IT’S not actually called the Festival of Brexit of course. The working title for next year’s extravaganza is, in fact, Festival UK* 2022. But when the first news of what might be on offer under its auspices emerged earlier this week every newspaper used the label “Festival of Brexit” somewhere in their reports. Usually in the headline.

That’s the baggage this particular festival will have to carry – one of suspicion and division – until it finally emerges blinking into the light.

The original idea for a festival was first announced by Theresa May when she was Prime Minister and was then backed by Boris Johnson. In the circumstances you can understand why any suspicion might be baked in.

May wanted the event to “strengthen our precious union,” something, you might argue, she had done her best to undermine thanks to her pursuit of Brexit. As a result, there are many who are not naturally inclined to embrace the festival.

The danger is Festival UK* 2022 will always be seen as too Brexity by angry Remainers and not Brexity enough by those who quite like the idea of a festival that’s all flags, The Fizz (Bucks Fizz, as was) and Jim Davidson.

There are reasons to be hopeful for it, though. The chief creative officer is Martin Green who is widely seen to have done a fine job as head of Hull’s City of Culture Year in 2017. He was also Head of Ceremonies for the London Olympics in 2012. All the devolved governments have bought into the project and plenty of notable arts organisations – including the National Theatre of Scotland, Celtic Connections and Edinburgh International Festival – have got involved.

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And given everything that has happened over the last 12 months any money for culture is to be welcomed. The arts have been decimated over the last year because of the pandemic, so £120 million is not to be sniffed at, wherever it’s coming from.

Plus, frankly, the UK government owes the creative industries. After all, it has done its best to undermine them via its inept Brexit deal – one that has thrown up serious challenges for musicians and the fashion industry in particular.

As an aside, you do wish they offered help with a little more grace, right enough. Instead, this is a government that too often sees culture as something to be weaponised. When the Culture Recovery Fund was announced last year, reports emerged that organisations who benefited from it had to announce their gratitude to the government via social media.

Whether what emerges next year will enthral us remains to be seen. I find it difficult to get too excited at previews that flag up a celebration of the British weather or Glasgow-based Aproxima Arts promising “the largest grow-your-own food project of modern time”. But it may be wonderful. Time will tell.

That said, it’s difficult to see how it can ever quite be the unifying celebration that’s desired. As a country we are divided more than ever. The idea that a festival will offer an effective sticking plaster to cover the gaping wound seems more than a bit hopeful.

So, in the end, you do have to ask what’s it actually for? In a year that will not be short of festivals – there will also be the Commonwealth Games in Birmingham and a Platinum Jubilee to be getting on with too – how can it stand out?

The people behind it would no doubt say by producing good work. Here’s hoping.