Fearghus Ó Conchúir: finding meaning amidst the turmoil

An article by Ken Foxe, '€75k for dancing at the crossroads' (News, 30 November), raised the critical issue of arts funding during a time of impending economic crisis. Foxe's article provides a factual account of the amount of funding received by renowned dancer and choreographer Fearghus Ó Conchúir as part of Dublin City Council's artist-in-residency scheme. What the article lacks is contextual awareness of the standing of arts funding in relation to other aspects of public expenditure and unfairly leaves room for the interpretation that Ó Conchúir's residency was something of a whimsical utilisation of public finance.

The government currently dedicates one-third less funding, proportionally, than the UK does on cultural services annually and one-half proportionally to what is dedicated in Northern Ireland. The 2008 Arts Plan of the Department of Arts, Sports and Tourism states an expenditure of €250m in arts and culture programmes. This is 0.47% of gross public expenditure in 2008.

It is understandable that the public scrutinise government management of public finances. It is, perhaps, a mistake to focus intensely on public funding of the arts. Due to the subjectivity of the arts and their openness to criticism, the sector does present a soft target for criticism of finance management. Engagement with this spend- ing and with the results of artistic practice is only to be encouraged but to be done so with consideration for broader contexts.

In the case of Ó Conchúir, significant value was received for a modest financial investment. Dublin City Council's residency not only supported his independence to realise new work but also empowered him to be an agent in the support of other artists and initiatives. His efforts to create cultural linkages with artistic practitioners in China is to be particularly applauded. His choreographed show 'Niche' is to be celebrated as a beautifully insightful engagement with the difficulties of finding one's place in the confused and chaotic urban life that is contemporary Dublin.

At a time when Ireland is experiencing dramatic social, cultural and economic changes, we should not undermine the creative criticism of what it means to be living here today. Amidst the rush and chaos of the credit crunch and recession, is it not more important to pause and reflect on why we do what we do and the broader meanings of our actions? What has the Celtic Tiger done to us? What does it mean to us as it is failing? What are we left with? Ó Conchúir's work and the arts in general are certainly a significant and crucial part of finding meaning amidst the turmoil.

Brid Cranitch, Ionad Cultúrtha, Chorcaí.

Dr Ian Russell, University College Dublin.

Cindy Cummings, Choreographer and

member of Aosdána.