Investing in Scotland's Creative Future

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INVESTING IN SCOTLAND’S CREATIVE FUTURE

CORPORATE PLAN 2011–2014

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Designed by Katherine Green, Graphic Designer, Creative Scotland NVA, Speed of Light (photo: Toby Williams) Printed by Allander, www.allander.co.uk INVESTING IN SCOTLAND’S CREATIVE FUTURE 1 51 10 35 4 32 40 21 20 2 55 Background Background Appendices Appendices Three Year Plan Plan Year Three Ten Year Vision Vision Year Ten Mission and Objectives and Objectives Mission Cross Cutting Themes Cutting Themes Cross Explaining our Budget Investment Programmes Programmes Investment Political and Cultural Context Context and Cultural Political CONTENTS Measuring Outcomes: the Impact of our Work the Impact of our Work Measuring Outcomes: INVESTING IN SCOTLAND’S CREATIVE FUTURE 2 B • • film. Ituses ‘creative industries’ to define ‘arts andculture’ interchangeably to encompass investment andadvocacy. The planuses thewords the opportunityto deliver anew model for cultural an artscouncil andascreen agency butitpresents Creative Scotland was bornout ofthemerger of arts, culture, film,TVandthecreative industries. The organisation hasaremit to work across the or seekto supportthework ofothers. we respond to, andinterpret, Government policy to definenational policy andotherareas where Creative Scotland provides leadershipandhelps cultural landscape. There willbeareas where Scotland. Itwilldevelop key aspectsofScotland’s ecology for culture andthecreative industries in leadership andstrategic delivery ofasustainable plan willbeanimportantcontribution to the of localauthoritiesandeducation providers. Our museums andgalleriesthecultural investment national companies, national agenciesfor libraries, of cultural provision inScotland includingthe Creative Scotland sitswithinthebroader context • • • • • • The planisinformed by: we willdointhefirst three years. It setsouta10year aspiration andoutlineswhat This isthecorporate planfor Creative Scotland.

the Arts,Culture andCreativity Action Plan Creative Industries Partnership), Education and Scotland’s cultural sector. T Exis Government settlement T Scottish Screen in progress from Scottish ArtsCouncil and C T Go Creative Scotland T of Creative Scotland Ext he richheritageofinnovation andvisionin he financialenvironment and2011/12 he National Performance Framework he PublicService Reform Act settingup ommitments andwork streams already A vernment guidance ensive consultation work ontheformation ting policy frameworks e.g. SCIP(Scottish C K G R O U N D will inevitably emerge over thethree years. to thenew opportunitiesandchallengesthat is alsoflexible enough to adapt to changeand promoting Scotland’s cultural strengths. The plan with aview to inspiringpeopleto work withusin Creative Scotland’s planisdeliberately ambitious of ourchanges. programmes and2013/14 willseethecompletion will seetheintroduction offurthernew investment isayear2011/12 ofreview andtransition, 2012/13 This planshows how we willmake that journey. of new initiatives andinvestment programmes. three years to establish afullyintegrated suite a funderorinvestor. However itwilltake two to our role asachampionandadvocate aswell as to introduce new ways ofworking that develop considerable commitments. We have started stakeholders. We inheritsomereal strengths and that we deliver to theexpectations ofourkey and innovative inour approach whilst ensuring challenge for Creative Scotland isto befocused to access andaudience development. The of roles from investing intalentandproduction Cultural investment agencieshave awiderange programmes. a clearexplanation ofeachourinvestment for theyear, listing all revenue commitments and investment. Itwillprovide thedetailofourbudget progress andreporting backontheresults ofour be apractical working documentfor tracking Government andkey stakeholders. Itwillalso a comprehensive picture ofourwork to inform The detailedannualoperating planwillpresent of creative business activity. economic activitylinked to thebroader definition identity (see Appendix1,page55). taking prideinastrong, fair andinclusive national equalities, strong andresilient communities and potential, education, innovation, tackling outcomes relating to qualityofplace, economic contributes significantly to many ofthenational sustainable economic growth.’ Creative Scotland all ofScotland to flourish,through increasing more successful country, withopportunitiesfor Government andpublicservices oncreating a The Scottish Government seeks‘to focus participation inculture by ourresident population. We willputamajor focus onpromoting greater a globalmarket place, for cultural production. a national andinternational audience, aswell as produced orpresented inScotland, thenwe have to experience ortake partincultural work If we definethepublicasthosewithpotential not commercial) responsibilities. the fact that we have socialandeconomic (though customer isthenation itself. Ourobjectives reflect investing inScotland’s creative future. Ourprimary We aimto serve thebest interests ofScotland by foundations, andthe media. agencies, universities, broadcasters, trusts and local authoritiesto health agencies,enterprise We alsowork with many otherstakeholders from who are central to thedelivery ofourobjectives. and theartists, filmmakers andcultural agencies public whobenefitasaudiences andparticipants, commission usto carryoutvarious roles, the stakeholders includingtheGovernment who Creative Scotland hasacomplex range of Our st ak e h o ld e r s • In summarytheseare: role ofCreative Scotland anditspriorities. through extensive publicconsultation aboutthe Services Reform Act 2010. These were arrived at defined inparagraphs 37 and38ofthePublic The general functionsofCreative Scotland were Our r future. delivering andpromoting Scotland’s creative engage theculture sector andourpartnersin We seeCreative Scotland asarallying callto cultural sector rather thanitselfasaninstitution. Creative Scotland’s brand willputthefocus onthe • • • • • • •

and culture. to thecreative industries specialisinginthearts Pr of creative skills commercial activitybasedontheapplication Pr national culture contributes to anunderstanding ofScotland’s Enc internationally ofartsandculture R and participate intheartsandculture Incr access andparticipate intheartsandculture Enc enjoyment oftheartsandculture Pr and excellence intheartsandculture Identifying, supportingandde ealising thevalue andbenefitsnationally and oviding advice to Scottish Ministers relating omoting andsupportingindustries and omoting understanding, appreciation and ouraging artistic andcreative work that ouraging asmany people aspossible to easing thediversity ofpeoplewhoaccess o l e

veloping quality

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 5 VISION UR That Scotland is recognised is recognised Scotland That – nation creative as a leading and develops attracts, one that the arts where talent, retains are industries and the creative and and celebrated supported contribution their economic where a nation fully captured; play creativity the arts and part in the lives, a central and well-being education of our population. O

MISSION

UR O INVEST IN O INVEST

CREATIVE FUTURE CREATIVE SCOTLAND’S SCOTLAND’S

O T

4 INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 6 1 • • • all ofourobjectives: Three cross-cutting themeswillunderpin TO INVEST INPLACES ANDTHEIRCONTRIBUTION TO INVEST INTHECULTURAL ECONOMY TO INVEST INAUDIENCES, ACCESS AND TO INVEST INQUALITY ARTISTIC PRODUCTION TO INVEST INTALENT Creative Scotland willusetheword ‘invest’ O of memorable objectives. o ‘invest’ isto devote time, effort or resources to aparticularundertaking withthe expectation ofa worthwhile result.

the cultural sector. In additionto ourrole asafunder, we willprovide leadership, promotion, advocacy andadvice for the development of T E global outlook Int change incultural opportunity E qualities inallareas ofourwork ducation andacommitment to agenerational ernational partnershipto reflect Scotland’s UR OBJECTIVES T P ARTICIPATION O ACREATIVE SCOTLAND 1 asthebasisfor asimpleset O u O P • • • • • • assionate • • • • •

and advocate for Scotland’s cultural development W W W W of ourthinking Artis people ofScotland W C Det Pr Cr P ommitted to theprinciplesofequality, access anddiversity e willinvest inourstaff andspecialist advice to promote e willtake robust decisionsbutminimise bureaucracy e willprovide leadership e willbecollaborative andwork inpartnership e willbedriven by acommitment to deliver for the oud to berooted inScotland withaglobalperspective eative R ermined to bedistinctive, boldandto value risk UR UR ts andcreative practitioners willbeat theheart INCIP OPE V AL L RA ES ES

TING

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 8

Bluelight Neds Ltd. (photo: Graeme Robertson) Peter MullanonthesetofNEDs –courtesy of

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 11 Forsyth to Peter Mullan and Lynne Ramsay, who Ramsay, and Lynne Mullan Peter to Forsyth their films, along for acclaim critical won have in producers number of talented with a significant also Scotland companies. production established However cinema-going audience. has a growing in film finance decreasing ever for the competition and the difficulty and public sectors, commercial or in pre-sales terms in securing favourable and retention deals and in negotiating distribution of production the level threaten of IP, exploitation to necessary on investment and the returns businesses. maintain sustainable has talented Scotland production, In television local and providing independent producers in practised well who are productions network for with other nations co-productions developing to access limited Yet and abroad. here broadcast lack of available opportunities, budget constraints, and finance London’s from and distance finance, to conspire that all factors are base, production companies’ challenge independent TV production sustainability. important strategically remains sector The and economic because of the potential film indigenous benefits of a vibrant employment impact cultural and the potential and TV industry, the example For as a whole. the country across and the volume increasing to commitment BBC’s to Scotland from production of network value provide 9% per annum – which would least at in the Scottish an additional £50m investment – will make 2016 per annum by sector production content to cultural both a significant difference sustainability. company and production need and partner organisations Scotland Creative to support the financial models correct find the to its sustainability, and strengthen grow to industry in brokering support the industry but also to and to sector, with the commercial relationships and new by the opportunities presented explore digital technologies. emerging Channel 4, Sky of BBC Scotland, existence The opportunities provide Arts, MG Alba and STV and the partnerships with broadcasters for , Universities Universities ,

ction ies r du t o s du n I d TV Pr n Scotland’s Creative Economy Creative Scotland’s tive a a m e l i F heritage in film making with has a strong Scotland Bill from filmmakers recognised internationally Cr Agreement, Framework Industries Creative The set out the 2009, published in February of and responsibilities roles complementary Highlands Enterprise, Scottish Scotland, Creative Local and Scottish and Islands Enterprise the by then followed was This Government. published Report, Partnership Industries Creative of the establishment which led to in June 2009, (SCIP). Partnership Industries Creative the Scottish Creative by is chaired group coordination The Other members of the partnership are Scotland. Enterprise, Scottish COSLA, Government, Scottish the Scottish Highlands and Islands Enterprise, Scotland. and Skills Development Funding Council in supporting creative role Scotland’s Creative intelligence, research, provide is to industries development. policy to and contribute advocacy will Scotland Creative its remit, In delivering delivering in partnership with other bodies work such areas In many industries. creative support to other agencies which will are there as architecture sector. the for carry a lead role were people 64,660 data, latest the to According Scotland, in industries creative the in employed growth which in Areas 2003. on 11% of increase an visual the and music include strong particularly was software, and architecture arts, performing and publishing. Total electronic and games computer with billion, £5.2 was 2007 in sector the in turnover This billion. £2.4 around (GVA) added value gross in cent per 66 of terms) real (in growth represents and 1998 between GVA in cent per 54 and turnover in cent per 73 of growth with compares and 2007, Similarly, level. UK the at GVA industries creative increased exports industries creative Scotland’s 2002 between terms, real in cent, per 36 by billion. £3 of excess in value total a to 2007 and (source UK). Scotland/Universities ary ary . However there are are there . However 2 omment c ural t

Taking Part, Scottish Arts Council, 2008. Arts Council, Scottish Part, Taking 2 This commentary provides a summary of the a summary provides commentary This benefits our plan. Scotland for context cultural a wealth have We heritage. a rich cultural from and agencies and an producers of cultural Scotland our festivals. for reputation international visual art in music, literature, has strengths has a good It also galleries and aspects of theatre. including venues, infrastructure of physical range It has cultural and facilities. workspaces artists’ in its and colleges, in its universities strengths cultural of in equalities, areas work innovative tourism, digital cultural film locations, education, are These and the games industry. production growth shown have that areas by complemented and including design, crafts and development needs to Scotland where sectors are There dance. and TV include film These competitive. be more middle and export, public art, cultural production, and some aspects production theatre scale large and training. education of cultural geography the entire touches Although our work to yet have that places are there of Scotland and the in culture their full potential realise on cultural Our baseline data industries. creative Part the Taking through is provided participation and participation access that shows which survey 90% of with activity is high in Scotland in cultural or participating attending adults living in Scotland activity in arts or cultural sections of the population and places with limited with limited and places sections of the population and engagement with, the arts and to, access industries. creative on the economic studies been various have There and cities. events festivals, impact of cultural the for does not exist data comprehensive Whilst in 2009, that know we as a whole, sector cultural operating enterprises 8,915 registered were there representing sector, industries in the creative The in Scotland. businesses 6% of all registered has increased in the sector number of enterprises a to decade compared the last 29% over by in Scotland. industries all of 4% across growth Cul D N ONTEXT A

C AL URAL eativity enjoy all party political enjoy eativity

ITIC T

ate within a devolved nation reporting reporting nation within a devolved ate L e part of Scotland’s Creative Industries Industries Creative e part of Scotland’s e part of an international network of arts of network e part of an international ork within a UK network of film agencies ork within a UK network the national with COSLA, ork strategically ountry has valuable national collections collections national ountry has valuable ollaborate across borders with the Arts borders across ollaborate tive Scotland is one of four lottery lottery of four is one Scotland tive from inherits commitments Scotland tive

tive Scotland’s budget represents around around budget represents Scotland’s tive

UL e Government also provides direct support support direct provides also Government e otland has 32 local authorities who collectively collectively who authorities local 32 has otland

with the British Film Institute taking a UK lead with the British Film Institute and distribution on aspects of film production us promoting and the British Film Commission as a film location local authorities body for umbrella and archives, including the National Screen Screen including the National and archives, the National managed by is now which Archive Library Councils of Wales, England and Northern Ireland England and Northern Ireland of Wales, Councils Partnership working with enterprise agencies with enterprise working Partnership partners and other key Crea We ar We We w We Sc distributors in Scotland, uniquely combining arts uniquely combining in Scotland, distributors investment and screen c We Survey (CIPFA culture in £210m over invest archives) museums, heritage, arts, 2008/09: Screen and Scottish Arts Council the Scottish We w We support and have been positioned at the at been positioned support and have the to contributing policy, heart of national live, to as a place of Scotland attractiveness learn and visit work, Crea The c The Th on our work to the Scottish Government the Scottish to on our work Crea Culture and cr Culture agency), events national (a EventScotland to the Companies, Performing National five the Museums National Scotland, of Galleries National Scotland, of Library National the and Scotland and Architecture Scotland, Galleries Museums Scotland Historic and Scotland Design We oper We We ar We councils and cultural agencies and cultural councils 30% of the Government’s investment in culture culture in investment 30% of the Government’s

• •

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• • and international context. and international Creative Scotland operates in a broader national national in a broader operates Scotland Creative • •

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INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 12 a majorstrand of ourplan. as theYear ofCreative Scotland 2012 willform Commonwealth andthemed years Games such and specialevents suchastheCultural Olympiad, develop Scotland’s festivals. Supportfor festivals local authoritiesiskey to how we continue to Enterprise, Highlandsand IslandsEnterprise and with EventScotland, VisitScotland, Scottish ideas. Creative Scotland’s partnershipworking together andengageinartistic experiences and They encourage audiences andartists to come discover new orpreviously unheard-of talents. audiences to seeandhearestablished artists and fun andcelebratory, providing opportunities for which feeds artistic innovation. Festivals are creative exchange andthesharingofideas alongside international peers,festivals encourage local economies. Inprogramming Scottish artists local communities, foster tourism andboost of events whichpromote Scotland’s artists to The combined impactisayear-round programme Glasgow International Festival ofVisual Arts. the Edinburgh International Festival and Film Festival, to major globalevents suchas Festival inAberdeenshire andtheCromarty high qualitylocalevents, suchasthesound 200 cultural festivals eachyear, ranging from and cultural ecology ofScotland. There are over Festivals are amajorpartoftheartistic network F film production. attract theeconomic budgetsofinternational offer highertaxbreaks andincentive finance to We compete inamarket where othercountries production. has limited studio facilities for large-scale film and locallocation offices. However Scotland queries ayear. There isalsoanetwork ofregional locations service whichattracts hundreds of Creative Scotland managesthenational film if finance isidentified. transformational for theproduction sector proposals for aScottish DigitalNetwork could be estiv al s development, touring andeducation. national collections onissues suchasskills,talent work closelywiththenational companies and of thecultural ecology. Creative Scotland will and education work andform animportantpart they provide awealth ofperformance, touring with theBBCScottish Symphony Orchestra Scottish BalletandScottish Opera. Together Orchestra, theNational Theatre ofScotland, Scottish National Orchestra, Scottish Chamber The Government directly supportstheRoyal Na Edinburgh, HisMajesty’s Theatre Aberdeen and Glasgow Theatre Royal, Festival Theatre specific and touring venues. Cryptic are creating innovative work for site such asFire ExitArts, Ankur Productions and Festival providing avaluable platform. Producers and young peoples’ theatre withtheImaginate and Visible Fictionsexcel inthearea ofchildrens’ Companies suchasCatherine Wheels, Wee Stories and therepertory at PitlochryFestival Theatre. Tron, Citizens Theatre, DundeeRep, Perth Theatre of producers, includingTraverse Theatre, Lyceum, innovative model,Scotland benefitsfrom a range In additionto theNational Theatre ofScotland’s internationally. comment regularly onitsexcellent reputation as children’s theatre where external observers has beensustained progress insomegenres such networks anddevelopmental forums andthere strongly. The sector isreasonably well served by companies withinnovation coming through and diversity ofwork amongst smallscaletheatre will accelerate theircareers. There isagoodrange the needto leave Scotland for opportunitiesthat work butsometimesthoseinmid-career have felt there hasbeenlandmark,andground-breaking, directing, designingandperforming. Historically for encouraging young practitioners inwriting, with agoodcriticalmass andatrack record The theatre sector inScotland iswell established Th e tion a t r al C e

omp a nies

The combined talents oftheRSNO, SCO, BBC related festivals in Scotland each year. their programmes. They join over 150 other music- enviable reputations for the quality and range of Festival and the Lammermuir Festival have built Festival, Hebcelt, Shetland Accordion and Fiddle young musicians on tour around the UK. St Magnus year. Its offspring, Fèis Rois, takes world class and dance and reaches over 32k participants a quarter century of developing traditional music The Fèisean movement has celebrated over a thousands ofmusicevents ayear. Concert Hallsto SECC andClyde Auditorium host venues, from theArches to theFruitmarket, Royal Glasgow isaUNESCO CityofMusic,andits Belladrum to namebutafew. Piping Live, Rockness, thesound Festival and (the largest festival ofCeltic musicinEurope), from, includingTinthePark, Celtic Connections audiences have awealth ofconcerts to choose per capitathanany otherUKnation. Scotland’s buying more live musicperformance tickets musicians, itisalsoanation ofmusiclovers, Not onlydoesScotland produce many excellent enjoying national success and international acclaim. genres ofmusic–withmany well known musicians Scotland boasts professional strengths across all Mu of thebroader population andrural venue base. and ensuringenoughdiversity to serve theneeds between highlyprogressive experimental work small scalethere isaneedto resolve thetension full network ofScottish theatre vibrant. Onthe and inthemiddlescaleifwe are to keep the regard to theavailability ofhighqualitywork There ismore to bedoneonthelarge scalewith innovative new work. attract majorinternational companies and productions. The Edinburgh Festival andFringe theatre programmes andcommission occasional Eden Court Inverness have significant receiving sic

sustainability. new opportunities to strengthen the sector’s consulting with industry on potential actions and Creative Scotland, on behalf of the SCIP, has been industry which has been declining globally. is set against a backdrop of a recorded music £295m GVA – Creative & Cultural Skills 2010) this people working in music in Scotland, generating promote in Scotland (with an estimated 10,790 Whilst there is much talent to celebrate and for disadvantaged communities. breaking new ground increating access to music Sistema inStirling andDrake MusicScotland are youth. in thelives andartistic well-being ofScotland’s what canbeachieved through aninvestment Choirs ofScotland, provide shiningexamples of Youth Orchestra ofScotland andNational Youth Brass BandofScotland, alongsidetheNational Youth PipeBandofScotland andNational Youth flourish through accessing music. The National achievement that hasseenmany young people into musiceducation inScotland –amagnificent initiative hasput£77.5m ofgovernment funding the country. Aboutto enter itsninthyear, this young peopleinschoolsandcommunities across Youth MusicInitiative reaching thousandsof Scotland hasbenefitted from the vision ofthe contemporary bands. major international platform for upandcoming – andSouthby SouthWest inAustin, Texas, a countries to seework by Scottish musicians attracted 180bookers andpromoters from 21 Scotland at Celtic Connections –whichin2011 international platforms, includingShowcase of Scotland’s musicaltalentonnational and Creative Scotland supportsthepromotion contemporary music. additions whichcelebrate Scotland’s wealth of Red Note Ensembleisoneofourlatest portfolio Orchestra andNational Youth JazzOrchestra. classical music.Scotland hasitsown National Jazz Dunedin Consort demonstrate thewealth of Hebrides Ensemble, Scottish Ensembleand Scottish Symphony Orchestra, Scottish Opera,

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING Eden Court, Bodycurrents Dancers at Loch Morlich (photo: Ewen Weatherspoon) INVESTING IN SCOTLAND’S CREATIVE FUTURE 16 assets, andisenjoying ascaleof success and Literature isoneof Scotland’s principal Lite Dance Society. organisations suchastheRoyal Scottish Country both commercially, andthrough thework of activity andcelebrations. This work issupported traditional dance culture whichinforms social in theworld. Scotland hasarichanddistinctive into thewiderUKandmarkingScotland’s place celebration ofdance across Scotland, linking opportunity to harness supportfor aninclusive dance eachyear. GetScotland Dancingisahuge of young peoplethroughout Scotland to discover Scotland, plays acriticalrole enablingthousands dance development agency for young peoplein teaching ofdance inschools.Y-Dance, the challenges facing dance inScotland isthelimited for progression. Oneofthemost significant can bechallengingwithlimited opportunities and entering andsustaining acareer indance is still at arelatively earlystage ofdevelopment Compared withotherartforms, dance inScotland participation alongsidetalentdevelopment. holistic approach encourages awiderange of central to thedance infrastructure andtheir Dance Base, Citymoves andDance House–are their originality. The network ofdance centres – work andreceiving international recognition for Dance andCompany Chordelia) creating new companies (including PlanB,David Hughes of ambitiouschoreographers andindependent performance companies –there isnow ahost Theatre –Scotland’s two full-timedance profile ofScottish BalletandScottish Dance active participants.Alongsidetheincreasing to experience dance asaudience membersor artists whoare creating opportunitiesfor people of professional companies, organisations and years. Scotland now hasavibrant dance sector of growth anddevelopment over thepast 15 Dance hasbeenthrough asignificantperiod D a nce ra t ur e

members, both nationally and internationally. working to promote and protect the interest of its for the book publishing industry in Scotland, the development agency and trade organisation opportunities for writers. Publishing Scotland is Mòr Ostaig deliver valuable residency and retreat networks, and Moniack Mhor, Cove Park and Sabhal Scottish Literary Studies provide literary expertise The Gaelic Book Council and the Association for young children. the distribution of240,000 free packsofbooksto Government intheirBookbug scheme, supports Scotland, andanadditional£1minvestment by the reaching schoolsandorganisations across Trust delivers theLive Literature Programme, writers andliterature inScotland. Scottish Book prestigious residencies reflect thehighprofile of or Poet forthe Scots Scotland, ‘Makar’ andother country. The MurielSparkInternational Fellowship, prestigious, andlargest, literary prizes inthe Investment Trust BookAwards are themost The Creative Scotland/Scottish Mortgage ranging from theBorders to Ullapool. There are over 40otherliterature orbookfestivals and aspirant CitiesofLiterature across theglobe. the development ofagrowing network ofpartner designated UNESCO CityofLiterature, leading across theworld. Edinburgh istheworld’s first visitors andover 800authorsayear from is thelargest intheworld, attracting over 200,000 Centre. The Edinburgh International BookFestival Scottish BookTrust andtheScottish Storytelling organisations suchastheScottish Poetry Library, Literature Forum for Scotland, includingnational We have nofewer than24 organisations inthe and listeners. thriving publishingindustry, committed readers biographers. Italsohasanunrivalled asset inits storytellers, song-makers, scientists, historians and writers, philosophers,screenwriters, playwrights, literature through itspoets,novelists, short-story distinguished positioninthepantheonofworld unsurpassed initslonghistory. Scotland hasa recognition, nationally andinternationally, perhaps Cra production facilities. skills, access to finance, market intelligence, and as Scotland Week, andto improving industry of itselfat industry andinternational events such needed onthecalibre ofScotland’s presentation effectively inthe world market greater attention is methodologies. ButifScotland isto compete there ispotential to leadtheway onnew design colleges, universities andcreative enterprises, in co-production andcollaborative working within individuals inScotland. Buildingonourexpertise and intellectual capitalandto keep talented elsewhere. The challengesare to retain profits employed to enhance items manufactured as marketable astheirproducts andare often of creativity. The skillsofScottish designersare The fashion anddesignsector offers a wealth Fa strengthen theScottish brand abroad. a majorpromotional event inScotland andto market for crafts, akey target beingto establish to bedoneto raise theprofile and develop the national andinternational events. There iswork whilst showcasing leadingScottish makers at an onlinegateway to crafts-based activitieshere to Scottish audiences; andCraft Scotland provides leader inbringingcraftwork ofthehighest calibre the Dovecot, withitspartnerInnovative Craft, isa which promote andpresent contemporary crafts Among thegrowing network oforganisations capitalisation, andspecialist production facilities. with more attention required to business skills, as acreative industry, however, isnotfullyrealised, contemporary practice. The potential ofthesector centre ofexcellence for skilldevelopment in Creative Glass inCaithness isaninternational of new technologies. Additionally NorthLands universities, growing expertise intheapplication metalwork andtextiles and,inpartnershipwiththe country. There are particularstrengths injewellery, 3,000 across thelengthandbreadth ofthe Scotland isrichincrafts enterprises, with some s h fts ion on temporary publicartby the festivals, arts underdeveloped. Innovative work hasbeendone projects inScotland butthis sector isrelatively There have beenafew significantpublic arts well asnetwork agencies suchasVAGA. such asInverleith House, Stills andStreet Level as facilities. Creative Scotland alsosupports galleries over 750 artists andcreative workspaces in19 Aberdeenshire andGlasgow, and WASPs house There are sculpture workshops inEdinburgh, Glasgow, Dundee, Aberdeen andInverness. including printmakingfacilities inEdinburgh, There isastrong network ofartist facilities exhibition space. in Dundeeprovide afurtherenhancement of museums andgalleries.The plansfor theV&A provision includingGlasgow’s award-winning and many localauthorities have direct ortrust ScotlandMuseums Galleries supportsmuseums inEdinburghGalleries and National Collections, The Scottish Government supportstheNational infrastructure for thevisualartsiscomplex. For historical reasons thepubliclyfunded stimulate more adventurous collecting. the numberoffirst-time buyers ofartsand to The OwnArtprogramme aimsto increase ambitious exhibitions andcommissions. Art Festival andGlasgow International (GI) stage programming. Showcases suchastheEdinburgh more recently Tramway demonstrate world-class Edinburgh, DCA(DundeeContemporary Arts) and Flagship venues suchastheFruitmarket in Gallery media/emerging technologies. experimental film,live art,installation andnew drawing andphotography through to sound, of practice from sculpture, painting,printmaking, and artist-led initiatives there isahealthy diversity growing network ofworkshops, studios, galleries of national andinternational significance. With a can research, develop andproduce work that is excellence for thevisualarts,aplace where artists Scotland hasachieved recognition asacentre of V is ual A r ts

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 18 Scottish economy. one oftwo main drivers of growth intheUKand latest report from CCSkills states that designis contribution to Scotland of£500m in2010. The 11,070 in2006to 16,020 in 2010 –makingaGVA the numberofpeopleworking inthesector from Skills (CCSkills) demonstrating asignificantrisein five years with statistics from Creative &Cultural The designsector hasflourished over thelast Design maximising itsexploitation, also remains anissue. models. Negotiating adequate retention ofIPand developing sustainable andsuccessful business raising finance, theneed constantly to innovate, competition from countries withlower cost bases, industry faces challengesinskillsretention, in Scotland, goinginto administration. The Worlds, oneofthe biggest development studios workforce in2010, mainlydueto Realtime Scotland suffered adeclineinthedevelopment Scotland, hasdeclined over thelast two years. However, thesector, bothintheUKand employing 1,841 people. of £66.8mto theUK’s Gross Domestic Product, companies make a direct andindirect contribution and medicalresearch. Annually, Scottish games technology’ which has usesinaccident simulation in gamingbutisalsodeveloping ‘pervasive in education provision andtalentdevelopment The University ofAbertay hasledtheinvestment companies withglobally successful products. technology, gamesandmobileentertainment Scotland ishometo world leadingdigital a Digit offer significant prospects forthefuture. art landscapeat St Peter’s SeminaryinCardross commission andplansby NVA to develop apublic project inFalkirk. The Gretna Border Crossing On amore permanentbasisthere istheHelix organisation NVA, andby theNational Galleries. n d t al T h

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ry potential. policy is necessary to better support the industry’s understood, but more integration of this in public design’s link to innovation is being increasingly realise opportunities for growth. Appreciation of runs, maximising their IP, and accessing capital to to prepare for manufacturing larger production access to workshop space, micro businesses’ ability retaining talent, public procurement procedures, potential. Issues raised include finding and to be addressed in order to fully realise their international market, there are still some issues in an increasingly sophisticated and competitive demonstrable opportunities for these businesses businesses flourishing in Scotland, and there are Whilst there are many examples of design of artsopportunities. The Young Scot ArtsAction over 3000young peopleto engagewitharange Identities projects have provided opportunities for and culture inearly years settings,whilst Creative has provided usefulevidence ofthevalue ofarts newly available technological tools. Starcatchers using theexpertise ofartsorganisations withthe of teaching andlearningacross thecurriculum projects onGlow demonstrate innovative methods repository for thelatest research. The co-create to promote theireducation offer andasa illustrate goodpractice, for cultural organisations recently beenlaunchedasaone-stop shopto education intranet, theCreativity Portal has technological possibilities ofGlow, thenational and Teaching Scotland andworking withthe For example, inpartnershipwithLearning delivering highqualityexperiences inthesector. peoples’ policy development andcompanies organisations responsible for education andyoung strong partnershipsinplace withthenational Culture andCreativity Action Plan.There are deliver theGovernment’s Education andtheArts, and we willcontinue to work withpartnersto policy through theCurriculumfor Excellence Creativity now permeates Scottish education Edu c a tion careers information for students and connections Employer engagement officers have developed or postgraduate provision for particular areas. respond by developing particularunitsofstudy, needs, andeducational gaps,are identified,many speakers to enhance theirprovision. Asindustry as fulltimeorpart lecturers orvisiting software, and employed industry practitioners invested inindustry-standard equipmentand industry informed. Colleges anduniversities have the sector skillscouncils to ensure curriculumis over thelast decadeandhave worked closelywith breadth ofthecreative andcultural industries their course provision indisciplinesacross the Scotland’s universities andcolleges have increased industries. Scotland’s talentfor thecreative andcultural across thebreadth ofthesector anddevelop excellent range ofcourse choice andresearch College’s ‘The Space’. Together they provide an Edinburgh’s Telford College, anddance at Dundee Music andDrama, musicaltheatre and dance at dance, anddrama at Royal Scottish Academy for In theperforming artswe have strengths inmusic, St Andrews Institute for Capitalising onCreativity. provision linksto innovation, andthe University of of Informatics at University ofEdinburgh, whose School inAberdeen –and there isalsotheSchool Duncan ofJordanstone in Dundee andGrays Art Glasgow SchoolofArt,Edinburgh College ofArt, Loop. Scotland hasfour renowned artschools– University ofAbertay inDundeeandCreative at theUniversity oftheWest ofScotland, the College ofArt,andtheSkillsetMediaAcademies at Edinburgh’s NapierUniversity andEdinburgh provision, suchastheScreen Academy Scotland particular strengths increative andcultural course Scotland’s colleges anduniversities have Unive education programmes. of ourFoundation Organisations runextensive people to supporttheircreative ambitions.Many fund hasprovided smallgrants direct to young r sities a n d C o ll eges others to promote. we canhelp package cultural tourism products for the Scottish Festival Guideisan example ofhow partnership withThe List magazineto produce sporting andcultural events. Creative Scotland’s charged withattracting anddeveloping national tourism agency, andEventScotland, experts inthis fieldincluding VisitScotland, the Creative Scotland willseekto addvalue to existing the complex mixofculture onoffer to tourists. the National Trust for Scotland alsoplay apartin The events programmes ofHistoric Scotland and craft facilities are anotherreason to visitScotland. events. Artists, studios, commercial galleriesand product ofmuseums,galleries,music,theatre and promotion ofGlasgow’s richcultural tourism Life combines direct cultural delivery withoverall Edinburgh International FilmFestival, andGlasgow Festival, theEdinburgh Festival Fringe, andthe festivals includingtheEdinburgh International Edinburgh isanumbrella agency for 12Edinburgh Andrews, Ullapool,Melrose andDumfries.Festivals do many smallertowns andvillagessuchasSt as amajorfocus oftheirtourism marketing as Edinburgh, DundeeandPerth alluseculture important to localvisitor experiences. Glasgow, Stornoway andThe PierinStromness, Orkney are Taigh ChearsabhaiginNorthUist, AnLanntairin more remote partsofScotland facilities suchas over 70% ofitsvisitors from outsideofTayside. In is anexemplar inrural cultural tourism attracting at Celtic Connections. PitlochryFestival Theatre cultural conferences suchasShowcase Scotland T inthePark, theMOBOandMTVawards, and programme offestivals to majorevents suchas product for Scotland from itsyear round Culture isanimportantpartofthetourism Cul careers advisersindetermining routes to careers. ‘Creative Choices’, hasassisted students and online resource developed by CCSkills andSkillset, experience orjobopportunities.Inaddition,the to localcompanies for jointprojects, work t ural T o ur ism

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 20 • • • • • • • • • We would like to see: on thelongerterm cultural visionfor Scotland. want to usethisdocumentto inform discussions make steps towards theseoutcomes but we Scotland asawhole. Ourthree year planwill complementing theGovernment visionfor based onaten year horizon to 2020 and we have identifiedaseriesofaspirations To provide arallying callfor acreative Scotland • T

every childinScotland access to the arts in theartsfor children andyoung people, giving through a10year capitalplan national publicservice broadcasting its role inScotland withculture embeddedin with adigitalnetwork andtheBBCexpanding creative nation strengths, identitiesand contributions to a proudly celebrating andsharingtheirunique reaching into every home participation intheartsUKwithcreativity and audiences to Scotland internationally –welcoming theworld’s artists to live, work andlearnasanartist the ladderofcareer opportunities the world to visitfor culture recognised asoneofthetop ten places in Sc and ambassadors for acreative Scotland residencies programme actingaschampions 2000 alumnifr W A thrivingandsus Sc Sc Cultur Sc A ne Sc orld class cultural facilities beingdelivered en otland recognised asaninternational leader otland’s individualplaces andcommunities otland having thehighest levels of otland beingviewed asanattractive place otland asayear-round festival nation w generation oftalentemerging from e becoming thecalling card for Scotland

Ye om theCreative Scotland artists’ tainable filmandTVsector ar V ision • •

most creative nations. economic growth average andcontributes to sustainable Sc A cultur otland beingrecognised asoneoftheworld’s al economy that exceeds theUK sector willbecentral to ourbusiness model. respond to new opportunitiesandideasfrom the from thecultural sector. Retaining flexibility to annual road show to test ourplansandseekideas and Portfolio Managers andwe willundertake an work by ourDirectors ofCreative Development The annualoperational plans willdraw onfurther ecology ofthecultural andcreative industries. work sitsalongsidethat ofothersinthebroader commentary outlining how Creative Scotland’s Each highlevel objective isprefaced withashort two andthree. plan according to theresources available for years budget commitment andwillneedto adjust the investment models.We currently have aoneyear phase theintroduction ofnew programmes and and financial resources willmeanthat we have to deal over thisperiodbutlimitations onhuman of thenext three years. We canachieve agreat plan to introduce specificinitiatives across each illustrate theseinmore detail,showing how we objectives. The detailedoperating planwill This sectionoutlinestheactionsunderourfive int O Thr bjectives o a ctions ee

t ra ns

Ye la te

ar Pla n

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 23 Plan B Company, performer biographies, taken taken biographies, performer Plan B Company, home, home from A Wee for the programme from 16k Design) Siobhan Cain at by (concept 2010

eative practitioners working in partnership working practitioners eative o invest in international training, research research training, in international o invest o invest in the next generation of cultural of cultural generation in the next o invest and support a nationwide o develop and support a nationwide o develop and creative artists elite o engage Scotland’s critical debate in the capacity for o invest T T cr T T T creative for and personal development practitioners. T T creative through leadership and expertise capacity building, high level and technical programmes. career track and fast mentoring space of talent hubs which allow programme and experiment to practitioners creative for skills. new develop for spaces of incubation programme to the peak of their careers at practitioners and ambassadorial maximise their contribution Scotland. a creative for role – particularly making use of new and reflection technologies. creative practitioners through an annual an annual through practitioners creative and support for programme residencies work. innovative and universities organisations, with cultural other agencies.

3. 4. 6. 7. Actions 1. and ofourartists thefutures in o invest 2. 5. ENT

to be recruited, trained or showcased. or showcased. trained be recruited, to organisations that provide the platforms for talent for the platforms provide that organisations and resource a series of talent hubs. These will be a series of talent hubs. These and resource One of the key aspects of our plan is to identify aspects of our plan is to One of the key creative practitioners at the heart of our thinking. at practitioners creative respond to our principles of putting artists and artists our principles of putting to respond celebrating Scotland’s cultural talent. We will also talent. We cultural Scotland’s celebrating We will take pride in spotting, nurturing and take will We the opportunities for the first key steps in a career. in a career. steps key the first the opportunities for introduce talent into a creative Scotland providing providing Scotland a creative talent into introduce and the peak of careers. We will look at how to to how at will look We and the peak of careers. will be to focus on supporting talent at the start the start at on supporting talent focus will be to skills arena and it is proposed that our emphasis our emphasis that and it is proposed skills arena There are many other partners working in the other partners working many are There practitioners, producers and managers. and managers. producers practitioners, value to cultural development of artists, creative creative of artists, development cultural to value tracks and support the organisations which add and support the organisations tracks Our role is to help identify talent, get it onto the it onto help identify talent, get is to Our role can make the most difference in nurturing talent. difference the most can make will explore the moments where our investment our investment the moments where will explore agencies both in Scotland and internationally. We We and internationally. agencies both in Scotland talent can move freely across the network of the network across freely talent can move will be to develop a vibrant cultural ecology where where ecology cultural vibrant a develop will be to developed their talent. Creative Scotland’s work work Scotland’s their talent. Creative developed the key platforms and stations at which they which they at stations and platforms the key in the form of an underground map. It highlights It highlights map. of an underground in the form their writer, director, choreographer and designer and choreographer director, their writer, from Plan B Company shows the career paths for for paths the career shows Plan B Company from of the organisations we fund. The image right fund. The we of the organisations Investing in talent is central to our role and that and that our role to in talent is central Investing

INVEST IN T IN INVEST

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVEST IN QUALITY ARTISTIC PRODUCTION

Our emphasis will be on supporting quality Actions content for both local and international audiences. This will represent the most significant area of 1. To invest in a range and diversity of our investment and whether it be in theatre, organisations and activities that will make up films, publishing or exhibitions our quality a healthy ecology for cultural production and framework will inform choices. We will reinvest presentation in and strengthen our programme of Foundation 2. To invest in the creative programming of a Organisations. Given the scale of this investment national calendar of festivals and events we will engage with them in making a greater contribution to all of our objectives and to the 3. To invest in visual arts and crafts production Government’s National Performance Framework. for touring and on line exhibition

We will build on our strengths and address some 4. To invest in the quality production of film, of our weaknesses in cultural production through a TV and digital media content series of sectoral reviews. These will lead to a new set of investments in strategically commissioned 5. To review the cultural ecology of key sectors franchises to replace the previous flexible funding to inform future strategic commissioning of programme. production and touring franchises

We will devolve funds where appropriate to take • 2010/11 – Traditional Arts, Audience decisions as close to the cultural producers as Development, Touring, International possible. • 2011/12 – Performing Arts (Theatre, Dance, Music), Visual Arts and Crafts We will support a small number of strategic forums that add practical value to the ambition • 2012/13 – Festivals, Film and Digital Media for constantly improving the quality of work but • 2013/14 – Literature and Publishing, our priority will be to maximise the resources into Equalities frontline cultural production. 6. To review, develop and support appropriate We will work closely with national companies, networks and forums to share good practice national galleries and the BBC Scottish Symphony and encourage collaboration in key sectors Orchestra who all contribute important roles in 7. To invest in high quality inspirational events the ecology of cultural production. for the Cultural Olympiad, Year of Creative Scotland (2012) and the 2014 Commonwealth Games 24

Jung-A-Jung, Toby Fitzgibbons and Michael King in Adam Benjamin’s Angels of Incidence Scottish Dance Theatre (photo: Kenny Bean) INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE IN SCOTLAND’S INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 26 participation programmes. objectives andothershave developed innovative audience development at theheartoftheirown to thisobjective, many ofthemhave access and Organisations willalsocontribute significantly Foundation Organisations and Flexibly Funded policy andto work withlocalauthorities.Our Scotland isto inform andinfluence national the wholeofScotland. Akey role for Creative drivers ofourstrategic engagementacross CashBack for Communities willalsobemajor the development ofYouth MusicInitiative and Education andArts Creativity Action Planand the next three years. The implementation ofthe and 2014 ascatalysts for muchofourwork in sector. We willusetheopportunitiesof2012 attendance orparticipation inthecultural targeting communities withlower thanaverage will seekto focus onmass participation and development. Creative Scotland’s programmes areas ofeducation, access andcommunity There are many partnersworking inthe A INVEST IN C CESS &P AUD AR TICIP 8. 7. 6. 5. 4. 3. 2. o deliver anational youth artsstrategy for 1. Actions

IENCES

Communities programmes suchasCashBackfor sectors ofthepopulation through cultural Creative Scotland 2012 authority across Scotland intheYear of audiences inScotland increase attendance anddevelop new cultural FOs, FXOs andnational companies to with highlevels ofsocialdisadvantage particularly olderpeopleandgeographic areas engagement (from Taking Part survey) contribute localinputto acreative Scotland projects that inspire communities and and furtherhighereducation partnerships inearlyyears, schoolssector support strategic delivery ofeducation creativity portal cultural producers andschoolswiththeGlow Action Planandmaximiseengagementof national youth artscompanies Scotland andmaximisethepotential of our T T T T T T T T o target engagementby disadvantaged o engagecommunities from every local o work withaudience development agencies o target communities withlower arts o invest inaseriesofmass participation o establish creative learningnetworks and o deliver the Education and the Arts Creativity A TION

Council (photo: Brendan MacNeill) Edinburgh Creative Links,CityofEdinburgh Storytelling workshop organised by INVEST IN THE CULTURAL ECONOMY

As well as social objectives Creative Scotland 3. To invest in partnerships with the BBC, STV has a responsibility to stimulate growth in the and Channel 4, Sky Arts and MG Alba economy of culture and the creative industries. Creative Scotland has been given the role of 4. To deliver partnerships which exploit the coordinating support for the creative industries potential of digital media and games through SCIP. Creative Scotland has limited production flexible funds of its own for creative industries but 5. To undertake a benchmarking economic does invest through various means in the growth impact study on the contribution of the of the creative economy. We will work closely cultural sector to Scotland with a view to with enterprise agencies, skills agencies, funding identifying areas for economic growth in the councils, local authorities and business gateways cultural sector whose investment decisions are based on criteria for economic growth, business expansion and job 6. To test new initiatives and investment models creation. A key delivery partner will be the Cultural that enable the cultural and creative industries Enterprise Office who provide specialist advice sectors to maximise the benefits of intellectual and referrals for creative businesses. property

Creative Scotland will invest in partnership 7. To support cultural organisations to deliver with broadcasters and others in the area of film environmental sustainability and to maximise and TV production. Our decisions will be on the use of new technology economic as well as cultural grounds with a view to building a sustainable industry and levering 8. To work in partnership with VisitScotland, more resources into Scotland. We also have a role EventScotland and heritage agencies to with the Government in stimulating cultural export maximise the potential of cultural tourism, through initiatives such as the Made in Scotland festivals and events programme. 9. To work with enterprise agencies and local We will work to develop a cultural sector which is authorities to ensure the best possible advice more financially and environmentally sustainable to creative businesses through Business and one which maximises the potential of new Gateway and the Cultural Enterprise Office technology. 10. To work with Arts & Business Scotland and other partners on a range of measures to Actions engage the private sector and maximise sponsorship, business advice and philanthropic 1. To lead the coordination of the SCIP creative support for the arts in Scotland industries group and implement an agreed 28 list of priority actions from reports in music, 11. To examine the potential for an agency film, design, publishing, product design and to develop international engagement and performing arts manage cultural export as part of our strategic commissioning process 2. To expand the Made in Scotland programme and increase the range and volume of work 12. To deliver more resilient cultural organisations sold and exported from Scotland through greater collaboration, new sources of income, improved governance and social enterprise models Tommy Reilly performing at the South by SouthWest Festival in Austin, Texas, 2010 (photo: Ken Haddock) INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE IN SCOTLAND’S INVESTING INVEST IN PLACES AND THEIR CONTRIBUTION TO A CREATIVE SCOTLAND

A central part of our work will be to embrace Actions the contribution that places make to a creative Scotland. This work cuts across all our 1. To work with COSLA, VOCAL and the objectives but we aim to deliver a more strategic Scottish Government to take forward the engagement with the geography of Scotland and recommendations from the National Cultural to work closely with local authorities and others Summit (March 2010) to realise the potential of all parts of Scotland. 2. To develop single conversations which identify The current economic climate will make this a joint plans with the major city authorities particularly challenging period for work with local authorities. It is therefore even more important 3. To establish four or five place partnerships that we have partnerships which identify shared each year beginning with Perth and Kinross, priorities and encourage leverage and continued Fife, the Highlands, Dumfries and Galloway, investment in culture. and Aberdeen

We will work with COSLA, VOCAL and the 4. To develop a capital strategy to further Scottish Government to take forward the improve the physical infrastructure for the recommendations from the National Cultural arts, addressing key gaps and opportunities Summit in March 2010 by focussing on agreed outcomes. We are developing ‘Place’ partnerships 5. To develop partnerships that promote the and will develop mechanisms for working with all contribution of place to Scotland with 32 local authorities with specific senior staff taking VisitScotland, broadcasters and the media responsibility for areas of Scotland alongside 6. To work with local authorities to promote the their own specialism. We have further work to contribution of culture in priorities for health, do in improving the capital facilities for the arts, learning and equalities addressing gaps and building on the success of programmes such as WASPs development 7. To invest in a programme of public art projects of artists’ workspace. We will work closely with that help define places other agencies such as Historic Scotland, Heritage Lottery Fund, the Theatres Trust and Scotland’s 8. To produce Gaelic and Scots language Independent Regeneration Network to realise plans and support projects that further our the potential of culture in promoting places and traditional arts developing communities. 9. To maximise the potential of UNESCO Cities of Literature and Music in Edinburgh and Glasgow 30

Striding Arches, Dumfries & Galloway, by Andy Goldsworthy (photo: Mike Bolam) INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE IN SCOTLAND’S INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 32 useful models. Showcase Scotland at Celtic Connections offer programme at theEdinburgh Festivals and arena. Examples suchastheMadeinScotland domestic performance inthe international need to find ways to capitaliseonthevibrant The potential for cultural export ishighbutwe our operation. the ambitionto seeastep-change inthisarea of Over theduration ofthisthree-year planwe have Offices that are growing their Scottish presence. with diplomatic HighCommissions andConsular are alsomakinganumberofdirect relationships Government, Visiting ArtsandVisitScotland. We including theBritishCouncil, theScottish quality anddepthofourinternational relationships number ofotherorganisations to improve the sector. To ensure wideimpactswe work witha development initiatives coming forward from the year ofourplanandwillencourage research and at astrategic andinfrastructural level inthefirst Creative Scotland willsupportinternational work the future. we would like to profile thoseareas furtherin particular fieldssuchasartsanddisability understanding. Scotland leadstheway in in theUnited States; andpromoting intercultural example enablingactivityfor thecrafts sector art-form development; market development, for through thework ofNorthLandsCreative Glass; Venice Biennale;skillsexchange, for example profile ofScotland, for example exhibiting at the relationships are aboutbuildingtheprestige and to sustained andsubstantial partnerships. The engagement, from exploratory one-off contacts growing range offormal andinformal international The creative sector inScotland enjoys awideand I Educa I Cr nte nte r n oss a tion r al n - tion a c tion u tting , Equal al, and energies in support of the strategy. other sectors to focus their resources, expertise organisations and those working in education and It will empower artists and creative practitioners, skills development, employment, health and justice. into other national policy areas such as education, arts to contribute to, integrate with and dovetail activity by creating a policy framework for youth young people’s lives through the arts and creative The core purpose of the strategy will be to enrich development andimplementation ofthestrategy. young people. Young peoplewillbecentral to the international leaderintheartsfor children and arts strategy whichwillestablish Scotland asan and young peopleto launchanational youth We willwork inpartnershipwithstakeholders of theircareer. working inparticipatory settings,at allstages to highqualityskills development for artists Art Works Scotland, anational strategic approach partnership withthePaul HamlynFoundation on pathways for supporting talentandwillwork in further education establishments aspartofthe We willfurtherdevelop ourwork withhigherand creative practitioners andlearnersofallages. projects to furtherdevelop opportunitiesfor We willbuildonthese existing partnershipsand events for schools. organisations providing onlineresources and potential oftheGlow portalthrough ourcultural Action Plan.Akey aspectofthisismaximisingthe Scotland ontheEducation andtheArtsCreativity are working closelywithLearning andTeaching enthusiastic are identifiedandsupported. We context; andthat pathways for thetalented and supported to develop theirpractice inalearning Scotland; that artists andartsorganisations are accessible to alllearners,ofages,in allpartsof creative opportunitiesandexperiences are policy. Itwillwork to ensure that highquality placed oncreativity withinScottish education Creative Scotland willbuildonthehighvalue Edu c

a tion t h

emes ities

consumers. disabled peopleasperformers, participantsand work withothersto develop access to theartsfor for arts andolderpeoplefrom 2011. And we will Futures Group to deliver a national programme Scotland andQueenMargaret University’s Ageing partners suchastheBaringFoundation, Age people. We willtherefore work withexternal recorded amongst disabledpeopleandolder activity duringtheprevious 12monthswere attendance andparticipation inartsorcultural Council 2008)indicates that thelowest levels of Participation survey (Taking Part, Scottish Arts provision. The most recent Audience and Specifically, we willaim to address gapsin arts andculture inScotland. diversity andinclusionaspartoftheecology of work withourfundedorganisations to support communities indeveloping ourpolicies.We will a stronger involvement ofequalitygroups and a focus onequalityoutcomes inourwork and cultural organisations. We willensure there is on equalityofourpoliciesandrelations with programmes, considering thepotential impacts by embeddingequalitythroughout allour We willadoptamainstreaming approach Scotland’s leadinginclusive employers. Champions programme, we aimto beoneof as amemberofStonewall Scotland’s Diversity We aimto beabest practice organisation and the diversity inScotland today inallourwork. its activity, aimingto acknowledge andreflect Creative Scotland putsequalityat theheartof E engagement andnurture creative excellence. establish new ways to improve access, promote to reflect uponcurrent practice andseek to youth artscompanies) andotherrelevant agencies practitioners, cultural organisations (e.g. national young people, ourartists andcreative The strategy willbearallying callfor Scotland’s q ual ities

communities. ethnic backgrounds, cultural organisations, and development ofwork by artists from minority Scotland willalsocontinue to supportthefurther In anincreasingly diverse society, Creative work, embeddingartsinhealthcare provision. therefore continue to advocate for innovative arts contribute to healthandwell-being. We will Creative Scotland believes strongly that the

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 34 January 2011 (photo: NeilThomas Douglas) Starcatchers, Ice Pole by Katy Wilson at Tramway, Glasgow, Our e • Our investment programmes willinclude: and where budgetsare devolved to others. showing where peoplecanapplyfor funding Our budgetwillbeavailable onourwebsite being introduced in 2011 and others in 2012. Appendix 3, page 65. New investment streams are of web based appendices to the plan. See example, investment programme. The papers form a series This plan will be underpinned by papers on each • • • • • • • • Our income isdrawn from: I a list ofFOs visitwww.creativescotland.com/fo and reductions infundingto existing FOs. For objectives. The review willleadto bothgrowth track record andstrategic contribution to our of new organisations invited becauseoftheir of thisplanandwillintroduce alimited number by review inearly2011, willrunfor the duration until March 2012. The new programme, informed economy andplace. The current programme runs audience development andparticipation, the in terms oftalent,qualityproduction, access, to definetheir contribution to acreative Scotland Foundations programme. Organisations are invited builds onthesuccess oftheScottish ArtsCouncil’s This represents over 50%ofourcore budgetand (F F

o De Open ac S R Other partnerships L L (for specificpurposes) Sc Sc service agencies Organisations, flexible fundingandcross-cutting nvestment o ottery reserves ottery income trategically managedfunds evenue investments –Foundation u ottish Government restricted funds ottish Government treasury funding volved fundsto external partners s) xpenditure willbemanagedthrough: n da cess investment programmes tion O R G A NIS A TIONS

p by theendof 2014. of provision to replace thecurrent FXO portfolio available resources they will inform a new base line ecology andaddress gapsinprovision. Subjectto commissioning. They willlookat thecultural the franchises to beoffered through strategic Each review willinform theshapeandnature of equalities. we willreview literature agencies,publishingand reviews offilm,digitalmediaand festivals. In2013 arts andcrafts. Itwillbefollowed in2012 with start in2011 withreviews ofperforming arts,visual inform ourneedsfor different sectors. This will There willbearolling programme ofreviews to FXOs aseachfranchise becomes operational. in stages withselected delivery partnersreplacing The process for commissioning willbeintroduced visual artsexhibitions. in oneormore franchises for agenciesto manage the visualartstouring infrastructure by investing work for middlescalevenues. We mightaddress in Scots languageandoneproducing andGaelic two childrens’ theatre companies, onespecialising theatre production franchises to includeat least For example we may invite tenders for sixorseven of therelevant sectors. major gapsinprovision following in-depthreviews tendered to buildonourstrengths andto address industries. Franchises willbedrawn upandopenly promote ordeliver services intheartsandcreative will commission programmes ofwork to produce, This programme willreplace FXOs from 2013. It S www.creativescotland.com/fxo For alist ofFXOs visit (determined by competitive biddingin2010). programmes ofwork and2012/13 in2011/12 organisations withtwo year fundingto deliver A programme supporting60highquality (FXOs) Fl r t ra exib og tegic ly Fu

commissioning n ra d e d o mmes r g a nis a tions

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 36 broadcasting investment. Ourkey focus will There willbeasuite offundsfor film,TVand I F Highlands partnership. and Aberdeen inadditionto reviewing the in Fife, Perth andKinross, DumfriesandGalloway of place partnershipswillfocus onlegacy issues across thegeography ofScotland. The first phase practice andhelpcelebrate different strengths and partners.They willidentifyand share good each year, working closelywithlocalauthorities will aimto establish four orfive place partnerships of places to acreative Scotland. Creative Scotland conversations to identifythe uniquecontribution in Scotland. Place partnershipswillbebasedon relationship withgeography andlocalgovernment This willbeakey tool indeveloping our Pla leadership agencies. It willdeliver partnershipswithotherskillsand some managedinvestments to target key sectors. embrace openaccess applications aswell as monthly schemewithoutdeadlines.Itwill Part oftheprogramme willoperate asarolling theatre companies orfilmproduction training. talent hubse.g. for writers, appdevelopment, new will beto identifyorganisations whocanactas external delivery partners.Oneofthekey strands explore optionsfor devolution to peergroups and commitments. Within theprogramme we will with discrete strands identified for inherited artists andindividuals.Itwillbecross artform provides supportwithinthecareer path of identify thepointsat whichCreative Scotland career laddersandsupportto individuals.Itwill include Creative Futures (artists residencies), This willbeanew investment programme to Tal nvestment i l m ent ce a

n p

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o p ra ad r r og s mme c h a ips ra s ting mmes

the BBC,STV, MGAlba,Sky ArtsandChannel4. establish partnershipswithbroadcasters including partnerships withtheBritishFilmInstitute. We will and individualfeature films, working inclose We willcontinue to supporttalentdevelopment to deliver more filmandTVproduction capacity. be aprogramme driven by economic objectives sector inScotland. Oneofthemainstrands will be ontheindependentfilmandTVproduction for financialand environmental sustainability in Our Lottery programme willsupport new models business start upsinthe creative industries. businesses, andwe willtest devolved fundsfor high qualityadvice to new andgrowing cultural support theCultural Enterprise Office to provide digital andonlineproduction. We willspecifically our definitionsof ‘quality production’ to embrace to deliver growth inthesector. We willbroaden to encourage partnershipswithotheragencies Creative Scotland willtherefore work strategically local government, fundingand skillscouncils. rests withotherssuchas enterprise agencies, the majorityoffundingfor this sector currently the creative industries buttheresponsibility for Creative Scotland hasaco-ordination role for Cul of artsprojects inprisons. Lottery (Scotland). We willsupportaprogramme Awards for Allprogramme managedby theBig Taking Part research. We will devolve £500kto the of access to thearts.Itwillbeinformed by our for sectionsofthecommunity withlower levels both mass participation andtargeted support development inlocalcommunities). Itwilladdress packages andcrowd sourcing (online project test new modelsofinvestment includingdevolved development, participation andequalities.Itmay on priorityareas that deliver onaccess, audience This programme willfocus ourLottery investment a Access n d t ural p ar , aud ticip econom ience a tion d y eve p r og l opment ra mme

industries. and philanthropic supportfor theartsandcreative We willalsosupportinitiatives to attract business cultural organisations andnew usesoftechnology. growth of thecreative industries. investment incultural buildingsandareas for the work strategically withpartnersto lever other and workspace for creative practitioners. Itwill projects ledby independent cultural organisations for both artists andaudiences. Itwillprioritise infrastructure andhelpdeliver improved facilities four years. This willsupportkey gapsincultural capital programme totalling £20mover the next introduce arelatively modest Lottery funded As partofourinvestment in Place we will c training, knowledge anddata exchange. best practice andfacilitate peer development, of specialist networks andagencies that share production environment by investing inanumber We recognise thebenefitsofsupporting the net geographic andonlinedistribution ofwork. to reviewing andimproving therange, diversity, touring, festivals andevents. We are committed artistic production, andthesecond covering will betwo programmes –onecovering quality back risk,ambitionandartistic integrity. There invest inarange ofcreative practice andwill of national andinternational quality. We will gaps inthecultural ecology andsupportwork to deliver coherent programmes that address distribution oftheartsandculture. This will work that supportsqualityproduction, publishing and Creative Scotland to invest inproject activity commissioning there willalways bearole for In additionto theFOs andstrategic p Qual r a og pit w it ra al o y rk a mmes p p r r og o gencies du ra ction mme

settings. across Scotland inboth formal andinformal programme in2011/12. This supportsmusictuition The Youth Music Initiative willbea£10m Yo work. international partnershipsthat showcase Scottish bodies, suchastheBritishCouncil, to develop Creative Scotland willwork strategically withother inte through thearts. sense ofcommunity celebration andengagement to Scotland, thiswork willalsoseekto capture a international benefitsthat these events willbring AswellGames. ascapitalising onthenational and Olympiad, andtheGlasgow 2014 Commonwealth Creative Scotland (2012), London 2012 Cultural inspirational projects andevents for theYear of Creative Scotland willbeinvesting inhighquality 2012/2014 N internationally. arts are recognised andcelebrated nationally and for thebenefitofallandthat Scotland’s traditional and theScots traditions are harnessed together work. We are keen that thestrengths oftheGaelic for traditional artists to create andpresent their Storytelling Forum to provide more opportunities the Traditional MusicForum andtheScottish with theScottish Traditions ofDance Trust, Arts Working Group, we willwork inpartnership Following onfrom thework oftheTraditional Trad u t r h ition n a m tion u sic al A TION al

initi A r ts AL a tive

EVENTS

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING Kingdom Brass Youth Initiative (photo: Douglas Robertson) INVESTING IN SCOTLAND’S CREATIVE FUTURE 40 Expla Bud • • • • • for specificpurposesincluding: restricted funds.The Government provides these wefunds. In2011/12 willreceive afurther£14.5m activity. We canchoosehow to allocate these income from theScottish Government for itscore Creative Scotland receives £35.5m treasury Scotland. to investment across thecultural ecology of cultural sector to deliver amore plannedapproach new budgetstructure where we work withthe and Year three willseethefirst full year ofa two introduces andtests new investment models with 16strategic investment programmes. Year 108 separate budgetsfor projects andschemes more strategic budgeting.We have replaced some transition andchange. Year oneistransition to The planandthebudgetpresent apicture of

for theCultural Olympiad. Enterprise Office andthe Creative Programmer Other smallersumsf industries £1.25m f £7 £2m f £10m f 50k CashBackfor Communities or theFestivals Expofund or theYouth MusicInitiative or theInnovation fundfor creative get or Arts&Business, Cultural ining Br iefing Total £75.8m –2011/12 L R e C

ott es or Other£721k Reserves £5m Lottery £19.7m Other£415k Expo£2m Otherrestricted £2.5m YMI£10m £35.5m o tricted ery advocate for thecreative sector inScotland. advise, take decisions,develop partnershipsand bases for thecultural sector. Ourstaff are there to of Lottery overheads. Ouroffices are resource by ourcore government budgetandanallocation no payment. These overhead costs are covered advisory structures. Ourchairandboard receive simplification ofourfundingprogrammes and rationalisation ofoperational expenditure andthe achieved through a30%reduction instaffing, and theScottish Arts Council. This hasbeen to £6.6mthrough themerger ofScottish Screen Scotland have been reduced from around £9m The service delivery costs or overheads of Creative income to goodcauses. arts, sportsandheritagegrow backto 20%ofthe the shares to theoriginalLottery distributors for Lottery fundsdiverted to theOlympicsreturn and rise to anestimated £28.2mayear by 2013/14 as for investing infilmandthearts. This income will itisprojected2011/12 that itwillreceive £19.7m Creative Scotland isaLottery distributor. In core government funding. with current projections of3%cutsayear inthe y standstill treasury fundingfor thefollowing two the budgethasbeenprepared onthebasisof Given thecurrent publicsector fundingclimate ur Bud ears, withanindication ofhow we would deal

get

• • • The key features are asfollows: T a standstill basis. 2013/14 sowe have projected budgetsforward on government fundingconfirmed and for 2012/13 At thetimeofwritingthisplanwe donothave budget willchangeinthesubsequenttwo years. The graphs onpages44–45show how theLottery where money isallocated in2011/12. in anillustration on page42-43whichhighlights our budgetfor thefirst year oftheplanare shown are openfor applications. The buildingblocksof much ofourbudgetiscommitted andwhichareas We aimto betransparent andto show clearlyhow and creative practitioners. skills withaparticularfocus onindividualartists an increased allocation for investing intalentand an allocation for international partnershipsand series ofothercommitments to national agencies, remaining government fundingisallocated to a for themajorityofourgovernment funding.The Flexibly FundedOrganisations. This accounts Organisations untilApril2012 and£8mto 60 These includesome£18.2mto 51Foundation of theScottish ArtsCouncil andScottish Screen. Creative Scotland hasinherited thecommitments the HamlynandBaringFoundations. partnerships withtrusts andfoundations including We receive otherincome linked to specific locations, research andcommunications. We runsomedirect services includingfilm

R Fr C settlements) a review in2011 andGovernment funding Organisations (exact allocations subjectto T any saving invested into ourtalent budget programme for strategic commissioning with Organisations to 2012/13 he £18.2msupportof51Foundation E ommitment to 60Flexibly Funded om 2013/14 these willbereplaced by a£7m A S URY B UD GET • • • • The key features are asfollows: TTE L • • 1m programme for talent,artists • • • • • •

O to voluntary andcommunity groups Awards for All–smallgrants ofunder£10k devolved to theBigLottery Fundto support audience development, ofwhich£500kwillbe contribution ofplaces to acreative Scotland programme over four years will beusedto kick start anew £20mcapital residencies andskillsdevelopment and access strategies agencies whodeliver audience development A £2.4m in20 Commonwealth in2014 Games a national cultural programme for the over thefollowing two years to support over two years –with afurther£6mplanned (2012) andCultural Olympiadof£6mspread A budgetf build sustainable cultural organisations 2013/14 for cultural economy work, helpingto A budgetof£2min20 A £1mbudgetf events willgrow to atotal of£5.7m by 2013/14 quality artsproduction, touring, festivals and C an allocation of£3.75m by 2013/14 partnerships willgrow to reach A £3mbudgetf A carryf £ £ A £7 A £3. 435k oninternational partnerships 4.7m onoverheads ombined budgetsof£4.2m for in2011/12 dditional supportfor national network 00k budgetfor national network agencies RY orward budgetof£5mfrom reserves B or theYear ofCreative Scotland 11/12 for11/12 access, participation and UD or partnershipsto support the or film,TVandbroadcasting GET

11/12 risingto11/12 £3.5min

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 42 O Restricted UR Lottery Core B Capital £6m Expo Fund £2m Youth MusicInitiative £10m Talent £3.1m FXOs £7.5m Foundation Organisations £18.1m 2012 and2014 £2.5m Quality ArtsProduction £1.9m UD £1m 1 £0.3m Place GET £0.9m Direct Delivery 3 £2m

Operating Costs £4.7m Touring, Festivals andEvents £2.3m Innovation Fund £1.25m £3m £0.5m FXOs Operating Costs andDirect Delivery £2.1m £0.75m Communities Cashback for £4m £2.3m Participation Development, Access, Audience £5m £6m £0.2m Contingency Place £1m £7m Cultural Economy £2m Film &TV £3m 3 2 1 ofwhich£5mis lottery reserve includescosts for Cultural Enterprise Office includescosts for Arts&Business £8m Talent £3.1m £0.8m Network Agencies £9m £0.5m Themes Cutting Cross £0.5m Themes Cutting Cross Network Agencies £1m £10m £0.6m Economy Cultural

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 45

e ur it d expen d 2013/14 ry ry n Lotte d n la scot

h 2011/12, 2012/13 a t tive w a o e r Cr g CMS) D T ( R TMENT SPO AR D EP N D A

ojections D A r I N p

D LA OT E ME UR income T ry ry UL TIVE SC C A

R E

otte

Income levels are based on projections provided by DCMS by provided based on projections are levels Income first uplift 1 April 2011 to 18%, increasing 1 April 2012 to 20% April 2012 1 to 18%, increasing uplift 1 April 2011 first Increased % share for Arts Heritage and Sport from DCMS – DCMS Heritage and Sport from Arts for % share Increased Please note this bar chart relates to growth in DCMS income due to: in DCMS income growth to this bar chart relates Please note L

C FO

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 47 h . 1 t w

o ts r Gr h Cu fo it

w ities ing r al io Pr The budget has limited flexibility in our core core in our flexibility has limited budget The economic the current and whilst funding treasury is funding it the core might mean cuts to climate might growth how point out we important that would for growth priorities be applied. Our first funding in treasury the flexibility increase be to in talent and skills investment more enable to film production support for and some treasury in employment growth targeting De We are required to take a 3% efficiency saving a 3% efficiency take to required are We years of the in each of the three on our staffing years three this across than spread plan. Rather on an annual do further restructuring to and have the full three-year make chosen to have basis we in 2011/12. savings it how for measures has considered Our Board our across 3% a year deal with cuts of up to would be would as a whole. This expenditure treasury work. our of for all areas in funding levels reflected closely with local will work Scotland Creative the significant protect authorities in seeking to in culture. make which they investment NITIES U TIVE A D N COMM R U FO SIC INITI siness D K U N C TION F U M A A B H & Bu T H S ts U r A O His and the funding of Screen of Scottish the running costs to limited funding has been Film production and film theatres. festivals our key Lottery. from primarily sourced

A three-year programme of £2.25m in total which of £2.25m in total programme A three-year and in film, dance projects support for will provide by crime. affected areas music, targeting A a Scottish £300k for receive Arts & Business sponsors. In of business partnership match a provides Scotland this Creative addition to from of Arts & Business the work further £185k for budget. agencies its national 1 filmhasbeen fundingfor Government’s theScottish torically Y £10m for some provides Music Initiative Youth The Some music initiatives. and informal both formal via local authorities. £8m of this is devolved INNOV a of £1.25m is currently Fund Innovation The to the Government from commitment one-year aim would We work. industries support creative Creative this activity through mainstream to three. year budget by core Scotland’s EXPO F is Festivals Edinburgh Expo Fund for The and with the Government managed in conjunction the Made of this is for £440k Edinburgh. Festivals work which showcases programme in Scotland and supports in the festivals, Scotland across from export. international C ------

£ ------ery 11/12 1,000 1,000 ott 20,000 20,000 20 L 700,000 - 19,733,000

£ - - - 5,000,000 9,000 9,000 40,871 40,871 15,000 15,000 29,698 29,698 75,000 75,000 76,000 76,000 70,000 70,000 20,000 20,000 415,569 415,569 25,454,000 163,000 163,000 100,000 100,000 250,000 250,000 250,000 250,000 300,000 300,000 ,434,569 ,434,569 25,454,000 1,250,000 1,250,000 2,000,000 2,000,000 35,536,000 35,536,000 10,000,000 10,000,000 50,019,000 50,019,000 Grant in aid Grant 50 AR INCOME 2011–14 INCOME E D Y N E H AR LA T R OT THE YE R OME O OME C C oundation IN INCOME FO INCOME TIVE SC TIVE R A E IN

AL OME F R E C

ore O R

Hamlyn Foundation Paul Description Fund Audio C Innovation Identities CashBack – Creative CashBack – Dance CashBack – Music Music Initiative Youth Baring F MEDIA – EC Futures Creative IN C Expo Fund Festivals International Arts & Business Programmer Creative Office Enterprise Cultural funds (DCMS projections) Lottery on investment Return – unallocated reserves Lottery (UK) Trust Legacy Bank interest – release Gate Waverley for Capital Grant other income Total TOT Total core income core Total OTHE

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 49 - £ - Total 2013/14 - - 7,000,000 - 18,000,000 £ - 194,000 - 400,000 - 1,250,000 - 440,000 - 395,000 - 750,000 - 10,000,000 - 2,000,000 - 0 45,435 ott L ery - £ - 250,000 250,000 - 3,000,000 3,000,000 - 4,500,000 4,500,000 - 3,500,000 3,500,000 - 2,822,385 2,822,385 - 3,750,000 3,750,000 - Grant in aid in Grant £ - 7,000,000 735 735 45,435 Total 2012/13 - - 18,000,000 18,000,000 £ - 194,000 194,000 - 400,000 400,000 - 1,250,000 1,250,000 - 440,000 440,000 - 395,000 395,000 - 750,000 750,000 - 10,000,000 10,000,000 - 2,000,000 2,000,000 0 ott L ery - 218,385 218,385 - £ - 250,000 250,000 - 3,500,000 3,500,000 - 4,000,000 4,000,000 - 2,000,000 2,000,000 - 2,550,000 2,550,000 - 3,500,000 3,500,000 735 735 75,000 75,000 2,595,000 2,670,000 75,000 2,595,000 2,670,000 60,700 60,700 250,000 310,700 60,700 250,000 310,700 25,000 25,000 2,595,000 2,620,000 25,000 2,845,000 2,870,000 49,000 49,000 21,000 70,000 49,000 21,000 70,000 175,000 175,000 75,000 250,000 175,000 75,000 250,000 781,000 781,000 1,017,000 1,798,000 781,000 1,017,000 1,798,000 592,270 592,270 253,831 846,101 592,270 253,831 846,101 210,000 210,000 75,000 285,000 210,000 75,000 285,000 194,000 194,000 140,000 140,000 60,000 200,000 140,000 60,000 200,000 664,500 243,500 908,000 664,500 243,500 908,000 395,000 395,000 750,000 750,000 350,000 350,000 80,000 430,000 350,000 80,000 430,000 350,000 350,000 1,000,000 1,350,000 350,000 1,500,000 1,850,000 440,000 440,000 400,000 400,000 1,250,000 1,250,000 2,982,664 1,278,284 4,260,948 2,982,664 1,278,284 4,260,948 3,100,000 3,100,000 100,000 3,200,000 3,500,000 100,000 3,600,000 7,464,700 7,464,700 495,000 7,959,700 4,692,434 4,692,434 1,871,615 6,564,049 4,692,434 1,871,615 6,564,049 2,000,000 2,000,000 18,000,000 18,000,000 10,000,000 10,000,000 45,091,400 45,091,400 24,070,385 69,161,785 45,026,700 26,129,385 71,156,085 45,756,400 45,756,400 24,285,385 70,041,785 45,691,700 26,344,385 72,036,085 50,448,834 50,448,834 26,157,000 76,605,834 50,384,134 28,216,000 78,600,134 50,449,569 50,449,569 26,157,000 76,606,569 50,429,569 28,216,000 78,645,569 Grant in aid in Grant £ - 861 861 Total 2011/12 - 435,000 - 1,250,000 - 440,000 - 163,000 - 750,000 - 10,000,000 - 2,000,000 - - 18,166,874 £ - 194,000 0 ott L ery - 215,385 215,385 - 250,000 250,000 - 2,500,000 2,500,000 - 6,000,000 6,000,000 - 2,000,000 2,000,000 - 2,300,000 2,300,000 - 3,000,000 3,000,000 - 1 £ 86 60,700 60,700 250,000 310,700 98,434 1,871,615 6,570,049 25,000 25,000 1,895,000 1,920,000 49,000 49,000 21,000 70,000 84,000 84,000 2,345,000 2,429,000 175,000 175,000 75,000 250,000 781,000 781,000 1,017,000 1,798,000 592,270 592,270 253,831 846,101 210,000 210,000 75,000 285,000 163,000 163,000 194,000 194,000 140,000 140,000 60,000 200,000 670,500 670,500 243,500 914,000 435,000 435,000 750,000 750,000 350,000 350,000 80,000 430,000 350,000 350,000 1,000,000 1,350,000 440,000 440,000 ,433,708 ,433,708 25,454,000 75,887,708 ,434,569 ,434,569 25,454,000 75,888,569 1,250,000 1,250,000 18,166,874 18,166,874 2,982,664 1,278,284 4,260,948 3,100,000 3,100,000 100,000 3,200,000 7,464,700 7,464,700 495,000 7,959,700 4,6 2,000,000 2,000,000 45,735,274 45,735,274 23,582,385 69,317,659 45,070,274 45,070,274 23,367,385 68,437,659 10,000,000 10,000,000 50 50 Grant in aid in Grant TS C AR E OJE Y GET 2011-14 GET TIVITY E AR PR H E AC Y UD T AR S & T R E E C B H AR Y TIVITIES E

D T R ARD R I R AC N D W T A FO C OSTS FO OSTS D LA E FO E THE YE R R TE I UR O OT A D IT STS TING C D OC O C RA OME F ALL C N U TING EXPEN OPE INVESTMENTS & INVESTMENTS INVESTMENTS, INVESTMENTS,

IN TIVE SC TIVE

A RA AL AL AL AL AL AL E E

P R TOT TOT Communications Communications Office Services Services Office Operations (inc. ICT) Operations Establishment Establishment HR O Salaries TOT Policy & Research Policy External Relations / Locations Service Service / Locations Relations External Direct Delivery Delivery Direct TOT Contingency Network Agencies Network Equalities International Partnerships International Cross Cutting Themes: Cutting Cross Education Innovation Fund Innovation 2012/14 - Festivals and Events and Events 2012/14 - Festivals Place Partnerships Place Place: Capital Own Art and Craft Partnerships Own Art and Craft Cultural Enterprise Office Enterprise Cultural Cultural Economy: Cultural Development Strategic Access, Audience Development and Participation Development Audience Access, CashBack for Communities CashBack for Access, Audience Development and Participation: Development Audience Access, YMI Touring, Festivals and Events Festivals Touring, Arts Film, TV and Broadcasting Partnerships Film, TV and Broadcasting Quality Production: Expo Fund Talent Strategic Commissioning Strategic Flexibly Funded Organisations Funded Flexibly INVESTMENTS & INVESTMENTS Foundation Organisations Foundation TOT

TOT

INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 50 o D Scottish Leadership Forum GOVE Cultural Enterprise Office EVE British FilmCommission Scottish PrisonService Scottish Government ur 32 Local Authorities Press andtheMedia Highlands &Islands Scottish Enterprise Business Gateways FI Bòrd naGàidhlig L Arts &Business British Council R L BBC Sc O Age Scotland Young Scot NMENT M Enterprise P Channel 4 MG Alba Sky Arts The List VOCAL MENT COSLA BAFTA A PACT SCDI NHS STV N SDI BFI D otland ME A A GEN GEN p D I A C C ar IES IES tne Informal European Theatre Meeting (IETM) Int Melbourne Business School,Centre for European FilmCommission Network European Cultural Parliament (ECP) ernational Federation ofArtsCouncil’s CREATIVE ENTERPRISES A Association ofFilmCommissions and Culture Agencies (IFACCA) SCOT Leadership andSocialImpact L The BritishSchoolat Rome Creative andCultural Skills earning Teaching Scotland C ORGANISATIONS Universities Scotland International (AFCI) INTE TYP Kulturkapital Arterial Network CULTURAL Skills Agencies R E Nätverkstan ARTISTS r DUCA (EuFCN) R Skillset HE/FE E HMIE N SQA A LA A s TION TION TIVE

AL N D

National MuseumsofScotland National Galleries ofScotlandNational Galleries National Theatre ofScotland Scottish ChamberOrchestra National Library ofScotland Museums Galleries ScotlandMuseums Galleries National Trust for Scotland Clore Duffield Foundation Paul HamlynFoundation N Arts Council ofNorthern Royal Scottish National N Heritage Lottery Fund Arts Trust ofScotland Architecture &Design Arts Council ofWales A Arts Council England A Baring Foundation TION The Theatres Trust Glasgow 2014 Ltd Historic Scotland TION SportsScotland Scottish Opera Scottish Ballet EventScotland VisitScotland C Big Lottery P Orchestra AR Scotland H AL IFACCA LOCOG NES Ireland AL DCMS SURF AR TNE

ITIES CUL TA OM R PA T S URAL NIES

web-based resource that tracks audience trends. The aimofthislongterm would beto have a responsive onlineindicators ofperformance. Foundation Organisations to develop more health ofScotland. We willwork withour dashboard ofindicators that show thecreative organisations we would like to develop a In ourreporting onthework ofcultural in thearea ofaccess. data onparticipation andhasinformed ourfocus data. The Taking Part survey provides valuable scoped andwilladdress thelackofcomprehensive A majoreconomic impact study isalready being • • A setofbaselinedata willbedeveloped for: • • • • of forms: The measurement ofourwork takes anumber work. of thecultural sector andtheoutcomes ofour undertake systematic research around theimpact agencies, COSLA/VOCAL andVisitScotland to including theScottish Government, enterprise Creative Scotland willwork closelywithothers t M

the le the v R E S High le in thearts the performance ofcultural organisations ystematic monitoring ofourinvestments and valuation ofmajorprogrammes and projects eporting against theGovernment’s outcomes h e alue ofthecultural economy vel ofattendance and participation vel baselineresearch to track trends e a

s imp ur a ing ct

of o u • • • • • • the following national outcomes: lesser extent we willparticularlymonitor against Whilst we contribute to alloftheseto agreater or against theGovernment’s National Outcomes. Appendix 1shows how we willmapourwork indicator that looksat culture. with othersimilarsized countries andhasan other countries. This looksto benchmarkScotland international positioningagainst abenchmarkof of theNation Brand Index asameasure ofour We willwork withtheGovernment to develop use impact ofcultural projects withoffenders. the Scottish PrisonService inmeasuring the An example ofthiswould beourwork with particularly where we are testing new work. We willbuildevaluation into allmajorprojects,

tcomes o national identity. w needs improving, efficientand responsive to local our publicservic innovation successful, renowned for ourresearch and w responsible citizens confident individuals, effective contributors and our y place for doingbusiness inEurope w national identity w e take prideinastrong, fair andinclusive e are better educated, more skilledandmore e live inaScotland that isthemost attractive e take prideinastrong, fair andinclusive oung peopleare successful learners, ur w es are highquality, continually o .

INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 52 • • • • information andto reduce bureaucracy. management services to deliver more online to improving ourcommunications andgrants on ourhumanresources. We are alsocommitted sixth internal objective andsetofactionsbased other specialist advice andwe therefore have a make acommitment to investing inourstaff and a widerange ofbodies.Ouroperating principles cultural organisations andforge partnershipswith sector, andwe willundertake research, advise will beanadvocate andchampionfor thecultural as well asmoney inachieving itsobjectives. We Creative Scotland willinvest timeandexpertise C FO P SPECI INVEST INO

and advocacy plan T T winning employer for staff development T agencies organisations, themediaandGovernment flow between Creative Scotland, cultural providing opportunitiesfor two-way T o develop acomprehensive communications o beanexemplar inequalopportunities o establish Creative Scotland asanaward o introduce asecondment programme R UL OMOTE R T SCOT URAL AL IST LA A

D N AD UR EVE N D D • • •

ST VICE T

streamline themonitoring ofourinvestments T our work andthecultural sector asawhole Scotland to provide aportal for promoting T Scotland effective independent advice to Creative our new way ofworking andto deliver cost T AD o review grants managementsystems and o tender for anew website for Creative o review ouradvisorystructures to reflect ’S L OPMENT A V FF OC O A A N TE D

(photo: ClaudineQuinn) The Gospelat Colonus audience Edinburgh International Festival 2010 INVESTING IN SCOTLAND’S CREATIVE FUTURE 55

of nce a ry ry m r ive l fo their cultural strategies and community plans to plans to community and strategies their cultural outcomes. shared deliver is Culture in Government Our sponsor department work in the fields we also but Affairs and External justice. and education tourism, of enterprise, objectives our five how shows chart following The working are We Outcomes. the National map onto by illustrated and the links are in all these areas specifically we of how describing some examples purposes reporting For all the Outcomes. link to 1, 2, against our delivery will primarily measure we 3, 4, 13, 14 and 15. r De pe rk 1: o ix al al w d me tion ra To focus Government and public services and public services Government focus To with country, successful a more on creating flourish, to all of Scotland opportunities for growth. economic sustainable increasing through Appen f the complement Our vision and objectives which is: purpose, Government’s Scottish all 15 to contributes work Scotland’s Creative or lesser a greater to Outcomes of the National to contribution a significant and delivers extent with collaborate We purpose. the Government’s bodies sector public and voluntary other many linking to closely with local authorities and work Na Arts, Mounthooly in May Visual Peacock 2010 May Anita Jean Stewart, by Holroyd) Alex (photo: INVESTING IN SCOTLAND’S CREATIVE FUTURE 57 Talent Quality Talent Quality Audiences Places Quality Audiences Places Audiences have the best start in life and are ready to succeed. to ready and are in life start the best have Our children theatre in children’s strength will build on our international Scotland Creative of and the work festival, people’s and young children the Imaginate through worked have Fictions who and Visible Wheels such as Catherine companies Scotland. across with schools and nursery centres the Glow to content extensive partners provide cultural Scotland’s Creative moving in and schools inculding work thousands of teachers portal reaching . image education healthier lives. longer, live We which Dancing, a project Get Scotland to the initiative will develop We and participation Our access activity. engages all ages in health related older people. a particular emphasis on reaching will have programme with extensively working are such as Artlink Edinburgh Organisations others will and with NHS Lothian and our partnerships hospital communities health messages. to activity linked cultural deliver We are better educated, more skilled and more successful, renowned renowned successful, skilled and more more educated, better are We and innovation. our research for will support which industries in the creative initiatives Our plan outlines and with universities work and the arts. We in digital technology innovation Our investment sector. the creative for spaces incubation develop to colleges and developing has been researching Sparks programme the Vital through skill up will programme Our AmbITion collaboration. of cultural forms new new and is researching technologies in the use of new sector the cultural and in digital production Investment audiences. in reaching innovations skills. new partnerships is also growing exchange knowledge individuals, learners, confident successful are people Our young responsible citizens. and contributors effective of thousands for musical education is providing Music Initiative Youth The Book the Scottish (run by Literature such as Live people and projects young has enabled movement Fèisean in schools. The supporting literacy are Trust) in music learning and community engage people to young 32,000 over engagement. Orchestras, Youth National Theatre, Youth the Scottish Our support for young for opportunities provide Dance Choirs and Youth Youth National of moving led the development have We nationally. contribute people to the curriculum for help deliver to and media literacy image education excellence. 5 6 3 4 Creative Creative Scotland Objectives Talent Cultural Economy Places Talent Quality Audiences Cultural Economy Places Our Place strategies with local authorities and other partners are realising realising with local authorities and other partners are strategies Our Place in WASPs Our investment tourism. cultural for of places the potential in Our work in Scotland. sites 19 across workspaces artists’ 750 generates and our partnerships with employment increase aims to industries creative the broadcast to grow will help sectors and film production broadcasting in Scotland. industry Our creative futures programme of 200 annual artists’ residencies and our residencies of 200 annual artists’ programme futures Our creative the cultural across employment creating talent hubs are in creating work sector. Creative Scotland’s support for projects such as Mareel, An Tobar and An An Tobar such as Mareel, projects support for Scotland’s Creative islands. Scotland’s on employment sustainable creating Lanntair are The Creative Industries employ 64,660 people in Scotland. Every pound of Every 64,660 people in Scotland. employ Industries Creative The is economy and the cultural production in talent, cultural our investment such as the Edinburgh with events £8 in other income on average delivering £1 public subsidy. every for as much as £61 attracting festivals We realise our full economic potential with more and better and better with more potential our full economic realise We our people. opportunities for employment Our film locations attract international filmmakers, and events such as and filmmakers, international attract Our film locations international provide Connections and Celtic Festival International Edinburgh in Scotland. interest driving ambassadorial showcases cultural Our overall investment in the cultural sector makes Scotland a more a more Scotland makes sector in the cultural investment Our overall galleries, Our support for learn and visit. work, live, to place attractive with year Scotland of the breadth cover that and events festivals theatres, and businesses for place attractive an Scotland activity helps make round and events industries creative organisations, of our cultural Many employees. Fiddle From activity and tourism. local economic to central are areas in rural 200 has over Scotland Book Festival, the Borders in Shetland to Frenzy celebrations. and festivals cultural We live in a Scotland that is the most attractive place for doing for place attractive the most is that in a Scotland live We in Europe. business National Outcomes Outcomes National

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INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 59 Audiences Talent Places Quality Audiences national identity. national and inclusive fair pride in a strong, take We to our national contribution a significant makes work Scotland’s Creative and theatre music, our literature, and contemporary Our Celtic identity. position us as a all help to in our visual arts and crafts the distinctiveness of local foundations built on the are festivals of our Many nation. confident national attract identity to national with local participation embracing pride, to Our commitment and producers. performers audiences, and international language of Gaelic and Scots support the development that projects cultural identity. national will add to where people where communities supportive and resilient strong, have We others. affect they actions and how their own for responsibility take and 2014 Olympiad Cultural on 2012 work Scotland’s Creative a sense of community capture Games will seek to Commonwealth will support the Sistema the arts. We through and engagement celebration support them in and cohesion in community as an exemplar in Stirling project with island communities work Our in Scotland. other locations to extending local important to are in Scotland of festivals programme and the extensive pride. and protect environment built and natural our and enjoy value We generations. future it for it and enhance use active old buildings back into is bringing many Our capital programme and Bond and Briggait in Glasgow Whisky including the Pier in Stromness, and Kirkcudbrightshire. in Dundee spaces warehouse Scotland for Trust National and the Scotland partner with Historic will We in film work Our locations. our iconic celebrate that events develop to Our public assets. both urban and rural to will brings attention locations Seminary in Peter’s St for future in a new and investment art programme to opportunity the offer project Crossing Border and the Gretna Cardross our environment. to enhancements lasting provide 13 11 12 Audiences Places Quality Places Audiences Cultural Economy Places Audiences , disorder and danger. , disorder Our Capital programme will continue to contribute to the delivery of high the delivery to contribute to will continue Our Capital programme work will We live. to places making better Scotland, across quality facilities and the in Glasgow developments Spiers Lock such as the V&A, with projects maximise the regenerative to Workshop Sculpture based Edinburgh Leith public A new on local areas. developments designed cultural impact of well and with partners such as SURF and Architecture will work art programme will champion the potential We pride in places. deliver to Design Scotland and designers in Housing Expo and engage artists a further Scotland for conversations our Place living. Through of sustainable issues looking at define the unique will help to and partnerships with local authorities we nation. a creative to make places that contributions where we are able to able to are we where places sustainable in well-designed, live We need. we the amenities and services access We live our lives safe from crime from safe our lives live We with Barlinnie projects Citizens Glasgow with prisons such as the Our work The activity. cultural engage prisoners with diversionary prison seek to in areas work diversionary deliver seeks to Identities programme Creative crime and disorder. for with high propensity Creative Scotland aims to have a particular focus on reaching those who have have who those reaching on focus particular a have to aims Scotland Creative with its CashBack Identities programme Creative the arts. The not accessed music activities in dance, diversionary provide to work will Communities for We support by crime. affected young people in areas reach to and film project. Easterhouse Glasgow such as Platform’s based work community seekers, with asylum working Films Diversity such as companies Support for of the lives to improve and people with learning difficulties will seek refugees members of our society. vulnerable children, young people and young children, for chances the life improved have We risk. at families in Scottish society. inequalities in Scottish tackled the significant have We its themes to central has equalities as one of three Scotland Creative been those in society who have will target of our projects Many work. such Projects or social circumstances. economic through disadvantaged . in communities work trailblazing provide in Raploch, Stirling as Sistema

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INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING 14 We reduce the local and global environmental impact of our consumption and production. The cultural sector has been at the forefront of initiatives to highlight environment and climate change. The Climate Change (Scotland) Act 2009 sets clear and ambitious targets for emissions reduction, including a 42% reduction by 2020. Creative Scotland, as well as reducing our own carbon footprint, can play a crucial leadership role by acting sustainably and encouraging best practice.

Our office move in Edinburgh has reduced carbon emissions. The majority of our travel is on public transport. Our strategy for the Creative Scotland website will allow us to take innovative approaches to tackle these issues in our daily business. Many artists and cultural organisations are dedicating work in this area including a major project linking artists at Cove Park with Scotland’s islands, and the Artic’s Cape Farewell project. We will identify climate change and the environment as a theme in our artists’ residencies programme.

Shetland Arts is engaging environmental measures such as its own hydro power generation in the development of its programme. Our capital programme will deliver exemplary projects in environmental sustainability.

Creative Scotland’s predecessor the Scottish Arts Council has already won an award for its plans to address its environmental impact.

15 Our public services are high quality, continually improving, efficient Quality and responsive to local people’s needs. Audiences Creative Scotland aims to be a model in the delivery of efficient public reform Places and is already being studied by other countries. We have reduced operating costs from our previous organisations by over £2m. This plan will seek to reduce bureaucracy and focus our energy on providing more proactive and responsive services. We will devolve resources and decision making where appropriate to external agencies.

Our research such as Taking Part will inform our policies, ensuring that we are 60 responsive to people’s lives.

Our work on the sustainability of cultural organisations will realise an environment where customer focus, continual improvement and collaboration are rewarded. We are encouraging more efficient sharing of resources and in some cases merger of cultural organisations. The innovative and effective use of new technologies will be a feature of our work.

An illumination (Longfield, Shetland) by Mirrie Dancers, a public art project conceived by artists Roxane Permar and Nayan Kulkarni and commissioned by Shetland Arts (photo: Mark Sinclair) INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE IN SCOTLAND’S INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 63 e 1 e e 1 alloway 3 4 ganisations 9 yrshire yrshire w City 40 y Islands 2 deen City 3 5 deenshire uthority ay t Ayrshire t Dunbartonshire 1 t Lothian t Renfrewshire A e 2 ottish Borders gyll & Bute 3 gyll & Bute est Dunbartonshire est 1 Lothian est verclyde enfrewshire erth & Kinross 1 erth & Kinross dinburgh, City of 33 dinburgh, tirling 1 alkirk Eas Eas E Eilean Siar F Fif Glasgo Highland In Midlothian Mor North A North Lanarkshir Orkne P R Sc Shetland Islands South A South Lanarkshir S W W Aber Aber Angus Ar Clackmannanshir Dumfries & G Dundee City Eas Eas

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INVESTING IN SCOTLAND’S CREATIVE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 64 (photo: Leila @Brighter Still) Hebridean Celtic Festival inves A Ba This isanillustration oftheweb basedappendices oneachofourinvestment programmes. A C R A A C A it willsupport Summary ofwhat P Objective Budget Name decisions? Who takes the urpose ange of v ommitt riteria ny exclusions pplication method mount 2011/12 ailable in2011/12 ck PPEN gr ou nd ed A w ards tment review of capitalneeds strategically targeted programme infuture informed by a individuals. Nootherspecific exclusions but thiswillbea See general exclusions. Additionally noapplications from • development. OnedeadlineinSeptember Open application for smallequipmentpurchase andbuilding four years.) £1mfor distribution in2011/12 £5m (contributing to a£20mprogramme over • • arts andfilm for thepopulation across Scotland which improve theaccess, presentation andenjoyment ofthe To invest incultural facilities, refurbishments andequipment • • • most awards less than£2m Larger scaleprojects (infuture years) –ceiling of£5mwith Small scalecapital–minimum£10k,maximum£100k None • • • Cultural Economy Place Capital Programme • £1m –smallscalecapital Decisions over £1mby theBoard Decisions £100kto £1mby SeniorManagement Team Decisions upto £100kby Directors ofCreative Development Recommendations madeby Officers

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INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING INVESTING IN SCOTLAND’S CREATIVE FUTURE 66 • • • seek to: will initiallybehighlevel strategic meetingswhich partners representing localauthorityareas. These a seriesof‘single conversations’ withourkey Creative Scotland aimsto move towards having Pla portal usedby alleducation departments. authority dimensionwiththeGlow creativity on culture andcreativity alsohasastrong local Our work withLearning andTeaching Scotland our leadershipofSCIPfor Creative Industries. Scottish Government andVOCAL, andthrough COSLA through ajointworking group withthe such asourwork withCOSLA. We work with Our relationships are informed by national policies through ourfilmlocations service. funding. We engage withmany localauthorities music programme withasignificantdevolution of with localauthoritiesthrough theYMIyouth the NHS,broadcasters anduniversities. We work with otherbodiessuchasenterprise agencies, events andwe work withthemonpartnerships organisations; we supportlocalauthorityled We are partnersinjointlyfundingvarious Scotland. authority ar unique contribution that different places, local local authoritiesandotherpartnersto examine the Creative Scotland iscommitted to working with A A •

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INVESTING IN SCOTLAND’S CREATIVE FUTURE FUTURE CREATIVE SCOTLAND’S IN INVESTING Edinburgh Mela Festival education workshop at North Edinburgh Arts (photo: © Eamonn McGoldrick) © 2011 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland.

Designed by Katherine Green, Graphic Designer, Creative Scotland NVA, Speed of Light (photo: Toby Williams) Printed by Allander, www.allander.co.uk INVESTING IN SCOTLAND’S CREATIVE FUTURE

CORPORATE PLAN 2011–2014

ISBN: 978 1 85119 197 0 April 2011