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fbaWnd accounts N\ i The Arts Council of Great Britai n This your the reports a n was formed ill August 1946 to Touring, Personnel and Training continue in peacetime the wor k and from ariform deparhoonts begun with government suppor t have boon written in two by the Council for the soctloms. The section In bold Encouragement of Music and the typo outlines progress made Arts. The Arts Couueil operates towards achieving objoctivos as under a rcvisvd Royal Charter sot out In the Three Your Plan . granted in 1967 in which it s The section in roman typo is n ohjects are stated as; more personal overview of the past year by the Diroeter, ether (a)to develop and improve th e reports follow the traditional knowledge, understanding an d pattern. practice of the arts ; (b) to increase the accessibility o f Glossary the arts to the public throughou t revenue clients - are regularl y Great Britain; funded arts organisations who (c) to advise and co-opcrare wit h receive of least 12 months notic e departtuents of government, loca l if funding is withdrawn authorities and other bodies. manual clients - are art s The Arts Council, as a publicly organizations who are regularly funded for an annual accountable hotly, publishes an programme of work annual report and accounts to provide parliament and the general project clients - or b public with an overview of the organisations what rocoivo one . Images from the Arts Counci l year's work. off grants for specific projects . ceaformnee Arts witboat Frontiers held In Glasgow on the arts in lump* content s Z Chairman's introduction Peter Palumbo is optimistic about the future of the arts in this country. The prospective national arts strategy is long overdue. A 10 year refurbishment programme of the cultural fabric of the natio is called for so that the arts can realise their full potential. 4 :1,41% Secretary-General's report A powerful plea is made that the ravages of inflation should not make insecure one of the nation's most valuable assets -- the art s of Great Britain, 6 Income analysis The total economy of the arts is increasing, especially through the box office and sponsorshi p 8 Audiences are growing, more and more people are L' enjoying the arts. The fortunes of each artform are charted. 10 Arts review o Arts Council departments report on how policy objectives 1412 , are, or are not, being met and directors review the past year 34 Scottish Arts Council, 35 Welsh Arts Council highlights of 1989/90.36 A personal view Roger Jefferies, local authority chief-executive, welcomes the new capita l fund and the National Theatre's David Aukin ponders the benefit s that a national arts strategy could bring. 44 The Council, membership of Council and Arts Council staff, advisory structure, 49 Annual accounts for the year ended 31 Marc h 1990,119 Arts Council Structure, 120 Summary for the partially sighted. t Peter Palumbo greets the Rt. Mon . Margaret Thatcher MP who mode the first ever visit by a Prim e Minister to the Arts Council thlow 111100010- - T iis year has been dominated by considerations flowing from th e Ministers proposals for devolution, or delegation, is I prefer to call it. W hilsr the final fomt of the delegated structure is not, ' yet quite in place, i t is not unreasonable to assume that the Arts Council will he left with a respectable portfolio of clients - essential if it is not to lose touch with it s grass-roots constituency in the form of die arts and arts organisation s throughout the country -as well as responsibihry for touring , experimental and innovative art, education, cultural diversity, an d disabiliry. Add to that its new and most welcome strategic role, and it i s not difficult to see that the fcrc•miahs who predicted an early demise fo r the Arts Council, have been well and trnily confounded. Now it i s considered somewhat vulgar to draw attention to achievement : a n attitude which some see as a national characteristic! Instead, we tend t o underplay, to apologise for, if not talk down, those things at which w e excel, when what we should be doing is to celebrate them in appropnat e ways that have nothing to do with boasting . Whilst I do not Limlvresuni.m' the difficulties confronting the arts . I view th e Asa means of celebrating, the millcnniuni and our own artistic future with confidence and optimism for tw o achirvenients, many of which are the envy of the world, I have propose d fundamental reasons. The first is the wealth, rang e that we should embark now upon a 10 vicar programme for rit e and depth of artistic talent in the United Kingdom, a refurhishmcnt ofthe cultural fabric of the nation by nicans ofa full precious national asset that pays handsom e partnership between the public and the private sectors, working togethe r dividends upon the capital employed both in term s to achieve a common objective. Thisprogramnic of refurbishmen t of invisible earnings, and in the prestige an d would include the cathedrals as the greatest cultural glory of die Country, standing of our nation in the eyes of the world . Th e as well as the museums and galleries, the theatres and opera houses , second factor cone rite the general level of artsadministratio n concert halls and cirtenias. It is only when this great enterprise has bee n throughout the country, which is ofa vt'rti high order indeed . This year completed that the arts will conic fully into their own, and finally reac h marks the lass of Luke Ilittucr< who resigned front his position on 30 their maxiinunr potential . April. I would like to take this opportunity formally and publicly to pa y The role of the Arts Council in all this gives cause for a certain pride tribute to his loyal and excellent service to the Arts Council during hi s and satisfaction . It is up to us to deploy every skill at our disposal to mak e tenure of the position of Secretary-Gencral. sure that the arts reach an ever-wider audience; and that the audicnec i s ht this foreword [want to concentrate upon the strategic role o f crucially targeted in educational tents to the young and the not So Voting . the Arts Council, rather than upon its better known bureaucratic role. The arts as a therapeutic, civilising influence are roo well known to b e A nanonal arts strategy that will idenrifv the shape and feel of th e open to challenge and it is not too fanciful to assume, therefore, that they arts in the period leading up to the millennium and well beyond, is lon g could be used to dramatic effect in such areas as lrealth and criminal overdue. In close consultation with our regional partners, and with artist s prevention . As sown as the message is accepted that the arts are not an and arts practitioners up and down the country representing every art - optional extra to he added to the real business ofliving, but are an integra l form, we shall be seeking ways in which to harness and energise th e partof it, and an essential ingredient to rite quality of life, cite issue wil l creative talent of this nation - surely never more vital than on th e not be in doubt. approach to the Single Market in 1992 - whilst ironing out anomalies an d hartrtotuaing procedures . The strategy will be wide-ranging, addressin g such issues as the environment, and the role of die arts in the cnvirortment, as well as the international unplicarious for British artists o f finding themselves part ofa market that is greater by far in populatio n than that of the United Stares orJapan. The strategy will propose mean s for raising the profile of the arts, and the status of the artist in society . b y nomirtaring annually, for example, henveen now and the millennium, a National City of Culture: linking that city with a given artform . an d P C' . encouraging it to forge links with its counterparts in the Single Market, and possibly the recently liberalised Eastern bloc countries, too, to create a Year of Drama, a Year of Dance, a Year of Music, etc., culminating in the designation of the year 2000 as the Year of the Artist . as a tribute to the Peter Palumb e contribution that he or she makes to the civilised values of society. Chairman, Arts Council of Great Britain secrotary- general Ys report r ncouraging the• commissioning of public art . A conference in Glasgo w on the arts in Europe drew attention to the opportunities, and th e challenges, presented by the process of European integration. Our Incentive Funding scheme has enabled many arts organisations, of al l shapes and size's, to improve financial self-sufficicncy . Following tilt• success of Composers for Dance Awards a scheme to encourag e collaboration between choreographers and video makers was launched. An orchestral touring plan, sponsored by the Prudential, helpe d markedly to improve the quality of symphony concerts in the regions . We recognise the value of television and are planning a new initiative t o increase the audience for the funded arts through broadcasting . A n Asian music touring network was established, and inunediarcly thrived. The work of the English Regional Arts Associations, operating ; in clos e S Izellev fanioudy said that poets were the unacknowledged legislators partnership with local authorities, continued to flourish .

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