Arts Council OF GREAT BRITAI N

Patronage and Responsibility

Thirty=fourth annual report and accounts 1978/79

ARTS COUNCIL OF GREAT BRITAIN

REFERENCE ONLY

DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents

4 Chairman's Introductio n

5 Secretary-General's Report

12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications

34 Scotland

36 Wales

38 Membership of Council and Staff

39 Council, Committees and Panels

47 Annual Accounts , Awards, Funds and Exhibitions

The objects for which the Arts Council of Great Britain is established by Royal Charter are :

1 To develop and improve the knowledge , understanding and practice of the arts ;

2 To increase the accessibility of the arts to the public throughout Great Britain ; and

3 To co-operate with government departments, local authorities and other bodies to achieve these objects . Chairman's Introduction

By coincidence the printer's deadline obliges me to write thi s introduction during the brief period between the departure of Mr Callaghan's government and the first meeting of Mrs Thatcher's team with Parliament. It seems therefore to be a good moment for a glance at the immediate past and a cautious look into the future for th e arts.

In the two years since I became the Arts Council 's Chairman th e Labour Government has dealt very fairly with the arts, indee d generously, when taking into account the prevailing economic climate. The Council, and artists in general, are grateful to Mrs Shirley Williams as Secretary of State for Education and to Lord Donaldson as Ministe r for the Arts for all they did to sustain the arts during this period an d help to make them accessible to more and more people.

What then are the prospects under the new Conservative administration? Such evidence as .I have so far suggests that the Council might be justified in viewing the future with some degree o f optimism. The discussion paper published only a few months before th e election by the Conservative Political Centre - `The Arts - The Way Forward' - recommended `that spending on the arts should b e protected from across-the-board expenditure cuts and that, when resources become available, there should be the possibility of a n increase in expenditure'. The new Minister responsible, Mr St John - Stevas, when in Opposition went a good deal further than this an d advocated significantly increased spending on the arts .

The last government came to realise that money invested in the art s produces dividends of many sorts, not only the social dividend o f providing the citizen with richer leisure opportunities and generall y enhancing the quality of life, but more tangible returns in stimulatin g tourism, contributing to the economy and raising our national prestige in the world. All this must surely commend itself with no less force to a Tory administration . Just over £ 1 per head of the population is not a high price to sustain those many areas of our cultural heritage whic h look to the Arts Council for support. More is needed and it will be wel l spent. Secretary-General's Report Patronage and Responsibilit y

Introductio n It should therefore be emphasised that Arts Council The Arts Council is the major source of arts members and advisors, from the Chairma n patronage in Great Britain . It spends taxpayers' downwards, are all unpaid. As for political bias, money, and this lays on it a duty to exercise it s Lord Goodman, when he was Chairman of Council , patronage with responsibility and discrimination . said he had-never heard a political discussion at an y Since the beginning of the period of financia l Arts Council meeting, and it seemed to him restraint the funds available have been rather les s inconceivable that one should take place. That is still than the Council knows is needed - and far less than true, much as it may surprise both those who see th e many arts bodies ask for . So now, more than ever , Arts Council as the tool of the ruling class and those the essence of responsible patronage lies i n who believe it favours left-wing arts. The basis o f discrimination, in making very difficult choices . both these false perceptions lies in the eyes of the Otherwise, it would be a simple matter of writin g beholders rather than in any real knowledge of how cheques to first comers (or loudest shouters), an d the Arts Council works . then closing the books . Discriminating patronage calls for the advice of many experts in the different The decision to set up the Council over 33 years ag o art forms - over 300 at present on panels and (long before the word `quango' was thought of), was committees, as well as the 20 members on the taken by a wartime coalition government, endorsed Council itself. by a brief Conservative administration, and finally implemented by a Labour government . This The Arts Council and Politic s pedigree reflects two important consequences o f The Arts Council is in fact a quango (a quasi - government funding of the arts in World War Two . autonomous non-governmental organisation) . There First, the view that arts should be funded by th e has been recent criticism of the proliferation of state was whole-heartedly endorsed by both th e quangos, and it has been argued that some reflec t major political parties. Second, arts policy was, an d undue political bias in their composition and ar e has remained until perhaps the last two years , open to abuse as a source of jobs for favoured boys . almost wholly bi-partisan . It was political only in the sense that politics represents the achievement b y collective action of what cannot be achieved b y individual action. A suggestion made by one report during the year that arts subsidy should be scrappe d and the money left in the taxpayers' pockets, leavin g , individuals to make their own subsidy decision s 51 ignores a basic fact: if the Arts Council's subsid y this year had been scrapped and the fund s redistributed, it would have given individua l taxpayers less than a couple of pounds a year t o spend on the arts. Clearly, however wisely they spent it, it would not have ensured the survival of , for example, the National Theatre, or the regional theatres and orchestras. The arts would, however, benefit from reductions in direct taxation (provided it is not balanced by increased VAT on tickets) , since this would enable individuals to face the increasing cost of visiting many arts events ; but there is a limit to this process if we are to preserv e the institutions which have been built up since th e war, which are a prime source of enjoyment to th e 11 . . . then one quango led to another . . . British people, as well as a magnet which draw s London Express Service . Reproduced by permission o f tourists to spend millions of pounds in London an d the Evening Standard, London. elsewhere . Secretary-General's Repor t

The Arts Council and the Governmen t The foregoing expresses more accurately the delicate The British way of organising public subsidy for th e balance between independence and responsibilit y arts is admired (and envied) throughout the world . than does the phrase about `the arm's length Government has put between itself and the artist a n principle' which most of us have used since Lord independent body, thus assuring the arts freedo m Redcliffe-Maud said three years ago that it was th e from political control. Government pays the piper , basis of `the gentle art of patronage' which all but makes no attempt to call the tune . The situatio n politicians, national and local, must practise i n was described in an Arts Council report over twent y dealing with the arts. The phrase can suggest - and years ago when the Chancellor of the Excheque r has suggested to some - an unacceptable remotenes s was the Minister responsible for the arts : between politicians and the arts. This is an area No Minister directs its policy or decides how and where the delicate balance can tip either way : to whom its grant shall be made. There is n o independence can degenerate into real single instance on record of a Chancellor of the irresponsibility ; responsibility can degenerate into Exchequer requiring or directing, or even political subservience. We in Britain have kept th e advising, the Arts Council to do this or not to d o balance right for over thirty years, but it can only b e that, and when from time to time some action o f kept right by the continuing good sense of both the Arts Council is criticised in the House o f Government and the Arts Council. Commons, successive Chancellors hav e invariably declared that they will not interfer e with the Arts Council's discretion . Responsibility for Quality The Arts Council, as indicated above, has to foster the best in the arts . The difficulty is that judgement s During the year under review, some politicians have about quality in the arts vary enormously, especiall y questioned whether this independence is not too in contemporary arts which are breaking ne w great. A few MPs and peers, wishing to challenge ground, where one man 's excellence may be another some particular art activity subsidised by th e man's rubbish. Nevertheless, it is possible for peopl e Council, have sometimes been frustrated when th e with long experience and deep knowledge of a Minister declined to intervene, and complain that particular art form to rise above the simple , this means the Council is not accountable . (To emotional dogmatism of the philistine who says `M y confuse the issue Mr Hugh Jenkins, a former art s five year-old does better pictures than Picasso'. The minister, in a book published during the year, belief that all judgements on the arts are wholly described the Arts Council as `irresponsible' . A close subjective, that no opinion is better than another and reading, however, shows that Mr Jenkins was simpl y that `nothing is good or bad but thinking makes it bemused by words, and confused `irresponsibility' so', makes nonsense of the Arts Council 's with `independence '.) assessment procedures - and of much else besides . How could you plan the content of arts education, if In fact the Council is both independent and no-one had the right to decide that one poet , responsible. Responsible, because it operates under a composer, painter or playwright was better, more Royal Charter which prescribes its objects (quote d worth studying, than another? (Illogically, th e on the contents page of this report), and its general sceptics never question the objectivity of their own methods of operation . Responsible, because it i s judgement, but only that of other people .) Again, required to produce an annual report and account s how could the governors of the BBC and the which not only describes what it has done, but members of the Independent Broadcastin g accounts for every penny it spends. (See the secon d Authority ensure (as they are required to do) that half of this report .) If Government decides at an y broadcast programmes are `of good quality', if the time that the Council is mis-spending taxpayers ' sceptics are right? The sceptics would not only hav e money, it can reduce or withdraw its grant. to declare this a meaningless aim, but also forgo for Additionally, the Public Accounts Committee ca n life their own inclination to pronounce programme s send for me, the Council's Accounting Officer, a t good, bad or indifferent. The same applies to the any time. arts. Secretary-General 's Report

accessible. My distinguished predecessor, Si r William Emrys Williams, used to refer to these tw o duties as the obligation to both raise and spread. He felt, rightly, that these aims are often difficult to combine, and opted for raising. Many now opt for spreading ; but it is the Council's chartered duty to attempt to do both at once, conscious that there are ditches on both sides of the road . What we have to bring about is what my American counterpart call s `access to excellence'.

A Council funded from general taxation cannot afford to be complacent (as a private sponsor can) about the fact that access to excellence is achieved by only a minority of the population. It seeks to enlarge the audience for the arts in a variety of ways . One is to encourage touring of the best work so that it is not confined to London, Edinburgh or Cardiff. "Lately I 've begun to dabble in quality . " The Council's expenditure on touring (now a Drawing by Mort Gerberg : © 1977 . The New Yorke r formidably costly business) has increased from les s Magazine, Inc . than £ million in 1971 to over £3i million in the current; year . For the past two years Newcastle ha s enjoyed visits of five to seven weeks long from th e It is not only the muddled lay-philosophers wh o Royal Shakespeare Company, playing to packe d attack the related notions of quality, excellence, or houses. Opera companies tour extensively, and s o standards. A decade ago, these terms could still b e do several ballet companies . The Royal Ballet's used with assurance in Arts Council reports . Now, circus tent performances have not only been a great they are provocations to some arts populists, to th e success, but have brought in new audiences . The extent that, as an experienced arts administrator ha s Council has also spent a good deal of money (and remarked, they regard the very notion of quality as time) on collaborating with local interests to ensur e `authoritarian'. Similarly, a recent study of trends i n that theatres in Manchester, Birmingham, Liverpoo l European ideas about arts policy discerned a and Nottingham are preserved for touring, (the y `phobic caution about any statement which implie s could have become office blocks or bingo halls), an d that some forms of activity are culturally preferabl e are also equipped to accommodate large tourin g to others'. Another European writer has seriously opera and ballet. We also tour plays, concerts o f argued that in the arts quantity may now be much contemporary music and art exhibitions. more important than quality . Another way is to establish new `centres o f Finally, there is a serious as well as a comic side to a excellence' in the regions . This year we funded the recent exchange between the writer and a local creation of English National Opera North in Leeds . government councillor . Faced with the statemen t This has not only attracted large audiences in Leeds , that the arts activity he was asking the Council to (even at traditional pantomime time) but also tour s subsidise was not good enough, he replied with widely in the north . complete seriousness : `You know, the Arts Council is often accused of excellence' . Yet another way is to facilitate reduced price ticke t schemes, and the Council has helped to introduce a Responsibility for wider access to the Art s student `stand-by' scheme in West End Theatres . If the Council's first chartered object implies a duty Finally, help with publicity and marketing (which to foster the best in the arts, its second clearl y lead to increased access) is given by several Art s imposes a duty to make the arts more widely Council marketing officers based in the regions. Secretary-General 's Report

However, even the most sophisticated marketing bourgeoisie, it concludes that `our century must do cannot overcome some of the barriers that keep th e the same for the new classes of our time'. Of course, majority of the population away from the best in the education in the arts should not be confined t o arts. These barriers are only partly financial, sinc e children at school, but be extended to the adult people pay high prices for pop concerts or a night i n population. There is life (lots of id), after school, an d one of the many variety clubs or `night clubs for the the experience of adult education is that in som e masses' that now cover the country . The barriers ar e ways adults make better students of the arts than the largely educational. People feel that the so-called young, since they bring to them `life experience ' `high' arts are not for them, as is shown by which makes it more likely that say, Shakespeare o r innumerable studies of the audience for the serious Beethoven, Larkin or Leger, will speak to thei r arts both in Britain and America . All depict an condition. audience which is largely middle-class and highly educated. It is therefore significant that in the last few month s of this year, the Arts Council has appointed its very Education a Key first officer to deal specifically with education in th e So access to the arts is largely limited by social arts (a preliminary report appears below). Her job i s factors and by access to education in the arts . not to involve the Council itself in substantia l According to the Conservative Party survey of art s educational activity, but to bring together arts policy published during the year, many secondary providers and education providers as natural allies . schools are `artistic deserts ', although there is a general impression that children at school have fa r An alternative approach ? greater exposure to the arts these days . For example, A growing number of people working in the arts there are many Theatre-in-Education teams taking would repudiate much of the foregoing argument a s drama into schools, but many believe it is even mor e `elitist'. They reject the traditional culture as important to take children into the theatres . Hence it irrelevant to the needs of ordinary people and wis h is disturbing to learn from an Arts Council study o f to replace it by an `alternative' culture tailored-to the young people 's theatre (made this year) that only needs of those people. This is the view of many who one half of the children in English schools see eve n work in the field of community arts. Community one play a year. It is not therefore surprising tha t arts is a term used to indicate the work done by many children never develop a taste for live theatre. professional artists in various fields (photography , Moreover, there is little point in blaming the parents video, painting, drama, music) working in and with a for not taking their children to the theatre since most local community, encouraging people to participate of them are the products of doubtless even les s satisfactory arts education .

Hence, education in the arts cries out to be extende d and this will help not only the public, but also the artists, for as the Labour Government 1966 White Paper rightly pointed out : By far the most valuable help that can be given t o the individual artist is to provide him with a larg e and more appreciative public . Everything possible must be done to enlarge the appreciation of th e arts while at the same time guarding against any lowering of standards.

Almost precisely the same point is made in the 197 8 *_141~D Conservative document. Recalling that th e "That lot's just got you an Arts Council grant." nineteenth century saw the transmission of a culture London Express Service. Reproduced by permission of which was aristocratic in origin to the new the Evening Standard, London. Secretary-General's Repor t

in artistic activity as a way of self-expression and communicating anything to the vast majority o f often leading to social action . Perhaps the mos t Europe's population . . . It is bourgeois culture conspicuous sign of community arts is the spread o f and therefore only immediately meaningful to that giant mural paintings on house-ends and other walls , group. sometimes done by an artist alone, sometime s involving the participation of members of the local The great artistic deception of the twentiet h community . They have certainly brightened man y century has been to insist to all people that thi s unlovely urban areas. was their culture. The Arts Council of Great Britain was established on this premise . Community arts are a recent development, and it i s only four years since the Arts Council began to The arrogant opening phrase is significant. Not `I subsidise them . In this period subsidy has increased believe that . . .' or `It may be that . . .' but `It must from £= million to £ 1 million in the coming year . The be understood that . . .'. Against this I would argue work is expanding (often with the short-live d that the great democratic task of the twentiet h stimulus of Job Creation schemes), and community century is to initiate more people into an awareness artists argue that the Arts Council's allocation for that the culture which they felt was `not for us' reall y the work should be doubled . But the Arts Council is `their culture' . Indeed, many good teachers at all can't just think of a number and double it. The levels of education are already doing it . Behind the beginning of community arts coincided almos t foregoing quotation lies a political motive which the precisely with the beginning of the period of financia l author claims reflects not just her own views, bu t restraint, affecting both the Arts Council's grant and that of all the community artists whose work an d local authority spending. If Government wishes to views she is describing. To the present writer , see this new work expand, then it must provide ne w however, to dismiss Europe's cultural heritage a s money. This need not necessarily be channelled `bourgeois culture ' is simply politically inspire d through the Arts Council, which took in communit y philistinism. arts because no-one else would, but decided two years ago that it would be appropriate to devolv e Those who take this view have an attitude to th e this work to Regional Arts Associations and to local Arts Council (and the democratic government whic h authorities . Since much of the work mixes art s funds it) which is, to say the least, paradoxical . A activity with social and educational work it may be recent writer in The Stage, defending the fact that that it should be increasingly financed by othe r much community theatre is left-wing, says it `ha s government schemes, like Urban Aid . Certainly, the had to live with the contradictions of "biting th e Arts Council cannot support community arts fro m hand that feeds", of working to overthrow the Stat e its own funds at a level which the clamorou s that enables it to work at all'. It apparently did not community arts movement is demanding . occur to the writer that this paradox might be harder for the state and the Arts Council to live with tha n It has to be confessed that community artists are the for community theatre workers . Lord Goodman , most difficult clients for the Arts Council to deal when Chairman of the Arts Council, questione d with. It is not easy to work with artists who not onl y whether it was the duty of the state actually to consistently bite the hand that feeds them (a fairl y subsidise those who are working to overthrow it . general practice) but often explicitly repudiate the This question remains . Some years ago a study o f basic premise of the Arts Council's Charter. During English theatre compared this situation to that in the year a survey of over 40 community art s Max Frisch's The Fire Raisers in which a middle projects was published, and the author ( a class muddler goes on being polite and helpful to two community artist herself) makes the following arsonists who have designs on his house . It is a point extraordinary statement : the Arts Council will have to consider carefull y It must be understood that the so-called cultural when it studies a research report on community arts heritage which made Europe great-the Bachs an d later in 1979, though it is unlikely to deny that th e Beethovens, the Shakespeares and Dantes, the artist has an important role as a critic and prophet i n Constables and Titians-is no longer a democratic society. Secretary-General's Report

The Arts Council believes that there is a proper rol e for people means helping them to develop and make in the total arts scene for community arts at its best . progress, and this is exactly what the Council i s Not as an alternative to the arts the Council ha s required to do by its Charter - to `improve the traditionally supported, but as a complement t o knowledge, understanding and practice of the arts' . them. There is, of course, a sense in which all art s Improvement implies progress, moving from modest institutions are serving the community, from th e beginnings to a higher level . Royal Opera House to a small regional theatre. `Community' is the OK word of the 'seventies and The record of community theatre, playing i n Raymond Williams has pointed out that it i s non-theatrical venues is instructive. It plausibly `warmly persuasive' and never used unfavourably . It claims to cater for those who would never dream o f is certainly used very loosely and in the case of th e visiting a normal theatre, and indeed communit y community arts movement is generally used t o theatre workers often prefer the title `alternativ e indicate work exclusively with the working class , theatre', implying that they are providing a more which is only part of the population . Those who acceptable substitute for traditional theatre. Three define community in this way, emphasising only th e considerations should be noted here . (unquestioned) cultural needs of a part of th e community are simply inverting the view of those First, research conducted for the Council this year real elitists who wish to keep the arts exclusively for by Mass Observation came to the surprising the middle class and upwards. The persuasive appeal conclusion that small-scale drama groups (a more of the word community springs from the fact that it dispassionate name for fringe, community or invokes the whole of society and the idea of a unifie d alternative theatre), have only limited success i n society. It is illicitly invoked by those who wish to reaching new audiences . Their survey concludes tha t exacerbate divisions in society and corresponding with notable exceptions, `the demographi c divisions in the arts . characteristics [of the audiences] are broadly similar to those found in most theatre audiences, ie largel y Popular Arts middle-class and with advanced formal education' . In spite of what is said above, it is true that workin g people are less often to be found in arts audiences Second, the distinction between fringe theatre an d than people from the middle class - which shoul d established theatre is being blurred in several ways. not obscure the fact that there are plenty of middle Fringe groups occasionally play in establishe d class philistines. The 1966 White Paper rightly noted theatres, and several playwrights who previousl y that: `Too many working people have bee n wrote only for the fringe have written for suc h conditioned by their education and environment to established theatres as the National and the Royal consider the best in music, painting, sculpture an d Shakespeare Company . Again, with Arts Counci l literature outside their reach .' backing, the `establishment' RSC this year mounted its own small-scale tour, sending a first-rate team of So, attempts to reach working people are to be actors headed by Ian McKellen to play in small encouraged, provided standards are not lowered in centres, performing in any suitable hall, sometimes a the process. At their best, community artists reall y theatre, often not. The main, and interesting, do reach those to whom the traditional arts are as difference between this highly successful Roya l yet a closed book . I say as yet, because I believe (i n Shakespeare venture and most community theatre fact know after long experience in university adul t groups is that the RSC were presenting not plays education), that many people can be brought to th e about the 1926 strike or industrial relations o r appreciation of the traditional arts when a significan t agricultural problems (recent fringe theatre themes), educational effort is made to initiate them into th e but established classics like Shakespeare's Twelfth apparent mysteries of great art, backing up arts Night and Chekov's Three Sisters . Finally, the Arts provision with related educational provision . Council has itself broken new ground by Community artists are right in emphasising the need collaborating with a commercial management and a to start where people are ; they often err, however, i n regional theatre company in presenting a first-rat e suggesting you should stay there . A genuine respect production of a popular musical, My Fair Lady . 10 Secretary-General 's Report

This is touring with great success to the larg e disproportionate representation . The Conservativ e regional touring theatres, and by providing suitable Party document on the arts published during the `product' for those theatres, helps to keep the m year called for a reduction of the `overwhelmin g open. It also brings pleasure to tens of thousands of local authority representation on Regional Arts taxpayers who would be unlikely to visit opera an d Associations' and an increase in Arts Council ballet in the same theatres . This venture has representation. (The Arts Council contributes o n provoked some criticism that the Arts Council i s average about 70 per cent of Regional Art s lowering its standards (a criticism which coul d Association funds.) hardly be sustained after seeing the production), bu t most comment was overwhelmingly favourable an d Arts Council Staffing congratulated the Council on doing something There have been welcome signs this year of growing which was very good of its kind, for a wide r local government interest in the arts, and we hope to audience . work more closely with them in the coming year . A problem is that the local authority members and Local Government and the -Art s officers are many and the Arts Council senior The bulk of really popular arts entertainment i s officers with whom they rightly wish to deal ar e provided by local government departments dealin g few - and grossly overloaded with meetings an d with leisure and recreation . It is right that there administrative duties . The Council has for some should be a plurality of sources of subsidy for th e years prided itself on its very low administrative arts - including business sponsorship . The Council' s costs (less than 5 per cent of its budget) ; but it has officers maintain close links with local governmen t become clear that we were too proud and trying t o officers and members, co-operating in the funding of do too much with too few staff. Very far from bein g regional theatres and orchestras, for example . In a swollen bureaucracy, the Council has bee n general, closer and more effective co-operatio n seriously undermanned. This not only puts an depends on the emergence of more local government excessive strain on its staff, but is not conducive to members who care deeply about the arts and are the efficient conduct of the Council 's business. The prepared to give them higher priority in thei r increase in the Council's staff has simply not kept budgets. At present, leisure and recreation attracts pace with the growth of its work and responsibilities . much greater interest and support in local A full scale review of the Council's organisation an d government than the arts. It is estimated that while staffing is nearing completion. local government expenditure on leisure and recreation grew from only a few million in 1971/72 Conclusion to well over £300 million in 1978/79, expenditure on This report has been written at the end of a winter o f the arts grew only from 115 million to £46 million i n exceptional climatic severity and industrial a similar period. It is questionable whether this really discontent, which have together made life very reflects the public's wishes, and it is tempting to trying for us all. Government support for the arts agree with the finding of a recent study of loca l covered by the Arts Council began in an even mor e politics in Sheffield that there are significant trying winter - that of 1940 . It began because it wa s differences between what local councillors think th e judged that the arts would make an invaluabl e electorate wants and what the electors really want . contribution to sustaining public morale. They still Further, in 1976, one city was reported b y do, and government support for the arts is still a s researchers to have paid a subsidy for each user o f necessary as support for education . Experience o f playing fields 18 (sic) times greater than it provide d the arts stimulates the .individual's self-awarenes s for each visitor to its excellent theatre . Again, it is and helps to make life in a perplexing and often very improbable that this accurately reflected the depressing world, more meaningful and mor e priorities of local citizens . enjoyable.

Local government works closely with Regional Art s Associations, though it puts into them (with a fe w ,s laudable exceptions) too little money, and also 6 1- 11 Regional Development

Regional Development of combining its own contribution (both financia l Regional development, an implied principl e and advisory) with that of government departments , underlying all the Council's work, is pursued local authorities, education authorities, schools , through the efforts of every department and is th e universities, colleges of further education , concern of every officer and advisory panel. It is not broadcasting, commerce and industry, national and achieved by means of a grand strategic plan local institutions concerned with cultural interest s controlled from the centre, but rather throug h and, of course, the voluntary efforts of individuals. constant awareness of the presence, or the promis e The Council's direct links with these bodies , of vitality and integrity and the patient especially local authorities, are crucial to everythin g encouragement of artistic enterprises, whether grea t it does. or small, which manifest those qualities . The successful opening season of English Nationa l For well over a decade now the principal instrument Opera North based in Leeds we hope will prove t o for evolving the molecular structure has been the be one of the most significant innovations since the Regional Arts Association movement - 1 2 war in the enrichment of musical life outsid e independent associations in England and three i n London. Such major events are rare and should not Wales, funded from a variety of sources, amon g overshadow the unceasing work to promote vitality which the Arts Council and local authorities are th e in the theatres, orchestras, arts centres, through major partners . During last year South West Arts festivals, exhibitions, literature, community arts, th e `came of age' ; this year Northern Arts entered its many touring companies and every other form of 17th year, Lincolnshire and Humberside its 14th , creative work . and several have now celebrated their 10t h anniversary. Naturally, a few have identified a nee d to revise their own structures and policies slightly i n The continued support of this multifarious activity is order that they can cope more efficiently with th e the Council's business. It calls for careful judgement demands being made upon them . of where the needs and the quality of achievement combine to justify a claim on our always insufficient The Regional Arts Associations, as their name public funds. This would not be possible without th e implies, offer the opportunity for drawing together unselfish service of our many advisers ; neither they professional expertise, finance and service s nor the Council make any pretence to infallibility i n appropriate to their regions from widely varying the difficult task of where to place availabl e sources, including the British Film Institute, Craft s resources. The results constitute the principal thrus t Council, broadcasting authorities and commerce . of development in the regions and there are few They are partnerships of many central and regiona l subsidies shown in these accounts which are entirel y interests and as such were strongly commended i n without impact in the regions . Lord Redcliffe-Maud's report three years ago as on e of the keys to future regional development in th e There is, however, another interpretation of regional arts. development which concerns the Arts Council. It is nothing less than the eventual assurance of a place The Council believes this to be so. Its conviction i s for the arts in the way of life of all our people . From reflected not only in the money allocated to th e its earliest years the Council has declared that thi s Associations (£5 .2 million in England this year), bu t was a goal which could be achieved only throug h also in the considerable time and effort devoted by close co-operation of many bodies, and this become s its Regional Committee and officers to the search fo r more necessary as the whole support system for ways to make this vitally important partnershi p the arts becomes more complex . A former stronger and more effective. More than 1,500 peopl e Secretary-General wrote many years ago of the need each year serve on the Executive Committees and for a'molecular structure of patronage' for the arts , Advisory panels of the Associations. Serious implying a diversity of sources and methods o f confrontation is rare, but this year a conflict of support bound by a common purpose. The Council policy arose between an Association and one of it s is more than ever convinced today of the importance advisory panels. This is a rare enough phenomenon 12 Regional DevelopmeutlDrana:

each region . Some local authorities have made it clear that they may wish to distribute the bulk o f their own funds directly . The Arts Council will attempt to take such direct contributions int o account when considering its own annua l contributions to the Regional Arts Associations .

Progress can be made only through a sensitiv e understanding of the synthesis in each region of cultural, political and economic forces which, i f properly harnessed, can provide the dynamic fo r artistic development. For the Council this mean s ensuring that the policies and actions pursue d through all its departments interlock as far a s possible with those of Regional Arts Associations . I t means also careful assessment of the role of loca l authorities in each region, so that the frarnewor k which Regional Arts Associations offer is one withi n which the local authorities can play their part . The Arts Council will also need to re-affirm certain basi c principles which are likely always to undedy th e provision of subsidy . These principles should seek t o Some of the exhibits from the Arts Council' s ensure that the Associations are free from political exhibition Giambologna : Sculptor to the Medici a t control ; that the quality of their management and the !Victoria and Albert Museum. Photo: John Web b advisory services is always adequate to comman d general confidence in their region : that the policies they pursue in support of the arts, while entirely thei r not to cause alarm, but nevertheless the Council i s own, are based on good judgement of the standar d concerned and is now planning to offer to all th e of activities they support; and that the Associations some guidelines which, it is hoped, wil l administration is sound. reduce the chance of future serious communicatio n failures. The Council continues to believe that devolution of responsibility for regional activities is right an d In most regions the local authorities are stil l desirable, but the extent and pace of any programm e somewhat reluctant supporters of Regional Art s of further devolution to the Associations must Associations, at least financially . The outstandin g depend ultimately on the confidence which they ca n exceptions to this encourage the Council to believe i t command from all constituent elements of th e is right to persevere, and this was reinforced by th e partnership which they represent, especially those i n notable success achieved by several Associations i n the arts themselves. securing an increased income from their local authorities this year. Drama Some five years ago the general wave of inflatio n The Council has discussed with both Regional Arts flooded into the theatre whose economy is less Associations and local authorities methods of flexible than many. Salary levels were unde r offering incentives for local authorities to match an y pressure, material costs rose, audiences began to real growth element in the Council's own resist higher seat prices and in a single produc t allocations. Such a scheme may be introduced i n industry diversification offers no solution . A due course in some regions ; but it is becoming combination of cost cutting, reduced seasons, highe r increasingly clear that great flexibility of approach i s seat prices and increased local and central subsid y essential in order to adapt to the particular needs of has brought the majority of theatre companies to the 13

The Price of Theatre Tickets and Hardback Novels

4 V :D

THEATRE NOVEL BOTTLE 200 STALL OF WHISKY CIGARETTES

1910 • • is / 0 1910

1925 004 •/ 001 •• 1925

1947 •04 •• •00• 1000• 1947 0

1957 •0• •**1 •00• •00 10 195 7 00, *00 *

1967 •00• •00 10 •00• 196 7 0 0000 090 0 00/ •00 1

1977 •~~~ ~~~~ • 10 0• •00• 1977 0000 0*00 0000 1000 0 00 0000 0000 000 0 0* •004 •010• •00• •00• •0041 Each circle represents 25p

The above statistics indicate that over a period of 6 0 years the cost of a seat in the stalls is 5x as much as in 1910, the cost of a hardback novel is 14x a s much, the cost of a bottle of whisky is 22x as muc h and 200 cigarettes 27x as much as their respectiv e prices in 1910.

14 Drama

brink of the 1980s bruised but intact . Even the final the thrill of watching others reaching beyond thei r blast of the worst winter for two decades failed to personalities. The creation of this sense of occasio n disperse the audiences ! and even of danger requires careful preparation on both sides of the theatre equation . From the The new Tynewear Theatre Company which is t o `performers'' side, which includes everyon e work in a number of theatres in the Northern Arts connected with the production, the time required to area had therefore a cold reception from the produce the unique event is dearly bought. Subsidy weather, but not from local audiences who was to create more favourable working condition s welcomed their own company after a gap of two than obtained in `weekly rep' and to allow a degree years. There is a general revival of interest in the of flexibility in the choice of plays . That the first has concept of exchange of productions, touring by in part been achieved should not be allowed to regional theatre companies, and joint ventures . obscure the fact that the second has been seriousl y Productions originated by subsidised companie s eroded. The other side of the equation is the added continue to form a substantial proportion of th e receptivity which a deeper knowledge of th e West End commercial theatre programme, including workings of drama can give to the audiences . Some transfers from the Manchester Royal Exchange , companies have long had talk-ins after production s Leicester Haymarket, Queen's Theatre , and links are beginning to be established with local Hornchurch, Salisbury Playhouse and th e education organisations in response to a growin g Hampstead Theatre Club . In addition the Royal wish to develop this receptivity . Exchange Company mounted an extended season at the revitalised London Roundhouse . The greater availability of live theatre whether fro m resident or touring companies must not be allowed In the area of general policy the report of th e to obscure the restrictions which have been placed Children's Theatre Working Party was studied by on new work, on experiment . For a decade or more the Drama Advisory Panel and the Council as par t it has been possible for the Council to help those of a discussion on the provision of work for youn g who want to extend the limits of the formal manner, people in all the arts . Meetings with other intereste d content or audience of drama. This has been th e parties, including the Department of Education an d area in which comparatively small subsidies can hel p Science and local authorities will form part of the the continual need for renewal . These companies process. also have the potential for exciting greater publi c outcry than could have been expected of a What is the future for an industry which sells a supposedly minority interest. One need howeve r single, short life, hand-crafted product in a society only to look back over the recent past to see ho w which has become accustomed to rapi d quickly what was initially regarded as experimental technological advance especially in electronic mas s has been assimilated into the fabric of today' s communication? The solution which many regional theatre. The aim for the future must be to maintain theatre companies have produced is diversity of the this integration and not to create more and mor e product. There is still a recognisable, perhaps eve n new categories . At the centre of this process stands predictable core (the pantheon now include s the playwright. The Council's Theatre Writing Ayckbourn, Stoppard and Rice/Lloyd Webber a s schemes have been an area of relative expansion an d well as Shakespeare, Shaw, Chekov and Ibsen) but this year over four hundred offers were mad e an increasing number of both musicals and ne w relating to contract writers' awards, residen t plays indicates a response to a widening of publi c dramatist attachments, royalty supplements, writin g taste. The preponderance of new writing howeve r projects and bursaries . The John Whiting Award for continues to be commissioned by smaller and ofte n 1977 was shared by Snoo Wilson and Davi d touring companies whose motto is Two Planks an d Halliwell. a Passion - or as some outside the theatre have rea d it, Two Planks and an Ideology . The passion is Small touring companies were, even a few years ago, however what all types of theatre company have i n a new method of getting drama to the public. One or common, the potential excitement of the live event, two have now decided that the future development 15

Drama/Music and Dance

helping over two hundred actors each year to undertake special training or research .

This determined professionalism now characterises theatre in general . Theatre people were of cours e always pros', and their talent and achievement ha s given us the theatre we have today with it s worldwide reputation and attraction . But new thinking, and perhaps a new generation of trainin g courses, is needed if the live theatre is to survive th e era of the silicon chip, the video tape recorder, th e action replay and CEEFAX . Within five years th e cost of a VTR machine is likely to be within th e reach of anyone who can now own a colou r television set . Will it then be possible to buy a cassette version of the production you have just seen or perhaps dial another theatre's production fo r comparison the following evening ?

Direct co-operation between performing companie s and broadcasting companies is in its infancy, but th e companies concerned with live performance shoul d have sufficient confidence in the strength an d attraction of their branch of drama to press forwar d and to see that such co-operation could increase the accessibility of their work, and eventually increas e the theatre audience .

Rula LensAa (77tania) and lan Talbot (Bottom) in the Net, Shakespeare Company's production of A Music and Dance Midsummer Night's Dream at the Open Air To give some impression of the wide variety o f Theatre, Regent 's Park . Photo : John Timbers activity, and to indicate how policies are moving, a selection of particular items is unavoidable . Costs, rather than any other order of priorities, hav e of their work is dependent on acquiring a performin g influenced the sequence of the following paragraphs. base. Some have found that foreign touring , particularly in Europe, not only connects them wit h Opera an eager audience but also provides a modes t Although the total number of performances given i n financial surplus which helps to maintain their hom e Britain is, for well-known historical, social an d programme. Whether these will become part of an logistic reasons, modest in comparison with som e overall trend it is too early to predict. Such a ne w other countries, our quality is internationally policy would inevitably produce increased costs bu t regarded as high. This undoubtedly relates to ou r could equally assist such companies to secure the normal presentation of works on the stagione basis, direct assistance, so far absent, of local authorities . instead of presuming (as in some foreign houses ) that, when artists are on annual contracts, opera s One more aspect of experiment concerns actors . The once presented can be adequately restaged at an y actor experiments continuously : in preparation, i n time, without concentrated re-production rehearsals. rehearsal, in performance-, the body, the voice, th e mind all require constant tuning and maintenance . Scottish and Welsh achievements are referred t o The Council's scheme for Actors' Bursaries is now elsewhere . The Royal Opera enlarged its substantia l 16 Music and Dance

repertory by adding Verdi's Luisa Miller in June, Kent Opera's new productions were Monteverd i's II and Meyerbeer's L 'Africaine in November, not Ritorno d 'Ulisse in Patria in July and Mozart's presented there since 1874 and 1888 respectively Idomeneo in March. (though the former had been staged at Sadler 's Wells in 1954 in English). The end of the year saw the last performances by the Arts Council's own Opera for All group in its piano - A new activity for the Royal Opera House (wit h accompanied form, ending thirty years ' work of special support from The Friends of Covent Garden) taking a form of opera into comparatively smal l was the Christmas presentation at the Jeannett a buildings, often in rather remote places . Because Cochrane Theatre of The Two Fiddlers by Peter there is now a wider and more regular provision o f Maxwell Davies, involving children from Pimlic o full-scale opera throughout much of the country, a s School. well as increased `accessibility' through television, and radio, and recordings of .first-class The ROH's Redevelopment Fund receive d performances, it was decided the Council should n o encouraging support from both the Government and longer provide `national' subsidy for any truncated the Greater London Council, and a start was mad e or piano-accompanied opera . The decision, thoug h on the long and costly task of improving the ver y generally seen as the right one, was however greatl y unsatisfactory back-stage areas . regretted by many who had had pleasure from such performances (for which subsidy can of course stil l The New Opera Company continued its valuabl e be sought from other sources). relationship with English National Opera by presenting Martinu's Julietta in April at the Londo n Plans.to replace the orginal system with orchestrally Coliseum. ENO followed this unusual work in Ma y supported performances are well advanced. A with Verdi's The Two Foscari, which had not bee n company with a 26-strong orchestra will tour staged in London (despite its Byronic basis) sinc e neglected areas early in 1980. 1847. The company's highly praised presentation o f Janacek's The Adventures of Mr Broucek in Dance December was marked by the award of the Janace k Following its second visit to Korea, and its first t o Medal to Charles Mackerras, who was knighted i n the West coast of the USA in ten years, the Royal the New Year Honours. It was announced in March Ballet in July marked the 80th birthday of Dam e that the medal had also been awarded , Ninette de Valois, who had founded the company i n posthumously alas, to Norman Tucker, who a t 1931, with a performance of The Sleeping Beauty; it Sadler's Wells did so much to awaken Britis h had first given the work in Sadler's Wells Theatre i n interest in Janacek . 1939, in Sergueyev's version, and had reopened th e Royal Opera House with it in 1946 . The year's most significant milestone for opera i n England was the highly successful opening i n Kenneth Macmillan, who choreographed a work i n November of English National Opera North, base d honour of Dame Ninette in September, gained the in Leeds, to provide performances of various sizes . Evening Standard Award for the `most outstandin g As well as its principals, its fine new chorus, and it s achievement in ballet in 1978' after the premiere in orchestra, which has already given concerts unde r March of his latest work La Fin du Jour ; the the title of the English Northern Philharmonia, wil l citation referred to his Mayerling, which had won add greatly to the area's orchestral and skille d the Prix d'Italia television award, and als o teaching resources. Several local authorities hav e recognised his seven years as Director of th e already promised substantial subsidy for thi s company. exciting development in their region, and it is hoped that others will do likewise, to back up the Art s Sadler's Wells Royal Ballet presented new works b y Council's bold initiative in helping a'national ' David Bintley and Michael Corder, and included company to put down important regional roots in three weeks in the Tent at Plymouth in its 22-wee k this way. touring programme . Responsibility for the 17 Music and Dance

Wendt, Groombrldge (Mondav's Child) in the Royal Ballet's production of Frederick Ashton and Richard Rodney Bennett 's Jazz Calendar. Photo: Leslie E. Spatt presentation of Ballet for All was transferred from Northern Ballet Theatre, whose twenty dancers als o the Royal Opera House to the Royal Academy of appeared in a new production of Giselle . Dancing at the end of March ; it will revert to it s original educational aim of introducing classical London Contemporary Dance Theatre for the firs t ballet through lecture/demonstrations . time split its company, over a three-week period, s o that performances could be presented in smal l London Festival Ballet made its first visit to Nort h theatres unable to take the full ensemble . Ballet America for 24 vears, and in February gave the Rambert gave its first 'residency' programme (in a British premiere of Ronald Hynd's Rosalinda in the college in Scotland). Dominion Theatre, a London building which is normally used as a cinema, and had not housed Eight small dance and mime groups were aided fo r ballet for twenty years . periods of three to twelve months' work, and subsid y was provided for the first *Dance Umbrella' seaso n Dame Alicia Markova staged Les Sulphides for at Riverside Studios On which four groups appearin g is Music and Dance

were funded by Regional Arts Associations), th e second festival of the Association of Dance an d Mime ,Artists, and the third London Mime Festival .

Much consideration was given by the Council to performances for children, and aid was provided fo r the creation of Ghanaian and Indian danc e programmes for them .

Concerts Here the pattern continued with little significan t change, apart from the presentation in the Roya l Festival Hall by the London Orchestral Concer t Board, on four successive Fridays in March, o f programmes by each of the subsidised Londo n symphony orchestras, devised in consultation wit h Sir William Glock . Each included a substantia l contemporary work . and was preceded by a talk, i n three cases, by the composer of the new work .

Considerable discussion arose in the press an d elsewhere, about tentative proposals put to the Council by its Music Panel, for qualitativ e improvements to the life of one of London's four fin e self governing symphony orchestras . The suggestion would involve a voluntary change to a contract basis Philip Jones (trumpet) and Roger Woodwar of employment in place of the players' presen t d during a Contemporary Music Network four at the fee-per-engagement incomes . The first meetings to Arts Centre, Christ's Hospital, Horsham. &,cuss this proposal with representatives of the Photo. Sophie Baker Association of British Orchestras (including the fou r managements) and the Musicians' Union could no t be arranged until late March and early April . understanding with the London Sinfonietta . Jazz was represented, and Derek Bailey's group , The Arts Council presented a short'festival' in th e Company, included improvising musicians fro m Wigmore Hall in July/August at a time when th e Europe and the USA . small South Bank halls were closed . The British section ofthe International Society fo r The Contemporary Music Network tours totalle d Contemporary Music has been under the aegis of 127 performances. Rolf Gelhaar's Strangeness , the Arts Council since 1971, and the 1978 ISC M Charm and Colour was commissioned for th e Music Days, held in Stockholm and Helsinki , concerts by Roger Woodward and the Philip Jones included works by Jonty Harrison, Jonatha n Brass Ensemble, and Robert Saxton's Canzona - i n Harvey, Stephen Montague and Nigel Osborne , Memoriam Igor Strarinsiii- for the Northern selected from the British submissions . Sinfonia, who also gave with Teresa Cahill the firs t performances of David Blake's From the Mattress Following the increased activity referred to in las t Grare. Nexus, an outstanding Canadian percussio n years report . an Early Music Network wa s ensemble, and the Warsaw Music Workshop, with a promoted by the Early Music Centre, with suppor t programme of contemporary East European music , from the Regional Arts Associations and the Arts were invited from abroad, and Mauricio Kagel, th e Council . The Jazz Centre Society 's scope wa s Argentinian composer, established a valuable artistic enlarged by the inauguration of a Midlands branch . 19 Music and Dance/ Visual Arts

Recordings and Award s situation in the fine art field, and two years after th e The substantial subsidy for recordings of importan t conference held at Leicester following th e works by British composers, begun in 1977, wa s announcement of the withdrawal of the V & A continued; works so supported during the year wer e service, the Art Advisory Panel set up a workin g Richard Rodney Bennett's Spells and Aubade, party, composed largely of present and former Pane l David Blake's In Praise ofKrishna, Peter Maxwell members, to explore alternative methods of Davies' Symphony, Nicholas Maw's Life Studies, providing exhibitions of high-quality museum and Hugh Wood's Violin and Cello Concertos . material to those institutions, including colleges , which formerly benefited from exhibitions provided A second series of bursaries for composers wa s by the V & A . The report of the working party has offered, and from the 98 applications two majo r been sent to the Minister for the Arts for hi s awards of £5,000 were made to John Gardner and consideration, along with proposals from othe r Nicholas Maw. Ten minor bursaries of £ 1,000 t o organisations . £3,000 were offered, in addition to the continue d provision of commission fees (either directly or A very varied programme of exhibitions at the through Regional Arts Associations). Hayward Gallery included retrospectives of paintings by Frank Auerbach and sculpture by the Finally, the Council's music policy was the subjec t late Hubert Dalwood, a retrospective of th e for discussion at the first of a series of departmenta l American artist Jasper Johns, an exhibition open forums. Members of the public were invited to commemorating the bi-centenary of Piranesi and a put their questions to the Advisory Panel Chairman , showing of 390 photographs by Cartier-Bresso n the Music and Dance Director and th e from the collection of the V & A. This was organised Secretary-General . The forum proved to be a initially by the Scottish Arts Council for the popular and rewarding occasion for both th e Edinburgh Festival. department and the public. Further departmental forums are planned . The exhibition Hayward Annual '78, the second in a series of selective surveys of current British art, wa s chosen by five women artists but was not, contrar y Visual Arts to some expectations, a women-only show. The The funding of museums and permanent collections , work of 23 well and lesser-known artists wa s national, municipal and independent, falls outsid e exhibited and an area was set aside for performance s the remit of the Arts Council . Council support of which was also used for talks and discussions. In the their activities is confined to the provision o f autumn the Council realised a long-held ambition t o temporary exhibitions organised by the Art mount an exhibition of German realist painting and Department, the occasional financial support of their photography of the twenties - the Neue own exhibitions and limited capital assistance for th e Sachlichkeit - around which the Goethe Institute improvement of temporary exhibition spaces . The built a series of other exhibitions and events . Council also gives revenue support to a number o f Together they provided a survey of the culture of the organisations exclusively devoted to generating an d Weimar Republic and of its echoes in the art of th e showing temporary exhibitions. present day Federal Republic.

The increased provision of touring exhibitions The year at the Hayward ended with an exhibitio n produced by a wide variety of organisation s called Outsiders, a remarkable assemblage made by including the Regional Arts Associations an d Victor Musgrave and Roger Cardinal of the art of organisations funded by them, the museums an d individuals largely free from any cultura l galleries themselves, the Area Museum Councils an d conditioning. the Crafts Council goes only some way to off-set th e loss of the service provided by the Regional Service s We were invited by the V & A to collaborate wit h Department of the Victoria and Albert Museum . In them in organising the first comprehensive exhibitio n the absence of any national initiative to examine the of the bronze statuettes of Giambologna . This 20 Former Prime Minister James Callaghan and Henry Moore at the sculptor's 80th birthdaY exhibition in th e Serpentine GallerY and Kensington Gardens . important and scholarly exhibition was shown at the work of another British sculptor, Barry Flanagan , Royal Scottish Museum during the Edinburg h whose work relates to landscape and natural form s Festival and then at the V & A before going on t o in a quite different way from that of Moore . Vienna where it was mounted at the Kunsthistorisches Museum. The year under review began at the Serpentine with a selection by Stuart Brisley from the annual open Over the years the programme at the Serpentine ha s submission and there were other very varied become more diversified. Originally established wit h one-man and mixed exhibitions : one of socio-political a short summer season of young British artists wh o work called Art for Whom?, selected by Richard had not held a substantial London exhibition, the Cork, and one called Scalefor Sculpture, selected gallery in Kensington Gardens has become a by Carol Hogben, which included film installatio n favourite with the public and a sought-after showing and performance art. An exhibition of Saul place for artists from this country and abroad. Steinberg's work attracted 40,000 visitors durin g Henry Moore chose the gallery and the surroundin g the darkest weeks of a dismal winter . Kensington Gardens for our exhibition selected b y David Sylvester to celebrate the sculptor's 80t h Staff reorganisation allowed us to increase from on e birthday. The few users of the park who objected to to three those exclusively concerned with th e the invasion of sculptures were far outnumbered b y regional exhibition programme and hence to step u p those who appreciated them in their magnificen t our activity in this area . A number of exhibition s open air setting . The gallery was later devoted to the organised for the Hayward and Serpentine galleries 21 Visual Arts

received further showings outside London while th e One of the considerations in purchasing the work o f most notable exhibitions organised specifically for living, and particularly young, artists has alway s the regions were the highly successful Paintings been that of patronage. Other aspects of th e from Paris, W. R. Sickert and The Mechanized Council's direct support of artists are throug h Image, a survey of 20th century print-making , bursaries and awards which were offered at a higher selected by Pat Gilmour and accompanied by a level than hitherto, and through the encouragemen t substantial book. of commissioning of artists to carry out work fo r public sites. The latter scheme has so far helped to Our collaboration with the National Gallery enable the commissioning or purchase of sculptur e continued with the second in a series of thematic o r and paintings for a variety of sites : leisure centres , school exhibitions drawn from the Gallery's sports centres and cathedrals, as well as parks , collection, this time devoted to Italian Renaissanc e hospitals, schools and colleges. These areas of the Portraits. Council's work developed during the year althoug h inflation and shortage of funds create severe The practice of inviting an artist, critic or galler y problems in maintaining support for established curator to purchase works for a travelling exhibition client organisations at proper levels while at th e provided two such exhibitions. Lives selected by same time helping individual artists and developin g Derek Boshier and A Constructive Context selected schemes for the public display of their work . by Stephen Bann. Some controversy arose following the Council's decision to exclude from the Lives A modest part of the art allocation was again exhibition works with political content by Conrad devoted to the subsidising of publications o n Atkinson and Tony Rickaby, on legal advice that contemporary British art, to art magazines and t o their exhibition would expose the Council to lega l books by artists. action. Discussion of the Council's action was inhibited by the artists themselves indicating throug h Photography their solicitor that proceedings would be instituted Bill Gaskins retired from the chairmanship of the against the Council . Photography Sub-Committee after three years, during which the allocation for photograph y It is quite clear that the Council has ultimat e (galleries and grants schemes) trebled, enabling the responsibility for the content of its own exhibitions . committee to play a significant public role at a It is equally clear that judgements as to what i s crucial stage in the popular recognition of the publicly acceptable are bound occasionally to b e medium. His place as Chairman has been taken b y difficult and delicate especially in the patronage of Mike Weaver, Reader in American Literature a t contemporary art. Oxford University.

The Council's collection of paintings, sculpture , Each of the photography galleries receive d graphic works and photographs, formed during th e substantial increases in subsidy to support expanded entire period of the Council's existence, now programmes, while the Half Moon Photograph y numbers some thousands. The works are generall y Workshop and The Photographers Gallery i n included in travelling exhibitions in the first instanc e London, and the gallery at the University of and many are subsequently sent out on long loan to Southampton all acquired new premises, which after a number of galleries and public buildings all over conversion, should open to the public next year . the country. During the year the department and the Art Advisory Panel began to consider the long-term Exhibition subsidies were offered for several majo r future of the Collection which has become th e shows, two of which also enjoyed commercial largest collection of post-war British art. An sponsorship - the Kirklands International illustrated catalogue of the paintings, sculpture , Photography Exhibition at the Walker Art Gallery, drawings and photographs is being prepared fo r Liverpool and the Eastern Arts Tolly Cobbold publication and will provide an indication of the Photography Exhibition. The scheme for fellowship s extent of the Collection. and residencies attracted many excellen t 22 Yfs WArta

Markerstone, Harlech/London Road 1976, photographed bt• Fat• Godivin in Perspectives on Landscape . applications, and in co-operation with the many magnificent prints from their unique appropriate Regional Arts Association, new post s collection ; and Neue Sachlichkeit Photographs , were created, at the Brewery Arts Centre, Kendal , a touring, show of photographs and book s the Gardner Arts Centre, University of Sussex . which formed part of the exhibition of Germa n Sheffield Polytechnic, and the Union Plac e realist art of the 1920s held at the Hayward Community Resource Centre in London . Gallery.

Bursaries of £5,000 and £3,000 were offered to Fa y In conjunction with this show the Council published Godwin, Raymond Moore, Ken Baird, Larry Germany - the New Photograph, 192 7-33. an Herman, and Paul Trevor, and a further 1 0 anthology of documents and essays selected and photographers received smaller awards. The edited by David Mellor. This volume, which ha s important photography exhibitions organised by the already been acknowledged as an original and Council during the year were Pictorial Photographi, valuable contribution to the history of photography , in Britain 1900-1910, arranged in association with fulfilled the Committee's wish to broaden its policy The Royal Photographic Society and which featured beyond the publication of photographs taken by 23 Visual Arts/Literature

award and bursary winners. At the same time the Herbert Art Gallery, Coventry an d fifth volume of such photographs, Perspectives on The Third International Video Exhibition at Landscape, edited by Bill Gaskins, was also Washington New Town . The year also saw th e published. It included portfolios of work from 1 1 launch of the first travelling film exhibition organise d photographers and 10 poets who draw their by the Film Section, on American avant-garde film inspiration from the landscape in Britain . artist Stan Brakhage .

Arts Fflms Literature Lady Vaizey ceased to be Chairman of the Art s Early in the financial year the Literature Advisor y Films Committee at the end of 1978 on he r Panel devoted an entire meeting to a review of th e retirement from the Council. Three years of her Council's Literature policy and to consideration of energetic chairmanship has seen a marked advanc e possible changes . As a result of this review, th e in the quality and quantity of arts films produced for Panel recommended that the Council continue to the Council . She is succeeded by Anthony Quinton . offer grants to those organisations currentl y receiving annual subsidy, as well as to publishers fo r During the year 10 new documentaries were starte d specific projects, and to writers and translators . It and 10 completed . The range of subjects continue s also recommended a continuation of grant-aid t o and films released included Music in Progress about literary magazines, and a continuation also of the jazz composer Mike Westbrook ; various schemes directly administered by the The Phantom Captain Appears about the theatre Council, among them the Creative Writin g group of that name ; Dancers by and with Balle t Fellowships, Writers on Tour and Writers in School Rambert ; The Third Front about Erwin Piscato r schemes . and political theatre; Dread, Beat an ' Blood about the reggae poet Linton Kwesi Johnson, and the first The Panel then turned its attention to a number of dramatised documentary from the Arts Council suggestions for the future, some of which are still News from Nowhere about William Morris . New under consideration . Among these was a suggestio n projects have shown a bias towards an analytical that help might be given specifically to children's approach ; for example, a film on semiotics and the books. The Panel felt a need for expert opinion i n language of images ; advertising imagery and an this area, and a one-day conference was held of investigation by Richard Cork of public an d organisations concerned with children's literature. specialist attitudes towards art. The conference's recommendations are still being considered . Film sales continued to increase with three film s being transmitted by the BBC and 42 titles sold t o Mention was made in last year's report of the hope 10 countries for overseas television. Print sales that some means might be found of helping the totalled 93 and cinema distribution increased with commercial bookseller without jeopardizing the Sam Smith, Genuine England running for over a Council's own charitable status . Possibilities which year in London. were discussed with representatives of both th e Booksellers' Association and the Publishers ' Prizes and awards included: Tom Phillips - Association have not succeeded in finding favou r The Grierson Award for the best short film of 1978 ; with those bodies, but talks are proceeding with th e Morgans Wall - Silver Hugo, Chicago Film Booksellers' Association. New novels are most in Festival; Ubu - Grand Prix for best short film , need of help, and we hope that a way can be found Berlin Film Festival; Hokusai - British Academy of of increasing the flow of good new fiction into the Film and Television Arts best short factual film bookshops. 1978. During the year the Council's scheme for Creativ e The Artists Films Committee recommended 3 7 Writing Fellowships was made available for the first awards and bursaries totalling £39,000. Special time to a comprehensive school, Billericay School i n events supported included Video Art 78 at the Essex. Held by the poet and playwright Adria n 24 Literature/Touring

Mitchell, the fellowship is proving most successful result of which that magazine ceased publication. and has won the whole-hearted enthusiasm of pupils , This was not a decision taken lightly by the Council, staff and parents . for The New Review was generally considered to be one of the very few English literary magazines o f The Council's grant to the Bodleian Library towards international standard . However, it did not succee d the costs of acquiring the manuscripts and literar y in finding sufficient support, and the company set up papers of Walter de la Mare helped to ensure that to publish the magazine found it impossible to work this important literary archive would remain in within budgets. This leaves The London Magazin e Britain. as the sole surviving monthly devoted to literature . The Council continues to support it at a rate of . This year has seen the addition of a new form of aid subsidy per issue which is approximately equal to to literature, that of grants to increase the value o f that which was required for The New Review . existing prizes, to provide extra funds for th e Because of their small readership, the cost of administration of these awards, and to increase the subsidising literary magazines may see m judges' fees. Grants have so far been given to twelve disproportionate, but it can hardly be denied tha t prizes. their continued existence is necessary to the health of our literature. In the past, literary magazines wer e The Council's scheme of aid to non-profit-distributin g sometimes able to secure financial backing from bookshops continues to widen in scope. Three of the enlightened publishers, but nowadays publisher s grants given in this field during the year are o f appear less willing to subsidise magazines . especial help to local immigrant populations . The Comparatively few publishers are prepared even t o Citadel Youth Centre, Birmingham, is an advertise regularly in the pages of the remainin g information and leisure centre, especially aimed a t literary magazines . helping the young West Indian population of th e area; the grant made by the Council will provide a During the year, the Council's Poetry Library bookshop and library. The National Association o f moved from its cramped room at 105 Piccadilly t o Indian Youth is an umbrella organisatio n new premises above the Arts Council Shop i n co-ordinating the activities of Asian youth groups all Covent Garden. The library, this country's finest over the country . The Council's grant will help to collection of modern poetry, is now at last properl y establish, in the Association's headquarters a t housed, and in its spacious new accommodation i s Southall, a bookshop selling a wide range of books , attracting many more borrowers and browsers . including books produced by local writers and thos e in Asian languages . A special section will be devote d Touring to race relations and reports on the problems and If, for Touring, last year was a year of alarms wit h needs of Asians in this country. The Unity some successes, this year could be regarded as a Association began operations in the Notting Hil l year of achievement with some interesting new area in 1976 : it has converted two derelict houses to developments . The most significant event was a first provide accommodation for some of the many night on 15 November in the Grand Theatre, Leeds , young homeless people in the area, and ha s which marked the foundation of the country's firs t negotiated a lease of a bay under th e full-time, regionally based opera company, English Westway/Portobello Road Flyover to provide a National Opera North . This company was set up a s series of small enterprises to given employment and part of the rationalisation of opera touring . The plan training to young people . The Council's grant will provides for the consolidation of the Welsh National add a bookshop to these enterprises, stocking book s Opera subscription series in Birmingham, th e of a general nature as well as the literature of local initiation of a subscription scheme by Scottis h ethnic minorities for whom the project was primarily Opera at the Theatre Royal, Newcastle, and th e initiated. extension of Kent Opera's work in the south an d first-time visits to East Anglia . Glyndebourne The Council withdrew its support fro m Touring Opera's five weeks were re-routed to includ e The New Review at the end of March 1979, as a the newly restored Theatre Royal in Nottingham, 25

Touring

and English National Opera took the Coliseu m efforts of the companies, together with the Art s company on successful visits to Sunderland , Council marketing department, to revive the habit o f Liverpool and Birmingham . theatre-going which has been in decline since th e early sixties . The following table summarises the On the theatre front, a crucial issue last year, wor k results of the tours undertaken in the autumn o f has started on a massive redevelopment of th e 1978 as compared with a similar period in 1974 . Palace Theatre, Manchester, while the futures of both the Liverpool Empire and Birmingham Company Percentage Average Average Box Hippodrome have been secured, as was that of th e Attendance Office Percentage Theatre Royal, Bath . The return, under new management, of these theatres to the touring circuit , 1974 1978 1974 1978 and with improved facilities for both audiences an d 96 9i, 96 96 performers, can be expected to regain for them th e Welsh National Opera 62 . 1 86 .5 57. 1 76 .5 f Glyndebourne Tourin g important position they had long held in the lives o Opera 79 .6 90 .0 76 .2 85.8 their communities . A new spirit is abroad in tourin g London Festival Ballet 76 .3 87. 7 66 .4 79 .6 theatres and there is already evidence of a growin g Sadler's Wells Roya l response to the work of the national companies i n Ballet 78 . 1 87 .6 59 . 1 71 .8 these large centres. In times of financial stringenc y Prospect Theatre and high unemployment this speaks well for the Company 54 . 1 63 .2 41 . 3 56 .0

John Michael Flanagan (Trulove), Susan Ross (Anne), Ian Caley (Tom), Enid Hartle (Baba the Turk) and John Rawnsler (.Nick Shadow) in Glvndebourne Touring Opera's production of The Rake's Progress, designed bY David Hockner . Photo: Guy Gravett 26 Touring/Festivals/Arts Centres

It is clear that the policy of developing links betwee n major arts and music festivals of the UK. During the companies and theatres is beginning to pay off. year, there was a record attendance of more than Nowhere was this more vividly illustrated than i n half a million people at the 22 BAFA membe r Newcastle where the Royal Shakespeare Compan y festivals alone . That figure takes no account of played another spectacularly successful season . unofficial and fringe performances, street events and Over 90 per cent of seats at the Theatre Royal were . other popular gatherings, all generated by th e filled for the seven week season and the percentag e festivals themselves and indicative of the excitin g was even higher for the smaller performances at th e and celebratory atmosphere that a major art s Gulbenkian Studio. The company again repeated its festival can bring to its town or city, many of whic h inspiring programme of work in the region b y are attractive venues in their own right . It is not visiting schools, technical colleges, clubs an d surprising that these short and intensive efforts on an factories, all made possible by its residency there . exceptional scale, with visiting performers o f distinction, and often supplemented by special The year's activities closed rather sadly when the contributions from an already-subsidised theatre National Theatre's production of Somerset company, orchestra, art gallery or Arts Council Maugham's For Services Rendered, which had been tour, win so great an audience response and suc h specially mounted for a tour, fell victim to unofficia l enthusiastic support. industrial action on the South Bank . After successful weeks at Leeds, Glasgow and Hull, the Nottingha m week was played without sets or costumes . The Arts Centres company and staff of the National Theatr e If it is possible to be `overtaken by success ' then the responded courageously to the challenge and achievements of the small group of clients covered Nottingham audiences were generous in their by this allocation put the Council and its advisors in understanding and support. Happily the remainder that position in this year . The Round House Trust of the tour was completed with a series of ingenious opened their new visual arts gallery and remodelled improvisations, but it was an ironic conclusion to their engine shed into a striking new auditorium . efforts over a long period to enable the Nationa l Also impressive was the reorganisation of th e Theatre to be seen on tour. Institute of Contemporary Arts in the Mall wher e not only was substantial work begun on the interior and exterior of the building but the whole policy was Festivals pulled together and represented with considerabl e From the beginning of May until November ther e style and determination . was hardly a week when a major festival subsidised by the Arts Council was not being held somewhere Last year's new venture, Riverside Studios, in Great Britain. Altogether more than 200 festivals maintained its promise and built upon its earlie r with professional artistic content took place success, generously supported by the London throughout the country during the year. The Borough of Hammersmith. responsibility for subsidising many of them , particularly those of smaller scale and more local The quality and breadth of many of thes e impact, lay with the local authorities and the programmes, their effectiveness and value to Greater appropriate Regional Arts Association . The 14 arts London is appreciated both by the arts profession s festivals which received direct grants (or guarantees and by a public which supports the m against loss) from the Arts Council are listed in the enthusiastically . accounts, together with festivals devoted solely to music. Drama and literature festivals are shown Outside London, the Midlands Art Centre i n separately under their respective departmental Birmingham and South Hill Park in Bracknell headings . Most of the larger-scale festivals belong to consolidated their programmes and introduced a the British Arts Festivals Association (BAFA) , number of significant new enterprises. In Birmingham which was founded in 1970 in order to encourag e they developed further their new Caribbean greater interest, both at home and abroad, in the Department and co-operated with the Minorities 27 Arts CentreslCorninunit.v Arts

Arts Advisory Service. Their puppet work was wel l to the fore at the National Festival of Puppets whic h was so successfully mounted towards the end of the year. As in many areas of arts activity, potential developments had to be held back through insufficient money for growth . To programme a n arts centre and keep it fully operational 52 weeks i n the year and for up to 15 hours a day, makes heav y demands on organisers and staff. The Council' s survey of the Institute of Contemporary Arts. conducted during the year showed an average of 60 0 visitors each day attending approximately 40 events each and every week.

All the evidence points to a real national demand fo r arts centres. An average of 10 new centres a year have opened in England each year over the past fiv e years. The range of activities and options under th e umbrella of the term 'Arts Centre' is so vast that it is reasonable to assume that eventually mos t communities will seek out for themselves a suitable building and develop their own form of centre . The Council has always seen the arts centre as a n appropriate responsibility for the Regional Art s Associations and the local authorities but it plans t o maintain close touch with all new arts centre developments so that it can, when asked, offer advice and help to all those operating in this field .

Community Arts The Council's recognition that devolution is fundamental to a proper assessment and funding of community arts led to major developments in th e four devolved regions (Northern, North West , Merseyside and West Midlands) during the year . The Community Arts allocation of £803,50 0 The artists, Russell Burrett and Len Birch in fron t enabled 59 clients to be funded on a revenue basi s oftheir mural in Shepherds Bush, London of th e and another 35 on a project basis in th e Cork and Kerrv Mountains. Photo : Ian R Familto n non-devolved regions . The devolved region s Courtesy : West London Observe r supported, with the addition of their own funds, a further 34 clients on an annual basis an d of this kind. Alongside this, projects specialising i n approximately 50 on a project basis. community writing and publishing, in mura l painting, in film and video and in photography hav e A Community Arts Mobile Workshop wa s received increased support and are providing a established in the North West in response t o valuable resource for communities in the region . In requests from a large number of community groups , the West Midlands available funds have enable d community festivals, playschemes etc for a resource projects such as Telford Community Arts an d 28 Community Arts/Performance Art/Ethnic Arts

Jubilee, based in Sandwell, to consolidate . An The Council's limited assistance has enabled artist s interesting new development has been to increase the to present their work both formally and informally, Community Arts involvement in an important out-doors and in galleries, arts centres and colleges , community arts and education project in Balsall as well as within festivals and exhibitions . Heath, Birmingham . Performance artists worked in the Council's Hayward Annual '78 and the Scale for Sculpture The belief that artists have an importan t exhibition which was mounted in five regiona l contribution to make to restore the deteriorating environment particularly in inner city area venues. The Counci l's advisers, in consultation wit h s the Regional Arts Associations, have been prompted a joint initiative by the Community Art s Section and the Visual Arts Department to establis h establishing links with interested promoters with a a scheme for mural and environmental projects . view to encouraging presentations all over the Although the response was not as great as had bee n country. hoped, the successful realisation of projects i n Corby, Huddersfield, Sunderland and Tower Ethnic Arts Hamlets and elsewhere justified the scheme and may Like community arts, with which they overlap, but encourage others to take similar initiatives . from which they are also distinct, ethnic arts began to be funded by the Council only after the period of The Council has seen its role in community arts a s financial restraint had begun. This means we have one of seeding and welcomed the willingness of other not been able to fund them as generously as w e funding agencies to support the activities. Notable would like (again, new responsibilities require new, examples have been the support by the London additional money). Nevertheless, work for the arts Borough of Southwark for the Walworth an d among the ethnic minority communities is increasin g Aylesbury community arts project through the and now involves all departments and sections of th e Urban Aid Programme ; the increasing support from Council. the London Borough of Brent for the Moonshin e Project and the many projects which are receivin g Workshops participating in the Notting Hill funds through Inner Cities Partnership Schemes, fo r Carnival and other West Indian carnivals elsewher e example Union Place in the London Borough o f Lambeth in the country received grants towards their . It is hoped that a more co-ordinated preparation work, as do touring groups like Stee l approach to central and regional funding o f N'Skin, the Afro/West Indian dance, music an community arts will develop. d drama group, themselves a stimulus to similar ethnic groups and the subject of a Council film . Performance Ar t The Keskidee Centre in Islington has received hel p This area of experimental activity continues t o with renovations and improvements from th e attract a volume of comment and debate which , Housing the Arts Fund. Through the Literature whilst out of all proportion to the funds made Department grants have gone towards th e available, reveals a great deal of curiosity an d establishment and stocking of communit y interest in the art form . bookshops at the Citadel Youth Centre , Birmingham, which is an information and leisur e It is encouraging that some performance artist s centre for West Indian Youth ; to the National whose work a few years ago would have been Association of Indian Youth in Southall and th e considered difficult and highly experimental, whil e Unity Association, Notting Hill . All these provide continuing to present a refreshing challenge to thei r general books and literature of the local ethni c audiences and supporters, are now firmly establishe d minorities. and popular artists attracting enthusiastic audience s both at home and abroad . Many young fine-art In Drama a number of project grants went to based artists are now choosing to adopt companies like the Brixton Arts Theatre, Theatro performance as their medium . Technis, a Greek Cypriot company, and Temba, a 29 1 'rhnic Arts/Marketingl Housing the Art s

regularly operating subsidised company performing Eastern Arts Association and theatres in East works by black writers . There has also been a rapi d Anglia. expansion of activity among dance groups lik e MAAS Movers, Aklowa and Lambeth Asian At the end of the year the Arts Council Shop move d Evenings. A number of grants wrnt to individua l from Sackville Street to more spacious new premises performers. Among the music activities supported i s in Long Acre, affording much improved selling and the Sanskrilik Festival . display facilities. It is now one of the most attractive bookshops in London and also carries a unique The Council supports the magazine, Black range of Arts Council publications and posters . Phoenix - Third World Perspective on Contemporary Arr and Culture . A major Counci l exhibition of contemporary African art is planned . Housing the Art s In last year's report there was repeated emphasis o n the problems of operating the Housing the Arts fun d Marketing in view of the cutbacks in the cash allocation for Volumes Two and Three of the Council of Regional capital projects imposed by the Government in tha t Theatre (CORT) Marketing Manual were publishe d year. Cash - or rather, the lack of it - has continued in June and October . Edited by Peter Verwey, th e to be the dominant feature of Housing the Art s Council's Senior Marketing Officer, and Glyn activities during this year. Plans for the past yea r Robbins, Marketing Director of the Tvncwear were based on a cash sum of £600,000 whic h Theatre Company, it provides a guide to effectiv e represented only a marginal increase on th e marketing and publicity for the theatre . It has allocation for 1977/78 (£525,000) following the already been adopted by two universities as th e severe cut-back from £1,150,000 in 1976/77 . In the standard text book in this field . event, a total of £900,000 was finally made availabl e although this still fell far short of the estimated In addition to helping an increasing number of requirement for the year . It meant, nevertheless, tha t theatres and other arts organisations with advice o n certain schemes, payments for which would their own marketing activities, further assistance has otherwise have had to be deferred, were able t o been given to the development of joint marketin g benefit. schemes such as BASIL in Birmingham . A scheme to test the effect of using television advertising t o The improvement, however, has been short-lived . encourage theatre-going is being prepared wit h The real cash needs for 1979/80 were £ l • 2 millio n but the basic allocation has remained at £600,000 . In these circumstances, new applicants can generall y be supported only on the understanding that the y are both prepared and able to wait for perhaps several years before grants can be paid . The ability of the Council to determine a coherent policy fo r Housing the Arts becomes increasingly difficult in the absence of any indication from the Governmen t that future cash allocations will be restored to a level to match the commitment ration . In a relatively short period, inflation and the cutback in cash hav e combined to decimate this small (but important ) aspect of the Council's work . Failure to restore th e cut could have serious consequences for the future operation of the scheme as originally intended .

The interior ofthe 11,- Aris Council Shop in Long Nevertheless, all was not gloom last year . Among Acre on opening duY, Photos Ian Ty as the projects which the Council supported was one i n 30 Housing the ArtslTraining/Educatio n

Hereford, where the labours of a devoted band of the group has been retitled the Performers' Working enthusiasts have led to the conversion of the city' s Group. former swimming baths into the Nell Gwynn e Theatre. Improvements to the Theatre-in-the-Roun d This expansion of activity in the training area is du e at Scarborough have been undertaken while a larg e in no small part to the two years ' energetic an d new arts complex is under construction at Plymouth . positive chairmanship of Laurence Harbottle . Owen This will include an auditorium for large-scale lyri c Reed is the Committee's new Chairman . and drama companies as well as a smaller theatre t o house the Plymouth Repertory Company . A new theatre is also being built in Banbury, and Dartfor d Education in Kent is witnessing the construction of a n During the year, the appointment of an Education interesting building which will fulfil various roles as a Liaison Officer signalled a major initiative in the civic hall, theatre and concert hall . Full details of all implementation of the Arts Council's chartered dut y the Housing the Arts commitments are set out in th e to `develop and improve-the knowledge, Council's accounts in the second part of this report . understanding and practice of the arts' . The use o f the word `liaison ' in the title of the post reflects th e Reference was made last year to the plight of the charter's requirement that the main aims are to be touring theatres in England . In 1978/79 the Council achieved through co-operation with other bodies . A applied for a special cash grant of £1 million fro m major part of the officer's work involves liaison the Government so that theatres in Birmingham , between the Arts Council and national education Bristol, Liverpool and Manchester could be acquire d organisations, but equally as important is the by local interests and totally renovated . £450,000 encouragement of contact and co-operation betwee n was received for this purpose this year. We hope arts and education agencies at all levels . that the balance of funds needed to complete the Council's contribution to this capital programme Education and the arts share a number of commo n will be forthcoming in the next two years. purposes and aims . From the point of view of the arts, education has a crucial role to play in affectin g social and cultural attitudes which prevent th e Training majority of the population from taking advantage of After three fairly quiet years, during which th e present arts provision . It can do much to make the Training Committee has established its role an d arts truly accessible by creating a context in whic h consolidated existing training courses and schemes , the arts are seen as rewarding and relevant rathe r this year saw a sudden and exciting growth of activ e than daunting and unapproachable. All art needs interest in training across the Arts . The Committe e response and education is capable of stimulating and its Working Groups considered a large variety perception and involvement through both of proposals for training provision, including th e appreciation and participation . The potency of th e following : administration training for Productio n artistic experience is increased, bringing the art s Managers and training courses for Box Office Staff closer to people 's lives. (proposals for both are now well on the way to bein g implemented) ; Workshops for Dramatists (for whic h At the end of the year the Education Liaison Office r funds have been set aside for 1979/80) ; and had been in the post for only five months. In this Advanced Training for Piano Tuner/Technicians . initial period emphasis was laid on the formation o f Meanwhile the Committee has kept in touch with th e links with education and on attempts to discover deliberations of the Community Arts Committee's examples of collaboration already in existence . Working Party on Training . In addition, the The first task was made easier through the constitution and responsibility of the Training much-appreciated support of Her Majesty's Committee's Actors' and Drama Schools Working Inspectorate. Such bodies as the Schools Council , Group have been broadened to include the provisio n Council for National Academic Awards, Nationa l of bursary schemes for all theatre performers, Institute for Adult Education and Universitie s including dancers and singers as well as actors, and Grants Committee have welcomed the appointmen t 31 Susan Lees in the title role ofEnglish National Opera North's K,orkshop production ofCarmen, rehearsed with pupils ofNab Wood School, Shipley . Yorks. Photo: Alan Glenwright, Camera Press and indicated a willingness to co-operate with th e As well as organising meetings and conferences t o Council . Discussions have also taken place with th e bring arts and education providers into closer touch BBC and the IBA on the promotion of arts with each other, the officer has also been working to education. set up pilot projects in different subjects an d geographical areas to illustrate what might be The second task has proved more difficult to carr y achieved throughout the country . Examples related out comprehensively given the limitation of to the Council's own promotions are educationa l resources. Certainly, much information has bee n programmes supporting the British R rt Show, an collected and a large number of collaborativ e extensive exhibition of contemporary visual art, and projects have been uncovered, but preliminary work those in connection with the Contemporary Musi c indicated a need for more intensive enquiry into th e Network . In all cases, the programmes are bein g existence of the arts in education . Hence the Art s devised locally by representatives from the arts an d Council has joined with the Advisory Council o n from education, with the support of the Regiona l Adult and Continuing Education to launch a surve y Arts Association. Specific areas where developmen t ofthe arts in adult education. is possible aside from particular art forms are notably ethnic arts, arts centres, further education, Activities during the year included a meeting o n informal education and the young adult, and the Opera and Education which provided a n work of creative artists in education. opportunity for the national companies to exchang e experiences . Regional meetings are now planned to facilitate co-operation with educationalists . A Research and Informatio n conference on The Arts and Universities is planne d For the small statT of the Research and Informatio n for September 1979 and other meetings propose d Section, it was largely a year of consolidation . Two include Teachers and the Arts and a recall seminar of the research projects initiated were concerne d on Arts and Adult Education to review progress with particularly controversial areas of Counci l since the initial conference in 1977. support. Between April 1964 and March 1978 th e 32 Research and Information/Press Office/Publication s

Council awarded more than 500 grants an d announce the new Opera Touring plans, a bursaries to authors, and a researcher has been re-organised Ballet for All scheme, a new season of appointed to assess the value of the scheme . Contemporary Music Network, and the Wigmor e Research at the Institute of Contemporary Arts i s Hall Summer Festival. A series of informal press looking at the attitudes of visitors, artists and briefings has been held at which the arts press an d performers in relation to the Institute, and regional paper London editors have met th e incidentally at public attitudes to contemporary arts . Council 's specialist directors and staff to talk about A limited study of provision for the arts in a smal l the work of their departments . number of community colleges has also been commissioned. The report should suggest ways i n Co-operation with the press officers of Regiona l which the Arts Council and Regional Art s Arts Associations and client companies to promot e Associations can co-operate with local education the subsidised arts through newpapers and authorities to support and develop arts activities in broadcasting is an important aspect of the wor k the colleges. A study which could have an important which the Press Office plans to extend in the coming influence on the organisation of the Council's year. research work was commissioned from Professo r Nissel. Publications The collection of books and documents in the The Publications Section distributes the whole range Research and Information Reference Library has of the Council 's published material. Its principal grown steadily and now numbers about 3,500. This function is to arrange for exhibition catalogues to b e is a small but highly specialised collection whic h made available at Arts Council galleries in London concentrates on arts policy and administration, an d and for touring exhibitions . Its other purpose is to the economic and social aspects of the arts. offer for sale through trade and retail outlets no t Evidence of its value has been the greater use made only exhibition catalogues,'but the Council's annual of the library by researchers, and some 4,500 report, the List of Festivals in Great Britain and enquiries were received during the year . general reports . Turnover during the year i n conjunction with the Hayward and Serpentin e A start was made on the compilation of a catalogue bookstalls and the Arts Council Shop amounted to of the extensive overseas documentation held by the £233,367. A Publications List is available, giving Library, and on a revised edition of the Directory details of approximately 350 titles in print. of Arts Centres. For many people, the bi-monthly Information Bulletin remains the principal New publications have included 23 exhibitio n means of learning about the Council . The journal, catalogues (17 London and 6 touring exhibitions) . Arts Documentation Monthly, continued to prove it s For the first time a newspaper version of the annua l usefulness in drawing attention to articles in report was distributed free of charge. periodicals of interest to arts administrators . Other publications during the year under revie w Sales of exhibition posters and postcards hav e included the Guide to Awards and Schemes, the continued to be encouraging. The section is List of Festivals in Great Britain, and a booklet, continuing to widen the distribution of Arts Council The Arts Council: What It Does. publications to schools, universities and other educational establishments, to museums and galler y shops. Press Office During its first full year's operation the Press Offic e provided the media with better information about the work of the Council .

There have been a number of large-scale pres s conferences - to launch the Annual Report, to 33 Scotland Fuller details are given in the Scottish Arts Council' s own Annual Report, published separately .

Introduction by the larger organisations from the larger Last year 's report was written on the assumption companies. But while undoubtedly there is scope fo r that Government responsibility for the arts in more sponsorship (and tax incentives could Scotland was to be transferred from Parliament i n stimulate more private support), it is unrealistic t o Westminster to a new Assembly in Edinburgh, suppose that the financial problems of the arts ca n which would have altered fundamentally the Scottis h be solved by more support from the private sector Arts Council 's relationship with the Arts Council o f alone. Great Britain and the Government. However, th e Referendum held in Scotland on 1 March was In spite of all efforts, the gap between earned income indecisive . and total costs is continually widening, and unles s tax incentives are introduced, it has to be met largely For the time being, therefore, SAC continues as a by public subsidy . Though this does appear to be formal part of ACGB, sharing its aims, many of it s recognised by Government whose allocations to th e procedures, and about 12 per cent of its financial arts have shown above-average increases, the sam e resources. As has been said before, SAC enjoys a cannot be said of local government. With one or tw o high degree of autonomy and is 95 per cent devolve d notable exceptions, local authority grants to major already, but it does find its British links valuable an d organisations in Scotland have remained static i n effective. nominal terms, or actually fallen substantially in rea l terms, since reorganisation in 1975 . SAC will continue to consider any change s proposed on their merits and to act in what it believes to be the best interests of the arts, artists , Music and the public in Scotland. The proportion of the Council's total allocation committed to Music and Dance remained the same as in the three preceding years . Scottish Opera, the Scottish Ballet, the Scottish National Orchestra an d Finance the Scottish Philharmonic Society are pressing with In 1978/79, the Scottish Arts Council received a varying degrees of urgency for money to consolidate basic allocation of £5 . 93m for revenue purposes, an or expand . During the year a working part y increase of 19. 7 per cent on the previous year's representing the Council and the Convention o f £4 . 95m. In addition it received £ 165,500 fo r Scottish Local Authorities met a number of times to Housing the Arts. Scotland's slice of the Britis h examine what was needed by way of finance for revenue cake was 11 . 86 per cent. these companies. This year local authorities contributed £370,000 to the four companies ; of this While an increase of this size appears impressive , sum £163,000 was shared between Opera, th e there is evidence that cost inflation especially in the Ballet, and the Philharmonic . The working party performance arts runs at a higher rate than in the agreed that more money was needed to sustain th e Retail Price Index. With some difficulty, the Counci l companies at their present level of operation and was able to offer valuable increases to existing examined ways and means of achieving thi s clients and also help a very few new ventures . But desirable objective. Its report was not complete d often even substantial increases from SAC did not within the year, but it is hoped it will be considered prevent hardship and curtailment of activity . The sympathetically and acted upon quickly whe n reason is that SAC's contribution is partial. Even if submitted to those directly concerned. SAC's grants do increase, it does not follow tha t other sources of income keep pace with inflation . The Council adopted the report of its own Recording Working Party. This recommended the Generally, attendances held up, and in some case s Council to increase its support for recording an d increased, though ticket prices often do not rise as detailed a number of ways in which this should be much, or as quickly, as inflation in costs . Some done. The Council has made a modest start to sizeable business sponsorships were secured, notably building up its allocation for recordings this year. 34 Scotland

Touring public and artists alike. Therefore, the Council's offer One aspect of the Council's activities which has of extra subsidy to organisations to enable them t o caused concern is the problem of touring large and offer better programmes and better services to public medium-scale productions of opera, ballet an d and artists will only work if it is matched by a drama to theatres throughout Scotland. The Council willingness to encourage support and share felt it was time to review its policy and the operatio n responsibilities. Much of the success of the new of Stage I (jointly funded by local authorities and policy will depend on the co-operation of others ove r SAC), and set up a Touring Working Party under the next few years . the chairmanship of Eluned Brown. Its report will be considered by the Council in the current year. Regional Development The continuing need for co-operation and Art partnership with local authorities for the During the last year, the Art Committee has bee n development of the arts in Scotland is still central t o reviewing its policy and the use of its budget , the policy concerns of the Council . The especially the balance and interaction between four Development Director, since his appointment two main aspects : its own promotions (galleries i n years ago, has been establishing closer ties with loca l Edinburgh, touring exhibitions and the travellin g government and other government agencies , gallery) ; continuing annual revenue grants to variou s particularly those responsible for development and independently run Scottish galleries and workshops ; tourism. As a part of this process a number of schemes to support individuals ; and sundry grants top-level meetings have taken place betwee n and guarantees against loss for one-off projects . In members and officers of SAC and of a number of accordance with the Council's policy of expanding regional and district councils . its co-operation with local government (instead o f setting up Regional Arts Associations in Scotland), . In addition, an experimental open forum was held in the Art Committee recommended a gradual Inverness in June 1978 . The Forum, which was held reduction of the Council's own direct promotions in the Town House by kind permission of the Provost , (though it will continue to mount and tour was chaired by the SAC Chairman (accompanied exhibitions), in order to free more funds for by all the chairmen of SAC advisory ,committees grant-aided galleries . and by senior staff), and attended by more than 10 0 members of the public interested in the arts in th e In accepting this change of policy, the Council wa s Highland Region. A number of local authorit y influenced by several considerations . The Council' s members and officers were also present and able t o policy generally is not itself to run orchestras , comment on their current policies for the arts. The theatres, or companies, but to help others to do so . Council would like to encourage local authorities t o After it ceased to promote tours in the early 1970s , hold further such public forums in the future wit h the mounting and touring of exhibitions and running the assistance of the SAC. of two art galleries in Edinburgh remains the on e large exception. In deciding that the emphasis should In July 1978 the Council established a Regional swing away from `in-house' .and towards `out-house' Development Sub-Committee of the Finance and activities, the Council is attempting to share Policy Committee. This Sub-Committee is currently resources and skills as well as responsibilities, t o defining its objectives and devising the new strateg y decentralise and diversify decision-making, and to that it believes the Council should adopt. encourage others to do more to help themselves . It is still ear'_y days, but undoubtedly the rapport This policy decision was also based on the premis e between local authorities and the SAC is greatly that central government subsidy for the visual art s improved. One of the main tasks of the 1980s will be should not become the only source of subsidy for to develop a closer working relationship between the local organisations, and in any case it is unlikely t o two in pursuit of jointly agreed objectives . expand at a rate to match that expansion of interes t and demand, which is now well under way, from ALEXANDER DUNBAR 35 Wales Fuller details are given in the Welsh Arts Council' s own Annual Report, published separately .

Chairman's Introduction Art Last year I referred to an `unbroken tradition o f The most important exhibition arranged by WA C popular culture in Wales'. We have for lon g was The Art of the Engineer which provided the first practised community art but without funds fro m major survey of the function of drawing in the outside, the range was narrow, the facilities were development of transport . A Visual Art poor and professional support and advice minimal . Development Officer has been appointed for a tw o In recent years the Welsh Arts Council has had year trial period to assist artists in their relationships success in filling these gaps . with clients . Swansea City Council, with the assistance of the WAC appointed a City Artist, th e This year, for instance, we decided to support jazz ; first appointment of its kind in Wales . we gave money towards a Children's Book Centre ; we established a new community dance company . Gallery Development grants enabled the Royal Wyeside Arts Centre opened in Builth and Wales' s National Eisteddfod to complete the third and final first photography gallery in Cardiff. Orchestral phase of the Arts and Crafts Pavilion, th e concert tours were extended to Cwmbran, Aberdare renovation of the Mostyn Gallery to continue and and Llanelli. Professional artists worked with and the opening of Wales's first photography gallery , for children in the Rhondda and in Blaenau Oriel Ffotograffeg Cardiff. Ffestiniog. A 100 foot long mural designed and painted b y We held our first public Open Forum i n pupils of Porth Comprehensive School for Porth Aberystwyth. Over the coming two years similar , Railway Station and a low relief carving in wood at but specialist, meetings will be held in other parts o f Ysgol Maenofferen, a primary school, wer e Wales. completed following Artists' Awards to Alan Warburton and Claire Langdon. No-one has had enough money and we have looked for new sources of support . The Craft Committee had success in persuading businesses as well a s Craft individuals to commission work . Our discussions The Craft Committee received a grant of £43,500 with the British Film Institute and the Secretary of from the Crafts Advisory Committee . The emphasis State for Wales have brought promises of somewha t this year was on the work of the potter, with a improved funds for Welsh film. touring exhibition Ten Potters, prepared for the National Eisteddfod, and a Ceramic Researc h We have made progress on all sides over the past Award introduced in co-operation with the Sout h year but the prospect ahead is less favourable . Glamorgan Institute of Higher Education .

LADY ANGLESEY A Commission Aid grant scheme was introduced backed by a press campaign promoting th e commissioning of artist/craftsmen from Wales. As a direct result a great deal of interest was expressed i n their work and a number of important commission s awarded. Drama The Torch Theatre at Milford Haven received generous local authority support to clear its capital debts and the theatre's resident company began t o impress the local community with the quality of it s productions. Theatr Clwyd was able to extend its touring throughout Wales . The completion of the 36 Wales

Wyeside Arts Centre formed the last link in the year. Two further sponsored.recordings of works by circuit of new Welsh theatres . Two exciting Welsh Daniel Jones and Grace Williams were made by th e language productions, Cwmni Theatr Cymru's BBC Welsh Symphony Orchestra . Orchestral Y Twr and Theatr yr Ymylon's rock opera concerts were arranged at three new venues : the Dic Penderyn were staged at the National County Hall, Cwmbran ; the Michael Sobell Leisur e Eisteddfod. The Grand Theatre, Swansea , Centre at Aberdare and the Entertainments Centre , successfully toured its production ofEquus and Llanelli. Cardiff Laboratory Theatre's Moths in Amber was much acclaimed . Welsh National Opera There was also a significant growth in Dance The brighter side of the year saw seven new activity, in particular, the Community Danc e productions including the televised Scheme at the Sherman Theatre, Cardiff, flourished Makropoulos Case and revelatory versions o f and helped to nurture Jumpers, a new communit y Madam Butterfly and The Magic Flute ; a 10 per dance company . cent increase in attendances over the previous year' s record levels ; a 30 per cent increase in box offic e revenue ; and a first foreign visit for four years . It Film was widely recognised that the company had The WAC contribution of £41,700 and the Britis h attained new standards . The darker side revealed the Film Institute's grant of £22,700 provided a total first significant deficit for four years, and the allocation of £64,400 for the year. Council realisation that genuine growth cannot be achieve d continued to support community video projects b y on grants which are static in real terms . This the loan of equipment. The Committee welcomed the dilemma must be solved, if the company is to hol d initiative shown by South Powys Youth Service s its place in the national and international leagues Video Project organised by the Youth an d and give true value to its ever increasing public . Community Department of Powys County Council and agreed to loan equipment to the value of more ANEURIN THOMAS than £3,000. The Council made a grant of £20,00 0 towards the establishment costs and technical facilities of the Bwrdd Ffilmiau Cymraeg.

Literature With an allocation to Literature of £333,500 the Council continued to support the whole range o f writing, publishing and book-selling . Ten prizes an d seven bursaries were awarded to writers and th e International Writer's Prize was presented to Astri d Lindgren. The work of the Welsh Books Council' s departments was funded and Yr Academi Gymreig was enabled to open an office and to appoint full-time staff. It was decided to help fund a Children's Books Centre. Music During the year the Music Committee discusse d traditional Welsh music (which has hitherto been the sole responsibility of the Welsh Amateur Musi c Federation) and jazz . It is hoped that financial provision will be made for these commitments next 37 Membership of Council and Staff

Council Director-General of the National Trust . He joined We are greatly indebted to these six former Counci l the Council in April 1971 having been co-directo r members who have retired: of the Paul Mellon Foundation for British Art. His Professor Harold C . Baldry manifest love of the arts across the spectru m G. Laurence Harbottle became quickly apparent to both the Council an d John Manduell its clients, not least in the regions, for which h e Annette Page had a special responsibility in the last four years . Lady Vaize y He brought to his job qualities of high intelligence , Professor Raymond Williams sensitivity, personal charm and dedication whic h were appreciated by his colleagues, Council Professor Baldry became a Council member i n members and clients alike, and he will be greatly 1973, and since 1975 had chaired the Regional missed. We welcome Richard Pulford as hi s Committee of which he remains a member. The successor. other retiring members were all appointed in 1976 . At the time of his retirement Mr Harbottle wa s The second loss was John Cruft, who retired a t Chairman of the Housing the Arts Committee an d the end of April 1979 . He was appointed Music the Training Committee, and Deputy Chairman o f Director in 1965. His profound knowledge of the Drama Advisory Panel. Similarly Mr Manduell music and the musical scene and his wide was Chairman of the Touring Committee (of which experience commanded the highest respect in th e he remains a member) and Deputy Chairman of th e world of music from which the Arts Counci l Music Advisory Panel . Lady Vaizey was Chairman greatly benefited . During his time at the Council of the Arts Films Committee and Deputy Chairma n there took place a growth of activity in danc e of the Art Advisory Panel. Miss Page continues in which can only be described as explosive. John membership of the Dance Advisory Committee an d Cruft played an important part in not onl y the Touring Committee . encouraging this growth but also in securing from the Council the necessary funds to nurture it . His The following were appointed as new Counci l retirement will be regretted by everyone in musi c members: and dance who knows him, as much as by all hi s Bernard Atha, Principal Lecturer in Business many friends at 105 Piccadilly . Studies at Huddersfield Technical College, and a member of Leeds City Council The Council has decided for the time being not to Noel Goodwin, Associate Editor of Dance and appoint a successor to Mr Cruft and Eri c Dancers, and a writer on music and danc e Thompson will be Acting Music Director an d Robin Guthrie, Assistant Director of Social Work Jane Nicholas will be Acting Director : Dance. Services, at the Department of Health and Socia l Security Honours We offer warm congratulations to the Secretary Marghanita Laski, novelist, critic, broadcaster an d - journalist. General, Sir Roy Shaw, on whom a Knighthood was conferred in the 1979 Queen's Birthday Usha Prashar, Director of the Runnymede Trust Honours Anthony Quinton, President of Trinity College , . This followed upon the award of an Oxford, philosopher and broadcaster Honorary Degree of Doctor of Letters by the Cit y University in December 1978 . Staff Our congratulations are also extended to th e Shortly after the end of the year under review the following who were honoured in the year 1979 : Council sadly had to bid farewell to two of its staff Christopher Cory, member of the Welsh Arts who have given exceptional service over a lon g Council (Mvo) period. Gerald Forty, member of the Art Advisory Panel (OBE) Angus Stirling, Deputy Secretary-General, Stanley Leppard, Arts Council Transport left in May 1979 to take up the post of Deputy Manager (BEM) 38 Council, Committees and Panel s

Council The Right Hon Kenneth Robinson Chairman (A and B) The Lord Hutchinson, QC Vice-Chairman (A and B) The Marchioness of Anglesey, CBE (A) Professor James F . Arnott, TD Bernard Ath a The Lord Balfour of Burleigh (A) Professor Alan Bowness, CBE (A and B) Melvyn Bragg (A and B) David Buckle, JP Ann Clwyd Professor Basil Deane (A and B) Noel Goodwin Professor Lawrence Gowing, CB E Robin Guthrie (A and B) Dr Richard Hoggart (A and B) Marghanita Laski James S. Morris Usha Prashar Anthony Quinton, FBA Colin Shaw (B)

A Member of the Estimates Committee B Member of the Finance and Policy Committee (England )

Housing the Arts Art Advisory Panel Committee Professor Alan Bowness Colin Shaw Chairman Chairman* The Marchioness of Anglesey Professor Lawrence Gowing The Lord Balfour of Burleigh Deputy Chairman* Professor Alan Bowness Jane Beckett John Crothers William Beech Professor Miles Danby Mark Boyl e Professor Basil Deane Stuart Brisley John English, OB E Mary Burkett, OBE* Eric Fal k Sherban Cantacuzino Victor Glasstone Peter Daviest Robin Guthrie Gerald Forty, OB E r Dr Richard Hoggar t Pat Gilmou Robert Scott Cindy Hargat e Peter Williams, OBE Adrian Henri Tim Hilton Ian Jeffrey Ian Tregarthen Jenkin Phillip King, CBE Michael Levey, MV O Myles Murphy* 39 Council, Committees and Panels

Duncan Robinson* Angela Kelly Reginald Salberg, OBE * Anne Seymour Simon Roodhouset John Scotney Julian Spalding Chris Steele-Perkins Hazel Vincent Wallace, OB E Timothy Steven s t Observer nominated by the Council of Ted Whitehead John Walke r Regional Arts Associations David Wood Michael Weaver* * Member of Drama Finance Committee * Member of Art Finance Committee Serpentine Gallery Sub-Committee t Observer nominated by the Council o f t Observer nominated by the Council of Judy Marie Chairman Regional Arts Associations Regional Arts Associations Myles Murph y Nicholas Pope New Applications and Projects Art Publishing Sub-Committee Committee Professor Alan Bowness Support Schemes for Artist s Sandy Craig Chairman Chairman Sub-Committee Gillian Davis Deputy Chairman Victor Burgin Myles Murphy Chairman Denise Coffey David Burnett William Beec h Matyelok Gibbs Sherban Cantacuzin o Stuart Brisle y Lois Lambert Judith Collins Mark Boyle Michael Knight Pat Gilmour Tony Foster t Kenneth Parrott Lisa Hendersont Cindy Hargate Professor Theodore Shan k Nick Kimberley Sarah Kent Henry Meyric-Hughe s John Maine Theatre Writing Committee Michael Raeburn t Observer nominated by the Council o f John Ashford t Observer nominated by the Council of Regional Arts Association s Nicholas Barter Regional Arts Association s Michael Billington Tony Cliff Drama Advisory Panel Exhibitions Sub-Committee Martin Esslin Professor Lawrence Gowin g Dr Richard Hoggart Chairman * Nancy Meckler Chairman Oscar Abram s Benedict Nightingal e Jane Beckett Robert Aldous John Scotney Frederic Gore Nicholas Barte r Ann Scott Robert Hopper John Russell Brown * Keith Williams Ian Jeffrey Gerald Chapman Ted Whitehea d Michael Levey Denise Coffey B. A. Young Judy Marie Sandy Craig* Margaret McLeod Gillian Davis * Literature Advisory Panel Richard Morphet Jane Edgeworth, MB E Anne Seymour Martin Esslin, OB E Melvyn Bragg Chairman* Julian Spaldin g Dr Gareth Lloyd Evans Brian Aldiss Timothy Stevens Edward Fox Margaret Forster* Miranda Strickland-Constabl e Matyelok Gibb s Robert Gavron Michael Hammet t Elizabeth Jane Howard Photography Sub-Committee Michael Knight Miles Huddleston Michael Weaver Chairman Lois Lambert Michael Launchbury t Stevie Bezencene t Marghanita Laski Professor Graham Marti n Victor Burgin Andrew Leigh K. R. McColvin, FLA Bryn Campbell Patrick Masefiel d Dr Graham Nicholl s Paul Carter Benedict Nightingale* Isabel Quigly Mark Haworth-Booth Gloria Parkinso n Jon Silkin Paul Hill Stephen Remington Christopher Sinclair-Stevenson* 40 Council, Committees and Panels

C. Somerville General Sub-Committee Professor David Blake Fraser Steel* Professor Basil Deane Chairman John Casken Anthony Thwaite* Gordon Crosse Gordon Clark Fay Weldo n Nicholas Kenyon Gordon Crosse John Whitley Gerald McDonal d Professor Basil Deane * Member of Literature Finance Nigel Osborne David Drew Committe e Dr John Paynter Dave Gelly t Observer nominated by the Council of Dr Denis Smalley Barry Guy Regional Arts Association s Barry Iliffe Jazz Sub-Committee Nicholas Kenyon National Manuscript Collectio n Dave Gelly Chairman Jolyon Laycock of Contemporary Writers Ron Atkins Gillian Longfield t Committee Clifford Bevan Dennis Mark s Tony Cash Dr Philip Larkin, CBE Chairman Professor William Mathias Ian Angu s Tony Faulkne r Bayan Northcott Nicholas Barker John Fordham Nigel Osborne Douglas Cleverdon Evan Parker Evan Parke r W. Hilton Kelliher Howard Riley Anthony Pa y P. E. Tucker Art Themen Dr John Paynter Dr D. P. Waley Richard William s Tim Souster Norma Winstone Eric W. White, CB E Ann Stangar Opera Sub-Committee John Tilbury Music Advisory Panel Professor Basil Deane Chairman t Observer nominated by the Council of Ronald Kinloch Anderson Professor Basil Deane Regional Arts Association s John Cox Chairman* n n Ronald Crichto Arts Films Committee Noel Goodwi Eric Falk Deputy Chairman * Anthony Quinton Chairman e Elizabeth Forbe s Ian Barker Gordon Cross Noel Goodwi n Eric Falk Pauline Tinsley Barry Callaghan Dave Gelly* Ian Christie n Walter Todd s Roger Crittenden Eli Gore CB E Clifton Helliwell Helen Watts, Phillip Drummond Barrie Iliffe Recording Sub-Committe e Jack Gold Philip Jones, OB E Professor Basil Deane Chairman Mark Kidel Nicholas Kenyo n Ronald Kinloch Anderso n Christopher Mason Vyakarnam Lakshmipathy James Burnett Edwin Mullin s Gillian Longfieldt Leslie Gould Karel Reis z Gerald McDonal d Barrie Iliffe Anne Seymou r Nigel Osborne* Bayan Northcott Nancy Thomas Evan Parker Dr Denis Smalley e Dr John Paynter Tim Souster Artists Films Sub-Committe A. D. Pope Arnold Whittall Ian Christie Chairman Dr Denis Smalley* Deke Dusinberre John Thomson International Society Simon Field Pauline Tinsley for Contemporary Music David Hall Walter Todds* (British Section) Jonathan Harvey * Member of Music Finance Committe e Dr Denis Smalley Chairman Laura Mulvey t Observer nominated by the Council o f Dr Stephen Arnold Al Rees Regional Arts Associations David Bedford Liz Rhodes 41 Council, Committees and Panels

Dance Advisory Annette Page Gloria Cameron Committee Linda Robinson Ron Dilleigh Ronald Smedle y Derek Jones Peter Williams, OBE Chairman Kathryn Wad e Carol Kenna Val Bourne t Damian Killeen Louise Browne, OB E t Observer nominated by the Council of Trevor Lancaster Siobhan Davies Regional Arts Association s Charles Parker John Drummond o Observer nominated by the Inner Tim Pearce Margaret Dunn London Education Authorit y Anne Pierson Jane Edgeworth David Powell John Field, CBE Dave Ricku s Noel Goodwin Regional Committee Frank Rowntree Stuart Hopps Pippa Smith Elroy Joseph s Robin Guthrie Chairman Francis J. Amos David Thomas Keith Lester Peter Thomson Maude Lloyd Robert Atkins Professor Harold Baldr y Dame Alicia Markova, DBE Monica Mason John Crothers Richard Digby Day Research Advisory Jan Murray Group Annette Page Bill Forster Denys Hodson Colin Shaw Chairman Derek Jone s t Observer nominated by the Council of Paul Filmer Sandy Nairne Regional Arts Association s Professor M. Nissel Geoff Simst Professor B. S. Yamey New Dance and Mim e Dr Robert Woof Sub-Committe e Noel Goodwin Chairman t Observer nominated by the Council of Special Application s Val Bourne t Regional Arts Associations Committee Kate Flatt Professor Lawrence Gowing Stuart Hopps Arts Centres Sub-Committee Chairman Elroy Josephs Bill Forster Chairman Peter Blackman Dick Matchett Alan Daiches Anthony Everitt Jan Murra y Philip Ellis Adrian Henri Joseph Seelig Naseem Kha n Sarah Hoskingt Sheila Stewart Harold Mark s Lois Lambert Lenny Westerdijk Patrick Boyd Maunsel l Evan Parker Sandy Nairne Sheila Stewart t Observer nominated by the Council o f Tim Souster Fay Weldon Regional Arts Associations Arts Festivals Committee t Observer nominated by the Council of Dance Theatre for Young Peopl e Robin Guthrie Chairman Regional Arts Association s Sub-Committee Christopher Fiel d Stuart Hopps Chairman Bill Forster Val Bourne t Leonard Pearce y Touring Committee Jo Butterworth Luke Rittner Professor Basil Deane Chairman John Chapman David Becton Felix Cobbson Community Arts Committee Micha Bergese Margaret Dunn Robin Guthrie Chairman David Brierley Molly Kenn y James Berry Brian Dickie Joan McLaren o Bryan Blumer Paul Findlay 42 Council, Committees and Panels

Thomas Hemsley Richard Coverley Peter Howell Jonathan Lynn Harriet Cruickshank Edward Petherbridg e John Manduell Sue Davies Owen Reed Annette Page Zuleika Dobson Sheila Reid Clive Perry Petra Dolby Nigel Rideout Robert Scott Gavin Henderson Prunella Scales Peter Tod Nicholas James Guy Slater Timothy West Leslie Lawton Clive Swift Dick Matchett Wendy Toye Nominated by Regional Julian Spalding Herbert Wise Consultative Committees : Freda Steel Roger Bull South West Judith Vickers Technicians and Stage Michael Grayson North East Andrew Welch Management Working Grou p Stephen Hargreaves West Rodney West Michael Williams Chairman Midlands Brian Benn Roy Nevitt East Midlands Douglas Cornelisse n Kenneth Parrott North West Designers Working Group Anthony Easterbroo k Stephen Remington Eastern John Gunter Chairman Tim Foster David Sandford Yorkshire Michael Annals Russell Hills Nigel Stannard South David Cockayne Ken Lidstone Stephen Doncaster Tom Macarthur William Dudley Geoffrey Mercerea u Nicholas Georgiadis Virginia O'Brie n Training Committee John Halle Tom Povey Owen Reed Chairman Pamela Howard Michael Reese Oscar Abrams Jane Howell Michael Barnes Patrick Robertson Stuart Burge, CBE Di Seymour Scottish Arts Council Mary Burkett Annena Stubbs Zuleika Dobson Lord Balfour of Burleigh Stephen Doncaster Directors Working Group Chairman Bill Dufton Clare Venables Chairman James Morris Vice-Chairman John Field Michael Attenborough Professor James Arnott John Gunter Nicholas Barter Tom Alexander John Harrison John Blatchley Eluned Brow n Felicity Harvest Bill Bryden Janey Bucha n Leigh Howard John Harrison David Dorward Tom Macarthur David Holman Charles Drury Gerald McDonald Mike Leigh Ross Flockhart Caroline Phillips June Mitchell Joe Gerber Usha Prashar Elijah Moshinsky Martin Heller Prunella Scales Rodney Natkiel Professor A. N. Jeffares Clive Smart Caroline Smith Tom Laurie Clare Venables Jeff Teare William McCu e Fay Weldon Anthony Tuckey John Murray Michael Williams Hugh Rae Performers Working Group Michael Spens Administration Sub-Committee Leigh Howard Chairman Colin Thompson Clive Smart Chairman Marty Cruickshank Sheriff Nigel Thomso n Robert Corder Ron Daniels Harold Wilkinson 43 Council, Committees and Panels

Finance and Policy Committee John Nicholl Book Awards/New Writing Lord Balfour of Burleigh Paul Overy Awards Reading Panel Chairman Hugh Rae Chairman Professor James Arnott Awards To Artists Panel Valerie Gillie s Ross Flockhart Beth Fisher Chairman Bette Stevenson Professor A. N. Jeffares Denis Buchan Marshall Walker James Morris George Donald Rory Watso n Sheriff' Nigel Thomson Maureen Hodge John Houston Grants to Publishers Panel Regional Development Gerald Laing Hugh Rae Chairman Sub-Committee Lynda Myles Donald Campbel l Ross Flockhart Chairman Douglas Gran t Tom Alexander Drama Committee Allan Massie Denis Barns Professor James Arnott Chairman Ian Murra y Janey Buchan Kirsten Adam Isobel Murray David Cunningham Eluned Brown Andrew Walls Charles Drury Writers Bursaries Pane l Harold Wilkinson Tom Gallacher George Bruce Joe Gerber Dorothy Dunnet t Mixed Programme Roderick Graham Donald MacAulay Sub-Committee Martin Heller Bernard MacLaverty Ross Flockhart Chairman Tom Laurie Willis Pickar d Tom Alexander Irene Sunters Tom Laurie Music Committee James Logan Mime Bursaries Panel Sheriff Nigel Thomso n Peter Potter Professor James Arnott Chairman Chairman Eluned Brown Peter Branscombe Housing the Arts Committee Martin Heller Eluned Brown Lord Balfour of Burleigh Evelyn Langlands David Dorward Chairman Peter Lincoln David Lumsden Professor James Arnott Irene Sunters William McCu e Ross Flockhart Professor A. N. Jeffares Trainee Directors Panel Professor Peter Lord Professor James Arnott Welsh Arts Council James Morris Chairman The Marchioness of Anglesey Sheriff Nigel Thomson Roderick Graham Chairman* Martin Heller Ann Clwyd Vice-Chairman* Art Committee Dr Kenneth Ireland Ewart Alexander James Morris Chairman Joan Knight Dr Peter Cannon-Brookes Tom Alexander Peter Lichtenfels W. B. Cleaver* Beth Fisher Robert Robertson Christopher Cory, Mvo* John Houston D. Ivor Davies, MB E Gerald Laing Raymond Edwards, OB E Robert Logan Literature Committee Dai Francis Ronald Pickvance Professor A. N. Jeffares Chairman Peter Gould Michael Spens Valerie Gillies Judge Bruce Griffiths, QC * Colin Thompson Colin MacLean Ken Hopkins* John Murray Robert Hunte r Art Publishing Panel Hugh Rae Professor Bedwyr Lewis Jone s Ronald Pickvance Chairman Marshall Walker Mairwen Gwynn Jones 44 Council, Committees and Panels

Roland Mathias* Ewart Alexander Dr Prys Morgan Vice-Chairman Professor William Mathias Jo Barnes Graham Allan Professor Moelwyn Merchan t Emily Davies Don Dale-Jones Dr Prys Morgan D. Ivor Davies Jennie Eirian Davies D. Morley-Smith Raymond Edwards Walford Davies Lord Parry* Frank Evans Robin Gwyndaf Neil Rees* Dai Francis Branwen Jarvis Derrick Turner* Branwen Iorwert h Mairwen Gwynn Jones Professor Glanmor William s Norah Isaa c Roger Stephens Jones Professor J. Gwynn Williams Peter J. Law Dr Bernard Knigh t John Roberts Williams Christopher Nicholls Professor Brian Morris Lord Parry * Member of the Finance and Genera l Michael Povey Purposes Committee Diane M . Russell Ned Thomas Meurwyn Thomas Roy Thomas Art Committee Professor J . Gwynn William s Gethin William s Judge Bruce Griffiths Chairman Panels of the Drama Committee : John Roberts William s Robert Hunter Vice-Chairman Dance Panel Lewis Allan Young People's Theatre Panel Panels of the Literature Committee : Dr Peter Cannon-Brookes Grants to Publishers Panel Evan Charlton The following, who are not members Children 's Books Pane l W. B. Cleaver of the main Committee, serve on a Graham Gilchrist Panel: The following, who are not member s Shelah Hourahane Godfrey Evans of the main Committee, serve on a Professor Moelwyn Merchan t Ruth Greatere x Panel: Allan Pemberton Gale Law Roger Boore Peter Prendergast Teifryn Michae l Rhiannon Clifford Jone s Tony Stevens Peter Murph y Sally Roberts Jones Jeremy Theophilus Dilys Price Geraint Lewis Derrick Turner John Prior John Rhys Kyffin William s Christopher Speyer Alan Storey Music Committee Panels of the Art Committee : Film Committe e Christopher Cory Chairman Artists' Panel Ann Clwyd Chairman Malcolm Boyd Exhibitions Pane l Charles Roebuck Vice-Chairman John Huw Davie s Mik Flood John S. Davies Craft Committee Ken Hopkin s Peter Gould Derrick Turner Chairman Harley Jones Dr David Harries Noel Jerman, CBE Vice-Chairman Richard Lewis Ken Hopkin s Jeff Clements Laurie McFadden George Jacque s John Eynon Chris Monge r Arnold Lewis . David Frith Norman Schwenk David Mansel "Lewis David Jones Peter Stead Professor William Mathia s Sasha Kaga n Colin Voisey Professor Moelwyn Merchant David Petersen Euryn Ogwen Williams David Morley-Smit h Geoff Swindell John Roberts Williams Robin Orr, CB E Professor Glanmor William s John Hugh Thoma s Literature Committee Drama Committee Roland Mathias Chairman Panels of the Music Committee: Neil Rees Chairman Professor Bedwyr Lewis Jone s Recordings Pane l W. B . Cleaver Vice-Chairman Vice-Chairman A wards for Advanced Study Panel 45 Arts Council of Great Britain

Chairman The Right Hon Kenneth Robinso n Vice-Chairman The Lord Hutchinson, Q C

Staff

HEADQUARTERS Secretary-General Sir Roy Shaw, D . Litt 105 Piccadilly Deputy Secretary-General Richard Pulford London W IV OAU Finance Director Anthony Field, FCA 01-629 9495 Art Director Joanna Drew Drama Director J. R. H. Faulkne r Deputy Drama Director D. G. Andrews Acting Music Director Eric Thompson, OBE Acting Director : Dance Jane Nichola s Literature Director Charles Osborn e Director of Touring Jack Phipps Adviserfor Festivals and External Matters K. H. Jeffery Assistant Secretary Lawrence Mackintos h Accountant David Pelham, FCA

SCOTLAND Director Alexander Dunbar 19 Charlotte Square Deputy Director Harry McCann Edinburgh EH2 4DF Art Director Philip Wright 031-226 6051 Music Director Christie Duncan Drama Director A. Wraight Literature Director Walter R. Cairns Development Director J. W. Murphy Finance Assistants Alex J. Murdoch, John F. Hall

WALE S Director Aneurin Thomas Holst House Music Director Roy Bohana Museum Place Drama Director Gillian Adam s Cardiff CFI 3NX Art Director Peter Jones Cardiff (STD 0222) 39471 1 Literature Director Meic Stephens Director: Finance and Administration Adrian Tricke y Film Services Organiser Martyn Howell s Craft Officer Roger Lefevre

46 Annual accounts for the year ended 31 March 197 9

49 Finance Director's Notes

50 Arts Council of Great Britain account s

82 Scottish Arts Council accounts

102 Welsh Arts Council account s

117 Table A Awards

125 Table B Housing the Arts

127 Table C Theatre Writing Schemes

135 Table D National Manuscript Collection of Contemporary Writer s

136 Table E Special Funds Beneficiarie s H. A. Thew Fund Henry and Lily Davis Fun d Guilhermina Suggia Gift for the 'Cello The Miriam Licette Scholarshi p Dio Fund Mrs Thornton Fund

137 Table F Art Exhibitions

141 Table G Contemporary Music Network

142 Table H Subsidies to Regional Arts Associations

47

Finance Director's Notes

I 7 The Government was unable to pay part of th e The subsidies listed in Schedule 3 for Regional Art s Grant-in-aid voted by Parliament for 1978/79 . The Associations comprise the Associations ' total. Council therefore negotiated an overdraft i n subsidies for the year including the additional fund s anticipation of receiving this sum in 1979/80. This made available by the Council for a range and unpaid Grant-in-aid (£1,525,000) is shown variety of schemes and activities . These Schedule 3 separately on the Balance Sheet. figures are analysed in Table H at the end of the accounts section of this report .

2 8 The Balance Sheet records that there was a further The Welsh Arts Council accounts include amount s net increase in the deficit on the management of the received from the British Film Institute and th e freehold property known as Covent Garden Crafts Advisory Committee. The Welsh Arts extension lands. During the year the property Council has discretion in the distribution of thes e management was transferred to the Covent Garde n funds within the specified art form . It should be Extension Lands Trust (in Formation). The understood that in the event of these sums no longe r accumulated deficit will be a first charge on future being available from the original distributing body, surpluses accruing to the Trust . there is no certainty of a continuity of activities so subsidised. 3 A transfer of £22,825 from the Reserve for Special 9 1 Art Projects was used during the year to finance a At 31st March 1978 there were two loans shown o n number of activities including the preparation of a the Balance Sheet as being unsecured. During the catalogue of the Arts Council Collection of Work s year security was arranged in respect of one and it is of Art, for publication of Photography books , anticipated that the other loan of £ 18,000 will b e improvements to the Usher Gallery, Lincoln an d secured before 31st March 1980. improvements to the Sunderland Arts Centre exhibition area . 10 The Council received various donations fro m 4 legacies during the year. These sums have bee n The Council promoted the 1978 Wigmore Hal l aggregated and shown on the Balance Sheet as a Summer Festival at a net cost of £13,555 as show n Special Donations Reserve . It is expected that in Schedule 1 . settlement of these legacies will have been complete d by 31st March 1980 by which time it is intended to allocate these amounts in full. 5 The subsidy made available to English Nationa l Opera North during 1978/79 was £600,000. This sum is included in the total sum shown on Schedule 3 as having been offered to English National Opera (the incorporated body responsible for the activities of its Northern company).

6 The Touring section of Schedule 3 lists thos e organisations which received subsidy for tourin g only. Touring activities which are a part of a total annual programme of many other music, dance an d drama organisations are included in figures shown i n those sections of Schedule 3. 49

Arts Council Income and Expenditure Account of Great Britain for the year ended 31 March 1979

1978 1979

Income 41,725,000 Parliamentary Grant in Aid 51,800,000 Provision for grants and guarantee s 208,197 . in previous year not required 152,662 Transfer from reserve for special 11,940 art projects 22,825 Transfer from reserve for capital 22,102 expenditure 6,946 Miscellaneous income 62,476 Bank and investment 136,197 6,847 Donations 7,590 10,623 Realisation of assets 1,236 5,563 Sundry 13,91 1 85,509 158,934

42,052,748 52,141,367

Less Expenditure England General expenditure on the arts (se e 32,201,618 Schedule 1) 39,970,91 0 1,419,704 General operating costs (see Schedule 2) 1,774,645 Capital expenditure transferred t o 137,003 capital account 248,98 5 - Special Donations reserve 6,188 6,946 Provision for capital expenditure 25,442

33,765,271 42,026,170

Scotland 5,028,500 Grant to Scottish Arts Council 6,182,50 0

Wales 3,280,322 Grant to Welsh Arts Council 3,938,000 42,074,093 52,146,670

(21,345) Excess of expenditure over income sus Add Balance brought forward at 257,151 1 April 1978 2359806

£235,806 Balance carried forward to Balance Sheet £2309503

50

Arts Council of Great Britain Balance Sheet at 31 March 197 9

1978 1979 £ £ £ £ Fixed Assets (see Note 1 ) 3,256,753 Freehold property 3,256,75 3 164,138 Leasehold property improvements 263,895 117,812 Office equipment 142,589 21,444 Art exhibition equipment 31,062 15,241 Concert hall equipment 15,726 1,485 Stores equipment 2,075 24,453 Motor vehicles 29,798 100 Cello 100 17,004 Film equipment 19,199 449,477 Works of art 523,94 1

4,067,907 4,285,13 8 Current Assets Loans Secured loan s 397,792 Balance at 31 March 1978 761,942 405,250 Add Loans made during year - Loan secured during year 60,000

8U3,U42 Z5Z 1,942 41,100 Less Repaid during year 149,200 - 761,942 672,742 78,000 Loan to be secured 18,000

Investment s 4;% British Electricity guaranteed 2,419 stock 1974/79 (market value £2,804) 2,419 5% Treasury stock 1.986/89 647 (market value £531) 64 7 Equities Investment Fund for Charitie s 3,082 (market value £9,861) 3,082 6,148 - 6,148

Stock 1,416 Films 12,630 206,123 Publications and shops 208,768 2,033 Bar 1,122 209,572 222,520 Amount earmarked by the Council from the Grant in Aid in the Parliamentar y Estimates for 1979/80 to meet unmatured 1,400,000 commitments 2,725,000 - Grant in aid not received at 31 March 1979 1,525,000

6,523,569 Carried forward 9,454,54 8

5 1

Balance Sheet Arts Council of Great Britain

1978 1979

6,523,569 Brought forward 9,454,54 8

Debtors and prepayment s 249,075 Grants and guarantees paid in advance 764,730 65,331 Expenditure on future exhibitions 92,51 2 232,893 Sundry debtors and prepayments 225,405 Grant paid in advance to Welsh Arts - Council 100,000 547,299 1,182,64 7 493,205 Cash at bank and in hand 8,908 Cash held on behalf of the London Celebrations Committee for the Queen's 73,133 Silver Jubilee -

7,637,206 Total fixed and current assets 10,646,10 3

Less Current Liabilities Grants and guarantees outstanding 3,783,402 2,454,395 Sundry creditors and accrued liabilities 675,83 3 757,182 Bank overdraft 1,513,01 1 - Grant due to Scottish Arts Council 87,000 - Grant due to Welsh Arts Council 25,000 - Funds due to the London Celebrations Committee for the Queen's Silver 73,133 Jubilee - 3.2R4.710 6.084.246

4,3JL,4`/0 4,J01,o J 172,428 Special funds net assets (see Schedule 5) 173,992

£4,524,924 Total Net Assets £4,735,849

Capital account 3,937,243 Balance at 31 March 1978 4,067,90 7 Add Capital expenditure transferre d from income and expenditure 137.003 account 248,985

4,V /4,L4o 4,J 10,07 L Less Book value of assets sold or 69339 written off 31,754

4,067,907 Carried forward 4,285,13 8

52

Balance Sheet Arts Council of Great Britain

1978 1979 £ £ £ £ 4,067,907 Brought forward 4,285,13 8 235,806 Income and expenditure account 230,503 72,288 Reserve for special art projects 49,463 6,946 Provision for capital expenditure. 25,442 5,000 Provision for indemnity 5,000 - Special Donations Reserve 6,188 1,000 Provision for doubtful debts 1,000 Special funds capital and reserves 172,428 (see Schedule 6) 173,992

493,468 491,588 Less Deficit on Covent Garden 36,451 Property Management 40,877 457,017 450,71 1

£4,524,924 Total Capital and Reserves £4,735,849

Chairman: KENNETH ROBINSON Secretary-General: ROY SHAW

53 Notes to the Accounts

Items sold Book value at Additions or written Book value at Note 1 Fixed Assets 31 March 1978 at cost off 31 March 1979 Freehold property at cost £ £ £ £ Covent Garden Property 3,150,058 3,150,05 8 5 Record Street 106,695 106,69 5 Leasehold property improvement s at cost 105 Piccadilly 45,183 6,771 51,954 Hayward Gallery 58,429 3,801 62,230 28 Sackville Street 28,376 70 28,446 - Wigmore Hall 22,251 22,25 1 Serpentine Gallery 459 459 5 Record Street 9,440 603 10,043 9 Long Acre - 18,113 18,113 8 Long Acre - 98,845 98,845 Office equipment at valuation at 31 March 1956 and at cost 117,812 26,716 1,939 142,589 Art exhibition equipment at valuation at 31 March 195 6 and at cost 21,444 9,618 31,062 , Concert hall equipment a t valuation at 31 March 195 6 and at cost 15,241 485 15,726 Stores equipment at cost 1,485 590 2,075 Motor vehicles at cost 24,453 5,499 154 29,798 Cello at valuation at 31 March 1960 100 100 Film equipment at cost 17,004 3,410 1,215 19,199 Works of art at cost 445,777 67,797 513,574 Photographs at cost 3,700 6,667 10,367

£4,067,907 £248,985 £31,754 £4,285,138

Note 2 Accounting Policies The Accounts of the Council have been prepared under the historical cost convention and incorporate the following accounting policies: (i) The Parliamentary Grant in Aid is issued to meet the Council's expenditure falling due for paymen t during the financial year including payments to meet commitments incurred in a previous year . The Council may incur commitments during a financial year in the full knowledge that they will not fall du e for payment until the following financial year and will have to be met from that year's Parliamentar y Grant in Aid. The Income and Expenditure Account includes as expenditure the total commitment s incurred during the financial year, and under income the total amount of Grant in Aid allocated to mee t those commitments including a sum earmarked by the Council from the following year's Parliamentar y Grant in Aid. This sum is shown as an asset in the Balance Sheet . 54

Notes to the Accounts Arts Council of Great Britain

(ii) Grants and guarantees are charged to the Income and Expenditure Account in the year for which they are undertaken as a commitment by the Council on the basis of a formal offer to and acceptance by th e Council's clients. Any amounts unpaid from these commitments are shown as liabilities on the Balance Sheet and any advance payments to clients in anticipation of the grants and guarantees to be offered for the following financial year are shown in the Balance Sheet as assets . (iii) Expenditure on the provision of fixed assets is charged to the Income and Expenditure Account, but th e resultant assets are shown in the Balance Sheet at cost with a corresponding addition to the Capita l account. The value of any fixed assets disposed of during the financial year is eliminated from the Balance Sheet with a corresponding reduction in the Capital account. (iv) No provision is made for the depreciation of fixed assets ; any expenditure on additions and renewals i s charged to the Income and Expenditure Account . (v) All stocks are valued on a .unit cost basis at the lower of cost and estimated net realisable value . Note 3 Indemnities entered into by the Arts Council of Great Britain in respect of objects borrowed fo r exhibition purposes totalled not more than £9,415,419 at 31 March 1979. Note 4 Contingent liabilities in respect of Housing the Arts in England, Scotland and Wales totalled £1,788,500 at 31 March 1979 .

I have examined the foregoing Income and Expenditure Account, Balance Sheet and Notes to the Accounts . I have obtained all the information and explanations that I have required and I certify, as the result of m y audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an d fair view of the transactions of the Arts Council of Great Britain and of the state of their affairs.

Exchequer and Audit Department Signed: Douglas Henley 24 August 1979 Comptroller and Auditor General

55

Schedule 1 General Expenditure on the arts in England for the year ended 31 March 197 9

The Royal Opera, English National Opera, The Royal Ballet, National Theatre and Roya l Shakespeare Companies (see Schedule 3) 14,379,98 6

Music and Dance Grants and guarantees (see Schedule 3) 5,032,74 6 Contemporary Music Network scheme expenses 17,158

Opera for All : Expenditure 75,003 Less Income 21,736 Less VAT 1,610 20,126 54,877

Wigmore Hall : Expenditure 102,972 Less Income 54,40 1 Less VAT 665 53,736

49,236 Less Surplus on Wigmore Hall catering 5,208

44,028 Wigmore Hall Summer Festival 13,555 57,583 5,162,364

Drama Grants and guarantees (see Schedule 3) 7,360,85 7 Scheme expenses 4,356 7,365,21 3

Touring Grants and guarantees (see Schedule 3) 1,984,67 9 Publicity, salaries and sundry expenses 115,231 2,099,91 0

Carried forward 29,007,473

56

Schedule I Arts Council of Great Britai n

Brought forward 29,007,47 3 Art Grants and guarantees (see Schedule 3 ) 970,184 Net cost of exhibitions (see Schedule 4 ) 721,39 1 Hayward Galler y 238,338 Serpentine Gallery 31,599 1,961,51 2

Arts film tours : Expenditure 26,23 8 Less Income 7,846 Less VAT 581

18,973

Arts films: Production expenditure 274,828 Other activities Expenditur e 53,140 Less Income 42,430 Less VAT 2,046

12,756 Publications and promotion s 2,295,00 1

Literature Grants and guarantees (see Schedule 3 ) 508,91 7 Poetry librar y 7,23 1 Writers' tours 3,944 Writers in schools 12,288 Publications and promotions 578,527 Festivals Grants and guarantees (see Schedule 3 ) 302,288 Regional Arts Association s Grants and guarantees (see Schedule 3 ) 5,202,38 1 Arts Centres and Community Projects Grants and guarantees (see Schedule 3 ) 1,038,450 Education in the Art s Grants and guarantees (see Schedule 3 ) 425,079 Short Courses and Training Schemes expense s 432,693

Carried forward 38,856,81 3

57

Schedule 1 /Schedule 2 Arts Council of Great Britain

Brought forward 38,856,81 3

Reports and Surveys 15,598 Publication s Expenditure, including operating cost s 231,677 Less Income: Arts Council Shop 105,147 105 Piccadilly 65,388 Gallery bookstalls 63,125

233,660 Less VAT 4,982 228,678 2,999 Housing the Arts Grants (see Schedule 3 ) 1,095,500

Net expenditure as Income and Expenditure Account £39,970,910

Schedule 2 General operating costs in England for the year ended 31 March 1979

Salaries and wages 959,807 Arts Council of Great Britain Retirement Plan 144,273 Travelling and subsistence 83,275 Rent and rates 218,968 Fuel, light and house expenses 72,391 Publicity and entertainment 58,880 Postage and telephone 64,840 Stationery and printing 38,366 Professional fees 26,119 Enquiries, investigations and research 39,44 7 Office and sundry expenses 68,279

Total as Income and Expenditure Account £1,774,645

58

Schedule 3 Grants and Guarantee s for the year ended 31 March 1979 (including subsidies offered but not paid at that date)

National Companies £ £ English National Opera 3,665,000 National Theatre Board 3,401,500 Royal Opera House, Covent Garden Limited 5,475,00 0 Royal Shakespeare Theatre 1,838,486

Total as Schedule 1 £14,379,98 6 Music and Dance Opera English Music Theatre Company Limited 100,000 Handel Opera Society 28,000 Intimate Opera Society Limited 1,750 London Opera Singers Limited 13,000 New Opera Company Limited 30,000 Opera Players Limited 4,100 Regional Opera Trust Limited (Kent Opera) 335,000 University College London Opera 1,700 513,550

Dance and Mime Association of Dance and Mime Artists 2,000 Ballet for All 67,000 Ballet '79 450 Basic Space Dance Theatre 4,000 Bournemouth Festival of Dance 325 Cambridge Contemporary Dance Group 370 Cockpit Theatre and Arts Workshop (London Mime Festival) 3,000 Contemporary Dance Trust Limited 292,000 Craig Givens Group 300 Cycles Dance Company 350 Dance for Everyone Limited 16,000 Dancers Anonymous 680 Dance Umbrella '78 3,51 5 Dancework . 550 Douglas Stuart Group 380 Educational Dance-Drama Theatre Limited 19,500 Extemporary Dance Trust 11,750 Grogan, Greenwood and Tufnell Dance Company 500 Harold King 97 Horseplay Group 200 Ian Spink Group 1,500 India Music 80 Junction Dance Company 3,000 Kate Flatt Project 1,100 Kickstart 100

Carried forward 428,747 513,550 59

Schedule 3 Arts Council of Great Britain

£ £ Brought forward 428,747 513,550 London Festival Ballet Trust Limited 450,000 MAAS Movers 1,820 Mary Longford Group 750 Mercury Theatre Trust Limited (Ballet Rambert) 317,000 Mime and Movement Trust (Moving Picture Mime Show) 6,000 Moving Visions Dance Theatre 3,250 Northern Ballet Theatre Limited 232,000 Penny Ward Group 200 Rosemary Butcher Dance Company 7,000 Tamara McLorg 275 Tara Rajkumar 1,850 X6 Dance Space 3,000

1,451,892 Dance: Awards to Artists 17,262 1,469,154 Orchestral and other concerts Albion Music 4,213 Ark 1,100 Brighton Philharmonic Society Limited 16,000 Bristol Musicians Collective 475 CBSO Society Limited 270,000 Company 11,152 Contemporary Concerts Co-ordination 2,000 Cusacks Improvisation Group 620 Eastern Authorities Orchestral Association 80,000 Electric Phoenix 800 English Sinfonia Limited 22,000 Group Projeks 500 Halle Concerts Society 255,000 Haydn-Mozart Society 20,000 Impetus Publications 2,200 Ivory Management 1,125 Jabula 97 Jazz Centre Society Limited 56,500 John Woolf 900 Joy 3,793 Jubiaba 7,31 5 Landscape 3,896 Latvian National Council 200 Lindsay String Quartet 4,785 London Latvian Choir 175 London Music Digest Limited 10,100 London Orchestral Concert Board Limited 742,000 London Voices 450 Major Surgery 900

Carried forward 1,518,296 1,982,704 60

Schedule 3 Arts Council of Great Britain

Brought forward 1,518,296 1,982,704 Marilyn Minns and Robert Sherlaw Johnson 400 Mike Gibbs Orchestra 16,246 Mike Westbrook Brass Band 775 Music Context Festival 2,300 Music Projects 1,000 Nash Ensemble Productions Limited 20,665 National Federation of Music Societies 270,000 National Trust Concerts Society Limited 1,000 New MacNaghten Concerts Limited 9,497 New Music Formation 200 Nexus 11,372 Noelle Barker and John Constable 7,880 Northern Sinfonia Concert Society Limited 123,299 Park Lane Group Limited 10,174 Philip Jones Brass Ensemble, Roger Woodward and Guy Protheroe 12,80 1 Redbrass 5,000 Refleks 75 Royal Liverpool Philharmonic Society 270,000 St Bartholomew-the-Great Music Trust 3,200 Sinfonietta Productions Limited 22,506 Swift 580 Thames Concerts Society 2,750 Warsaw Music Workshop 7,750 Western Orchestral Society Limited 450,000 West Square Electronic Music Association 700 Windjammer 1,799 2,770,26 5 Other Activities Music : Awards to Artists 125,85 7 BBC Records 374 British Music Information Centre 7,000 Contact 2,400 Decca Record Company Limited 30,000 Early Music Centre 8,300 Electro-acoustic Music Association of Great Britain 14,720 Folk Review Limited 1,200 Leader Sounds Limited 1,000 London Musicians Collective 5,167 Music Bibliography Group 13 5 National Music Council of Great Britain 550 Pianos: British Music Society of York 4,000 City of Cambridge 6,500 Isle of Wight County Council 4,966 National Federation of Music Societies 1,000 16,466 Spotlite Records 1,808

Carried forward 214,977 4,752,969 6 1

Schedule 3 Arts Council ofGreat Britain

£ £ Brought forward 214,977 4,752,96 9 Sun Environmental Events and Musicmontage 300 Unicorn Records Limited 12,500 Youth and Music Limited 52,000 279,77 7

Total as Schedule 1 £5,032,746

Drama Building-based companies Basingstoke : Horseshoe Theatre Company Limited 35,000 Birmingham Repertory Theatre Limited 240,900 Bolton : Octagon Theatre Trust Limited 77,000 Bristol Old Vic Trust Limited 270,000 Bromley: Churchill Theatre Trust Limited 55,000 Canterbury Theatre Trust Limited 57,000 Chester : Gateway Theatre Trust Limited 50,31 5 Chichester Festival Theatre Productions Company Limited 3,000 Colchester Mercury Theatre Limited 112,000 Coventry : Belgrade Theatre Trust (Coventry) Limited 122,000 Crewe Theatre Trust Limited 48,000 Derby Playhouse Limited 95,000 Exeter : Northcott Devon Theatre and Arts Centre 112,000 Farnham Repertory Company Limited 76,500 Gloucestershire Everyman Theatre Company Limited 65,000 Guildford: Yvonne Arnaud Theatre Management Limited 76,000 Harrogate (White Rose) Theatre Trust Limited 81,000 Ipswich Arts Theatre Trust 74,000 Kingston: Overground Theatre Company Limited 27,000 Lancaster : The Duke's Playhouse Limited 77,000 Leatherhead: Thorndike Theatre (Leatherhead) Limited 109,000 Leeds Theatre Trust Limited 135,100 Leicester Theatre Trust Limited 289,660 Liverpool: Merseyside Everyman Theatre Company Limited 97,180 Liverpool Repertory Theatre Limited 166,000 London : Alternative Theatre Company Limited 53,562 Camden Playhouse Productions Limited 46,200 Caryl Jenner Productions Limited 110,320 The Combination Limited 61,980 English Stage Company Limited 305,000 Greenwich Theatre Limited 77,120 Half Moon Theatre Limited 54,300 Hampstead Theatre Limited 56,100 Homchurch Theatre Trust Limited 82,000 Inter-Action Trust Limited 70,000 King's Head Theatre Productions Limited 23,500

Carried forward 3,490,73 7 62

Schedule 3 Arts Council of Great Britai n

Brought forward 3,490,73 7 Mermaid Theatre Trust Limited 98,000 National Youth Theatre of Great Britain (Dolphin Company) 40,000 New Shakespeare Company Limited 37,000 Oval House 30,000 Pioneer Theatres Limited 108,765 Soho Theatre Company Limited 30,000 Young Vic Company Limited 152,050 Manchester : Royal Exchange Theatre Company Limited 216,500 Manchester Young People's Theatre Limited 55,300 Newcastle: Barras Bridge Theatre Trust 6,796 Tyne and Wear Theatre Trust Limited 75,425 Northampton Repertory Players Limited 63,000 Nottingham Theatre Trust Limited 269,835 Oldham Coliseum Theatre Limited 50,250 Oxford: Anvil Productions Limited 148,550 Plymouth Theatre Trust Limited 49,167 Richmond Fringe Limited 29,250 Rochdale : M6 Theatre Company Limited 17,000 Salisbury Arts Theatre Limited 84,000 Scarborough Theatre Trust Limited 60,250 Sheffield : Crucible Theatre Trust Limited 272,100 Southend: Palace Theatre Trust (Southend and Westcliff) Limited 43,000 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 89,160 Watford Civic Theatre Trust Limited 55,000 Worcester Arts Association (SAMA) Limited 46,000 Worthing and District Connaught Theatre Trust Limited 57,000 York Citizens' Theatre Trust Limited 107,42 1

Touring companies Avon Touring Company 39,355 Bath Arts Workshop Limited 24,000 Belt and Braces Roadshow Company Limited 58,060 Broadside Mobile Workers Theatre 25,000 Cambridge Theatre Company Limited 134,000 Clown Cavalcade Limited 15,000 The Common Stock Theatre Company Limited 29,000 Eastend Abbreviated Soap-box Theatre 12,500 Foco Novo Limited 44,125 Galactic Smallholdings Limited 53,330 Hull Truck Theatre Company Limited 47,250 Incubus Theatre Company 14,750 Interplay Trust 16,000 Joint Stock Productions Limited 56,633 LTG Adventures Limited 3,000 Lumiere and Son Theatre Company Limited 21,000 Major Road Theatre Company 16,295

Carried forward 6,390,85 4 6 3

Schedule 3 Arts Council of Great Britain

Brought forward 6,390,85 4 Mikron Theatre Company Limited 10,000 The Monstrous Regiment Limited 31,300 North West Spanner Theatre 14,345 Pains Plough Limited 20,500 The People Show Society 22,000 Pip Simmons Theatre Group Limited 42,000 Pirate Jenny Limited 27,500 Polka Children's Theatre Limited 32,000 Red Ladder Theatre Company Limited 43,457 7 :84 Theatre Company (England) Limited 56,700 Shared Experience Limited 25,000 Spectrum Theatre Trust Limited 20,000 Stirabout Theatre Company 16,500 Temba Theatre Company Limited 25,150 Theatre Centre Limited 79,786 Triple Action Theatre Group 22,000 Unexpected Developments Limited 25,000 Wakefield Tricycle Company 30,700 The Women's Theatre Group Limited 21,500

Projects Banner Theatre Company 500 Beryl and the Perils 3,000 Beztuki Puppet Theatre 500 Birmingham Arts Laboratory Limited 240 The Bite Theatre Group 2,500 Bristol University 430 Brixton Arts Theatre 500 Bubble Theatre Company Limited 150 Cap and Bells Theatre Company Limited 1,000 Cast Presentations Limited 22,500 CounterAct 5,000 Covent Garden Community Theatre 14,250 Croydon Alternatives Theatre Company Limited 10,000 The Crystal Theatre of the Saint 1,500 Cunning Stunts 4,558 CV1 Theatre Company Limited 9,408 I=aSilva Puppet Theatre Limited 1,000 Forkbeard Fantasy 2,700 Gay Sweatshop Limited 23,400 Hesitate and Demonstrate 5,000 IOU Limited 16,650 Itinerant Theatre Limited 3,95 5 Jail Warehouse Company Limited 5,000 Kaboodle 4,000 Kaya Stage Company 500

Carried forward 7,094,53 3 64

Schedule 3 Arts Council of Great Britain

Brought forward 7,094,533 Les Oeufs Malades 2,500 Link 250 Live Theatre 75 Matchbox Purveyors 2,750 Medium Fair Theatre Company 300 Mutable Theatre 500 Offcut Theatre Company 50 Orchard Theatre Company 750 Playboard Puppet Theatre 5,000 Potheinos Limited 1,000 Provincial Theatre Company 400 Puppet Centre Trust 2,000 The Sadistas 3,500 Science Fiction Theatre of Liverpool 14,500 Second City Theatre Company 600 Sidewalk Theatre Company Limited 13,000 Society of British Theatre Designers 2,000 Southtown Theatre Limited 2,300 Team Two 500 Tetherdown Players 150 Theatre in Northumberland Schools 12 5 Theatre Kit 10,425 Theatre of Puppets 655 Theatro Technis 13,500 Women's Project 78 5,560 Christopher Leith 500 Alex Marshall 2,460 Steven Whitson 1,000 Other subsidie s Art of the Puppet Limited 3,000 Association of British Theatre Technicians 5,000 British Theatre Association 14,000 Independent Theatre Council 400 IRAT Services Limited (`Theatre Quarterly') 4,000 John Calder (Publishers) Limited (`Gambit') 1,750 National Council of Theatre for Young People 1,250 Puppet Centre Trust 4,000 St Georges Theatre Productions Limited 5,000 Society for Theatre Research (`Theatre Notebook ') 300 Society of West End Theatre 5,000 Standing Conference on Young People's Theatre 500 Theatrical Management Association/Council of Regional Theatre Limited 650 Theatres' Advisory Council 3,200 Bursaries 44,875 Theatre Writing Royalty Supplements 87,049

Total as Schedule 1 £7,360,857

65

Schedule 3 Arts Council of Great Britai n

Touring £ £ Opera and Danc e Glyndebourne Productions Limited 220,000 Scottish Opera 230,000 Scottish Theatre Ballet Limited 47,000 Singers Company 4,000 Welsh National Opera Limited 945,000 1,446,000

Drama Actors Company Productions Limited 18,000 Green Fields and Far Away Limited 17,500 Interim Theatre Company 8,910 Jackal Productions Limited 9,200 Lancaster Orbit Limited 29,000 M.K. Productions 1,500 One-off Theatre Company 6,000 Prospect Productions Limited 310,000 Triumph Theatre Productions Limited 104,069 WSG Productions Limited 7,500 Wyvern Arts Trust Limited (for Southern Exchange) 7,000 518,679 British Council : Visiting Arts Unit 20,000

Total as Schedule 1 £1,984,679

Art Birmingham : Ikon Gallery Limited 46,000 Bristol: Arnolfini Gallery Limited 95,000 Cambridge : Kettles Yard Gallery 12,000 London: The Acme Housing Association Limited 25,800 Artist Placement Group 10,000 Artists Market Association 13,000 Artlaw Services 11,000 Art Services Grants Limited 45,319 Blackfriars Settlement 7,000 The Contemporary Art Society 5,000 Half Moon Photography Workshop Limited 29,129 The Photographers' Gallery Limited 44,000 United Kingdom National Committee of th e International Association of Art 900 Whitechapel Art Gallery 81,475 Nottingham: Midland Art and Community Centre Limited 89,500 Oxford: Modern Art Oxford Limited 68,650 Penwith Galleries Limited 28,500

Carried forward 612,273 66

Schedule Arts Council of Great Britain

Brought forward 612,273 Penzance: Newlyn Orion Galleries Limited 8,000 Southampton : The Photographic Gallery 12,000 York: Impressions Gallery of Photography Limited 27,750 - 660,023

Grants and guarantees towards exhibitions Birmingham City Museum and Art Gallery: Ian Stephenson Ionic Variation : Paintings on Paper 1961-77 1,000 Bradford Art Galleries and Museums : Henry Moore : A Gift to the Nation 2,000 Bradford Playhouse and Film Theatre : Avant garde film programme 300 Brighton Art Gallery and Museums : The Work of C . F. A. Voysey 4,500 Cambridge: The Fitzwilliam Museum : Painting in Florence, 1590-1700 500 Coventry: Video Art 78 Committee : 78 Festival 4,483 Jarrow : Bede Gallery : Art of the Invisible 500 Liverpool: Walker Art Gallery : Allen Jones Retrospective 6,000 Kirklands International Photography 5,000 London : Architectural Association Incorporated : J. J. P. Oud 1,400 Coracle Press Gallery : Fo(u)ndlings 460 Courtauld Institute Galleries : Augustus John - Drawing for Compositions 300 Drum Arts Centre (Trust) Limited : Afro-Caribbean Art Open Exhibition 1,750 Fieldborne Galleries : Peter Coker R.A. 800 Hackney Library Services : John Varley 1,000 London Filmmakers Co-operative : Feminism, Fiction and the Avant-Garde 800 Morley Gallery : Morris Kestelman 710 John Minton 1,470 New Contemporaries Association : The New Contemporaries Exhibition 1979 2,000 Photography for the Disabled 5 6 Royal Academy of Arts : Ivon Hitchens 3,000 Rodrigo Moynihan 4,000 Royal Institute of British Architects : London 1900 2,500 Save Britain's Heritage: Change and Decay : the future of our Churches 3,000 Society of Typographic Designers : Fit to be a Typographer 1,200

Carried forward 48,729 660,023 6 7

Schedule 3 Arts Council of Great Britai n

£ £ Brought forward 48,729 660,023 Kingston-upon-Hull : Ferens Art Gallery : Drawing in Action 900 Manchester : City Art Gallery: The Victorian High Renaissance 4,000 Newcastle University : The Hatton Gallery : Russian Graphic Art 1,000 Newcastle Polytechnic: John Edwards Painting'74-'78 500 Oldham : Metropolitan Borough Council : H. H. La Thangue 1,000 Portsmouth City Museums and Art Gallery : Unit One 1,000 Rochdale Art Gallery : John Wonnacott - Paintings 1,000 Sheffield City Art Galleries : John William Waterhouse R .A. 1,800 25 Paintings from 1951 1,000 Sunderland : The Association of Print Workshops : Conference 2,000 Southampton Art Gallery : Maxwell Armfield (1881-1972) 1,000 Tyne and Wear County Museum Service : The Genius of Thomas Bewick (1753-1878) 3,000 Wolverhampton Art Gallery : For King or Parliament? 1,120 68,049 Works of Art for Public Building s Gloucester Civic Trust 500 Hereford Cathedral 500 Leicestershire County Council 970 London : Brunel University 600 Camden Borough Council 2,500 Inner London Education Authority 5,000 Polytechnic of North London 3,300 J. Sainsbury Limited 3,000 Southwark Cathedral 1,000 Sun Life Assurance Society Limited 2,000 Zoological Society of London 300 Milton Keynes Development Corporation 5,000 Newcastle-upon-Tyne Polytechnic 103 North Tyneside Metropolitan Borough Council 2,500 Nottinghamshire County Council 312 - 27,585 Provision of Studios London : The Acme Housing Association Limited 11,210 Art Services Grants Limited 12,400 23,61 0

Carried forward 779,267 68

Schedule 3 Arts Council of Great Britain

Brought forward 779,26 7 Awards to Artists Film-makers 39,078 Painters, Sculptors, Printmakers, Performance artists 50,68 8 Photographers 27,530 Publishing 10,150 - 127,446

Artists in Residence Cambridge : Clare College (Graham Snow) 4,000 Milton Keynes Development Corporation (Stephen Gregory) 3,300 Southampton University (Ray Smith) 1,000 8,300 Grants to Publishers London : Artlaw Services : `Contracts', `Copyright', `Studio Leases', `Tax' 2,600 Barrie and Jenkins Limited : `Turner's Later Sketches' 1,000 Chatto and Windus: `Collected Works of Isaac Rosenberg' 500 Coracle Press: `Analytical Dottiness ', `The Portrait Photographs of Jonathan Williams', `The Sight of Music' 998 Graeme Murray Gallery : `Lesley Foxcroft Drawings' 500 Martin, Brian & O'Keefe Limited : `Sculpture at St Martins' 1,500 Nigel Greenwood Inc. Limited : `Field Series 1978' and publication by Rita Donagh 2,000 Scolar Press: `The Inscriptions of David Jones' 2,500 William Heinemann Limited : `The Linked Ring' 1,11 5 - 12,71 3

Art Magazine s `Artery' 500 `Art-Language' 500 `Artlog' 1,000 `Art Monthly' 3,600 `Artscribe' 4,250 `Audio Arts' 1,000 `Black Phoenix' 730 `Control Magazine' 400 `Filmmakers Europe' 800 `Studio International' 3,300 16,080 Grants for gallery improvements and equipmen t Lincolnshire Museums : Usher Gallery 3,450 London : Angela Flowers Gallery 750 Arkwright Arts Trust 1,108 London Film-makers Co-operative 2,965 London Video Arts 4,000 Women's Arts Alliance 500

Carried forward 12,773 943,806 69

Schedule 3 Arts Council of Great Britain

£ £ Brought forward 12,773 943,806 Tyne and Wear County Council: Laing Art Gallery 940 13,71 3

Performance Art Galactic Theatre 4,000 Jenny Lowe and Geraldine Pilgrim 150 Landscapes and Living Spaces 3,860 Lizzie Cox 200 Situations and Real Landscapes 4,455 12,665

Total as Schedule 1 £970,184

Literature

Arvon Foundation Limited 20,000 English Centre of International PEN 1,000 London Library 5,000 National Book League 39,250 National Manuscript Collection of Contemporary Writers Fund 6,220 New Fiction Society Limited 27,000 The Poetry Book Society Limited 10,000 The Poetry Society 60,000 The Society of Authors 750 Barrow Poets 2,500 University College, London 500 172,220

Literary Magazines `Adam' 3,000 `Agenda' 6,400 `Ambit' 1,500 `Bananas' 10,000 `Encounter ' 7,500 `Fireweed' 1,250 `Index on Censorship' 6,300 `London Magazine' 24,000 `Modern Poetry in Translation ' 4,000 `The New Review' 74,738 `Poetry Nation Review' 4,000 `Thames Poetry' 2,000 144,688

Carried forward 316,908 70

Schedule 3 Arts Council of Great Britai n

Brought forward 316,908 Little Presses Anvil Press Poetry 10,500 Carcanet New Press Limited 15,500 Enitharmon Press 2,700 Menard Press 1,000 Harry Chambers/Peterloo Poets 4,000 33,700

Grants to Publishers Adam Books Poems by Patricia Doubell, Francis Scarfe and Vicente Aleixandre 500 Bear Gardens Museum and Arts Centre Limited `Poems for Shakespeare 7, 1979' 1,300 Blond and Briggs Limited `Daughter of Jerusalem' by Sara Maitland 1,000 Bodley Head Limited 'Dead-Man 's-Fall' by James Greene 650 Constable and Company Limite d 'Finding Out' by Virginia Fassnidge 1,000 Hamish Hamilton Limite d 'First Lady of Versailles, Marie Adelaide of Savoy, Dauphine d e France' by Lucy Morton 500 'The Opportunity of a Lifetime ' by Emma Smith 1,100 John Calder (Publishers) Limite d 'New Writers and Writing, 16 and 17' 4,500 Keepsake Pres s `Moments in Italy' by David Holbrook 50 Martin Secker and Warburg Limited 'The Hydra Head ' by Carlos Fuentes 500 Onlywomen Press `One Foot on the Mountain', an anthology of contemporary Britis h feminist poetry 1,000 The Poets ' Year Book Limite d 'The 1979 Poets' Year Book ' 3,000 Robson Books Limited `Poetry Dimension Annual 6' 1,500 The Salamander Imprint `Naming of the Arrow' by James Sutherland-Smith 1,000 Virago Limited `Pilgrimage' (4 Volumes) by Dorothy Richardson 6,000 The Women's Press Limite d `A Piece of the Night' by Michele Roberts 2,000 World Centre for Shakespeare Studies Limited `Selections from Poems for Shakespeare 1-6' 1,000 26,600

Carried forward 377,208 7 1

Schedule 3 Arts Council ofGreat Britain

Brought forward 377,208 Creative Writing Fellowships Ambleside: Charlotte Mason College of Educatio n (Barry Unsworth) 5,593 Basingstoke : Queen Mary's College (Howard Sergeant) 5,675 Billericay School (Adrian Mitchell) 5,400 Brunel University (Eva Figes) 5,750 Doncaster Metropolitan Institute of Higher Education (R . Rose) 5,600 Hull College of Higher Education (E. A. Markham) 5,39 1 Manchester Polytechnic (Dave Simpson) 5,000 Sunderland Polytechnic (Roger Garfitt) 5,675 Sussex University (John James) 5,500 Warwick University (Howard Brenton) 5,000 54,584

Augmentation of Prize s Crime Writers Association John Creasey First Novel Award 500 Crime Writers Association Non-Fiction Prize 500 Faber and Faber Limited : The Geoffrey Faber Memorial Prize 500 The Hawthornden Prize Fund 950 The Martin Luther King Memorial Prize 150 National Book League: The John Llewelyn Rees Memorial Prize 900 Royal Society of Literatur e W. S. Heinemann Prize 500 Winifred Holtby Memorial Prize 700 The Society of Authors : Tom-Gallon Trust Award 475 5,175 Awards to writers and translators 71,950

Total as Schedule 1 £508,91 7

Festivals Aldeburgh Festival - Snape Maltings Foundation 25,000 Bath Festival Society Limited 17,948 Bracknell: South Hill Park Trust Limited 3,500 Brighton Festival Society Limited 18,500 Cheltenham Arts Festivals Limited 23,000 Chichester Celebrations Limited 12,500 English Bach Festival Trust 42,000 Greenwich Festival 2,500 Harrogate Festival of Arts and Sciences Limited 19,250 Kings Lynn : St Georges Guildhall Limited 15,250 Little Missenden Festival Committee 1,600

Carried forward 181,048 72

Schedule 3 Arts Council of Great Britain

Brought forward 181,048 London : Camden Borough Council 10,500 Centre of Indian Arts Limited 5,000 City Arts Trust Limited 15,000 Leeds International Pianoforte Competition 1,500 Liverpool Sacred Music Festival Society 3,000 Ludlow Festival Society Limited 5,590 Malvern Festival Society Limited 13,000 Nottingham Festival 10,500 Portsmouth Festival Society Limited 10,300 Salisbury Festivities Limited 7,500 Stroud Festival Limited 5,600 Three Choirs Festival Association Limited 10,000 Windsor Festival Society Limited 15,750 Wooburn Festival Society 1,000 York Early Music Festival 7,000

Total as Schedule 1 £302,288

Regional Arts Association s Eastern Arts Association 343,594 East Midlands Arts 297,163 Greater London Arts Association 558,57 1 Lincolnshire and Humberside Arts 267,829 Merseyside Arts Association 254,180 Northern Arts 914,787 North West Arts 490,069 Southern Arts Association 445,03 1 South East Arts Association 249,285 South West Arts 485,56 1 West Midlands Arts 553,01 9 Yorkshire Arts Association 343,292

Total as Schedule 1 £5,202,38 1

Arts Centres and Community Project s Birmingham : Cannon Hill Trust Limited 145,200 Bracknell : South Hill Park Trust Limited 61,75 0 Harlow Theatre Trust Limited 18,000 Hull : Humberside Theatre Trust Limited 24,000 Liverpool: Great Georges Community Cultural Projects Limited 20,000

Carried forward 268,950 73

Schedule 3 Arts Council of Great Britain

Brought forward 268,950 London: Action Space 23,500 Hammersmith Riverside Arts Trust Limited 25,000 Institute of Contemporary Arts Limited ?39,034 Round House Trust Limited 77,500 Peterborough Arts Theatre Limited 32,356 Sussex University : Gardner Centre for the Arts 20,250 Swindon: Wyvern Arts Trust Limited 22,000 708,590

Abrakadabra 1,000 Albany Community Video 6,900 Awake/Adwe 5,000 Bath Printsho p 7,650 Ekome 1,000 Fantasy Factory 9,300 Fine Hearts Squad (Eastern ) 3,000 Fine Hearts Squad (London ) 3,125 Finsbury Park Carniva l 1,000 Free Form Arts Trust Limite d 45,97 5 Greenwich Mural Worksho p 6,500 Hackney Marsh Festival Associatio n 9,350 Hoxton Hall 6,800 Islington Community Press 5,150 Keskidee Trust 27,500 Liberation Films Limited 9,000 Lion Yout h 1,000 Local Radio Worksho p 6,000 London All Stars 800 Major Mustar d 1,000 Melting Pot Foundatio n 5,000 Minorities Arts Advisory Service 5,500 Moonshine Community Arts Workshop Limite d 12,700 National Association of Asian Yout h 8,500 Newham Arts Council 3,500 North Paddington Community Darkroo m 3,500 Notting Hill Carnival and Arts Committe e 2,500 Notting Hill Carnival Development Committee 4,300 Ogunde's Variety and Folklore Grou p 5,500 Paddington Printsho p 12,200 Paddington Youth 400 Perseverance Carnival Worksho p 2,800 Pigsty Hill Light Orchestra 2,500 Race Today Renegade s 1,000 Rathbone Community Education Training Unit 12,800 Shape 1,000 South Island Trust 4,760

Carried forward 245,510 708,590 74

Schedule 3 Arts Council of Great Britain

£ £ Brought forward 245,510 708,590 Steel an' Skin (Arts) Limited 31,800 Sugumugu Sunday 4,900 Sukuya 3,000 The Workshop (Lenthall Road) 6,55 0 Trinbago Carnival Club 7,200 Union Place Community Resource Centre Limited 12,900 Walworth and Aylesbury Community Arts Trust 17,000 West London Media Workshop 1,000 329,860

Total as Schedule 1 £1,038,45 0

Education in the Art s Music and Danc e The Benesh Institute of Choreology Limited 50,000 London Opera Centre for Advanced Training and Development Limited 60,000 National Opera Studio 95,000 National Youth Brass Band of Great Britain 2,500 National Youth Orchestra of Great Britain 26,000 Rehearsal Orchestra 4,250 237,750 Drama National Youth Theatre of Great Britain 12,300

Training Scheme s Actors 24,543 Administrators : Diploma Course bursaries 8,232 Practical Training Scheme bursaries 10,81 1 In-Service bursaries 3,92 1 The City University 35,100 Designers 14,252 Directors 28,220 Technicians: Bursaries 1,950 Association of British Theatre Technicians 48,000 175,029

Total as Schedule 1 £425,079 Housing the Art s Music and Danc e Aldeburgh Festival - Snape Maltings Foundation 50,000 London : Contemporary Dance Trust Limited 50,000 Southwark Rehearsal Hall Limited 25,000 The Friends of St John's 2,450

Carried forward 127,450 75

Schedule 3 Arts Council of Great Britain

£ £ Brought forward 127,450 Poole Borough Council 30,000 157,450 Drama Ipswich and Suffolk New Theatre Trust 90,000 London: The Polka Children's Theatre Limited 18,000 Manchester: Royal Exchange Theatre Trust 50,000 Mansfield : Triple Action Theatre Group 4,000 Plymouth Theatre Trust Limited 3,500 165,500 Touring Theatres Birmingham City Council (Hippodrome Theatre) 25,000 Liverpool: Merseyside County Council (Empire Theatre) 30,000 Manchester Palace Theatre Trust Limited 395,000 Nottingham City Council (Theatre Royal) 132,050 Tyne and Wear County Council (Sunderland Empire) 10,000 592,050 Art Bath: University of Bath (Holburne of Menstrie Museum) 10,000 London: Half Moon Photography Workshop Limited 3,000 Newcastle: Spectro Arts Workshop Limited 2,500 Stoke City Council : Museum and Art Gallery 39,000 54,500 Regional Aldershot: West End Centre 1,000 Birmingham : Cannon Hill Trust Limited 8,000 Brighton and Hove Arts Centre Limited 5,000 Bury Metro Arts Association 10,000 Carlisle: Green Room Club 7,000 Corby District Council 7,000 Hastings: The Stables Trust Limited 5,000 Hebden Bridge : The Arvon Foundation Limited 2,000 Hereford and Worcester County Council - Evesham Arts Centre 20,000 Isle of Wight County Council - Medina High School Hall 10,000 Liverpool: Great Georges Community Cultural Project Limited 30,000 London : Hammersmith Riverside Arts Trust Limited 5,000 Islington : Recreational Development Trust 3,000 Plymouth Arts Centre 5,000 Stamford Arts Centre 8,000 126,000

Total as Schedule 1 £ 1,095,500

76

Schedule 4 Art Exhibition s for the year ended 31 March 197 9

Expenditure Transport 243,792 Organising 505,902 Insurance 5,150 Catalogues 125,999 Publicity 104.806 985,649 Less Income Admissions 122,298 Less VAT 9,059 113,239 Catalogue sales 114,25 9 Exhibition fees 15,79 1 Less VAT 1,170 14,62 1 Donations 22.13 9 264.258

Net expenditure as Schedule 1 z iL1,3y i

Schedule 5 Special Funds Net assets at 31 March 197 9 Nominal Value Market Value Book Valu e £ £ Compton Poetry Fun d Investments : 10% Exchequer Stock 1983 5,940 5,740 5,78 2 8 4 % Treasury Loan 1987/90 6,784 5,902 5,964

8-41% Treasury Loan 199 7 7,267 5,877 5,964 9% Treasury Loan 199 4 6,775 5,902 5,964 Distillers Company Limited 345 1,73 8 719 Dowty Group Limited 86 5 5,193 1,154 Equities Investment Fund for Charitie s (4,544 units) 7,71 5 3,017 General Electric Company Limited 201 3,296 337 Royal Insurance Company Limited 13 1 2,152 958 Shell Transport and Trading Company Limited 250 7,550 2,079 US Debenture Corporatio n 317 1,281 604

01.,J-ra Debtors 21 OR 9

Carried forward JJ,bJ l 77

Schedule 5 Arts Council ofGreat Britai n

Nominal Value Market Value Book Valu e £ £ £ £ Brought forward 53,63 1 Cash at Bank 6,175

59,806 Less Creditors 24,311 35,495 Dio Fund Investments : Equities Investment Fund for Charities (1,467 units) - 2,464 2,004 Debtors 20 Cash at Bank 73 9 2,76 3 Less Creditors 257 2,506 The Guilhermina Suggia Gift Investments : 31% War Loan 6,746 2,361 4,896 3Z% Funding Stock 1999/2004 4,682 1,943 3,863 Equities Investment Fund for Charities (2,926 units) - 4,914 3,01 4 11,773 Debtors 55 Cash at Bank 1,889 13,71 7 Less Creditors 1,214 12,503 Henry and Lily Davis Fun d Investments : London County 5 % Stock 1985/87 50,000 37,500 33,500 2 10% Exchequer Stock 1983 5,184 5,003 4,94 1 Equities Investment Fund for Charities (25,735 units) - 43,233 23,322 61,763 Accumulated Income Investments : Equities Investment Fund for Charities (3,012 units) - 5,060 3,999 65,762 Debtors 11,248 Cash at Bank 6,169 83,179 Less Creditors 12,825 70,354

Carried forward 120,85 8 78

Schedule 5 Arts Council of Great Britain

Nominal Value Market Value Book Value £ £ £ Brought forward 120,858 The Miriam Licette Scholarship Investments : 10% Exchequer Stock 1983 7,309 7,062 7,132 814 % Treasury Loan 1987/90 8,356 7,270 7,358 Equities Investment Fund for Charities (9,181 units) - 15,424 9,23 7

Debtors 15,125 Cash at Bank

Less Creditors 18,667 26,81 3 National Manuscript Collection o f Contemporary Writers Fund Debtors 6,614 Cash at Bank 12,984 H. A. Thew Fund Investments: 3% British Transport Stock 1978/8 8 2,104 1,473 1,93 7 3'-z% Conversion Loan 2,809 1,067 2,768 Equities Investment Fund for Charitie s (5,844 units) - 9,817 3,068

Debtors 42 Cash at Bank

Less Creditors v 200 7,900 Mrs Thornton Fun d Investments : 2 2% Consolidated Stoc k 655 152 489 3% British Transport Stock 1978/8 8 355 248 337 5 i % Funding Stock 1982/8 4 110 97 100 5% Treasury Stock 1986/8 9 1,824 1,304 1,588 Equities Investment Fund for Charitie s (4,595 units) 7,719 2,605

Debtors 6 7 Cash at Bank 956 6,142 Less Creditors

Total as Balance Sheet

79 Schedule 6 Special Funds Capital and Reserves at 31 March 197 9

Compton Poetry Fun d Capital Account : Balance at 1 April 1978 21,205 Add Surplus on realisation of investment s

Income Account : Balance at 1 April 197 8 Add Income during year 7,94 1 Less Expenditure during year 5,16 1 2,780 35,495 Dio Fun d Capital Account 2,000 Income Account: Balance at 1 April 1978 530 Add Income during yea r 226

756 Less Expenditure during year 250 2,506 The Guilhermina Suggia Gift Capital Accoun t Income Account : Balance at 1 April 1978 Add Income during year

3,093 Less Expenditure during year 2,364 729 12,503 Henry and Lily Davis Fund Capital Account : Balance at 1 April 1978 60,000 Add Surplus on realisation of investment s 2,209 62,209 Income Account : Balance at 1 April 1978 18,476 Add Income during year 8,93 1

Less Expenditure during year 8,145

Carried forward 80

Schedule 6 Arts Council of Great Britain

Brought forward 120,858 The Miriam Licette Scholarship Capital Account : Balance at 1 April 1978 18,648 Add Surplus on realisation o f investments 5,805 24,45 3 Income Account : Balance at 1 April 1978 6,454 Add Income during year 2,845 9,299 Less Expenditure during year 6,939 2,360 26,813 National Manuscript Collection of Contemporary Writers Fund Capital Account 10,000 Income Account: Balance at I April 1978 2,04 7 Add Income during year 7,05 7

9,104 Less Expenditure during year 6,120 2,984 12,984 H. A. Thew Fund Capital Account 7,773 Income Account: Balance at 1 April 1978 16 1 Add Income during year 966

1,127 Less Expenditure during year 1,000 127 7,900 Mrs Thornton Fund Capital Account 5,12 1 Income Account: Balance at 1 April 1978 127 Add Income during year 789

916 Less Expenditure during year 600 316 5,437

Total as Balance Sheet £173.992

Scottish Arts Council Income and Expenditure Account for the year ended 31 March 197 9

1978 1979

Income Grant from the Arts Council of 5,028,500 Great Britain 6,182,50 0 Provision for grants and guarantee s 29,535 in previous year not required 52,945 Transfer from reserve for capital 34,772 expenditure 29,106

Miscellaneous Income 1,561 Bank Interest 9,985 2,010 Donations 1,707 10,656 Realisation of assets 3,489 5,965 Sundry 2,43 1 20,192 17,612

5,112,999 6,282,16 3

Less Expenditur e General expenditure on the arts 4,718,020 (see Schedule 1) 5,851,36 3 General operating cost s 295,926 (see Schedule 2) 363,31 1 Capital expenditure transferred to 68,507 capital account 28,276 29,106 Reserve for capital expenditure 20,120 5.111 .559 6.263.070

1,440 Excess of income over expenditure 19,093 Add Balance brought forward a t 88,749 1 April 1978 90,189

Balance carried forward to £90,189 Balance Sheet £109,282

82

Scottish Arts Council Balance Sheet at 31 March 1979

1978 197 9 £ £ £ £ Fixed Assets (see Note 1) 163,556 Freehold property 166,75 6 157,214 Leasehold property improvements 156,91 8 23,817 Office equipment 25,267 13,049 Mobile gallery 13,54 1 16,635 Motor vehicles 18,176 17,709 Art exhibition equipment 17,50 1 108,722 Works of art 127,16 1

500,702 525,320

Current Assets Secured loan 500 Balance at 31 March 1978 400 100 Less Repaid during year 100 400 300

Stock 348 Coffee House 429 Debtors and prepayments Grants and guarantees paid 675,357 in advance 724,150 2,747 Expenditure on future exhibitions 1,480 71,078 Sundry debtors and prepayments 74,094 Grant due from Arts Council of Great Britain 87,000 - 749,182 886,724

3,160 Cash at bank and in hand 5,152

1,253,792 Total fixed and current assets 1,417,925 Less Current liabilities 584,283 Grants and guarantees outstanding 718,428 Sundry creditors and accrued 49,512 liabilities 44,775 633,795 763,203

£619,997 Total Net Assets £654,722

8 3

Balance Sheet Scottish Arts Counci l

1978 1979

Capital accoun t 438,241 Balance at 31 March 1978 500,702 Add Capital expenditure transferred from income and expenditure 68,507 account 28,276

JUb, /48 528,978 Less Book value of assets sold or 6,046 written off 3,658

-)UU, /U L 525,320 90,189 Income and expenditure account 109,282 29,106 Provision for capital expenditur e 20,120

£619,997 Total Capital and reserves £654,722

Chairman of the Scottish Arts Council : BALFOUR OF BURLEIG H Secretary-General : ROY SHAW

84

Notes to the Accounts

Items sold Book value at Additions or written Book value at Note 1 Fixed assets 31 March 1978 at cost off 31 March 1979 Freehold property at cost £ £ £ £ 336, 348 & 350 Sauchiehall Street, Glasgow - acquisition 39,881 39,88 1 336, 348 & 350 Sauchiehall Street, Glasgow - improvements 104,360 104,360 346 Sauchiehall Street, Glasgow - acquisition 19,315 3,200 22,515 Leasehold property improvements at cost 19/20 Charlotte Square, Edinburgh 110,848 110,848 29 Market Street, Edinburgh 46,366 296 46,070 Office equipment at valuation a t 31 March 1955 and at cost 23,817 1,841 391 25,267 Mobile gallery 13,049 492 13,54 1 Motor vehicles at cost 16,635 4,052 2,511 18,176 Art exhibition equipment at cost 17,709 212 420 17,50 1 Works of art at cost 108,722 18,479 40 127,161

£500,702 £28,276 £3,658 £525,320

Note 2 Accounting Policies The Accounts of the Council have been prepared under the historical cost convention and incorporate the following accounting policies : (i) Grants and guarantees are charged to the Income and Expenditure Account in the year for which the y are undertaken as a commitment by the Council on the basis of a formal offer to and acceptance by th e Council's clients . Any amounts unpaid from these commitments are shown as liabilities on the Balanc e Sheet and any advance payments to clients in anticipation of the grants and guarantees to be offered fo r the following financial year are shown in the Balance Sheet as assets . (ii) Expenditure on the provision of fixed assets is charged to the Income and Expenditure Account, but th e resultant assets are shown in the Balance Sheet at cost with a corresponding addition to the Capita l account. The value of any fixed assets disposed of during the financial year is eliminated from the Balance Sheet with a corresponding reduction in the Capital account . (iii) No provision is made for the depreciation of fixed assets ; any expenditure on additions and renewals is charged to the Income and Expenditure Account. Note 3 Indemnities entered into by the Scottish Arts Council in respect of objects borrowed fo r exhibition purposes totalled not more than £845,000 at 31 March 1979 . I have examined the foregoing Income and Expenditure Account, Balance Sheet and Notes to the Accounts . I have obtained all the information and explanations that I have required and I certify, as the result of my audit , that in my, opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Scottish Arts Council and of their affairs . Exchequer and Audit Department Signed : Douglas Henley 24 August 1979 Comptroller and Auditor General 85

Schedule 1 General expenditure on the arts in Scotland for the year ended 31 March 1979

£ £ £ £ Music Grants and guarantees (see Schedule 3) 2,853,44 1 Tours : Opera Expenditure 3,688 Less Income 3,726 Less VAT 267 3,459 229 Tours : Concerts Expenditure 33,954 Less Income 35,943 Less VAT 2,609 33,334 620 2,854,290 Drama Grants and guarantees (see Schedule 3) 1,276,599

Tours: Expenditure 10,823 Less Income 11,457 Less VAT 851 10,606 21 7 International Exchange 404 1,277,220 Touring Grants and guarantees (see Schedule 3) 100,645

Less Local Authority contribution s Aberdeen District Council 21,490 Edinburgh District Council 208 Glasgow District Council 13,500 Strathclyde Regional Council 10,500 45,698 54,947 Art Grants and guarantees (see Schedule 3) 295,81 1 Exhibitions : Expenditure 233,292 Less Income 42,704 Less VAT 1,272 41,432 191,860

Carried forward 487,671 4,186,45 7 86

Schedule I Scottish Arts Council

Brought forward 487,671 4,186,45 7 Fruit Market Gallery, Edinburgh 8,490 Gable Ends Projects 1,83 9 Provision of Studio-Amsterdam 3,51 3 Commission 450 Art Film Tours : Expenditure 3,53 1 Less Income 403 Less VAT 34 369 3,162 Lecturers' fees and expenses 8,196 Less Income 2,285 Less VAT 169 2,116 6,080 Photography Fellowship . 716 511,92 1 Films Grants and guarantee s (see Schedule 3) 57,500 Literature Grants and guarantee s (see Schedule 3) 208,336 Poetry Readings 2,363 Writers in Schools and in Public : fees and expenses 12,366 Less Income 4,722 Less VAT 341 4,381 7,985 Writers' accommodation 380 Miscellaneous expenses 2,640 Writers Exchanges 2,17 1 Scottish/Canadian Writers Fellowship 4,665 Magazines to Libraries Scheme 774 229,314 Festivals Grants and guarantee s (see Schedule 3) 304,397 Projects, arts centres and clubs Grants and guarantees (see Schedule 3) 396,274 Housing the arts Grants (see Schedule 3) 165,500 Net expenditure as Income and Expenditure account £5,851,363

87

Schedule 2 General operating costs in Scotland

for the year ended 31 March 1979

Salaries and wages 184,215 Arts Council of Great Britain Retirement Plan 21,290 Travelling and subsistence 38,278 Rent and rates 7,188 Fuel, light and house expenses 31,55 1 Publicity and entertainment 28,052 Postage and telephone 19,848 Stationery and printing 13,939 Professional fees 76 Enquiries, surveys and investigation 56 1 Office and sundry expenses 18,313

Total as Income and Expenditure account £363,31 1

Schedule 3 Grants and Guarantees for the year ended 31 March 197 9 (including subsidies offered but not paid at that date ) Music £ £ Opera Aberdeen : Aberdeen Opera Company 500 Haddo House Choral and Operatic Society 1,500 Ayr : Intimate Opera Group 1,500 Dundee: Tayside Opera 1,750 Edinburgh Grand Opera Group 2,000 Edinburgh Opera Company 120 Elgin Operatic Society 268 Glasgow: The Cecilian Society 600 Glasgow Grand Opera Society 3,950 Scottish Opera Limited 1,368,000 1,380,18 8

Dance Basic Space Dance Theatre 360 Scottish Ballet Limited 583,000 583,360

Carried forward 1,963,548 88

Schedule 3 Scottish Arts Council

Brought forward 1,963,54 8 Concerts Aberdeen: Aberdeen Chamber Music Club 750 Aberdeen College of Education 825 Aberdeen University Havergal Brian and British Music Society 150 City of Aberdeen District Council 1,650 Haddo House Choral Society 1,500 Platform Aberdeen 1,750 Airdrie Arts Guild 100 Alloa Music Club 300 Arran Music Society 562 Ayr Music Club 720 Badenoch Arts Club 750 Banffshire Arts Guild 240 Bearsden and Miingavie Arts Guild 400 Beith Arts Club 500 Biggar Music Club 900 Biggar Theatre Workshop 120 Black Isle Arts Society 800 Brechin Arts Guild 60 Bridge of Allan and District Music Club 900 Bute Arts Society 250 Carnoustie Music Club 600 Cove and Kilcreggan Literary Society 220 Cowal Music Club 1,250 Cumbernauld Arts Guild 1,250 Cumnock Music Club 800 Dalkeith and District Arts Guild 575 Dollar Music Society 775 Dumfries Folksong Club 150 Dumfries Guild of Players 2,250 Dumfries Music Club 850 Dunblane Cathedral Arts Guild 1,450 Dundee : Dudhope Arts Centre 50 Dundee Chamber Music Club 950 Dundee District Council 299 Dundee University Musical Society 170 Tayside Organists Society 450 University of Dundee 500 Dunfermline Arts Guild 425 East Kilbride Music Club 250 Eastwood Music Society 1,500 Edinburgh : Edinburgh Chamber Music Trust 10,000 Edinburgh District Council 2,500 Edinburgh Organ Recitals Committee 360 Georgian Concert Society 750 Heriot-Watt University Music Society 450

Carried forward 42,051 1,963,54 8 89

Schedule 3 Scottish Arts Council

£ £ Brought forward 42,051 1,963,548 New Town Concerts Society 1,700 Platform Edinburgh 2,600 Richard Demarco Gallery Limited 250 Scottish Philharmonic Club 450 Erskine : Park Mains Music Society 850 Park Mains Theatre 200 Falkirk District Arts and Civic Council 190 Fife Education Authority/The Arts in Fife 5,000 Forfar: Forfar Arts Guild 250 Forfar Literary Institute 350 Forres Entertainments Committee 500 Galashiels Arts Association 800 Gatehouse Musical Society 450 Girvan and District Arts Guild 200 Glasgow : John Currie Singers Limited 8,500 Masterconcerts Limited 8,300 New Glasgow Music Society 81 5 Platform Glasgow 2,575 Society of Friends of Glasgow Cathedral 11 7 University of Glasgow 1,550 Third Eye Centre (Glasgow) Limited 300 Glenkens and District Music Club 750 Greenock Chamber Music Club 625 Gordonstoun Concerts Society 350 Hamilton Civic Society Arts Circle 700 Harris Mutual Improvement Association 120 Hawick Music Club 800 Invergordon Arts Society 900 Inverness : Platform Inverness 1,300 Islay Brass Band Society 200 Jura Island Enterprises 500 Kelso Music Society 1,000 Kilmardinny Music Circle 1,150 Kintyre Music Club 650 Kirkcaldy: Adam Smith Centre 1,700 Kirkcudbright Audience Club 300 Lanark Music Club 475 Linlithgow Arts Guild 650 Livingston Sponsorship Committee 8,300 Lochaber Music Club 500 Lockerbie Musical Society 270 Melrose Music Society , 460 Miingavie Music Club 1,314 Moffat and District Musical Society 300 Moray Arts Club 325 Musselburgh Arts Guild 450

Carried forward 102,087 1,963,54 8 90

Schedule 3 Scottish Arts Council

Brought forward 102,087 1,963,548 National Trust for Scotland 130 Newton Stewart and District Music Club 700 North Ayrshire Arts Centre 2,800 Oban Music Society 900 Orkney: Orkney Arts Society 1,200 Orkney Folk Club 100 Peebles : Music in Peebles 325 Perth Chamber Music Society 600 Peterhead Community Centre 1,200 Platform Borders 420 Renfrew District Arts Guild 1,750 Royal Anthropologists Institute-Scottish Chapter 94 St Andrews Music Club 600 Saltcoats, Ardrossan and Stevenston Arts Guild 330 Shetland Arts Society 1,750 Skye Arts Guild 775 Isle of Skye Accordion and Fiddle Club 150 South West Ross Arts Society 700 Stonehaven Music Grub 700 Stornoway Folk Club 150 Stranraer Music Association 1,400 Strathaven Arts Guild 800 Strathearn Arts Guild 700 Strathkelvin Arts Association 275 Strathspey Arts Club 800 Strontian Entertainments 100 Sutherland Arts Committee 600 Tain and District Arts Society 500 Thurso Live Music Association 2,800 Urras an Eilein 95 Ullapool Folk Club 145 West Linton Musical Society 100 Wick Arts Club 500 National Federation of Music Societies 14,500 New Music Group of Scotland Trust 7,000 Platform (Music Societies) Limited 4,000 Rehearsal Orchestra 2,000 Royal Scottish Pipers Society 11 0 Scottish National Orchestra Society Limited 451,000 Scottish Philharmonic Society Limited 207,800 Scottish Universities Orchestra 500 813,186

Carried forward 2,776,73 4 91

Schedule 3 Scottish Arts Council

Brought forward 2,776,73 4 Contemporary Music Network Aberdeen Art Gallery 625 Ayr Music Club 440 Dumfries Music Club 335 Eden Court Theatre 920 Kelso Music Society 295 Platform Aberdeen 1,01 0 Platform Edinburgh 938 Platform Glasgow 91 5 Platform Inverness 128 Tayside Regional Council 588 Thurso Live Music Association 520 University of Aberdeen 1,700 University of Edinburgh 1,900 University of Glasgow 1,150 University of St Andrews-Crawford Arts Centre 1,71 8 University of Stirling-MacRobert Centre 1,435 14,617

Other Activities Awards to Artists 10,16 5 Commissions and Performing Material 10,87 2 Pianos : Aberdeen Arts Centre Association 1,080 Dumfries Music Club 373 Lamp of Lothian Collegiate Centre 3,000 Scottish Philharmonic Society Limited 9,000 University of St Andrews 2,500 15,95 3 Publishing: Roberton Publications 1,500 Recording : Edinburgh Chamber Music Trust 600 Oxford University Press 5,900 Park Film Studios Limited 1,700 8,200 Scottish Pipe Band Association 1,000 Scottish Music Archive 13,000 Tayside Regional Council 1,400 62,090

Total as Schedule 1 £2,853,441

92

Schedule 3 Scottish Arts Council

Drama £ Dervaig Arts Theatre Limited 15,680 Dundee Repertory Theatre Limited 128,575 Edinburgh : Royal Lyceum Theatre Company Limited 273,71 7 Traverse Theatre Club 119,548 Glasgow: Citizens Theatre Limited 216,495 Dolphin Arts Centre 3,630 Glasgow Theatre Club 2,797 Strathclyde Theatre Group 1,250 Inverness: Eden Court Theatre Company 30,000 Irvine: Borderline Theatre Company 60,196 Perth Repertory Theatre Limited 95,607 Pitlochry Festival Society Limited 104,742 St Andrews : Byre Theatre of St Andrews Limited 29,250 Stornoway: Fir Chlis Limited 30,000 AICO Theatre Company 3,843 Alhambra Company 1,685 Arts in Fife 785 A.T.C . London 415 Belt and Braces Roadshow Limited 1,483 Biggar Theatre Workshop 30 Borders Regional Council 40 CAST Presentations Limited 980 Clerwood Theatre Company 2,875 Cottage Theatre Cumbernauld 3 1 CounterAct 1,200 CV 1 Theatre Company Limited 690 Dundee Festival Committee 500 Essenside Youth Centre 185 Festival of Fun Association 300 Fisherrow Community Centre 100 Friends of Aberdeen Art Gallery and Museum 37 Govan Area Resource Centre 147 Green Fields and Far Away Limited 3,31 8 Inverkeithing Primary School 150 The Jura Festival Company 1,438 Kaboodle 597 Live Theatre Company 288 The Long Green Theatre Company 6,178 Mike Maran and David Shepherd 250 Mermaid University Dramatic Society 435 North West Spanner 855 One-Off Theatre 273 On Tap Theatre Company 1,697 Paines Plough 1,000 RAT Theatre 285 The Red Ladder Theatre Company Limited 1,129

Carried forward 1,144,706 93

Schedule 3 Scottish Arts Council

Brought forward 1,144,70 6 Renfrew District Arts Guild 465 Renfrew District Council 400 7 :84 Theatre Company 11,000 Sidewalk Theatre Company 600 Wildcat Stage Productions Limited 50,120 The Women's Theatre Group 600 Scottish Community Drama Association 4,998 Scottish Mime Theatre 8,370 Scottish Society of Playwrights 18,51 2 Scottish Youth Theatre 12,054 Training Schemes Bursaries 24,774

Total as Schedule 1 £1,276,599

Stage i Touring

Dance Royal Opera House Covent Garden Limited (Royal Ballet) 17,794 Mercury Theatre Trust Limited (Ballet Rambert) 2,962 20,756

Drama Cambridge Theatre Company Limited 7,000 Eden Court Theatre Inverness 7,080 The National Theatre Board Limited 14,000 Oxford Playhouse Company 6,250 Perth Repertory Theatre Limited 4,373 Pitlochry Festival Society Limited 10,576 Prospect Productions Limited 3,350 Royal Lyceum Theatre Company 24,260 76,889 Mime Bulgarian Puppets 3,000

Total as Schedule 1 £ 100,64 5

94

Schedule 3 Scottish Arts Council

Art £ Aberdeen : Aberdeen Art Gallery and Museum 905 Aberdeen Artists Society 320 Aberdeen Civic Society 200 Art Space (Aberdeen) Limited 2,645 Peacock Printmakers Limited 16,314 Airdrie Public Library 150 The British Society of Master Glass-Painters 25 Chenil Art Gallery 280 Dundee : Dundee Group (Artists) Limited 6,436 Printmakers Workshop Limited 2,000 University of Dundee 185 Edinburgh : J. G. Bertram 850 William Brotherston, Jake Kempsell and William Scott 2,54 1 City of Edinburgh District Council 5,600 Richard Demarco Gallery Limited 40,000 Edinburgh College of Art 300 Edinburgh International Film Festival Limited 1,700 New 57 Gallery Association Limited 17,900 Printmakers Workshop Limited 12,000 Alan Robb and Ronnie Forbes 2,000 Alan Smith 250 University of Edinburgh : Talbot Rice Centre 500 369 Gallery 1,932 Union Makes Us Strong Committee 3,958 Wester Hailes Education Centre 400 Glasgow: Compass Gallery Limited 11,500 Garnethill Mural Projects . 3,182 Glasgow Art Gallery and Museum 600 Glasgow Group 764 Glasgow League of Artists Limited 12,580 Glasgow Print Studio Limited 19,252 Glasgow Society of Women Artists 69 Hawick Art Club 200 Highland Regional Council 50 Inverness Museum and Art Gallery 500 Kilmarnock and Loudon District Council 250 Montrose : Kirktower House Studio 24 1 Roxburgh District Council 350 The Stirling Gallery 7,336 Tayside Regional Council 3,125 Western Isles Islands Council 570 Wick : The Lyth Arts Centre 2,030 The Contemporary Art Society 1,700 The Saltire Society 300 2nd National Conference of Print Workshops 233 The Scottish Photography Group Limited 20,570

Carried for"ward 204,793 9 5

Schedule 3 Scottish Arts Council

Brought forward 204,793 The Scottish Review 900 Scottish Sculpture Trust 4,100 Scottish Society of Women Artists 500 Scottish Tapestry Artists Group 3,26 5 Dr Alan Tait 2,000 Workshop and Studio Provision (Scotland) Limited 26,500

Grants to Publishers Barrie and Jenkins `A History of Scottish Pottery' by Gerald Quail 4,000 John Donald Publishers Limited `Scottish East Coast Potteries 1750-1840 ' by Patrick McVeigh 3,000 Paul Harris Publishin g `Lorimer and the Edinburgh Craft Designers ' by Dr Peter Savage 2,500 Edinburgh University Pres s `The Landscape Garden in Scotland 1735-1835 ' by Dr A . A. Tait 2,000 11,500

Artists in Residence Stephen MacMillan - Scottish Arts Council/National Endowment for the Arts/British Airways Photography Fellowship 2,500 Glen Onwin - Amsterdam Studio 2,61 0 Veronica Togneri - The Gardner Centre for the Arts 300 John Upton - Irvine Development Corporation 3,500 8,91 0

Awards to Artists Awards 21,03 8 Commissions 12,305 33,343

Total as Schedule 1 £295,81 1

Films Breck Film Productions Limited : Shakespeare's Mounted Foot 19,000 John Buchan 6,500 International Film Association (Scotland) Limited : George Mackay Brown 500 Pelicula Films Limited : The Donegals 250 Tree Films : The Odd Man 25,000 Viz Limited : Burrell Collection 6,250

Total as Schedule I £57,500

96

Schedule 3 Scottish Arts Council

Literature Edinburgh Meet the Author Committee 1,925 Edinburgh University Library 3,000 Federation of Children's Book Groups (Edinburgh Branch) 425 Federation of Children's Book Groups (Forgan Children 's Book Group) 440 Gaelic Books Council 11,000 Glasgow Writers Clu b 80 International PEN Scottish Centre 1,000 National Book League 12,167 National Library of Scotland 5,300 National Mod (Oban 1978) Local Committee 250 Scottish Association of Magazine Publishers 400 Scottish Association of Writer s 200 Scottish General Publishers Associatio n 15,000 Scottish International Institute 1,200 Scottish Open Poetry Competitio n 148 Sound and Syntax Poetry Festival 2,962 University of Edinburgh 1,000 56,497

Publication s 'Akros' 4,700 'Aquarius' 1,800 'Boillsgeadh' 50 'Books in Scotland ' 3,000 'Bruntons Miscellany' 530 'Chapman' 1,890 'Gairm' 5,750 'Lallans' 400 'Leopard' 3,250 'Lines Review ' 2,900 'New Edinburgh Review' 4,000 'Prospice' 600 'Scotia Review ' 1,300 'Scottish Field' 300 'Scottish Literary Journal ' 2,300 'The Scottish Review' 4,750 'The Sou'Wester ' 450 'Shetland Review 1978 ' 500 'Tocher' 1,500 'Treasure Trove' 350 'Words' 1,200 41,520

Carried forward 98,01 7

97

Schedule 3 Scottish Arts Counci l

Brought forward 98,01 7 Poetry Readings An Comunn Gaidhealach 780 Edinburgh Folk Festival 172 European Literature, Music and Poetry Association 1,81 4 Gala Nights 1,500 Mainstream Publishing 75 Scotia Review 650 Scottish Association for the Speaking of Verse 164 5,155

Grants to Publisher s Akros Publications `An Anthology of Glasgow Poems' edited by Hamish Whyte 800 Blackness Pres s `The Poems and Selected Letters of C . H. Sorley' edited by Hilda D . Spear 300 Canongate Publishing Limited `Gillespie' by John MacDougall Hay 2,000 `The Edinburgh Pirate' by Robert Crampsey 500 `The Cleansing of the Knife and other Poems ' by Naomi Mitchison 400 Chatto and Windus Limited `Beltram in Exile' by William Watson 1,600 Clarsach Publications `Fragments of Ancient Poetry Collected in the Highlands of Scotland and translated from the Gaelic' by James MacPherson 180 William Collins Sons and Company Limite d `1979 Volume of Short Stories ' 2,400 John Donald (Publishers) Limite d `Ring Net Fishermen of Kintyre' by Angus Martin 2,000 Edinburgh University Pres s `The Second Life' by Edwin Morgan 600 Faber and Faber `John Grierson : A Documentary Biography' by Forsyth Hardy 1,800 Paul Harris Publishin g `The Collected Poems of Maurice Lindsay' 750 `Widows of Clyth' by Maurice Lindsay 750 Hogarth Press `An Autobiography of Edwin Muir' 500 Macdonald Publisher s `Gravitations' by David Black 350 Mainstream Publishing `The Cevennes Journal' by Robert Louis Stevenson edited by Jacques Boujal, Jacques Blandel and Gordon Golding 800 `Scottish Journey' by Edwin Muir 900 The Molendinar Pres s `Brochure for Poetry Posters' 350

Carried forward 16,980 103,172 98

Schedule 3 Scottish Arts Council

£ £ Brought forward 16,980 103,172 Northern House `Poems to Eimhir ' by Sorley Maclean 300 Print Studio Press Nine Poetry Pamphlets 644 The Ramsay Head Press `John Galt Bi-Centenary Commemorative Volume' edited by Dr A. C. Whatley 500 `Short Stories' by Eona Macnicol 500 `Strange Death of Scottish History ' by Dr Marinell Ash 750 `James Bridie' by J . T. Low 200 `Muriel Spark' by Allan Massie 200 Scottish Academic Press Limited `Society and the Lyric' by Tom Crawford 750 'Longer Scottish Poems 1830 to the present' edited by Edwin Morgan and Alexander Scott 724 `Three Perils of Man' by James Hogg 1,000 Souvenir Press Limited `The Ministers' by Fionn MacColla 500 `The Serpent' by Neil Gunn 300 `The Drinking Well' by Neil Gunn 400 Gordon Wright Publishing `Lewis' by Donald Macdonald 2,100 `The Pirate Gow' by Daniel Defoe 550 26,398

Writers in Residence Gerald Mangen: Duncan of Jordanstone College of Art 5,000 Graeme Gibson : Scottish-Canadian Fellowship at Edinburgh University 5,000 Alan Spence : Deans Community High School 5,000 Group of five writers in schools : Lothian Regional Council 1,500 James Kelman : Renfrew District Council Libraries 5,000 Carl MacDougall: University of Dundee 2,416 Alasdair Gray: University of Glasgow 5,000 John Herdman : University of Edinburgh 2,500 Carl MacDougall: Edinburgh Folk Festival 350 Aonghas MacNeacail : Sabhal Mor Ostaig 5,000 - 36,766 Munro Award 100 Book Awards 7,900 Bursaries 25,000 Travel Grants 3,180 36,180

Recordings Sean Murphy: `Whaur Extremes Meet' 200

Carried forward 200 202,516 99

Schedule 3 Scottish Arts Council

£ £ Brought forward 200 202,51 6 Scotsoun Productions : Cassettes of work by John Barbour, Gavin Douglas , Alexander Scott (Medieval), Alexander Scott (Contemporary) and Robert Garioch 620 Tuatha Music Limited : `Whaur Extremes Meet' 5,000 5,820

Total as Schedule 1 £208,336

Festivals Cunninghame District Council : Robert Burns Festival 200 Dunkeld and Birnam Arts Festival 100 Easterhouse Summer Festival 8,152 Edinburgh : Craigmillar Festival Society 1,900 Edinburgh Festival Fringe Society Limited 5,000 Edinburgh Festival Society Limited 270,000 Edinburgh Folk Festival Society 750 Experimental Arts Society, Edinburgh University : Edinburgh Festiva l of Electronic Music 1,200 Girvan Folk Festival 35 Glasgow : Anderston Festival Society 250 Kyle and Carrick District Council: Robert Burns Festival 350 Mull Music Festival Society 20 Oban National Mod Committee 250 Perth Festival of the Arts 5,778 Scottish-Finnish Society : Scottish-Finnish Week 3,000 St Andrews Festival 2,600 St Magnus Festival, Orkney 3,985 Stirling District Festival Association 477 Thurso Folk Festival 350

Total as Schedule 1 £304,397

Projects, Arts Centres and Club s Aberdeen Arts Centre Association 2,900 Arran Community Arts Project 1,000 Cumbernauld Theatre Trust Limited 3,250 Dumbarton : Bonhill Workshop 700 Edinburgh : Craigmillar Festival Society Arts Resource Centre 7,000 Theatre Workshop Edinburgh Limited 41,943 Film Workshop Trust 2,449

Carried forward 59,242 100

Schedule 3 Scottish Arts Council

Brought forward 59,242 East Kilbride: Village Theatre 1,500 Glasgow : Dolphin Arts Centre 1,500 Easterhouse Summer Festival 100 Glasgow Arts Centres Trust Limited 892 Third Eye Centre (Glasgow) Limited 125,000 Greenock Arts Guild 5,050 Haddington: Lamp of Lothian Collegiate Centre 9,550 Inverness: Eden Court Theatre 84,980 Joe Heavenstone 500 Irvine : Harbour Arts Centre 1,000 Kilmarnock & District Arts Guild 1,000 Prestwick Arts Guild 200 Stromness : Pier Arts Centre Trust 10,000 Troon Arts Guild 500 University of St Andrews : Crawford Arts Centre 20,11 0 University of Stirling : MacRobert Centre 64,000 The Association of Arts Centres in Scotland 2,000 The Association for Cultural Economics 1,000 Community Arts Resource Service 900 Highland Regional Council 2,500 Scottish Civic Entertainment Association 4,000 Scottish Educational Review 300 Scottish Trades Union Congress 450

Total as Schedule 1 £396,274

Housing the Art s Cumbernauld Development Corporation 10,000 Dundee Repertory Theatre Limited 50,000 Scottish National Orchestra Society Limited 56,000 Scottish Philharmonic Society Limited 49,500

Total as Schedule 1 £165,500

10 1

Welsh Arts Council Income and Expenditure Account for the year ended 31 March 1979

1978 1979

Income Grant from the Arts Council of 3,280,322 Great Britain 3,938,000 Provision for grants and guarantees in previous year 26,280 not required 8,285 Transfer from reserve for capita l 8,808 expenditure 2,864 39 Transfer from capital account 86

Miscellaneous income: 4,772 Bank interest 17,693 - Donations 2,165 - Realisation of assets 5,795 3,389 Sundry 59 1 8,161 26,244

3,323,610 3,975,47 9

Less Expenditur e General expenditure on the arts 3,008,760 (see Schedule 1) 3,625,18 4 General operating costs (see 285,821 Schedule 2) 310,80 1 Capital expenditure transferred to 27,359 capital account 49,41 5 2,864 Provision for capital expenditure 17,198 3,324,804 4,002,598

(1,194) Excess of expenditure over income (27,119) Add Balance brought forward a t 72,071 1 April 1978 70,877

£70,877 Balance carried forward to Balance Sheet £43,758

102

Welsh Arts Council Balance Sheet at 31 March 1979

1978 1979 £ £ £ £ Fixed Assets (see Note 1) - Freehold property 11,31 5 27,304 Leasehold property improvements 27,304 31,871 Office equipment 34,382 30,653 Motor vehicles . 37,867 9,951 Art Exhibition Equipment 10,267 96,642 Works of Art 107,75 1 - Film Equipment 16,20 1

196,421 245,087 Current Assets Stock 31,016 Bookshop 32,399

Debtors and prepayments Grant due from Arts Council of - Great Britain 25,000 Grants and guarantees paid in 195,800 advance 366,000 500 Expenditure on future exhibitions 2,753 84,479 Sundry debtors and prepayments 24,924 - Loans outstanding 913 280,779 419,590 3,262 Cash at bank and in hand 920

511,478 Total fixed and current assets 697,996

Less Current liabilitie s 177,775 Grants and guarantees outstanding 200,640 Sundry creditors and accrued 63,541 liabilities 91,313 Grant received in advance from Arts - Council of Great Britain 100,000 241316 . 391 .953

£270,162 Total net assets £306,043

Capital Account 166,003 Balance at 31 March 1978 196,42 1

Add Capital expenditure transferred from income and expenditure 27,359 account 49,41 5 - Gifts received 9,055 3,100 Adjustments from previous years - 30.459 58.470

196,462 Carried forward 254,89 1 103

Balance Sheet Welsh Arts Council

1978 1979 £ £ 196,462 Brought forward 254,89 1

Less Capital items transferred to 39 income and expenditure account 86 2 Book value of assets sold or written off 9,718 4 1 9,804

196,421 245,087 70,877 Income and expenditure accoun t 43,758 2,864 Provision for capital expenditure 17,198

£270,162 Total capital and reserve s £306,043

Chairman of the Welsh Arts Council : SHIRLEY ANGLESEY Secretary-General : ROY SHAW

104 Notes to the Accounts

Book value at Additions Items sold Book value at Note 1 Fixed Assets 31 March 1978 at cost or or written 31 March 1979 valuation off £ £ £ £ Freehold propert y Casson Theatre- acquisition at valuation - 8,500 - 8,500

Casson Theatre- improvement at cost - 2,815 - 2,81 5 Leasehold propert y improvements at cost: Holst House, Museu m Place, Cardiff 4,704 - - 4,704 53 Charles Street, Cardiff 22,600 - - 22,600

Office equipment at cost 31,871 3,558 1,047 34,382

Motor vehicles at cost 30,653 15,885 8,671 37,867

Art exhibition equipment at cost or valuation on acquisition 9,951 316 - 10,267

Works of art at cost or valuation on acquisition 96,642 11,195 86 107,75 1

Film equipment at cost - 16,201 - 16,20 1

£196,421 £58,470 £9,804 £245,087

Note 2 Accounting Policies The Accounts of the Council have been prepared under the historical cost convention and incorporate the following accounting policies : (i) Grants and guarantees are charged to the Income and Expenditure Account in the year for which the y are undertaken as a commitment by the Council on the basis of a formal offer to and acceptance by th e Council's clients . Any amounts unpaid from these commitments are shown as liabilities on the Balanc e Sheet and any advance payments to clients in anticipation of the grants and guarantees to be offered fo r the following financial year are shown in the Balance Sheet as assets . (ii) Expenditure on the provision of fixed assets is charged to the Income and Expenditure Account, but th e resultant assets are shown in the Balance Sheet at cost with a corresponding addition to the Capita l account. The value of any fixed assets disposed of during the financial year is eliminated from the Balance Sheet with a corresponding reduction in the Capital account . (iii) No provision is made for the depreciation of fixed assets ; any expenditure on additions and renewals i s charged to the Income and Expenditure Account. (iv) All stocks are valued on a unit cost basis at the lower of cost and estimated net realisable value . Note 3 Indemnities entered into by the Welsh Arts Council in respect of objects borrowed for exhibitio n purposes totalled not more than £148,226 at 31 March 1979 . 105 Notes to the Accounts

I have examined the foregoing Income and Expenditure Account, Balance Sheet and Notes to the Accounts . I have obtained all the information and explanations that I have required and I certify, as the result of m y audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fai r view of the transactions of the Welsh Arts Council and of the state of their affairs .

Exchequer and Audit Department Signed: Douglas Henle y 24 August 1979 Comptroller and Auditor General

106

Schedule 1 General expenditure on the arts in Wales

for the year ended 31 March 197 9

£ £ £ £ Music Grants and guarantees (see Schedule 3 ) 1,138,060 Expenses : Award and Bursary Schemes 767 Dance Conferences and Activitie s 1,863 Concerts : Expenditure 145,836 Less Income 42,72 1 Less VAT 2,166

105,28 1 Recordings of Welsh Musi c 22,336 1,268,307

Drama Grants and guarantees (see Schedule 3 ) 1,184,173

Art Grants and guarantees (see Schedule 3 ) 163,290

Exhibitions : Expenditure 137,04 1 Less Income 6,78 1 Less VAT 523 6,258 130,783

Art Film Tours : Expenditure 1,200 Less Income 765 Less VAT 57 708 492

Publications : Expenditure 4,277 Less Income 172 Less VAT 11

4,11 6 Gallery Improvements : Consultancy Fees 3,71 1 Schemes and Projects Expense s 206 302,59 8

Carried forward 2,755,07 8 107

Schedule I Welsh Arts Counci l

Brought forward 2,755,07 8 Film Grants and guarantees (see Schedule 3 ) 50,71 2 Activities 320 51,032 Less Grant from British Film Institute 22,700 28,332

Literature Grants and guarantees (see Schedule 3) 305,120

Publications : Expenditure 620 . Less Income 506 Less VAT 23 483 13 7

Projects, competitions and promotions expenses 16,274 Yr Academi Gymreig 2,239 323,770

Festivals Grants and guarantees (see Schedule 3 ) 48,300

Arts Association s Grants and guarantees (see Schedule 3 ) 247,000

Projects Grants and guarantees (see Schedule 3 ) 25,150

Housing the Arts Grants (see Schedule 3) 89,000

Oriel: Bookshop Expenditure including operating cost s 82,544 Less Income 54,638 Less VAT 742 11 .- 1 28,648

Carried forward 28,648 3,516,63 0 108

Schedule 1 Welsh Arts Counci l

Brought forward 28,648 3,516,630 Oriel: Gallery Expenditure including operating cost s 42,759 Less Income 843 Less VAT 30 - 813 41,946 Art Activitie s 20,005 Literature Activities 15,691 106,290 Craft Grants and guarantees (see Schedule 3 ) 6,35 5 Activities 7,062 Exhibitions 18,198 - 31,61 5 Less Grant from Crafts Advisor y Committee 43,500 Less Expenditure in respect of previous years 6,320 37,180

Publication Review of the Arts in Wales

Net expenditure as Income and Expenditur e account

Schedule 2 General operating cost s in Wales for the year ended 31 March 1979

Salaries and wages 179,296 Arts Council of Great Britain Retirement Plan 26,508 Travelling and subsistenc e 32,366 Rent and rates 16,89 1 Fuel, light and house expenses 5,947 Publicity and entertainmen t 13,410 Postage and telephon e 15,461 Stationery and printing 5,403 Professional fees 5,75 1 Office and sundry expenses 9,768

Total as Income and Expenditure account £130,80 1

109

Schedule 3 Grants and Guarantees for the year ended 31 March 197 9 (including subsidies offered but not paid at that date)

Music £ £ Opera Welsh National Opera and Drama Company Limited 840,000

Dance Ballet 79 600 Dorothy Parker Dance Presentation 800 Dyfed Dance Association 250 Extemporary Dance Group 4,000 Moving Being 55,000 New Spaces Project 400 North Wales Arts Association 81 2 Sherman Theatre 150 South East Wales Arts Association 2,030 Theatr Clwyd 2,000 Theatr Powys 240 Welsh Dance Theatre Trust 17,246 West Glamorgan Education Authority 800 West Wales Arts Association 500

Bursaries 240 85,068

Other Activities BBC Welsh Symphony Orchestra 134,000 Merlin Music Society 2,250 Welsh Amateur Music Federation 47,000 Welsh Music Archive 5,480 Young Welsh Singers 45 7 Youth and Music (Wales) 4,500 193,687 Publications 3,200 Bursaries for advanced study 7,350 Commissions to composers 8,755

Total as Schedule 1 £1,138,060

Drama Arts Centres and Mixed Programme Theatres Aberystwyth: Arts Centre 63,000 Bangor: Theatr Gwynedd 69,000 Builth Wells : Wyeside Arts Centre 25,000 Cardiff: Chapter (Cardiff) Limited 103,250 New Theatre Trust 27,500 Sherman Theatre 67,100

Carried forward 354,850 11 0

Schedule 3 Welsh Arts Council

£ £ Brought forward 354,850 Harlech: Coleg Harlech Arts Centre 23,000 Milford Haven : Torch Theatre 60,000 Mold: Theatr Clwyd 120,000 Swansea: Grand Theatre 22,000 579,850

Community Theatre Bag and Baggage 3,312 Drama Association of Wales 5,200 Llandovery Theatre 9,000 Narrow Gauge Theatre Company 500 Open Cast Theatre 20,000 Theatr B ara C aws 7,400 Theatre `O' 500 45,91 2

Experimental Theatr e Cardiff Laboratory Theatre Trust 16,675 Chapter Theatre Pool 18,000 Paupers Carnival 6,000 Red Light Theatre 11,500 Saga Theatre 2,500 54,675

Production Units Cwmni Theatr Cymru 205,000 Theatr yr Ymylon 90,000 Welsh Drama Company 30,000 325,000

Young People's Theatr e Action Pie 11,000 Cardiff Open Air Theatre 28,000 Caricature Theatre 55,000 Cwmni Theatr y Werin 7,000 Cwrs Drama 240 Cymru 79 Festival 13,100 Drama Association of Wales 700 Gwent Theatre in Education 14,000 Milford Haven Further Education Centre 325 SCYPT 200 South-East Wales Arts Association Theatre in Education, Mid Glamorgan 2,500 Theatr Clwyd 1,000 Theatr Powys 19,460

Carried forward 152,525 1,005,437 111

Schedule 3 Welsh Arts Counci l

£ £ Brought forward 152,525 1,005,43 7 Torch Theatre 900 Welsh National Youth Theatre 1,900 155,325 Publications 1,200

Bursaries and travel grants 15,51 1

Commissions 2,900

Small Capital Grants: Llandovery Theatre Company 1,500 Drama Association of Wales 2,300 3,800

Total as Schedule 1 £ 1,184,173

Art Grants towards Gallery Developments Association of Photographers in Wales 75 7 Cardiff: Faculty of Art and Design 200 Mostyn Gallery Limited 32,500 Royal National Eisteddfod of Wales 20,000 Swansea: Grand Theatre 250 Tegfryn Art Gallery 2,500 56,207

Grants and guarantees towards exhibition s Adamsdown Community Centre 250 Association of Photographers in Wales 4,192 Chapter (Cardiff) Limited 2,500 Glynn Vivian Art Gallery and Museum 750 Llanover Hall Arts Centre 1,01 3 Llantarnam Grange Art Committee 370 Newport Museum and Art Gallery 1,170 Newtown Civic Society 912 Oriel Bangor 1,500 Pinhole 350 Poole Galbraith 750 Royal National Eisteddfod of Wales 10,000 Sherman Theatre 360 Stephen Blundell 2,500 The Seren Centre `Kites' 26 5 Wrecsam Arts Centre 500 27,382

Carried forward 83,589

112

Schedule 3 Welsh Arts Council

Brought forward 83,589 Aid to Artists - Organisations Artlaw Services 2,000 Association of Artists and Designers in Wales 20,000 Cardiff: University College 3,500 Contemporary Art Society for Wales 1,500 Cucumber 1,075 56 Group Wales 726 Llanover Hall Arts Centre 2,500 National Museum of Wales 86 Royal National Eisteddfod of Wales 3,300 Welsh Books Council 10,000 Yr Hen Ysgol 1,450 46,137

Grant aid for Commissions and Purchases British Rail 2,125 Caerleon and District Civic Society 1,500 Clwyd Magistrates Court 1,225 Gregynog: University of Wales 450 Neath Borough Council 1,000 Ivor Roberts-Jones (for Harlech Castle) 13,500 West Wales Arts Association 500 20,300 Aid to Artists 13,036

Print Scheme 228

Total as Schedule 1 £163,290

Film Bwrdd Ffilmiau Cymraeg 25,000 Caernarfon Eisteddfod 1,000 Caricature Theatre 2,329 Chapter (Cardiff) Limited 4,189 Tim Diggles 3,700 Christine Felce 1,496 Gweld 800 Ieuan Rhys Morris 70 G. C. Marks 420 Huw Parsons 480 Powys County Council 3,500 Royal National Eisteddfod of Wales 300 Marty St James 3,000

Carried forward 46,284 11 3

Schedule 3 Welsh Arts Counci l

Brought forward 46,284 Sherman Theatre 59 1 G. Thomas 1,665 Paul Turner 1,100 Peter Turner 145 Anne Wilson 927

Total as Schedule 1 £50,71 2

Literature Welsh Books Council : Annual grant 88,000 Discount Scheme 15,500

Bookshop grants: Bridgend : Siop Yr Hen Bont 5,250 Cardiff: Gwerin 500 Colwyn Bay : Clwyd Books 5,600 Llangefni: Y Cwpwrdd Cornel 6,000 Llanwrst : Siop Llyfrau Cymraeg 1,800

Yr Academi Gymreig 46,420

Cardiff- Royal National Eisteddfod of Wales 4,160

Editorial grants to publishers : Cardiff: University College 100 Christopher Davies (Publishers) Limited 9,000 Cymdeithas Cerdd Dafod 240 Gwasg y Dref Wen 5,000 Gwasg Gomer 9,000 Sain (Recordiau) Cyf 300

Writers in Schools : North Wales Arts Association 1,000 South-East Wales Arts Association 1,000 West Wales Arts Association 1,000

Periodicals `Anglo-Welsh Review' 5,000 `Barddas' 1,800 `Barn' 12,240 `Pais' 4,500 `Planet' 6,500 `Poetry Wales' 5,800 `Powys Review' 1,500

Carried forward 237,210 114

Schedule 3 Welsh Arts Counci l

£ £ Brought forward 237,210 `Taliesin' 2,880 `Y Casglwr' 500 `Y Faner' 18,000 `Y Genhinen' 3,180 `Y Traethodydd' 1,920 263,690

Bursaries and travel awards 16,67 5

Prizes 3,725

Grants to Publishers 20,830

Commissions 200

Total as Schedule 1 £305,120

Festivals Fishguard Festival 3,000 Llandaff Festival 10,500 Llangollen International Music Eisteddfod 16,300 North Wales Music Festival 3,500 Swansea Festival 12,000 Vale of Glamorgan Festival 3,000

Total as Schedule 1 £48,300

Arts Associations North Wales Arts Association 67,500 South-East Wales Arts Association 102,500 West Wales Arts Association 77,000

Total as Schedule I £247,000

Special Projects Royal National Eisteddfod of Wales 25,000 South-East Wales Arts Association 150

Total as Schedule 1 £25,150

11 5

Schedule 3 Welsh Arts Counci l

Housing the Arts £ Royal National Eisteddfod of Wales 55,000 Torch Theatre, Milford Haven 14,000 Wyeside Arts Centre 20,000

Total as Schedule 1 £89,000

Craft Betty Blandino 80 Cathedral School, Llandaff 200 Adrian Childs 180 Delrue Bookbinders 250 Dyfed College of Art 325 Guild of Gold and Silversmiths of Wales 200 Graham J . Hardy and Associates 300 Mel Mars 500 Master Bakers & Confectioners Association 200 R. Mitchell 500 National Building Agency 160 North Wales Arts Association 51 5 Pembrokeshire Craftsmen's Circle 500 Royal National Eisteddfod of Wales 90 Royal Welsh Agricultural Society 150 St Michael's Church, Brecon 800 The Seren Centre 300 South Wales Potters 495 Tynllan Pottery 360 United World College of the Atlantic 250

Total as Schedule 1 £6,35 5

11 6

Table A Awards 1978/79

England Evrol Puckeri n Paul Barker MAAS Mover s Dancers Anonymous Music and Dance Domy Reiter-Soffer Timothy Baxte r Choreographer s Extemporary Dance Trust Harrow Philharmonic Choi r Stewart Arnold Madeleine Samuelso n David Bedford MAAS Mover s Dance for Everyone London Choral e Don Aske r Gary Sherwood Richard Rodney Bennet t Basic Space Dance Theatre Dancers Anonymou s Bedfordshire County Council Patricia Banto n Janet Smith Christopher Benstead MAAS Mover s Cambridge Contemporary Danc e EMMA Dance Company Micha Berges e Grou p Extemporary Dance Trust Junction Dance Company EMMA Dance Company Janet Smith Company Mikloth Bon d Ian Spin k Lennox Berkele y MAAS Mover s Basic Space Dance Theatre Carl Dolmetsch Corrine Bougaard Michael Berkeley Extemporary Dance Trust Dance Bursarie s Gillian Thoda y Diane Broman Christopher Bruce Howard Shelle y Extemporary Dance Trust Jonathon Burrow s Malcolm Rudlan d Ruth Carne y Patrick Harding-Irme r Richard Rodney Bennett and Dance for Everyone Ingegerd Lonnroth Susan Bradshaw Dancers Anonymou s Gilbert Biberian John Chesworth Designer s Clive Conway and Gerald Garcia EMMA Dance Compan y Nadine Bayli s Judith Bingham Peter Darrel l EMMA Dance Company (2) Margaret Adams and Stephe n New London Balle t Richard Caswel l Williams Kristin Donovan New London Ballet Richard Blackford Junction Dance Company (2 ) Peter Farmer Opera Player s Jane Dudle y New London Ballet Howard Blake Junction Dance Company Sally Gardner Janet Smith Company Merseyside Dance Trust MAAS Mover s Carey Blyton Robb Flemin g Craig Givens Guildhall School of Music and Extemporary Dance Trust Ian Spink Grou p Drama Steven Giles Claude Manle y Christopher Bochman n Extemporary Dance Trust MAAS Movers Vega Wind Quinte t John Jone s Chris Orvis Derek Bourgeoi s MAAS Mover s Basic Space Dance Theatre Bristol Bach Choir Ingegerd Lonnrot h Judy Stedham Philip Jones Brass Ensembl e Junction Dance Company (2 ) Junction Dance Company (3 ) Rory Boyle William Louthe r Moving Visions Dance Theatre Greenwich Festiva l MAAS Mover s Alison Stewart-Richardson London Choral Societ y Royston Maldoom Extemporary Dance Trus t Christopher Brow n EMMA Dance Compan y International Organ Festiva l Donald McAlpin e Composer s Society Educational Dance Dram a Simon Adams Latymer Schoo l Theatr e James Fulkerso n Alan Bullar d Tamara McLor g Barry Anderso n Colchester Choral Society Islington Dance Factor y West Square Electronic Musi c Geoffrey Burgon Merseyside Dance Trust Association Royal Choral Society Jane Noona n Denis ApIvor Gary Carpente r Dance for Everyone Cedar Dance Theatre Basic Space Dance Theatr e Robert North Neil Ardley Ian Carr Extemporary Dance Trus t Abbotsholme Arts Societ y Camden Music Festival New London Balle t Richard Austi n John Casken Andre Prokovsk y MAAS Movers Jane Manning and Richar d New London Ballet Rodney Bennett

117 7able A

Brian Chappl e Anthony Hedge s Edward McGuire London Sinfoniett a Kirklees Leisure Service s Jane Manning and Barry Gu y Edward Cowie David Hellewel l Anthony Milner Antony Lindsay and Simon Young Istvan Matu z Stephen Savag e Adrian Cruft Timothy Higgs Carlos Mirand a Southend Boys Choi r Duo Antiqu a EMMA Dance Company Martin Dalby Robin Hollowa y Peter Anthony Monk Electric Phoenix The Nash Ensembl e London Gabrieli Brass Ensembl e Hugh Davie s John Hopkin s Stephen Montagu e John Potte r Basic Space Dance Theatr e Kathryn Luka s Paul Drayto n Charles Dobler Dominic Muldowney Norfolk and Norwich Triennial Kathryn Luka s Andrew Knight s Festiva l Vic Hoyland James Wood Simon Emmerson Essex Education Committee George Newso n Elms Concerts Peter Inness New Macnaghten Concerts Richard Emsle y Neil Mackie George Oda m David Campbel l Gordon Jacob The Girl Guides Associatio n Michael Finnissy Arthur Doyle Concert Band Mid-Northumberland Arts Group Josephine Nendick Lionel Tertis International Viol a Buxton Orr The Nash Ensembl e Competition Mary King Ronald Fletcher New Violin Famil y Nigel Osborne Brett Valley Society for the Arts Robert Sherlaw Johnson Electric Phoeni x Erika Fox Collegium Musicum of London English Bach Festival Contrapuncti Kenneth V . Jones Jane Manning and Barry Gu y Omega Guitar Quartet Duo Antiqu a London Sinfoniett a James Fulkerson Myrha Saxophone Quartet John Owe n Harry Sparnaa y Wilfred Joseph s Mary Clarkso n Patrick Gower s Cummings String Trio an d Paul Patterso n Tallis Chamber Orchestra Sarah Franci s Philip Jones Brass Ensembl e The Incorporated Society of Nicholas Smith John Paynte r Organists Rose Andresie r Royal Leamington Spa Bac h Pip Greasle y Jon Keliehor Choir EMMA Dance Compan y Extemporary Dance Trust Morris Pert Pawlu Grec h MAAS Movers (2 ) Electric Phoenix Carlos Bonnell Gordon Langford Rose Andresier Edward Gregso n Henley Symphony Orchestr a Barrington Pheloun g London Borough of Croydon Nicola LeFan u Junction Dance Company Schools Music Association University of London Orchestr a Kenneth Platts Mark Griffith s Elisabeth Lutyens Robert Brightmor e Matrix Jeremy Brow n Suffolk Schools Symphon y Barry Guy Medici Quartet Orchestra John Potte r Michael Finnissy Barney Priest Kathryn Luka s Philip Langridg e Dancewor k Iain Hamilton Elizabeth Maconch y Robert Purvis English National Opera Ingrid Culliford and Shelag h MAAS Movers Edward Harper Sutherland Bernard Rand s Chester Bach Singers Roger Marsh Elms Concerts John Harpe r Electric Phoenix Miles Anderson CBSO Society Limite d Elms Concerts Paul Read e Jonty Harriso n Bill Martin Robles Tri o Myrha Saxophone Quarte t Elms Concerts Alan Ridou t Robin Hartwell John Maye r The Scholar s Dancewor k Georgina Dobree Gregory Ros e Jonathan Harve y John McCabe Duo Antiqu a Winchester 900 Festival Royal Philharmonic Orchestra Thames Concerts Societ y

118 Table A

Paul Rutherford James Walker Duncan Lamon t Jane Manning and Barry Guy Stratford-upon-Avon Choral Philip Lan e Leonard Salzedo Society Jonathan Lloyd British Youth Wind Orchestra John Walters David Martin Robert Saxton York Arts Centre Nicholas Maw Ashley Stafford and Robert Michael Blake Watkins Edward McGuir e Chilcott Yfrah Neaman Allan Moor e Gewestelijk Orchestra, Delft Judith Weir Peter Paul Nas h Syrinx Lontano Ensemble George Nicholso n Gerard Schurmann Jane Manning Alfred Nieman Royal Liverpool Philharmonic Graham Whettam Michael Nyman Society Coull String Quartet Joanne Pooley Francis Shaw Peter Wiegold John Potter Hazel Andrea Ronald Lumsden Anthony Powers Michael Simmonds Margaret Lucy Wilkins Stephen Pratt (2) Islington Dance Factory John Turner Haydn Reeder MAAS Movers Graham Williams Howard Rile y Tamara McLorg Omega Guitar Quartet Stephen Savage Roger Smalley Malcolm Williamson Paul Schwartz Philip Jones Brass Ensemble Green Room Music Club of Humphrey Searl e Robin Smith Royal Tunbridge Wells Francis Sha w National Youth Jazz Orchestra Three Choirs Festival Roger Smalley Naresh Sohal Trevor Wishart Roger Steptoe Elms Concerts Kathryn Lukas Bernard Stevens Robert Spearing Douglas Young Giles Swayn e Finchley Children's Music Group Leicestershire Schools Symphony Andrew Vores (2 ) Frank Spedding Orchestra Alan Wakeman Sheba Sound Trevor Watts Patric Standford Bursaries Mike Westbroo k Birmingham Festival Choral Denis ApIvor Nicholas Wilson Society Ian Ballantine Trevor Wishart Peter Levitt Harry Beckett Andrew Worton-Steward Frank Stiles Christopher Bodman Rose Andresier Gavin Bryars Art Richard Stoker Geoffrey Burgon Awards English Guitar Duo Lindsay Cooper Giles Swayne David Cox John Ashworth Jane Manning and Barry Guy Lowen Coxhill John Ashworth John Blak e Phyllis Tate Josefina Cupido Stephen Co x Royal Free Hospital Music Society Terence Day Jennifer Durrant John Tavener David Graham Ellis John Foste r Royal Philharmonic Orchestra Digby Fairweather Robin Greenwood John Taylor David Fanshawe William Henderson Bracknell Jazz Festival Michael Finnissy (2) John Gardner Bob Law Richard Taylor Bruce McLea n Michael Garrick National Youth Jazz Orchestra Paul Neag u Rolf Gehlhaar Ernest Tomlinson Sally Potter Douglas Gould Borough of Preston Simon Read Janet Graham Stan Tracey Bruce Russell Barry Guy Jazz Centre Society Tim Scott Janice Hamer Antonin Tucapsky Anthony V1hisha w Singers Jonathan Harvey London Chorale George Khan Geoffrey King Oliver Knussen 11 9 Table A

Bursaries Nick Hedges Bernard Kops Robert Adams Isabella Jedrzejczyk Michael de Larrabeit i Braco Dimitrijevic David Larcher John Lehmann Ron Haselden Boyd Webb Susan Lun d John Webb Ralph Mannheim Film Awards Dambuzdo Marecher a Neil Armstrong Photography Bursaries Elizabeth Mavor Judy Blake Ken Baird Eric Millwar d Tony Bloor Fay Godwin Paul Muldoon Ian Breakwell Larry Herman Elizabeth Posto n Michael Calvert Raymond Moore Michele Roberts Andrew Cassels Paul Trevor Martin Ryl e Tim Cawkwell Ronald Scriven Frances Coleman Publishing Awards Anthony Sharples Nicholas Collins Richard Calvocoressi Jonathan Smith Paul Denby Derek Carruthers Edward Storey Robert Fearns Alister Grieve D. M. Thomas Keith Frake Anna Gruetzner Fred Urquar t Peter Gidal Tim Hilton Claire Villiers Peter Greenaway Georges Levantis Robert Wells Marilyn Halford Marko Livingstone Clive Wilmer David Hall Paul Marris Rick Trader Witcomb e Ron Haselden Patrick Procto r David Hilton Al Rees Training Schemes Jeff Keen Eugene Rosenberg Joy Leatherbarrow Richard Shone Actors Malcolm Le Grice Jean Spencer Judith Alderson Elisabeth Ledward Norman Stevens Franki Anderso n Mike Leggett Gerald Wilkinson David Ashle y Joe Mara Rosamund Attwoo d Benedict Mason Video Bursary Annette Badland Vera Neubauer Elsa Stansfield Louise Barclay Ian Owles Jeni Barnet t Steve Partridge Literature Anna Barr y Haris Pellapaisiotis Jay Benedict Stuart Pound Awards to Writers and Translators Nick Blake Gough Quinn Michael Baldwin Helen Bourne William Raban George Barker Louise Breslin Tim Rayner William Bedford Tim Brierle y Jane Rigby James Berry Zoe Bright Tony Sinden John Bird Frances Brooke John Smith Kyril Bonfiglioli Sylvia Carson Chris Welsby Louise Collis Penny Casdagl i Alan Welsford Dominic Cooper Brenda Cavendis h Kevin Crossley-Holland Oz Clarke Photography Awards Alistair Elliott Hazel Clyne Ed Barber Elaine Feinstein Angela Collin s Carolyn Bloore Howard Goorney Robert Cotton Adrian Bregazzi David Grant Tony Crean David Chadwick Tony Harrison Janet Dale John Davies Ronald Hayman Carol Darrock Andy Earl Janet Hitchman Deirdre Dee Janice Giffen Helen Hodgeman Dick Downin g Edward Hawke Peter Jay Stephen Earl e Lawrence Hayward Michael Kettle Yvonne Edgel l 120 Table A

John Fleming Graham Walsh Buffy Ki m Barbara Flynn Nina Ward Malcolm Knigh t Gene Foad James Warwick Rodger Parker Joanna Gale Helen Watson Jane Rumbl e Roger Gartland Charlotte Westoram Mathilde Sandber g Robert Gary Elizabeth Whiting Mary-Low Schenck Ian Gelder Susan Wooldridge Anne Sinclai r Tricia George Debbie Young John Thompson Jean Gilpin Jeremy Turner Jane Gurnett Administrator s Jennifer Guy Diploma Course Directors Edward Hammond Barbara Buckley Lea Bartal Gillian Hanna Portland Green Andrew Breakwell Patty Hannock Perdita Hunt Geoffrey Bullen Stephen Hatton Elizabeth Kessler Jonathan Chadwick Keith Hazemore Marguerite McLaughlin Peter Cheeseman Keith Hodiak Mandy Redington Kate Crutchley Penelope Horner Les Davidoff Richard Kay Practical Training Scheme Cyril Kinsk y Rosie Kerslake Fiona Gaffney David Leland Paul Kessel Michael Hinc Rod Lewi s Frank Lazarus Michael Nulty Alan Lyddiar d James Lister Stephen Rogers Christopher Rawlence Elaine Loudon Brendan Sweeney Andrew Sinclair Mikki Magorian Patricia Trueman Deborah Manship In-service Les Waters Jean Marlow Nicholas Arber Jules Wright Linda Marlowe Michael Archer David Wyld e Kieran Montague Caroline Barto n Michael Ormerod Ken Boden Technician s Eileen Page Ivis Bohlen Simon Bowler Leonie Palette Annette Bradshaw Tom Erringto n June Parkhurst Joy Dawson Robin Hornibrook Julie Peasgood Tim Goodes Margaret Jone s Stewart Permutt Andrew Leigh Graham Lucas Jeffrey Perry Jean Lochhead Robert Morris Brenda Peters Richard Mayes Christopher Parr y Linda Polan Elizabeth Owen John Price Helen Priday Scotland Celestine Randall Christopher Pulleine Martyn Rea d MUSK Jacqueline Reddin Designers Special Grants Graham Richards Belinda Ackerman Leon Coates David Riley Naomi Adler James Hutto n John Rogan Elizabeth Ashard David Johnso n Philip Rowlands Fay Barratt Geoffrey King Laurance Ruddick Peter Bingeman Edward McGuire Graham Sinclair Terry Brown Ian McQuee n Maggie Steed Alison Chitty Walter Marty n Elizabeth Suggars Norman Coates Raymond Monell e Kit Thacker Liz da Costa Peter Nelson Alan Thompson Elizabeth Dawson William Wordswort h Tammy Ustinov Penny Flat t Gilbert Vernon Shaun Gurton Fiona Victory Charlotte Holdich 12 1

Table A

Commissions Julia Usher Annie Stainer Richard Rodney Bennett David Johnson* David Swift Edinburgh Festival Society Ltd* Judith Weir Michael Berkeley St Magnus Festival * Art Scottish Chamber Orchestra* Thomas Wilson Bursaries Leon Coates Philip Thorne* Samantha Ainsle y The Meadows Chamber William Wordsworth Carmen Ambrozevic h Orchestra* Glasgow Philharmonic Choir* Derek Ashby Lyell Cresswell Charles Boyle Logos-Contemporary Music Bursaries Fred Bush e Group* Brian Burn Martin Churchil l New Music Group of Scotland David Cunningham John Comloqouy Trust* Jane Halliday Finlay D . Coupar Ian Robertson* Janis Mary Kelly Gerald Deslande s Martin Dalby Geoffrey King Michael Dochert y Scottish Universities Orchestra* John Lunn Pat Douthwait e David Davies Robert McCulla Michael Edwards Dunfermline Arts Guild* Jane MacDonald Fionna Geddes David Dorward Edward McGuire Anthony B . Gillespie Scottish Amateur Music Ian McQueen Bill Gillo n Association* David Marshall Donald Holwil l Philip Greene* Peter Nelson Brian Kell y Margaret Murray McLeod* Christopher Oakden Henry A. Kondrack i Philip Thorne* Alan Oke Allan Lawso n James Douglas Linda Ormiston Patricia Leighton Andrew Armstrong* Wilma Paterson Anthea Lewis Janetta Gould Margaret Pollock Don McAllester Linda Strachan* Joanna Tagney Ellen J . W. McCann Francis Jackson Ken MacGrego r Cathedral Church of St Mary Drama Patricia McIntyr e Edinburgh* TraTraineei Directors Will MacLean Robert Lacey Ron O'Donnel l Glasgow Youth Theatre* John Carnegie Jacki Parry Robert Peoples Shelley Lee Frank Pottinger Theatre Workshop Edinburgh Ltd* Francis Pratt Bursaries Kenneth Leighton Ronald Ra e John Bolton Cathedral Church of St Mary Derek Roberts John Edinburgh* a Ch ey Gavin Scobi e Sheens ormacam John McCabe William Scot David eons k t Kelso Music Society* Robert Shaw Joyce Dean s Edward McGuire John Sherman Katrina Duncan Royal Scottish Academy of Music Peter Grant Alan Smith & Drama* Charles Smit Guizer h Ian McKenzie Smit New Music Group of Scotland Charles Hart h Trust* Barbara Heslop Peter Stande n William Sweeney (2) Clive A Beryl Homan . Sutton Philip Thorne Alan D Ewan Hooper . Turnbul l St Magnus Festival * Elizabeth MacLennan Annie Wright William Mathias Hector MacMillan Ainslie Yule Haddo House Choral and Operatic Martin Milne Commission Society * Parr s John Sampson Annie Rubienska Michael Edward s Theatre Workshop Edinburgh Ltd* Linda Scott Inverness Museum and Ar t Gallery * Moya Smith

122

Table A

Artist yet to be appointed Wales Dram a Motherwell District Council* George Garson Musi c Bursaries and travel grants Aberystwyth Arts Centre * University of Glasgow* Bursaries for advanced study Russ Allen Artist yet to be appointed John Barker Andrew Walsh James Cunning, Cunningham Martyn Davies Stephen Brake and Associates* Fay Evans * Caricature Theatre* Artist yet to be appointed Lowri Ffrancon Jane Phillip s St Mary's Cathedral, Edinburgh* Elizabeth Gronow Cardiff Open Air Theatre * Stan Bell Mark Howells Art in Context, Glasgow* Christine Nott Gavin Millward-Hibbs Cwmni Theatr Cymr u Sioned Sargeant Literature Wilbert Lloyd Roberts Simon Shewring Cwmni Theatr y Weri n Ruth Walters Bursaries Ken William s Alan Bold Gwenllian Daniel Robert Russell Calder Commissions Rhys D. Evan s Una Flett Charlie Barber Mik Flood Alex Hamilton Mervyn Burtch Robin Howarth James Findlay Hendry Michael Charnell-White Michael Hucks Alan Jackson Lyell Cresswell Theatr Clwyd* Norman Malcolm Macdonald Gareth Glyn Davies Martin Davies Jonah Jones * Alan Mason Caricature Theatre Tessa Stiven Dilys Elwyn-Edwards Emyr Edwards e M Young Jone s Robert Preston Wells Morri Urdd Gobaith Cymru* Cliff s Glyn Peregrine Keith Gifford Munro Award Theatr yr Ymylon * John Hardy Gordon Airs Jonathan Petherbridge David Harries Theatr Clwyd* Dalwyn Henshall Travel Grants Helen Roberts Alun Hoddinott * Duncan Glen Sherman Theatre David Hanley John Hopkin s Arwel Hughes Geoffrey Axworthy * Alexander Maitland Swansea City Counci l John Montague Brian Hughes John Hywel Costas Midllides Michael Smith Theatr Clwyd Daniel Jones * Jack Withers Roger Tomlinson Jeffrey Lewi s Theatr yr Ymylon Book and New Writing Awards John Lord Norman Florence J. K. Armand William Mathias Torch Theatre* Alan Bold John McCabe Hamish Brown Hilda Morgan Graham Watkin s Jo Westo n David Kerr Cameron David Nevens Stewart Conn Brian Noyes Pauline William s Elspeth Davie Robin Or r G. F. Dutton Delwyn Sion Nicholas S. Gray Urdd Gobaith Cymru* Commission Aid John Herdman Meic Stevens Hilary Ball Robin Jenkins Theatr yr Ymylon* Llanover Hall Bruce Lenman Huw Llewellyn Thomas Michael Baker Harry McShane Mansel .Thomas Tim Bake r David Murison Michael Blake Watkins Open Cast Theatre Walter Perrie Rhydwen Williams R. Gerallt Jones Alastair Reid Theatr yr Ymylon* Red Light Theatre Joan Smith Gareth Wood Colin Wilson

123

Table A

Theatr Clwyd Paul Riley Graham Cook David Smitham Sion Eirian Tony Steele-Morgan Torch Theatre Brian Thoma s Joanna Field John Webster Welsh National Youth Theatre Susan Wells Jonah Jones William Wilkins Michael Povey Michael William s Anne Wilson Dance Swansea City Counci l Bursaries Literature Belinda Neave Susan Pready Bursaries and travel grants Douglas Ball Roger Boore Art Gillian Clark e Sarah Allpress Christopher Talfan Davie s Trevor Baker Walter Haydn Davie s David Godfrey Barlow Jane Edward s Gwyneth Barnes Gwyn Griffiths Christopher Burnham John Idris Jones Ron Carlson R. Gerallt Jones David Caviello John Lewi s Mollie Caviello J . Selwyn Lloyd Barrie Cook Derec Llwyd Morgan Barry Cooper Robert Muihinnic k David Cooper John Osmon d Richard Cox Eigra Lewis Roberts Jack Crabtree John Rhys Andrew Craig John Griffith Williams Alistair Crawford John Winto n Michael Crowther Michael Cullimore Commissio n Erica Daborn Dr Gareth Edwards Lynne Dickens Prize Anthony Davies s Pete Davis Gillian Clark e John Uzzell Edwards Susan Cooper Ken EliasElias Marion Eames John Eyers Jane Edwards Marion Ella Gough James Hanley Ian Grainger EmyDic Jr Humphrey s Harvey Hood Tri ones Allan Owen Jones Tristan Jone s Nigel Marsh Leslie Norris Ron McCormick John Rowland s Juliette McCullough Gwyn t Williams Emrys Morgan J. G. Williams Philip Muirde n David Nas h Victor Neep Huw Powel l Nicholas Priestland ' In these cases payment is mad e Tom Rathmell to the organisation shown. 124

Table B Housing the Arts 1978/7 9

In 1978/79 the Arts Council's grant in aid of £51,800,000 include d £1,350,000 for Housing the Arts. The details of how this was spent can be found at the end of Schedules 3, where £1,095,500 is accounted fo r in England, £165,500 in Scotland and £89,000 in Wales . The Arts Council was also empowered to enter into commitment s during 1978/79 to make provision for Housing the Arts up to a total o f £3,085,000 above the cash grant of £1,350,000 . However, in view o f the continued restrictions by the Department of Education on the cas h allocation, the Council has had to maintain a close review of it s commitments and restrict them accordingly . As a result of this, at 3 1 March 1979 only £1,788,500 had been thus committed out of the tota l of £3,085,000 authorised . The details are set out below :

England Music and Dance £ £ Harrogate Borough Council-Conference/ Concert Hall 65.000 Haslingden : Ben Tovim Children's Music Centre Trust 3,000 London : Contemporary Dance Trust Limited 50,000 118,000

Drama London: Hampstead Theatre Club Limited -Workshop 10,000 London : The Polka Children's Theatre Limited 40,000 Plymouth City Council-Civic Theatre 500,000 Scarborough Theatre Trust Limited 20,000 570,000

Touring Theatre s Manchester Palace Theatre Trust Limited 5,000

Art Isle of Wight Visual Arts Centre Limited 7,000 Leeds City Council-Art Gallery 100,000 Stoke City Council-Museum and Art Gallery 4,000 Wakefield Metropolitan District Council- Old Grammar School Gallery 8,000 119,000

Carried forward 812,000 12 5

Table B

Brought forward 812,000 Regional Banbury: Spiceball Arts & Communit y Association 30,000 Birmingham Arts Laboratory Limited 5,000 Birmingham : Cannon Hill Trust Limited 8,000 Bognor : Arun District Council-Bognor Regis Centre 8,000 Buxton Opera House Limited 25,000 Dartford Borough Council 60,000 Hereford: Nell Gwynne Theatre Trust Limited 25,000 Isle of Wight County Council-Medin a High School Hall 7,000 Kidderminster : Old Schools Art Centre 5,000 Liverpool: Great Georges Communit y Cultural Project Limited 50,000 London : Moonshine Community Arts Workshop 4,000 Luton Community Arts Trust 2,000 Milton Keynes Development Corporation 2,000 Newcastle upon Tyne : Live Theatre 7,000 238,000 Scotland Dundee Repertory Theatre Limited 190,000 Edinburgh : Scottish Philharmonic Society -Concert Hall 25,500 Glasgow: Scottish Ballet 50,000 Scottish National Orchestra Rehearsal Hall 8,000 Pitlochry : new Festival Theatre 300,000 573,500 Wales Denbigh Arts Theatre 10,000 Llandudno: Astra Theatre 10,000 Merthyr Tydfil: Bethesda Chapel Centre 3,000 Milford Haven Torch Theatre 42,000 Newtown (Montgomery) : Concert H all/Theatre 100,000 165,000

£ 1,788,500

126

Table C Theatre Writing Scheme s

Bursarie s Neil Oram Peter Atkin John Peacock Nigel Baldwin Tony Perri n Howard Barker Bernard Pomeranc e Colin Bennett James Robso n Steven Berkoff N. F. Simpson R. H. Bowden Martin Stellman Alan Brown Jeremy James Taylor Ken Campbell Veronica Thirlaway Irene Coates Vincent Tilsley Bob Eaton Juan Ver a Alfred Fagon Ted Whitehead James Forsyth Christopher Wilkinso n Elizabeth Gowan s Steve Wilmer Terry Jame s Stephen Wyatt Lenka Janiure k Jacek Laskowski Bryony Lavery John Whiting Award Pat Maddy David Halliwell Philip Martin for his play Prejudice William Marti n shared wit h Michael McGrat h Snoo Wilso n Alem Mezgebe for his play Glad Han d

Contract Writers Awards Organisation : Building based Companies Write r Birmingham Repertory Theatre Limited Sheila Kelly, Louise Page, Bill Pryd e Chester: Gateway Theatre Trust Limited Rony Robinso n Leeds Theatre Trust Limited Tim Webb Leicester Theatre Trust Limited Ken Hill, Henry Living s Liverpool : Merseyside Everyman Theatre Company Limite d Alan Bleasdale, George Costigan, Adrian Henri , Claire Luckham, Bill Morrison, Kenneth Murray , Willy Russel l London : Alternative Theatre Company Limite d Sarah Pia Anderson, Colin Bennett, Tina Brown, Simon Callow and Robert Walker ; Ken Campbell , Ron Hutchinson, Micheline Wandor and Victoria Wood ; Frederick Harrison, Robert Holman, Terry Johnson, Snoo Wilso n Camden Playhouse Productions Limite d Steve Gooch Caryl Jenner Productions Limited Joan Aiken, Penny Casdagli and Ilona Sekacz, Roy Kift , Gregory Marshall, Adrian Mitchell The Combination Limite d John Turne r Greenwich Theatre Limited Bryony Lavery, Stephen Wyatt Half Moon Theatre Limited Ivor Dembina, Tom Kempinski, Dave Marso n Hampstead Theatre Limited John Byrne, Eric Chappell, Mike Scott National Youth Theatr e Peter Terson Pioneer Theatres Limite d Ian Buckley, Nick Darke, Martin Duncan and David Fisher, Chris Hawes, Rony Robinson , Peter Robert Scott Young Vic Company Limite d Michael Bogdanov, Jamie Rei d Manchester: Royal Exchange Theatre Company Limite d Trevor Peacoc k Manchester Young People's Theatre Limited Peter Flannery Newcastle: Tyne and Wear Theatre Trust Limited John Hartoch, Ken Hill 127 Table C

Organisation : Building based Companies Writer Nottingham Theatre Trust Limite d Derrick Buttress, John Finch, Clive King, Roger McGough, Adrian Mitchell, William Rushton, John Well s Oldham Coliseum Theatre Limite d Ken Hil l Oxford : Anvil Productions Limite d John Antrobus, Howard Barker, Carey Harrison and Jeremy Paul, Guy Hibbert, Tom Kempinsk i Peterborough Arts Theatre Limite d Tim Gatti Plymouth Theatre Trust Limited Nick Darke Richmond Fringe Limited James Saunder s Scarborough Theatre Trust Limite d Brian Thompson, Christine Welch, Ken Whitmor e Sheffield : Crucible Theatre Trust Limite d David Halliwell, Charles Lewse n Stoke-on-Trent and North Staffordshire Theatre Trus t Limited Nick Dark e York Citizens' Theatre Trust Limited Ron Rose, Stephen Wyatt

Touring Companies Avon Touring Theatre Compan y Vince Foxal l Belt and Braces Roadshow Company Limited Bill Colvill, Gillian Hanna, Eileen Polloc k Birmingham Arts Laboratory Limite d Vince Foxall, Robin Hooper, Louise Page University of Bristo l David Pownall Bubble Theatre Company Limited Michael Maynard Cannon Hill Trust Limited Kevin Jones Common Stock Theatre Company Limited Cherry Potter, Frank Whitte n CV I Theatre Company Limite d Chris Bailey, Ron Hutchinson, Ron Pembe r East Midlands Arts Associatio n David Campton, David Craig and Nigel Gray, Jane t Dale, Michael Payne Foco Novo Limite d David Zane Mairowitz, Mustapha Matura, Coli n Mortimer Free Form Arts Trust Limite d Tim Webb Galactic Smallholdings Limited Adrian Mitchell Gay Sweatshop Limite d Noel Greig and Drew Griffiths Hull Truck Theatre Company Limite d Doug Lucie, Alan McClelland Itinerant Theatre Limite d Bruce Birchall, Charlie Clutterbuck, J. S. Golland , Chris Hawe s Joint Stock Productions Limite d Caryl Churchill, Stephen Lowe Link Bruce Birchall Live Theatre Compan y Kate Collingwood Major Road Theatre Compan y Graham Devlin, Kevin Hughes, Andy Smith Medium Fair Theatre Company Peter Hulton and Gordon Jone s Monstrous Regiment Limite d David Edgar North West Spanner Theatr e E. R. Dalton Offcut Theatre Company Tim Wyatt Orchard Theatre Compan y John Bond, Nick Darke, C . P. Taylor Paines Plough Limited David Pownall Pirate Jenny Limited Shane Connaughton ; Jean Hart and Charly Staffor d Provincial Theatre Company Elisabeth Bond Red Ladder Theatre Company Limite d Kate Housden, Chris Rawlence and Steve Traffor d Second City Theatre Compan y Gavin Blakeney, David Hal l 7:84 Theatre Company (England) Limite d Mark Brown and John McGrath, Sandy Craig , Margaretta D 'Arcy Temba Theatre Company Limited Andrew Carr and Peter Rodda Tetherdown Player s Margaretta D'Arc y Theatre Centre Limited Christopher Denys, David Holman, Carol E . Leader, Michael Maynard Theatre In Northumberland Schools Ian Forres t 128 Table C

Organisation : Touring Companies Write r Theatre Kit Chris Speyer Wakefield Tricycle Compan y Adrian Mitchell, Olwen Wymark Women's Project '78 Nancy Diuguid and Kate Phelps, Maureen Duffy , Michelene Wando r Women's Theatre Group Limite d Eileen Fairweather and Melissa Murray, Donna Franceschild Resident Dramatists Attachment s Coventry : Belgrade Theatre Trust (Coventry) Limited Andrew Davies London : Caryl Jenner Productions Limited Geoffrey Case The Combination Limited John Burrows Half Moon Theatre Limited Bill Colvill Hampstead Theatre Limited David Halliwel l Pioneer Theatres Limited Dave Holman

Royalty Supplement s

Writer Play Organisatio n Brian Aldiss Triple bill Last Orders Inter-Action Trust Limited Swastik a Working In Th e Spaceship Yard Michael Alma z Diary Of A Ra t The Artaud Company Janet Amsden Peril At St Ag' s Soho Theatre Company Limited John Arden and Margaretta D'Arcy Vandaleur's Foll y 7:84 Theatre Company (England) Limited John Ashton Hero Of The God s Bubble Theatre Company. Limite d Rowan Atkinson, Elspeth Walke r and Peter Wilson Beyond A Jok e Hampstead Theatre Limited Alan Ayckbourn Men On Women On Men Scarborough Theatre Trust Limited Sisterly Feelings Scarborough Theatre Trust Limited Howard Barke r The Love Of A Good Man Crucible Theatre Trust Limite d Jem Barnes and Peter Coope r Double Bill The Wheeler Energy Box Horseshoe Theatre Company Limite d Crondos Shirley Barrie The Adventures Of Super Grann y Wakefield Tricycle Company And The Kid Colin Bennett All Along The Watchtowers Institute of Contemporary Art s Limited Ed Berma n Freez e Inter-Action Trust Limite d Alfio Bernabei Grunwick s The Bite Theatre Grou p Arthur Berry Dr Fergo's Last Passion Stoke-on-Trent and Nort h Staffordshire Theatre Trust Limite d Stephen Bill Final Wave Crucible Theatre Trust Limite d The Myth Dimension Crucible Theatre Trust Limite d Bruce Birchal l Food For Thought Itinerant Theatre Limited Vera Blackwell (translator) The Increased Difficulty of Richmond Fringe Limited Concentration by Vaclav Have l Alan Bleasdale Pimple s Manchester Young People' s Theatre Limite d Michael Bogdanov Hiawath a Young Vic Company Limited John Bowe n Young Guy Seeks Part-Time Wor k Michael Browning Sara Boyes Flemmy Sidewalk Theatre Company Limited David Bradfor d The Golden Opportunity Sho w Peterborough Arts Theatre Limited Paul Bream Spring Term Project Ensemble Theatre Company Limite d 129 Table C

Writer Pla e Organisatio n Terence Brook (translator ) A Caprice by Alfred de Musset Brighton Actors' Worksho p Ian Brown Guests of Honour Alternative Theatre Compan y Limited Alan Bryc e Oor Wulli e Overground Theatre Compan y Limited John Burrow s Restless Native s The Combination Limite d John Byrn e Normal Service Hampstead Theatre Limited Ken Campbell and Neil Oram The Warp Science Fiction Theatre of Liverpoo l Andrew Carr and Peter Rodd a Mr Biko Temba Theatre Company Limite d Penny Casdagli and Ilona Sekacz Did Spacemen Sing On The Moon ? Caryl Jenner Productions Limite d The Intimate Revue Soho Theatre Company Limite d Geoffrey Case Fayre Play Young Vic Company Limited Gaun Ta Ra Gemm e Soho Theatre Company Limite d Overtime Young Vic Company Limited Puzzles Croydon Alternatives Theatr e Company Limited Gordon Case Shooting Stars By Day Brixton Arts Theatre John Challis, Moira Downie , John Matshikiza and Jeremy Pau l Gumba Gumb a Richmond Fringe Limited Glenn Chandler Moonlight Across The Heathe r Soho Theatre Company Limited Simon Chandler and Andrew Visnevski (adaptors) Life Is A Dream by Caldero n The Cherub Compan y Caryl Churchil l Cloud Nine Joint Stock Productions Limite d David Cockshott Opening Time Richmond Fringe Limite d Barry Collins The Strongest Man In The Worl d Nottingham Theatre Trust Limited Shane Connaughto n Sir Is Winning Pirate Jenny Limited Peter Cooper The History Of Flight Horseshoe Theatre Company Limited Donald Cotton The Ballad Of Mrs Beeton Northampton Repertory Player s Limited Tom Coulthard A.W.R.E. OK ? Horseshoe Theatre Company Limited Richard Crane Gogol Brighton Actors' Worksho p David Cregan Tigers Richmond Fringe Limited Janet Dale Beano And The Great Christma s East Midlands Arts Associatio n Cracker Mystery Nick Dark e Never Say Rabbit In A Boat Stoke-on-Trent and Nort h Staffordshire Theatre Trust Limite d Andrew Davies The Shortsighted Bear Belgrade Theatre Trust (Coventry ) Limited Lee Davi s There's Another One Behind Brixton Arts Theatr e Nancy Diuguid and Kate Phelp s Confinement Women's Project '7 8 Lawrence Dobi e The Graveyard Shift Soho Theatre Company Limited Rex Doyl e East Of The Sun, West Of The Moon Crucible Theatre Trust Limite d David Edga r Mary Barnes Birmingham Repertory Theatr e Limited Teendreams Monstrous Regiment Limited Eileen Fairweather an d Melissa Murray Back To The Pouch Women's Theatre Group Limited Jo Fitzgerald, Mike Lucas, Carmen Lynn and Hilary Riko f What A Way To G o Mikron Theatre Company Limited Peter Flannery The Boys Own Story RAT Theatr e

130 Table C

Write r Play Organisation Paddy Fletche r Assassinations Indiscriminate Incubus Theatre Compan y Bilbo McTurk At Armageddo n Incubus Theatre Compan y The De La Zouche Follies of 137 8 Incubus Theatre Compan y Dr Wellbeloved's Travellin g Incubus Theatre Compan y Academy of Hygiene Vince Foxall Riff Raff Rule s Avon Touring Theatre Compan y Donna Franceschil d The Soap Oper a Women 's Theatre Group Limited Patrick Garland Under The Greenwood Tree Salisbury Arts Theatre Limited Julian Garner Small Ads The Head Theatre Club Jonathan Gem s Rinni Bootsie, Tutti Fruitti Jean Seal Jenny Gould, Sue Gould an d Anni Jani k Professor Clevernut's Magic Book Eastend Abbreviated Soapbo x Theatre Sue Gould, Derek Smith and Jeff Thompson A Tall Store y Eastend Abbreviated Soapbox Theatre Steve Grant Media Hack Or The Frustrated Soho Theatre Company Limited Revenge Of Derek The Eighth Terence Greer Ballroom Young Vic Company Limited Noel Greig and Drew Griffiths The Dear Love Of Comrade s Gay Sweatshop Limite d Noel Greig, Sandy Lester , Jill Posener, Stephanie Pugsley , Angela Stewart-Park an d Philip Timmens Iceberg Gay Sweatshop Limite d Claire Grove In Our Way Women 's Theatre Group Limited John Halki n Thriller Centre Stage David Halliwell A Rite Kwik Metal Tata Crucible Theatre Trust Limite d Kate Harper and Ronald Lace y Dylan And Li z Brighton Actors ' Workshop Frederick Harriso n Subjects For Interrogation Alternative Theatre Company Limited John Hartoc h Figgy Foggerty And The Devil' s Bubble Theatre Company Limite d Circus Michael Hastings Gloo Joo Hampstead Theatre Limited Chris Hawe s Dole Q Stories Itinerant Theatre Limited Penny Haymen, Donna Ireland an d Kevin Ireland (translators) The Archangel Michael by George Crucible Theatre Trust Limited Marko v Jim Hile y The Prodigal Father Soho Theatre Company Limited Ken Hil l The Revenge Of The Werewol f Oldham Coliseum Theatre Limited Stephen Holt Stoop Soho Theatre Company Limited Roger Howard The Play of Margery Kempe MK Production s Kevin Hughes The Story Soh-Fah Major Road Theatre Company Ron Hutchinson Eejits Crucible Theatre Trust Limited Tunde Ikoli On The Out Foco Novo Limite d Leigh Jackson Daytor Cockpit Theatre and Arts Worksho p Terry James The Mid-Atlantic Cablecar Station Barrelhouse Theatre Compan y Chris Judge Smith The Book Of Hours Young Vic Company Limited Tom Kempinski Flashpoint Theatre At New End Limited Roy Kift (translator) The Blue Monster by Carlo Gossi Caryl Jenner Productions Limite d David Lan Red Earth Institute of Contemporary Arts Limited Joe Lang The Prince And The Papers Covent Garden Community Theatr e

131 Table C

Writer Play Organisation Angela Lanyo n Ozzie And The Secret Fores t Palace Theatre Trust (Southend an d Westclifl) Limited The Turnstone Palace Theatre Trust (Southend an d Westclifl) Limited Bryony Laver y Time Gentleman Please Monstrous Regiment Limite d David Lelan d Psy-Warrior s Crucible Theatre Trust Limite d Carolyn Lincol n Brag Coquelin Coproduction s Elizabeth Lindsa y Tunnel Of Love Half Moon Theatre Limited Stephen Lowe The Ragged Trousered Joint Stock Productions Limite d Philanthropist s Claire Luckha m Aladdin Merseyside Everyman Theatre Company Limite d Val McDermi d Like A Happy Endin g Plymouth Theatre Trust Limited Charles McKeow n Time Of Life Horseshoe Theatre Company Limite d Paula Mackay About Your Lodge r Colchester Mercury Theatre Limite d Gerard Malir The Temple Of Reason In Truelove 's Crucible Theatre Trust Limite d Gutter Frank Marcu s The Ballad Of Wilfred I I Inter-Action Trust Limite d Gregory Marshal l Stop Thie f Caryl Jenner Productions Limite d Dave Marson Tigers In The Sno w Half Moon Theatre Limited Blanche Marvin (adaptor) The Dispute by Marivaux Rock Garden Theatre Company Anthony Matheson Nuclear Prospect s Inter-Action Trust Limite d Mustapha Matur a Another Tuesday Institute of Contemporary Art s Limite d Independenc e Foco Novo Limited Guy Meredit h Absinth Friends Croydon Alternatives Theatr e Company Limited David Millard The Wizard Of O z Scarborough Theatre Trust Limited Tony Minghella Child's Play Humberside Theatre Trust Limited Adrian Mitchel l Hoagy, Bix And Wolfgan g Wakefield Tricycle Company Beethovan Bunkhaus (as adaptor ) The White Deer (from the nove l Caryl Jenner Productions Limited by James Thurber ) Philip Morgan Split End s Soho Theatre Company Limite d Colin Mortimer The Free Fall Foco Novo Limited David Mowat Inuit Paines Plough Limite d Philip Oxma n Venus In Fur s Moving Bein g Stephen Padmor e Youth In The Ghett o The Combination Limite d Lino Pertile (translator ) We Can 't Pay, We Won't Pay b y Half Moon Theatre Limited Dario Fo John Petherbridge Dip The Head Theatre Clu b Jennifer Phillips Daughters Of Me n Hampstead Theatre Limited Cherry Potter Audience Common Stock Theatre Compan y Limited David Pownal l Barricade Paines Plough Limite d Jimi Ran d Come Back Father Christmas Brixton Arts Theatre Jamie Reid California, U .S.A . Young Vic Company Limite d Gavin Richards Red Rock Revue Belt and Braces Roadshow Company Limited Nic Rowley and Stephen Wyat t Lullaby For Mrs Bentle y Rock Garden Theatre Compan y Willy Russell Stags And Hens Merseyside Everyman Theatre Company Limite d

132 Table C

Writer Play Organisation Royce Ryto n Cocktails For The Ministe r Overground Theatre Compan y Limited James Saunder s Player Pian o Inter-Action Trust Limite d Alan Scholefield (adaptor ) Treasure Island by R . L. Stevenson Horseshoe Theatre Company Limited Alex Shearer Standing Room Only Reunion Theatre Compan y Peter Sherida n Emigrants Pirate Jenny Limite d Andy Smit h Airship Of Fool s Croydon Alternatives Theatr e Company Limite d Yodel If You Ca n Major Road Theatre Company Derek Smit h Halfway House Eastend Abbreviated Soapbox Theatre Mars Eastend Abbreviated Soapbox Theatre Colin Spencer Keep It In The Famil y Soho Theatre Company Limited Roger Stennet t Taxi Half Moon Theatre Limited Mike Stott The Boston Strangler John Cunningham and Peter Tilbury Comings And Going s Merseyside Everyman Theatre Company Limite d Grandad Croydon Alternatives Theatre Company Limited Dudley Sutton Robinson Cruso e The Chipping Norton Theatre Limited Eric Sutto n Daddy 's Girl Soho Theatre Company Limited Lushcrus h Soho Theatre Company Limited C . P. Taylor A Nightingale Sang In Eldon Square Live Theatre Company Withdrawal Symptoms Foco Novo Limited Don Taylor When The Actors Come Library Theatre Compan y Ian Taylo r Lip Servic e Soho Theatre Company Limite d Peter Tegel (translator) The Machine Wreckers by Ernst Half Moon Theatre Limited Toller Peter Terson Cul De Sac Reunion Theatre Compan y Veronica Thirlaway and Christopher Wilkinson Sawn Off At The Knee s Crucible Theatre Trust Limited Gareth Thomas Birdmen Arise Eastend Abbreviated Soapbo x Theatre The Sensational National Emergenc y Eastend Abbreviated Soapbo x Crisis General Election Sho w Theatre Brian Thompson The Bunting Factory Scarborough Theatre Trust Limited John Turne r One Gun Salute The Combination Limite d Juan Ver a Around Alfredo Galvez Half Moon Theatre Limited Michelene Wando r Aid Thy Neighbour Women's Project '7 8 Scissors Inter-Action Trust Limite d Alison Watson Musical Pair s Brighton Actors' Workshop Mervyn Watson Reversed Charge s Scarborough Theatre Trust Limited Tim Webb Pyrates The Combination Limite d Sharon's Mechanical Mother Leeds Theatre Trust Limite d Christine Welch Once Upon A Tim e Scarborough Theatre Trust Limited Fay Weldo n Action Replay Birmingham Repertory Theatr e Limited Don West Only The Bull Can Lose Colchester Mercury Theatre Limite d Edgar White The Black Women Keskidee Trust Lament For Rastafari Keskidee Trust

133 Table C

Writer Play Organisatio n Ken Whitmore The Caucasian In The Woodpile Rod Lewi s Travelling Hopefull y Scarborough Theatre Trust Limited Frank Whitten Morning Tige r Common Stock Theatre Compan y Limited John Wilding The Secret Of Jack The Rippe r Hornchurch Theatre Trust Limite d Alan Williams The Cockroach That Ate Cincinatti Hull Truck Theatre Compan y Limited Bob Wilson One-Off Inter-Action Trust Limite d Sandy Wilson The Clapham Wonder Canterbury Theatre Trust Limite d Snoo Wilson A Greenish Man Alternative Theatre Compan y Limited Victoria Wood Talen t Crucible Theatre Trust Limited Phil Woods Arabian Nights Humberside Theatre Trust Limited British Bulldo g Soho Theatre Company Limite d Sherlock Holme s Young Vic Company Limite d Nicholas Wright Treetop s Hammersmith Riverside Arts Trust Limited Stephen Wyatt Monster York Citizens' Theatre Trus t Limite d Olwen Wymark Loved Wakefield Tricycle Compan y Manley Young Anansi And Br e'r Englishman Lambeth Entertainment s Six authors In At The Death Alternative Theatre Company Limited *

* In this case payment was made to the organisation .

Writing Projects

Organisation London : Half Moon Theatre Limite d Nottingham Theatre Trust Limite d Institute of Contemporary Arts Limite d I.O.U . Limited Alex Marshall The Round House Trust Limited

13 4

Table D National Manuscript Collection of Contemporary Writers Fund

The following manuscript material was acquired by the institution named with assistance from the Fund in the year ended 31 March 1979 .

Carcanet Press The archives of the Pres s (University of Manchester)

Gavin Ewart Collection of manuscripts (University of Hull)

D. H. Lawrence Two letters (University of Nottingham)

Edward Lucie-Smit h Manuscripts forming part of a collection of books, typescript s and other material (University of Reading )

Walter de la Mare The archives of Walter de la Mare (Bodleian Library)

William Plomer Manuscript letters and poems (University of Durham)

135 Table E Special Funds

Beneficiaries during the year ended 31 March 197 9

H. A. Thew Fund Little Singers of St Joseph the Worker 75 Liverpool Methodist Mission 300 Merseyside Youth Orchestra 150 Peter O'Connor 25 University of Liverpool 300 Jeremy S. Walbank 5 0 Henry and Lily Davis Fun d Colin Andrews 200 Jonathan Booty 55 0 Ronald Cavaye 750 Ralph Cupper 150 Susan Daniel 250 Catherine Ennis 400 Lowri Ffrancon 500 Margaret Fingerhut 950 Siwan Jones 500 Mary King 920 David Lockington 1,300 Neil Maclean 700 George Peniston 125 Murray Stewart 340 Elizabeth Treanor 1,000 The Loan Fund for Musical Instruments 10,000 Guilhermina Suggia Gift for the 'Cell o Mark Bailey 300 Anup Biswas 75 Colin Carr 100 Faye Clinton 150 Caroline Dale 100 Clare Finzi 150 Timothy Hugh 300 Ruth Phillips 200 Steven Retallick 100 Jane Salmon 250 Andrew Shulman 200 Jeremy Thorne 7 5 The Miriam Licette Scholarship Janice Alford 1,000 Anna Holroyd 1,500 Mary King 1,500 Yvonne Lea 1,500 Alison Pearce 200 Dio Fund Christopher Bodman 250 Mrs Thornton Fund William Pye 600 136

Table F Arts Council exhibitions

held in Great Britain during 1978/79

England Paintings, drawings, sculpture, original prints, photography, documentary exhibitions, etc . Note LS Frank Auerbach retrospective. Paintings and drawings I Exhibited in the LRw Ian Berry : The English (organised by the Photographers ' Gallery, Republic of Ireland London) L Exhibited in London R William Blake (organised by the Tate Gallery and held at th e N1 Exhibited in Northern Whitworth Art Gallery, Manchester) Ireland LRs Bill Brandt R Exhibited in the Regions RS The Graphic Work of Georges Braque S Exhibited in Scotland L Jeffery Camp : recent paintings and drawing s w Exhibited in Wales L Henri Cartier-Bresson (Scottish Arts Council exhibition ) LR Coalface (Welsh Arts Council exhibition) documentar y LR Alvin Langdon Cobur n LR Harold Cohen : an artist's use of the compute r LRSw A Constructive Context : an Arts Council Collection exhibitio n selected by Stephen Ban n R French and English Drawings and Prints from the Courtaul d Collections Ls Hubert Dalwood : sculptures and reliefs LR Sonia Delaunay : illustrations to Arthur Rimbaud's Illuminations LRw English Cottages and Small Farmhouses II : documentary R James Ensor Etchings L Barry Flanagan : sculpture 1966-1978 Rs A Free Hand : an Arts Council Collection exhibition selected by William Packer LS Giambologna : sculptor to the Medici R Ian Hamilton Finlay L Hayward Annual : current British art selected by Rita Donagh, Tes s Jaray, Liliane Lijn, Kim Lim and Gillian Wise LR Lewis W. Hine (organised by the Side Gallery, Newcastle-upon-Tyne ) R The Idea of the Village : documentary L Jasper Johns retrospective (organised by the Whitney Museum o f American Art) L Bryan Kneale : new sculpture R Liberated Colour and Form : Russian non-objective art (organised by the Scottish National Gallery of Modern Art) L Lives : an Arts Council Collection exhibition selected by Derek Boshie r R Kenneth Martin : working methods LRSNI The Mechanised Image : an historical perspective on 20th century print s L Midland Group Open Photography : selected by R. B. Kitaj and John Szarkowski L Henry Moore at the Serpentine : an exhibition in the gallery an d Kensington Gardens celebrating the artist's 80th birthda y R Henry Moore maquettes R Rodrigo Moynihan: paintings from the early '30s to the present day (organised by the Royal Academy of Arts) LRs Paul Nash: photograph s L Neue Sachlichkeit and German Realism of the Twentie s R Neue Sachlichkeit photography

13 7 Table F

R The National Gallery lends: Italian Renaissance portrait s Rw New British Image : an anthology of the work of young Britis h photographers L Outsiders : an art without precedent or traditio n LR Painting the Town : documentary R Paintings from Paris : from the collection of the Musee d'art Moderne de la Ville de Paris LR Pictorial Photography in Britain 1900-192 0 R Tom Phillips : A Humument and related work L Piranesi : an exhibition celebrating the artist's bicentenar y LR Tony Ray-Jones: The English Seen L Recent Arts Council purchases and works by 1978 bursary and award recipients L Works from the Roland Collectio n LRsw Drawings by George Romney from the Fitzwilliam Museum, C ambridg e LR Scale for Sculpture : selected by Carol Hogben R W. R. Sickert: paintings, drawings and prints . L Serpentine Spring Show III : works selected from an open submissio n L Saul Steinberg : drawings, collages, assemblages, 1945-1975 (organised by the Whitney Museum of American Art ) LR F. M. Sutcliffe 1853-194 1 Rs Homer Sykes : Traditional British Calendar Customs (organised by th e Arnolfini Gallery, Bristol) LR Traditional Farm Buildings : documentary Rw William Tucker : sculpture s LR Great Victorian Pictures : their paths to fame R The Way of the World: the graphic work and poetry of Charle s Tomlinson LR Edward Weston (organised by the Museum of Modern Art, Oxford ) R Christopher Wood R Works on Paper : Contemporary Art Society's gifts to public galleries , 1955-1977 Sixty-four exhibitions were held in 167 separate galleries in 11 6 different places (260 showings including 36 held in London at the Art s Council's Hayward Gallery and Serpentine Gallery, and other gallerie s including the Royal Academy, the Camden Arts Centre, the Iveagh Bequest, Kenwood, the Warehouse Gallery and the Courtauld Institute) . A number of the exhibitions listed received showings prior to the year under review and are already listed in the annual report for 1977/78 .

138

Table F

Scotland Ed Alvar Aalto 1898-1976 (Museum of Finnish Architecture) TE Robert Adam at Hom e Ed Aland Isle s Note ET The Alinari-Photographers of Florence 1852-192 0 E Exhibited in England Ed Another World: W61fli, Aloi'se & Muller (Third Eye Centre, Glasgow) Ed Exhibited in Edinburgh Ed Frank Auerbach (Arts Council of Great Britain ) Ni Exhibited in Northern T John Bellany : Paintings (ACME Gallery) Ireland T Botanical Illustration T Tour in Scotland TNI Ian Breakwell (Scottish Arts Council/Third Eye Centre, Glasgow ) Ed William Brotherston, Jake Kempsell, Bill Scott (the artists ) EEd Henry Cartier-Bresson (Scottish Arts Council in association with th e Victoria and Albert Museum) Ed Hubert Dalwood : Sculptures and reliefs (Arts Council of Great Britain ) Ed Edinburgh Arts 1977 Exhibition (Richard Demarco Gallery) T Expressionism in Scottish Paintin g Ed Ronald Forbes and Alan Robb T David Hockney Prints 1954-77 (Scottish Arts Council organise d with Midland Group in association with Petersburg Press ) T Barbara Hepworth-small bronzes and print s EEd Icons from Bulgaria (Scottish Arts Council/People's Republic o f Bulgaria/Visiting Arts Unit) Ed Impressions (Scottish Arts Council in association with Scottish Printmakers Workshops) Ed The Japanese Colour Print (The Arts in Fife ) Ed Late Gothic Art from the Burrell Collection (in association with Glasgow Art Galleries and Museums ) Ed L'Esprit Nouveau (Kettle's Yard, Cambridge) T L. S. Lowry, paintings and drawing s T Norman McLaren A Moderna Taidetta Skotlannista TE Mr Henry and Mr Hornel Visit Japa n Ed New Acquisitions Ed Objects and Constructions-selected contemporary Scottish sculptur e Ed Glen Onwin : the recovery of dissolved substances (initiated by th e Arnolfini Gallery ) Ed Painters in paralle l T Pier Gallery Collection Ed The Photographer's Image Ed Scottish Tapestry Artists' Group Second Exhibitio n T Small Sculpture from the Scottish Arts Council Collection T Kenneth Shoesmith : Paintings and Graphics 1890-1939 (Ulste r Museum) Ed The Union Makes us Stron g T George Washington Wilson : studies from a point of view TNI Ainslie Yule, sculptures and drawings

139

Table F

Thirty-eight exhibitions were held, in Scotland (29 buildings in 2 0 Centres, 72 showings in all), in England (7 buildings in 5 centres, 7 showings in all) and in Ulster (I showing) . In addition, one Scottish Arts Council exhibition was shown in 8 centres in France, and anothe r had one showing in Helsinki . Total of 89 showings.

Travelling Exhibitions Beyond the Shore The Plant

Wales WE s The Art of the Engineer W Art in the Making Note o Al Campbell and Colin Molyneux (photography ) E Also shown in England WE Coalface (photography) I Also shown in the Republic o Peter Cob b of Ireland W Barrie Cook, Gregynog Fellow 197 8 NI Also shown in Northern W E Coyote Ireland W Davies Brothers Gatesmiths (with support of the Crafts Advisor y Committee) 0 Oriel exhibition only o Ken Elias and Frances Woodley (Welsh Arts Council's o Nicholas Evans Bookshop and Gallery, W An Exhibition in Two Parts Cardif) WNI I Flowers S Also shown in Scotland o A Greater Reality W Tour in Wales W E Francis Hewlett, Gregynog Fellow 197 7 0 From a Public Collection II W E The House in the Yard (with support of the Crafts Advisory Committee) 0 Heinz Koppel W Models (with support of the Crafts Advisory Committee and the Design Council ) 0 Private Enterpris e 0 Ivor Roberts-Jones R A W Spirit of Place (photography) 0 Tony Steele-Morgan W 10 Potters (with support of the Crafts Advisory Committee ) W Welsh Artists at Editions Alecto 0 Ernest Zobole

Twenty-two touring exhibitions, including 8 from England, were show n in Wales at 20 centres, in 28 different buildings, giving 52 showing s in all. In addition, 11 exhibitions were shown at Oriel and Welsh Arts Counci l exhibitions had 5 showings in England, 1 in Scotland, 2 in Northern Ireland and 1 in the Republic of Ireland . 140

Table G Contemporary Music Networ k

The Contemporary Music Network exists to increase the number o f performances of important contemporary works throughout Britain . The Arts Council of Great Britain, with advice from the British Sectio n of the International Society for Contemporary Music, co-ordinates and subsidises tours by distinguished British and foreign ensembles , providing valuable opportunities for the repetition of well-rehearse d programmes. Programmes include not only `classic s' of the twentieth century, but also jazz, improvised and electronic music .

1978/79 tours Company : Basildon, Birmingham, Bridgwater, Bristol, Cardiff, Coventry, Derby , Leicester, Liverpool, London, Manchester. Joy and Landscape : Basildon, Birmingham, Cardiff, Leeds, Leicester, London , Manchester, Norwich, Sheffield, Shrewsbury, York . Jubiaba/Barbara Thompson : Basildon, Birmingham, Coventry, Leeds, Leicester, Lincoln , Manchester, Norwich, Nottingham, Sheffield, Wavendon, York. Lindsay String Quartet : Bangor, Birmingham, Brighton, Bristol, Darlington, Halifax, Ilkley , Liverpool, Luton, Manchester, Nottingham, Whitehaven . London Sinfonietta : Birmingham, Glasgow, Leeds, Liverpool ; London, Manchester . Mike Gibbs: Aberystwyth, Basildon, Birmingham, Coventry, Leeds, Leicester , London, Manchester, Milton Keynes, Newcastle, Sheffield, York . The Nash Ensemble : Bedford, Birmingham, Carlisle, Colchester, Lancaster, Leeds , Liverpool, Manchester, Nottingham, Rocester, Sheffield . Nexus : Birmingham, Bristol, Derby, Huddersfield, Leicester, Liverpool , London, Manchester, Nottingham, Rocester, Sheffield, York. Noelle Barker and John Constable : Bristol, Carlisle, Farnham, Horsham, Huddersfield, Hull, Lancaster , Leeds, Norwich, Nottingham, York . Northern Sinfonia : Bristol, Huddersfield, London, Newcastle, Nottingham, Oxford , York. Roger Woodward and The Philip Jones Brass Ensemble: Birmingham, Bolton, Dartington, Horsham, Huddersfield, London , Manchester, Milton Keynes, Nottingham. Warsaw Music Workshop : Birmingham, Bristol, Cardiff, Derby, Huddersfield, King's Lynn , Leicester, London, Nottingham, Wavendon, York .

141

Table H Subsidies to Regional Art s Associations An analysis of funds made available by the Counci l during the year ended 31 March 197 9

Arts Centres and Supple- Basic Music and Touring- Touring- Community mentary Subsidy Dance Dance Drama Drama Art Literature Arts Subsidies Totals f f f f f f f f f f Eastern a 260,000 3,500 - - - 1 ,000 - - - 343,594 b - 7,575 - 2,789 - 12,130 - 34,100 22,500 East a 253,500 ------297,16 Midlands b - 4,520 1,321 8,187 1,020 3,700 3,500 15,500 5,91 5 3 Greater a 420,000 2,666 - 7,500 15,000 1 London b - 1,930 3,984 10,141 - 34,500 39,100 6,250 17,500 558,57 Lincolnshire and 230,000 a ------5,000 - Humberside b - 4,720 800 6,104 - 1,500 - 8,705 11,000 267,829 Merseyside a 170,000 - - - 1 ,000 - - - - b - 600 75 2,490 - 2,700 - 69,815 7,50 0 254,18 0 Northern a 760,000 - - - - 3,500 - - - 914,78 7 b - 4,600 1,500 6,470 - 35,857 1,000 78,860 23,00 0 North West a 391,000 ------b - 7,200 462 6,687 - 12,250 5,000 47,970 19,50 0 490,06 9 Southern a 330,000 - - 20,000 - 12,300 3,500 - 5,000 445,03 1 b - 4,017 1,975 10,089 3,000 6,450 - 28,700 20,000 South East a 200,000 - - - - 6,500 - b - 6,052 1,500 7,868 - 12,100 3,000 8,265 4,000 249,28 5 South West a 360,000 7,000 - - - - 1,000 485,56 1 b - 14,955 958 18,878 - 13,970 - 43,800 25,000 West a 376,500 Midlands b - 4,764 1,550 29,005 3,000 3,400 8,080 108,220 18,500 553,01 9 Yorkshire a 250,000 - - 17,000 - - - b - 5,075 1,174 9,018 - 21,100 2,700 33,800 3,425 343,29 2

Totals £4,001,000 £79,174 £15,299 £137,726 £8,020 £191,157 £69,880 £516,285 £183,840 £5,202,38 1

a Basic subsidies and additional funds for organisations and events in their areas for which the Regional Arts Associations are expected to make provision in future year s b Subsidies made available to the Regional Arts Associations with no commitment on their part to make provision in future year s

142

We are often asked for a regional breakdown of ou r persons attending performances at each theatre and figures. and the following diagrams attempt to show so forth . the proportion of Arts Council Grant-in Aid spent i n Scotland. Wales. London and `the rest' in 1968/6 9 We have, therefore, had to make a great man y and 1978/79. There are many difficulties i n assumptions and the following charts are based o n attempting to divide subsidy between London an d these. They reflect that there has been no increase in the regions. It is not easy because Arts Counci l the proportion of the Council's money spent i n subsidies are applied towards the net deticit of a n London over the last ten years. The 1976/77 Annual organisation after all other income, including that Report showed the share of the National Companies from local authorities, has been taken into account . alone reducing from 46.9 per cent in 1956/57 t o There are also problems in allocating our funds 26 .8 per cent in 1976/77 and this trend has not bee r between regions when dealing with any compan y altered even with the appearance of the thre e which is not static. London Festival Ballet tours auditoria of the National Theatre on the South from London all over the regions and into Scotland Bank . and Wales (its foreign tours are either self-financin g or guaranteed by the British Council and not th e l `The rest' not only includes expenditure on activities Arts Council). The Council 's subsidy to the Roya . but also Opera House goes towards the activities of the in the English regions including touring t such items as awards to artists. recordings, literary Royal Opera and to the two Royal Balle magazines and training, all of which are providing a Companies both in London and on tour . The•Halle r Orchestra tours from Manchester to other regiona l national service not attributable to any particula region even if we were to analyse where the creative centres and also plays in London . The Roya l Shakespeare Company plays in its two Stratford artists happen to live or complete a statistical survey of where books are most read or records played . houses, the Aldwych Theatre and the Warehouse i n e . a main season in Newcastle and a numbe r This all indicates how easy it can be to produc London misleading statistics . of regional tours.

Thus, one could apportion Arts Council subsidy pe r The problem stems from the fact that Arts Counci l number of performances in each venue, or in ratio to subsidies are not assessed on a regional basis but i n the box-office receipts from each region or even bas e relation to the artistic creativity and achievements o f it on expenditure in each region or number of the organisation and the audiences served.

LONDON LONDO N SCOTLA N D SCOTLAND i & WALES ~ I & WALES 32.57% 30.0aio

17 .07 % 19 .54°0

II Ili Illilllllllllillllllll l « : .. :: - - THE REST THE REST

50.36%► 50.46%

1968/69 1978/79 143