How does financing impinge on the artists' creative experience of 'doing'?

Abstract

This study investigates the effects of financing and support on the artists' creative experience of 'doing'. The topic of the study has been highly shaped by Frey's (1997) Crowding-Out Theory. Through in-depth, semi-structured and on-line interviews I draw upon the expenence of having a passion for art whilst living in Malta and trying to survive everyday expenses. I interviewed ten artists coming from a broad sphere of 'arts' such as dance, film, illustrations, fine arts and music. I explore the various funding bodies currently operating in Malta, through five semi-structured in-depth interviews I identify what they are aiming for and how they perceive miists. I contrast the landscape with my exploration of the creative experience of being an miist and how this is manipulated by external local factors. A summary of the findings indicates that given that the value of mi is not at an ideal level and art-related jobs are scarce, most miists in this study have to include non-miistic work in their life experience. General funds and suppo1i were viewed by miists as triggering great experiences which boost their morale, moreover artists opposed Frey's (1997) Crowding-Out theory which suggests that external support and reward diminishes intrinsic value. However other sections imply that feelings of crowding-out are being experienced by artists due to suppmi and reward. Additionally funding is cmTently developing at a fast rate therefore both funding bodies and artists are yet to enhance their know how on funding and financial support.