 56 1. The Cultural Blackout......Page 59 2. The Setting up of CEMA......Page 64 2.1. Music......Page 72 3.CEMA's Policy January - June 1940......Page 76 4. CEMA and the Ministry of Labour and National Service......Page 83 5. CEMA's Policy June 1940 - January 1942......Page 88 6. Conclusion......Page 96 1. John Maynrd Keynes......Page 98 2. The changes in organisation......Page 101 3. The changes of policy......Page 108 3.1. Art......Page 112 3.2. Music......Page 115 3.3 Drama......Page 119 4. Entertainment Tax......Page 131 5. The Ministry of Labour and deferment......Page 136 6. CEMA and the audience......Page 139 7. Conclusion......Page 141 1. The discussion on CEMA's future within the Treasury, September 1944 to January 1945......Page 143 2. CEMA's work in the transitory period September 1944 to December 1945......Page 149 3. The financial arrangement......Page 156 4. The departmental responsibility......Page 160 5. The constitution of the Arts Council......Page 165 6. Conclusion......Page 168 VIII. Conclusion and Outlook......Page 170 References......Page 179 Bibliography......Page 219 Index......Page 246 In 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. A social and cultural history, which is a fascinating background to the contemporary relationship between government and the arts. This work traces the evolution of cultural 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.