Scottish Enterprise Creative Industries Partnership Agreement Monitoring Group
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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. -
Scottish Enterprise Special Audit Examination
Scottish Enterprise Special audit examination Prepared for the Auditor General for Scotland December 2003 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 Executive or the Parliament. The Auditor General is responsible for securing the audit of the Scottish Executive 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: • departments of the Scottish Executive eg the Health Department • executive agencies eg the Prison Service, Historic Scotland • NHS boards and trusts • further education colleges •water authorities • NDPBs and others eg Scottish Enterprise. Audit Scotland is a statutory body set up in April 2000 under the Public Finance and Accountability (Scotland) Act 2000. It provides services to the Auditor General for Scotland and the Accounts Commission. Together they ensure that the Scottish Executive and public sector bodies in Scotland are held to account for the proper, efficient and effective use of public funds. Contents Summary Redistribution of budgets Page 2 Page 27 Targets and performance monitoring Progress on individual major projects Page 3 Page 28 Management -
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. -
Research and Development Grant Application Form
Research and Development Grant Application form 1 Scottish Enterprise Research and Development Grant The grant offers research and development For projects involving more than one company, (R&D) support to companies of all sizes which each of the companies applying for a grant must are aiming to become more competitive by fill in this form, but only one project proposal developing new products, processes or services should be provided for the whole project (please to benefit the national economy. We provide see the project proposal guidance notes). grants to help organisations develop a new We have been guaranteed funding from the product, process or service up to the prototype European Commission’s European Structural and stage before it is ready for sale. Investment Funds (ESIF) to contribute towards The grant is only available to companies in the support we provide to eligible SMEs. If you Scotland or companies wanting to establish are awarded a grant and meet ESIF eligibility a presence within Scotland to carry out research criteria, the grant offer letter will confirm this. You and development activities. The aim of the grant will need to provide evidence to support your is to encourage investment in research and claim before you can receive the grant. Details of development and create jobs in Scotland. the evidence we need will be included in the offer of grant. This form asks you for the information we need to assess your application. You should send us Once you have filled in this application form in a separate project proposal, and there are full, send it to us with your project proposal, Excel guidance notes at the end of this form to help you project cost summary, application checklist and with this. -
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 ...................................................................................... -
Review 05 Opening up Our Collections 02 National Museums of Scotland
REVIEW 05 OPENING UP OUR COLLECTIONS 02 NATIONAL MUSEUMS OF SCOTLAND NMS is Scotland’s national NMS holds a wealth of treasures museum service. We care collected over more than two for museum collections of centuries. Our collections national and international encompass Scottish and importance, and present international archaeology, these to the public at our decorative and applied arts, six museums: world cultures, social history, science, technology and the ● Royal Museum and Museum natural world. We also provide of Scotland, Edinburgh advice, expertise and support ● National War Museum of to the museums community Scotland, Edinburgh Castle across Scotland and undertake ● Museum of Flight, East Lothian fieldwork, research and ● Museum of Scottish Country partnerships at local, national Life, near East Kilbride and international levels. ● Shambellie House Museum of Costume, near Dumfries NMS preserves, interprets, and makes accessible for all, the We also have a major Collections past and present of Scotland, Centre at Granton, Edinburgh, of other nations and cultures, which is a focal point for and of the natural world. collections storage and conservation. 1. 2. 3. Scenes from our six museums: 1. Royal Museum 2. Museum of Scotland 3. National War Museum of Scotland 4. Museum of Flight 5. Shambellie House Museum of Costume 6. Museum of Scottish Country Life 4. 5. 6. NMS A world class museums service that informs, educates and inspires. A SUPERSONIC YEAR Over the past few years we have Museum of Flight. Securing one made significant progress in of the seven decommissioned changing our focus to place Concorde aircraft, against visitors and other users at the international competition, was heart of everything we do. -
Biodiversity Duty Report Scottish Enterprise 2018-2020
Biodiversity Duty Report Scottish Enterprise 2018-2020 Contents Section 1: Introductory information about your public body ................................................................. 3 SE’s approach to Net Zero and Natural Capital .................................................................................. 3 Section 2: Actions to protect biodiversity and connect people with nature .......................................... 4 Partnership Working ........................................................................................................................... 4 Cairngorms National Park Green Recovery Plan ................................................................................. 4 Local Action Groups ............................................................................................................................ 4 CAN DO Innovation Challenge Fund Projects ..................................................................................... 5 Scottish Forum on Natural Capital ...................................................................................................... 6 Agri –Tourism Monitor Farm Initiative ............................................................................................... 6 The Leven Programme ........................................................................................................................ 6 Alba Trees .......................................................................................................................................... -
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.