While the former arts minister’s call for tax breaks and a bonfire of red tape will be welcomed, we seem to be going round in circles. And why hasn’t the single most calamitous cause of funding reduction been addressed?

The arts in England are underfunded, and were dealt a blow by Covid from which many organisations have not yet recovered. But that has been only part of the story. The sheer weight of required form-filling, the endless bureaucracy, the impracticable length of time it takes to simply be funded by Arts Council England (ACE) have caused universal frustration among those working in the arts. There is much talk of exhaustion and burnout.

Many organisations have felt frustrated, too, by the strictures of ACE’s flagship strategy, Let’s Create, which, though admirable in principle, with its focus on participation in the arts, is perhaps tilted too far from recognising the expertise and individuality of artists and arts institutions. Especially in classical music and opera – where ACE has made crude interventions into the direction of the art form – the body has been widely condemned for overreach of its powers. As with many things in life, though, opinion depends on your perspective. Funding has been diverted to underserved areas, and grassroots organisations, outside the south-east. Unsurprisingly, those who have received support for the first time are better disposed to ACE than those who have had their funding reduced or cut off.

As the first learning-disabled artist to win the UK’s most prestigious art award, Kalu has smashed a ‘very stubborn glass ceiling’. Her facilitator reveals why her victory is so seismic – and the secrets of her party playlist

The morning after the Turner prize ceremony, the winner of the UK’s most prestigious art award, Nnena Kalu, is eating toast and drinking a strong cup of tea. Everyone around her is beaming – only a little the worse for wear after dancing their feet off at the previous night’s party in Bradford, and sinking “a couple of brandies” back at the hotel bar. I say hello to Kalu, offer my congratulations, and admire the 59-year-old’s beautifully manicured creamy pink nails. But the interview is with her facilitator, Charlotte Hollinshead, who has worked with the artist since 1999. Kalu has limited verbal communication skills; she has learning disabilities and is autistic.

As for Hollinshead, she is struggling to encapsulate the enormity of the win: for Kalu herself; for ActionSpace, the organisation that has supported her for 25 years; and for the visibility and acceptance of artists with learning disabilities within the wider art world. “It’s unbelievably huge,” she says. “I have to think back to where we started, when there was absolutely no interest whatsoever. I’d sit at dinner parties with friends in the art world. Nobody was interested in what I did, or who we worked with. We couldn’t get any exhibitions anywhere. No galleries were interested. Other artists weren’t interested. Art students weren’t interested. We have had to claw our way up from the very depths of the bottom.”