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ABSTRACT
This study examines the evolving role of governments in cultural policy implementation in France, the United Kingdom, and the United States before, during, and after the COVID-19 crisis. The findings reveal distinct cultural policy frameworks before the pandemic, influenced by the unique path dependency of each country. However, in response to the crisis, these countries have converged, experiencing increased government intervention to address national challenges. Notably, the United States, contrary to past efforts, has augmented support for the arts, particularly through the National Endowment for the Arts. The research aims to offer comparative insights into cultural policy during national crises, offering practical lessons for countries facing similar institutional and circumstantial conditions.
Disclosure statement
No potential conflict of interest was reported by the author(s).
Notes
1. This allowed state participation without direct state intervention in the provision of art.
2. Detailed information regarding the specific cultural policies and subsidy sizes of the three countries can be found in Appendix 2.
3. Appendix 3 provides more details on the specific cultural policies and subsidies of the three countries.
4. The unemployment insurance system is applied equally in consideration of the unstable situation of non-regular workers and artists, and unemployment benefits are paid even during non-working periods if the minimum working hours are met.
5. The Labor Progress Administration was one of the New Deal agencies that put millions of unemployed people back to work on public infrastructure projects during the Great Depression of the 1930s. This created jobs where capitalist markets had failed and used the disaster to pursue projects of economic and cultural significance (Page, Citation2020).
6. It is the largest budget ever allocated to cultural policy.
7. NEA Military Healing Arts Network is an initiative of the National Endowment for the Arts in partnership with the U.S. Departments of Defense and Veterans Affairs and state and local arts agencies.
8. établissement bancaire public des entreprises culturelles et créatives: Public Banking Institutions for Cultural and Creative Enterprises.
9. The fund was distributed over two rounds from 9 April 2020 and ran for three weeks in total.
10. To be eligible, organisations were required a ‘track record in receiving public funding, with the aim of addressing cashflow challenges and commissioning work now, to be available to people during the crisis, thus supporting artists as well’.