Currently, Belfast, specifically at the Ulster Museum, is playing host to the works of the great Caravaggio. This exhibition, a unique synergy between the National Gallery of the UK and the National Gallery of Ireland, showcases two of his renowned masterworks.
For its bicentenary, the esteemed London-based gallery has graciously loaned a dozen well-known works of art including masterpieces from Constable and Monet. The beneficiaries are multiple venues scattered throughout the UK. Belfast, in particular, received The Supper at Emmaus alongside The Taking of Christ, on loan from Dublin. These two works, originally side by side in an Roman palace, are experiencing their rare reunion after a four-century gulf.
Witnessing the masterpieces in a collective view ignites a sense of wonder, akin to a brief wave of warmth reminiscent of an Italian getaway amidst the ongoing drizzle. This intoxicating allure at the Stranmillis Road, is seemingly at odds with my past experiences at the Ulster Museum, marked by vast dinosaur skeletons, Takabuti the mummy, and the occasional hectic evacuation due to bomb threats.
I anticipate that the Caravaggio experience will be etched vividly in the minds of today’s children. No offence intended to the Maestro, but the heart of the experience was the busloads of uniform-clad primary students gathered, in awe, around these renowned works of art. The hopeful look of fascination was clear in their faces as they retreated from the gallery.
This essentially is the power of art and the reason why it holds importance. Art has the ability to showcase the world in its splendour and intricacies, sparking creativity, curiosity, and empathy. Moreover, it serves as a catalyst for mental well-being and overall life quality. The Stranmillis Road can indeed mirror the Uffizi.
Nonetheless, such an occasion isn’t a product of happenstance, it necessitates a visionary approach to generate these concepts coupled with financial backing. Although there’s no dearth of creative ideas on this island, the lack of adequate funding remains a bottleneck, as seen with the presenting of this artistic chronicle.
The Northern Ireland Arts Council, the authoritative organisation overseeing arts funding and growth in the region, has witnessed a drastic budget cut. Its funds have dwindled from £14.1 million in the 2011-12 period to a mere £9.7 million in 2023-24, equating to approximately a 40% reduction when adjusted to inflation. This denotes a yearly per capita arts budget of just £5.07, a fraction of the investment made by the Republic’s government at £21.68 per person, as highlighted by the council.
In terms of comparisons within the UK, Northern Ireland’s arts budget is nearly half of Wales’—the best comparable figure—which allocates £9.45 per person to arts annually. Comparisons with England and Scotland remain invalid due to differing scopes.
The prevailing situation is worsening, given the lack of an analogue to the Basic Income for the Arts pilot scheme in the North—a scheme that benefits about 2,000 artists in the State with the provision of €325 weekly. In contrast, a recent report by the Northern Ireland Arts Council spells out a gloomy image of the professional and living conditions of artists in the region.
Artists in Northern Ireland receive an average annual income of only £11,200 from their artistic work. They have suffered a tangible 11% decline in their total income since 2010, when adjusted for inflation, whereas the broader economy has seen a 1% growth. The workforce in the arts includes only 29% of the estimated 14,500 artists in the North as full-time employees. Over half have contemplated or undertaken relocation for improved career opportunities—a statistic that rises to two-thirds amongst those aged 18 to 34.
Karly Greene, Director of Strategic Development and Partnerships at the Northern Ireland Arts Council, claimed that despite the high level of education and training of the arts community, the majority do not hold full-time positions and their earning capacity is significantly restricted. “The artistic community forms the backbone of Northern Ireland’s cultural life, inspiring the public, promoting tourism, and enlivening the nocturnal economy. This sector is overburdened and undervalued”, Greene concluded.
In this discourse, central argument revolves around the economical impact of the arts industry. Precise quantification is complex and recent data are scarce, but it’s worth noting that the arts contribute significantly to the economy – benefits such as tourism and job creation cannot be overlooked, particularly considering an annual investment of less than £10 million.
Without seminal figures like Seamus Heaney, Van Morrison or Lisa McGee’s creation, Derry Girls, Northern Ireland’s tourism appeal would be undoubtedly diminished.
However, art funding isn’t merely about maintaining economical benefits. During a discussion with Mark Carruthers from the BBC recently, Snow Patrol’s lead singer, Gary Lightbody, reaffirmed the need for adequate resources for the arts. According to him, it’s not about supporting individuals who are already successful, but providing opportunities for those who need it.
He voiced his opinion that the arts form an integral part of the cultural identity of Northern Ireland, and underscored the lack of appreciation from the Northern Ireland Executive. There might be a presumption that the arts would suffice on their own, he suggested.
Government funding is limited, as pointed out by Roisín McDonough, the CEO of the Arts Council of Northern Ireland. McDonough stressed that government funds cannot satisfy the Council’s fundamental goal and one of the Executive’s top priorities: making the arts accessible to all.
Art funding isn’t about nurturing only established talent, but universal accessibility – ensuring that every child, regardless of their socio-economic background, has the opportunity to experience masterpieces like Caravaggio’s.
In a society recovering from conflict, the arts play a pivotal role. They facilitate understanding and interpretation of what the North and its residents have endured and assist it in moving forward. The arts bridge communities, empower the underprivileged, confront sectarianism and foster reconciliation; even when politics falter.
Addressing contemporary concerns such as climate change, mental health issues and isolation is prevalent within the arts sector too. Examples of this can be seen in various projects financed by the arts council and the UK National Lottery.
Colour Stories, a recent initiative in Belfast, took an overlooked piece of land and turned it into a dye garden. They used time-honoured knowledge of extracting colour from plants to reflect local identities and individual tales, bringing the community closer to nature. Kabosh, a seasoned theatre company with a history of addressing the impact of conflict, worked on a multidisciplinary gardening and art project which was intended for elderly occupants of care homes in Belfast and designed to make them feel connected to the arts.
The arts initiative continued in May as a group of young people from the Craic Arts Centre in Coalisland, Co Tyrone, held a theatre performance titled ‘Identity’ at Stormont. The idea of this self-scripted piece was born from art workshops that encouraged participants to explore their own confidence, self-esteem, and wellness. Michael Carolyn, a representative from the centre, communicated to the arts council how the centre was formed, back in 1995, by a group of individuals who wanted an alternative to the prevalent culture of intoxication in the locality. The core objective of the centre was, and still is, to support and encourage the arts, providing a constructive outlet, especially for the youth.
Art is a powerful boost to creativity among young people, thinks Dylan Fox, a young actor. According to him, being exposed to art at a young age and nurturing that creative spirit can greatly enhance the world around us.
I have vivid memories of a school visit to the Riverside Theatre in Coleraine, where we watched ‘James and the Giant Peach’. All these years later, the wonder and astonishment at seeing a giant piece of fruit suspended from the ceiling still lingers. While I didn’t choose a career in performing arts, it has undoubtedly shaped the work I do, enriched my life, and helped me shift from a two-dimensional existence to a full, three-dimensional world of vibrant colours.
Our cultural activities are one of the primary reasons why Northern Ireland is unique and deserve sufficient funding. Today’s children look up to revered artists like Caravaggio and should be given every opportunity to become tomorrow’s artists.
The National Treasures exhibition showcasing Caravaggio’s work is available at the Ulster Museum until the 1st of September.