- the cuts are made first to the younger and more innovative groups; they affect musicians with the least institutional pull first;
- working musicians -- ensemble players -- are greatly disadvantaged in comparison with the international class of name soloists and conductors;
- and when the cuts are announced, the last voices in protest to be heard, if at all, are far too often those from the most select class.
Friday, February 01, 2008
Tim Rutherford-Johnson has a post on budget cuts by the Arts Council England. I am not familiar with the situation in England in any detail, but it is possible to recognize patterns that appear to be true across borders, and funding reductions for the arts are as global a phenomena as any: