Unlocking Potential Embracing Ambition
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Sport and Physical Activity
Update: 5 August 2021, FINAL Non-protected Return to sport and physical activity Guidance for Scottish Governing Bodies of sport (SGBs) in developing sport specific guidance for Local Authorities/ Trusts, clubs, and others, on the phased return of sport and physical activity in Scotland. Table of Contents INTRODUCTION ...................................................................................................... 2 SPORTS FACILITY & PARTICIPATION GUIDANCE ............................................. 5 Travel Guidance................................................................................................. 5 Definitions - for the purposes of this guidance ................................................... 7 Permitted Sport and Leisure Activities ................................................................. 7 Outdoor Sport & Physical Activity ...................................................................... 8 Indoor Sport & Physical Activity ......................................................................... 9 Sports Events & Competitions ..........................................................................10 Coaching ...........................................................................................................11 Toilets, Changing and Locker Rooms ...............................................................14 Equipment Provision and Use ...........................................................................14 Bookings and Payment .....................................................................................14 -
A Culture Strategy for Scotland: Analysis of Responses to the Public
A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29 -
A Performance Overview of Sport in Scotland
A performance overview of sport in Scotland Prepared for the Auditor General for Scotland April 2008 Auditor General for Scotland The Auditor General for Scotland is the Parliament’s watchdog for ensuring propriety and value for money in the spending of public funds. He is responsible for investigating whether public spending bodies achieve the best possible value for money and adhere to the highest standards of financial management. He is independent and not subject to the control of any member of the Scottish Government or the Parliament. The Auditor General is responsible for securing the audit of the Scottish Government and most other public sector bodies except local authorities and fire and police boards. The following bodies fall within the remit of the Auditor General: • directorates of the Scottish Government • government agencies, eg the Prison Service, Historic Scotland • NHS bodies • further education colleges • Scottish Water • NDPBs and others, eg Scottish Enterprise. Acknowledgements: Audit Scotland prepared this report for the Auditor General for Scotland. This study was managed by Irene Coll and supported by Rebecca Seidel and Gareth Dixon, under the general direction of Barbara Hurst, Director of Public Reporting (Health and Central Government), Angela Cullen, Assistant Director of Public Reporting (Central Government) and Bob Leishman, Portfolio Manager (Tourism, Culture and Sport). We have had the generous support of the Scottish Government and sportscotland. In addition we would like to thank the following organisations for providing valuable information and insight: Cricket Scotland, Event Scotland, Forestry Commission, Royal Caledonian Curling Club, Scottish Association of Local Sports Councils, Scottish Athletics, Scottish Hockey Union, Scottish Sports Association, Scottish Rugby Union, Scottish Universities Sport and the Sports and Recreational Trusts Association (SPoRTA) Scotland. -
Creative Scotland and the Creative Industries
Creative Industries A Strategy for Creative Scotland 2016-17 Appendix 4 CREATIVE SCOTLAND AND THE CREATIVE INDUSTRIES This appendix outlines some of the ways in which Creative Scotland has provided support for some sectors of the creative industries over the past few years. © 2016 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, Scots, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 For BSL users, use www.contactscotland-bsl.org This document is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to. Please note that we use hyperlinks throughout this document (to link to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] CREATIVE INDUSTRIES STRATEGY APPENDIX 4 3 Scotland has developed particular expertise in sector development support for the creative industries with well-established organisations that benefit from a closely integrated community of small businesses, creative organisations and individuals. In terms of networks, WASPS provides a large network of 17 studio complexes across Scotland that house a wide range of creative businesses – over 800 tenants. In addition, the Cultural Enterprise Office provides business development support for creative practitioners and micro-businesses, while Arts and Business Scotland acts as a conduit between the cultural and business sectors, helping to nurture creative, social and commercial relationships. -
Return to Sport and Physical Activity
effective: 17 May 2021, FINAL Non-protected Return to sport and physical activity Guidance for Scottish Governing Bodies of sport (SGBs) in developing sport specific guidance for Local Authorities/ Trusts, clubs, and others, on the phased return of sport and physical activity in Scotland. Table of Contents INTRODUCTION ...................................................................................................... 2 Table A: Sport & Physical Activity Protection Levels ........................................ 3 SPORTS FACILITY & PARTICIPATION GUIDANCE ............................................. 5 Travel Guidance................................................................................................. 5 Definitions - for the purposes of this guidance ................................................... 7 Permitted Sport and Leisure Activities ................................................................. 7 Outdoor Sport & Physical Activity ...................................................................... 8 Indoor Sport & Physical Activity ......................................................................... 9 Sports Events & Competitions ..........................................................................10 Coaching ...........................................................................................................11 Toilets, Changing and Locker Rooms ...............................................................13 Equipment Provision and Use ...........................................................................13 -
Review of the Scottish Animation Sector
__ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344 -
Creative Scotland Annual Plan 2014-15
Creative Scotland Annual Plan 2014-15 © 2014 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 This plan is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] Cover: Artists Will Barras and Amy Winstanley painting a Rural Mural at Stranraer Harbour, part of Spring Fling. Photo: Colin Hattersley Contents 5 Introduction 13 Funding, Advocacy, Development and Influencing 15 Our Priorities Over the Next 3 Years 16 Our Priorities Over the Next 12 Months 20 Being a Learning Organisation 24 Our Current Policies 29 Summary Budget 2014-15 37 Planning and Performance 38 Performing Against Our Ambitions 2014-15 52 Delivering National Outcomes 1 Artist Alison Watt and Master Weaver Naomi Robertson, Butterfly tapestry, cutting off ceremony. Photo: courtesy of Dovecot Studios 2 3 Honeyblood at The Great Escape. Photo: Euan Robertson 4 Introduction A Shared Vision We want a Scotland where everyone actively values and celebrates arts and creativity as the heartbeat for our lives and the world in which we live; which continually extends its creative imagination and ways of doing things; and where the arts, screen and creative industries are confident, connected and thriving. -
Review of the Film Sector in Scotland Creative Scotland
Review of the Film Sector in Scotland Creative Scotland January 2014 This report was produced by: BOP Consulting (www.bop.co.uk) in partnership with: Whetstone Group (www.whetstonegroup.org) Jonathan Olsberg (www.o-spi.com) If you would like to know more about the report, please contact the project’s director, Barbara McKissack: Email: [email protected] Tel: 0207 253 2041 i Contents 4.6 Festivals ........................................................................................... 17 1. Executive Summary ............................................... 1 4.7 Archives ........................................................................................... 18 1.1 Introduction ....................................................................................... 1 4.8 Cultural impact of film ................................................................... 18 1.2 Watching film ..................................................................................... 1 4.9 Consultants’ assessment of the issues ..................................... 19 1.3 Learning about film .......................................................................... 1 1.4 Making film ........................................................................................ 2 5. Learning about film ............................................. 21 1.5 Earning from film – supporting enterprises and 5.1 Introduction .....................................................................................21 employment ...................................................................................... -
National Strategy for Scotland's Museums and Galleries
GOING TheNationalStrategyfor Scotland’sMuseumsandGalleries fURTHER To SUccEEd aNd floURiSH we wILL aLL Need tO pLay Our part ScoTTiSH NaTioNal PoRTRaiT GallERy National Galleries of Scotland TheScottishNationalPortraitGalleryre-opened on1December2011,followingatwoandahalfyear closureandanambitious£17.6mrestorationproject. Asaresult,amuchgreaterproportionofthe collectionwillbeonshow,bringingtolightawealth Theproject–thefirstmajorrefurbishmentinthe ofartworksthathasbeen,untilnow,largelyhidden Gallery’s120-yearhistory–hasrestoredmuchof fromview. thearchitect’soriginalvision,openinguppreviously inaccessiblepartsofthebuildingandincreasing Reviewsandfeedbackhavebeenoverwhelmingly thepublicspacebymorethan60%.Accesstothe positivewithmorethan52,000visitorsgoing exhibitionspacesonallthreelevelshasbeenopened totheGalleryduringthefirstmonthofopening. up,whiletherestorationofthemagnificentsuiteof top-litgalleriesontheupperfloorhascreatedoneof themostimpressivedisplayspacesinScotland. www.nationalgalleries.org TheNationalStrategyfor Scotland’sMuseumsandGalleries Images courtesy of the National Galleries of Scotland © Chris Watt The National Strategy for Scotland’s Museums and Galleries gOINg The National Strategy for Scotland’s Museums and Galleries further Acknowledgements contents The development of this National Strategy for Scotland’s Museums and Galleries would not have 5 FOREWORD 34 AIm fIve -
1 Culture, Tourism, Europe and External
Culture, Tourism, Europe and External Relations Committee Creative Scotland – Regular Funding 2018-21 Written submission from Robert Livingston Regional Screen Scotland made a successful application in this current round of Regular Funding, and we were awarded the full amount we had requested. Throughout, our main Creative Scotland contact has been as helpful and supportive as the process allows. Nonetheless, the process was not an easy one for a small organisation such as ours, and we believe that it is seriously flawed. The following are my comments on the issues raised in the Scottish Parliament consultation document. While they are my personal views, they have been discussed with members of my Board, which includes members involved with other Regularly Funded Organisations, and my Chair has approved their submission. The process of applying for Regular Funding for the 2018 - 21 period and your experience of that application process. The crucial flaw in the Regular Funding (RFO) application and assessment process is that it requires all applicants to be treated equally, i.e. as if they had not previously received Regular Funding, indeed, as if they had never applied to Creative Scotland (CS) before. As the outcome demonstrated, the reality is that the great majority of those who were awarded RFO status in the first round, went on to retain that status in this second round—some with increases, some with cuts, but most with standstill budgets. It could hardly be otherwise. Any greater degree of change would cause a huge, and damaging, upheaval across Scotland’s cultural infrastructure. So, it would be both more honest and more realistic for CS to admit from the outset that change will be limited, that a few new clients will make successful RFO applications, and that some existing clients may lose their RFO status. -
Funding Creativity
Culture Radar Funding Creativity An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) March 2019 1 Funding Creativity: An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) Prepared for Creative Scotland by Jeanie Scott, Culture Radar, March 2019 2 Contents Introduction & Background ....................................................................................................... 4 How to read this report ............................................................................................................. 6 Executive Summary .................................................................................................................... 7 Methodology ............................................................................................................................ 11 Section 1: Context for the Funding Review ............................................................................. 14 Section 1 Summary .............................................................................................................. 21 Section 2: Grant funding .......................................................................................................... 23 1. Arts council and creative agency funding ..................................................................... 25 2. Lottery grant funding ................................................................................................... -
Equality Matters
Equality Matters A Review of Equalities, Diversity and Inclusion in Scotland’s Screen Sector January 2017 © 2017 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, Scots, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 For BSL users, use www.contactscotland-bsl.org This plan is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to. Please note that we use hyperlinks throughout this document (to link to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] Contents • Equality Matters: A Review of EDI in Scotland’s Screen Sector Contents Foreword 2 Executive Summary 5 1 Introduction 18 1.1 EDI context 19 1.2 Methodology 19 2 Pathways 21 2.1 Education 22 2.2 Schools 22 2.3 Learning outside formal education 23 2.4 Further and Higher Education 28 2.5 Skills Training 29 2.6 Talent Development 31 3 Practitioners 35 3.1 Scotland’s Screen workforce 36 3.2 Writers, Directors, Producers 36 3.3 Barriers to participation and progression 38 4 Audiences 40 4.1 On-screen portrayal 41 4.2 Exhibitors 43 4.3 Access 46 4.4 Programme diversity 48 4.5 Geographic provision 50 5.