13 Hours: lucky for some

Happiness and especially the measurement of wellbeing are hot topics in public policy. In April this year, the first World Happiness Report was launched at the United Nations, and will be followed by the first ever UN Conference on Happiness. Unsurprisingly, its findings suggest that, at a personal level, good mental and physical health, someone to count on, and stable families are crucial. Unemployment causes as much unhappiness as bereavement or separation. At work, job security and good relationships do more for job satisfaction than high pay and convenient hours.

Staggeringly, mental health is the biggest single factor affecting happiness in any country. Yet, only a quarter of mentally ill people get treatment for their conditions in advanced countries, and even fewer in developing countries. According to William Davies of The Young Foundation, low wellbeing costs the UK economy £100bn a year, with £30-40bn attributed to mental health issues.

The UK population, 80% of whom already live in cities, is expected to grow by 10% or more by 2030. How we create and foster environments that contribute to the health and wealth of society is critical. But societal wellbeing is much more than a sum aggregate of individual definitions of happiness and personal aspirations of wellbeing.

What does this have to do with the arts? To those in the sector, the linkage between arts and health (essential to wellbeing) is obvious, is it not? Yet the arts rarely feature in the ongoing discourse, if at all. There appears to be a serious disjoint between what the arts sector and policy makers believe.

In its extensive Well-being evidence for policy: A review, nef (the new economics foundation) collated over 30 years of academic research, highlighting five key policy areas:
• Economy
• Social relationships and community
• Health
• Education and Care
• The local environment

In addition, in 2008 the UK Government’s Office for Science’s Foresight project commissioned nef to create five evidence-based positive actions that could guide people in their daily lives at home, work and in their communities. The five ways to wellbeing are:
• Connect
• Be active
• Take notice
• Keep learning
• Give

Given that mental health has a very strong relationship with subjective wellbeing, and that our mind is inclined to seek happiness and avoid pain, what could the arts do more of and differently to encourage mindfulness?

As the populist philosopher Alain de Botton said: “How interesting you are depends on how soon someone turns to their smartphone.” The smartphone is a mobile ecosystem enabling self-expression, connectivity and limitless personalisation. You can arguably pursue your five ways to wellbeing, whenever and wherever, with clicks. Despite all the protests on public library closures, just ask any young person to choose between their smartphone and their local library.

The Museum of London is one of the pioneers in capitalising on mobile applications (apps) for the ubiquitous smartphones – with the very successful Streetmuseum and now Londinium, which offers a glimpse of Roman London 2,000 years ago. Not only are these augmented reality applications fun to play with, they probably entice many new visitors to the museum itself. This is a good example of interdisciplinary collaboration within our creative and cultural economy.

Walkability in public spaces seems to generate positive wellbeing and benefit arts institutions. It has demonstrated behavioural change that increases engagement with culture: the pedestrianisation of the north side of Trafalgar Square in London has seen immense increase in the number of visitors to the National Gallery. The transformation along Exhibition Road in South Kensington’s Albertopolis will manifest its potential in years to come. There is so much scope for the arts to shape a shared vision with local authorities, architects, designers and urban planners.

Under the controversial Health and Social Care Act 2012, two charities and two housing associations in the West Midlands are now collaborating to form the Health for Living Consortium in Sandwell; in addressing mental health issues, obesity, coronary heart disease and diabetes. What uncommon partnerships could the arts develop to improve personal and societal wellbeing?

The fact remains, we all experience 24 hours in a day, regardless of our circumstances. Even on a ‘day off’ from full-time employment, after allowing for sleep, personal hygiene and meal times, most of us are left with no more than 13 hours to decide what to do. It is within these 13 hours that the arts must compete for attention, awareness and interest. The user cares little how the offering is produced, conceived, or funded. The arts must negotiate for relevance and public ownership. With emerging principles and practices in ‘co-production’, audience and visitors might even become ‘prosumers’ of wellbeing. As Martin Seligman, founder of positive psychology reminds us: “There’s much more to a flourishing life than just the absence of misery.”