A greater emphasis on diversity in its many forms is reflected in Arts Council England’s funding decisions for its National Portfolio Organisations (NPOs) from 2018 to 2022.
The Bush theatre in west London – doing superb work under Madani Younis in developing BAME artists – gets a 20% increase. Talawa theatre company and the Tricycle theatre in London have had uplifts of 18% and 14% respectively. Hampstead theatre, which has a poor record in terms of producing work by women, disabled artists and black and Asian artists, has had a 14% decrease in funding. The Hampstead decision is not a punishment but rather a reflection of the fact that in the 21st century who you choose to work with, and how you work with them, is part and parcel of artistic policy. Arts organisations can’t continue to work on outdated models and expect to secure funding.Source
I've written previously about how cinema was being harnessed as a diversity propaganda instrument in Britain and France (link). Now the same principle is being extended to other arts.
Just as in the Soviet Union, art must meet ideological requirements. Quality is disregarded. The only thing that matters is how many brown people, women, disabled, gays and deviants you have on the payroll.