artsworking for the

annual review 2000 Welcome to the Arts Council of England’s Annual Review for 2000

The Arts Council is the national body for the arts in England. We distribute public money to artists and arts organisations from Government and the National Lottery, both directly and through the 10 English Regional Arts Boards. We commission research, promote innovation in the arts and provide advice and information. Working as an independent, non-political body, at arm’s length from Government, we champion the arts - promoting the importance of artistic endeavour to the economic, physical, social and, not least, the spiritual wellbeing of the country. - Our funding programmes seek to support the highest artistic achievements, and to make these available to as many people as possible; to encourage new work and new - I Do, I Undo, I Re-do audiences; to bring challenging art to all sections of the community; and to celebrate the diversity of cultures that contribute so much to the richness of England’s artistic life. In this millennial year, the Arts Council has already persuaded York. ew Government of the necessity of increased public funding to Read, N Louise Bourgeois' 30-foot towers & ensure that England’s arts communities - among the most dominate Tate Modern's huge Turbine Hall. Visitors can mount dynamic, vibrant and resourceful in the world - survive and the spiral staircases to reach platforms where chairs are thrive. We will continue to make the case for the arts surrounded by large swivel mirrors. throughout the year and into the longer term. Collection of the Artist. Courtesy Cheim The Arts Council’s Annual Review 2000 is in two parts: Working for the Arts Accounts and Lottery Report See it online at: www.artscouncil.org.uk/review2000/

03 THE ARTS COUNCIL OF ENGLAND The Milton Keynes Theatre and Gallery opened in October 1999, a striking complex sculpted into the urban centre. The gallery, with three large spaces, hosts mainly contemporary artists. The theatre has a visually stunning atrium, is multipurpose at the touch of a button, and seats 1,400. The project received a lottery award of over £20 million.

Gerry Robinson Peter Hewitt

In spring 1999, we set ourselves some tough goals. them to take creative risks. We commissioned a championing We wanted to see the new, leaner Arts Council report by Boyden Associates into the state of the become fully operational as a national policy body 50 English regional producing theatres. This for the arts. We wanted to tackle some major provided the basis for The Next Stage, which we outstanding problems, especially those facing the published in May 2000. This sets out our vision for orchestras and regional theatres. We wanted to take the whole theatre sector, including the regional a fresh approach to the use of lottery funds for theatres, national and touring companies and the capital projects, and we wanted to make further commercial sector. We identified the need for an progress with delegating both lottery and grant-in-aid extra £25 million a year to reinvigorate theatre. In funds to the Regional Arts Boards (RABs). partnership with the RABs and other stakeholders, detailed plans are now being developed to the arts We also announced five new priorities for our work: implement our national policy for theatre, the individual artist; new art forms including new published in July 2000, that will transform the This year, the Arts Council’s new role has really been March, when the Chancellor announced changes to technology; diversity and social inclusion; children sector for the 21st century. put to the test. We had made a commitment to taxation on charitable giving. These included radical and lifelong learning; and touring and distribution. become a more strategic organisation, focusing on new tax incentives to encourage charitable donations These policy priorities shaped the way in which funds In July 1999, we announced details of the national policy, research, advocacy and the strategic of quoted shares and securities. Changes in the gift are being allocated. Our new Arts Capital Programme completion of our first capital programme. The use of grant-in-aid and lottery funds. I believe we aid programme will also help. Since most arts and the National Touring Programme, for example, plan earmarked £269 million for 46 projects, have made significant strides in all of these areas. organisations are charities, these changes should place a strong emphasis on the policy priorities. subject to their submitting satisfactory have a major, positive impact on arts income. One of our major aims during the past year has been applications. They included the Music Centre, In November 1999, the Arts Council’s new structure to increase funding for the arts - historically, the With additional funding agreed, we must now Gateshead; the Laban Centre in south east London; became a reality. The new structure places a strong arts have been underfunded in the UK. As Chairman concentrate on fulfilling another of our ambitions. and Poole Arts Centre. Since the start of the emphasis on research, advocacy, the development of of the Arts Council, I have taken huge pleasure in We have made progress in cutting red tape for our lottery, we have distributed £1,072 million to over national policy and major new initiatives, as well as travelling around the country and seeing the sheer clients. But still I hear the familiar complaint that we 2,000 organisations across the country. our continuing role as a funder of the arts. diversity and vibrancy of the arts impacting on create too many hoops and barriers to our funding people’s lives. In the New Statesman Arts Lecture in schemes. Clearly, we must balance public We have carried out reviews of two sectors facing Delegation of funds to the RABs has gathered pace. June 2000, I stressed the importance of investing accountability - especially with regard to lottery financial crisis. All but one of the nine orchestras Small lottery awards are now being delegated to properly in the arts - not just for their own sake, funds - with the need for simplification. I am funded by the Arts Council were carrying deficits. We the RABs and many organisations formerly funded but also for the value they add to our lives. It was convinced we can make life simpler, and I’m undertook a swift and comprehensive review and, by directly by us have now become RAB clients. gratifying to learn, therefore, that the Government determined we shall. October 1999, we were able to announce a fresh Finally, we achieved a major and most welcome start for the orchestras. We are providing substantial will increase the amount of Treasury funding for the Finally, I should like to offer warmest thanks and increase in grant-in-aid funds in the Government’s support from our Stabilisation fund to enable the arts by an additional £100 million a year by 2003/04. best wishes to the three members who retired from summer 2000 spending review. Our challenge orchestras to work more flexibly and to offer the The additional funds will make it possible for more the Council this year - Christopher Frayling, Andrew for the coming year is to ensure that we broadest possible repertoire to audiences. art of the highest quality to be available to more Motion and Prue Skene. They have been invaluable develop imaginative plans for using the extra people across the country. sources of knowledge and support and I shall Gerry Robinson Regional theatres have suffered from inadequate funds, to benefit artists, arts organisations and Peter Hewitt An earlier boost for the arts came in the Budget in miss them. Chairman funding since the mid-eighties, making it harder for audiences alike. Chief Executive

05 THE ARTS COUNCIL OF ENGLAND Mind the... gap ...get into bed with a dynamic adaptation of John Steinbeck’s Of Mice and Men. This Bradford-based theatre company performs with an integrated cast which includes actors with a learning disability. The play toured nationally in spring 2000, and by public demand was back on the road in September. leadinga role

The Arts Council no longer simply gives out money. We now set national policy and act as an advocate on behalf of the arts community and arts audiences, to Government and others.

‘This is a great time to be talking about the arts. that will ensure a brighter future with a dynamic, Most people I have talked to lately feel that we are revitalised theatre engaging with young people and in the midst of some kind of dramatic shift in the multicultural England, where more new work will cultural life of this country’ said Gerry Robinson in offer greater choice to audiences. his New Statesman Arts Lecture. Both reviews demonstrate the Arts Council’s desire The Arts Council’s role is to fund the arts and to to resolve financial crises in arts organisations, while develop policy at a national level. This means at the same time looking ahead to develop involving and consulting practitioners and responsive and flexible arts provision. stakeholders and exercising leadership. It also means developing a vision for the arts and promoting this Winning the argument vision to all concerned: the public, the arts community and Government. The Arts Council lobbied Government hard for extra cash and was delighted to learn that, in the review of public expenditure, an additional £100 million a Acting for the arts year by 2003/4 has been earmarked for the arts. We In spring 2000, the Arts Council commissioned a are increasingly developing a strategic role - talking public attitudes survey from MORI. The results to Government and others about what the arts need revealed strong support for publicly funded arts, and how they contribute to society. We are also across all ages and social groups. delegating more funding decisions to the regional level. The Arts Council should and will continue to The Arts Council undertook a major review of fund the major national arts organisations but, orchestral music during 1999, which has given a fresh increasingly, local and regional arts policy will be start to subsidised orchestras. Seven of the symphony made closer to the people it affects, by our partners orchestras were given the opportunity to reconsider in the 10 English Regional Arts Boards. all aspects of their operation - artistic, organisational and financial. As well as removing their debts we have committed ourselves to investing Looking forward in their future development. During the coming year, the Arts Council will 2000 saw the launch of a major new policy for continue to give a lead on matters of national theatre. Based on extensive research, it identifies importance to the arts. Our objective is to make art the problems faced by regional producing theatre, of the highest quality available to all sections of including fewer performances, smaller audiences, society. To this end, we will be working with and less new work being commissioned, less employment beyond the publicly funded arts to ensure a climate for artists and a ‘risk averse’ culture. It sets a course of success for artistic creativity.

07 THE ARTS COUNCIL OF ENGLAND driving innovation Innovation keeps the arts alive and kicking. Pioneering artists give a fresh perspective to our world, while new media offer untried ways of expressing our responses to it.

Breakthrough conference on cultural diversity and the arts, organised by the Arts Council and North West Arts Breakthrough - launched in August 2000 - is a unique Board in November 1999. programme which will support experimentation and risk. Selected organisations will need to show clear The richness of England’s cultural diversity evidence of pioneering new ground in terms of challenges preconceptions and, at the same time, innovative and creative arts practice. Around 15 delights with a constantly shifting and fluid scene. awards will be made, and the organisations we will be New forms develop from combinations of the old: working with are likely to have at their heart evident in any of the dozens of carnivals across the innovation in arts production/presentation; land, in the writing of the new young generation of education; diversity; or social inclusion. The aim is to black Britons like Zadie Smith, or in the musical create successful role models for the future and experimentation of Mercury Music Prize nominee encourage greater investment in the arts. Nitin Sawhney.

Creating change New spaces for the arts Diversity 2002 is an Arts Council major initiative The internet is changing the way we live our lives. aiming for a ‘sea change’ in cultural diversity - More than just a communication tool, it offers new defined, in this instance, as Black, Asian and Chinese ways of working, new ways of thinking. With £1.5 arts and artists. million over the next two years, the Arts Council is establishing ArtsOnline, which will benefit artists and It will place diversity at the very forefront of our audiences and widen access to the arts in England. work, reinforcing professional practice and ArtsOnline will include an online venue featuring mainstreaming works that have already created their exhibitions with specially commissioned work and own considerable engine for change. webcasts in audio and video. Over the first 12 months Making the Map - hosted on the Arts Council website - from December 2000 - six online exhibitions will be - will be the public face of Diversity 2002, working curated for the site and each day will highlight a new with Regional Arts Boards and other bodies nationally piece of art. to increase awareness and appreciation of cultural diversity. Making the Map will create a forum in which everyone can participate in a debate on the How can we reach for ‘a more complete version of challenges involved in setting the course for the the truth’? future of arts in England, with particular regard to This was Chris Smith, Secretary of State for Culture, cultural diversity. Visit us at Blast Theory Media and Sport, speaking at Whose Heritage?, a www.artscouncil.org.uk/wider/makingmapindex.html London-based live art group Blast Theory audience become the players in a computerised continued blurring the lines between Gulf War scenario. Information and visualisation performance and real life with their interactive were based on research with veterans from that installation Desert Rain. Through a stunning war, making the experience both a sombre and re-working of the arcade game concept, the exhilarating one for participants. 09 THE ARTS COUNCIL OF ENGLAND Poems in the waiting room inspires audiences who are not only new, but captive! Posters show poems on the theme of waiting, and are displayed in medical waiting rooms. The project began in London and the Midlands and the poems were all newly commissioned, from 50 poets.

inspiring new audiences Opening up the arts to more people in more places.

In 1998, the Government gave the Arts Council new Examples of projects include: funding specifically to develop new audiences. Premiership Audiences: presenting live arts Through the New Audiences Programme, we have entertainment to over 340,000 spectators at 10 distributed - directly and through the Regional Arts Middlesbrough Football Club matches Boards - over £5 million to projects designed to combat the factors that prevent people from Firestarter: new musical talent presented to participating in the arts: lack of local availability, festival audiences estimated in the region of I am the room that understands waiting, travel problems, unfamiliarity, lack of information, 240,000 people with my box of elderly toys, my dog-eared Women’s Owns and cost. Clockwork Orange presented by Northern Stage to clubbers at the Sunderland Empire nightclub permanent as repeat prescriptions, unanswerable as ageing, Some of the New Audiences strands included: The Ballet Bus brought people from rural heartening as the people who walk out smiling, weary Arts Ride: encouraging innovative transport and communities in Cumbria into Barrow-in-Furness as doctors and nurses working on and on and on ticket schemes for English National Ballet performances, and transport schemes in Hampshire and Warwickshire New Contexts: arts presented in non-traditional linked people in rural communities with local venues spaces U. A. Fanthorpe 25 orchestras were involved in Music On Your Test Drive the Arts: promotional incentives for Doorstep, engaging people with classical music people to try new experiences through community and educational events Regional Challenge: work with the Regional Arts Boards In its first year, more than 1.3 million people attended New Audiences Programme activities. Projects targeted people who traditionally do not The New Audiences Programme has encouraged people participate in the arts, including young people, rural who attended arts for the first time to come back: 32% communities and people from inner cities. of people participating in Test Drive the Arts North West returned, this time paying for their own ticket. The size of the projects varied from £260,000 for Birmingham Arts Marketing to develop its integrated The programme has also encouraged young people: the ‘SmartCard’ scheme to small, localised awards for proportion of young people in the audience of Sheffield small scale schemes. A key part of the New Theatres as part of the How Much? projects was 41%, Audiences Programme was encouraging honest compared to 7% previously. evaluation: getting participants to identify both Research shows that almost half of all people want strengths and weaknesses in their approaches so more opportunities to take part in the arts – the New that everyone could share and benefit from Audiences Programme is continuing to help them to lessons learned. do so.

11 THE ARTS COUNCIL OF ENGLAND a year in the life of Towards 2000/2001

June the Arts Council We announce our new financial strategy and new structure, to come into place in November. A Parliamentary Select Committee acknowledges that the Arts Council has undergone a ‘radical December transformation in its composition’, and The stunning redevelopment of the Royal that the Secretary of State’s Opera House, Covent Garden, opened to enormous acclaim with a Royal Gala in the As part of the National Year of Reading,May we place writers in appointment of Gerry Robinson has 1999- The Mirror is one of our ‘already proved to be a sound presence of Her Majesty, The Queen. The Andrew Motion, an Arts Council supporters in the successful 2000 paign to secure extra decision’. project received a £78.5 million lottery member, is appointed as Poet Laureate. 2002, we set out cam schools, reaching 35,000 pupils across 30 local education authorities. The award. The Opera House– now provides the Gerry Robinson says ‘I am sure that he funding for the arts. results are seen in school newspapers, showcases on the web, in festivals, Royal Ballet with a permanent home.new work 3. Tiata Fahodzi tours will be an outstanding advocate for – and in the pupils’ enthusiasm: ‘He [Brian Moses] showed us how to give a Makinde, by Femi Elufowoju poetry in particular, and literature in November In a funding package worth £500 million Jnr, which fuses West African structure to a poem that made it really paint pictures in your head’. music, dance and drama and is general. He is passionately committed Whose Heritage? takes place in Manchester for the two years 2000 a cutting edge conference that questions based on Macbeth. to developing the role of the reader August – innovative plans for spending our central April and writer in our society, and I have no The picturesque Theatre by the Lake the concept of heritage in today’s government grant. Significant funds are Channel Theatre Company receives a doubt that he will be a worthy and opens in Keswick-on-Derwentwater, multicultural Britain. Organised by provided for the new priorities lottery award to buy and refurbish a effective successor to Ted Hughes.’ with support from a lottery award. It’s ourselves and the North West Arts Board, and new artforms, the individual artist, Cinéfilm play the National Student National the play Cinéfilm it brings together for the first time arts, rehearsal and workshop base in Thanet. the last new repertory theatre to be AwardsMusic young people and lifelong learning, The company provides small-scale built in this country in the 20th century. museums and heritage representatives diversity and social inclusion, and 2. The Northern Sinfonia. touring nationwide and education with leading voices from the Black and increasing audiences for the arts. workshops for local communities and Asian arts worlds. It urges museums and schools. It has also received money July galleries to provide more inclusive versions 1. East Midlands Arts supports from the European Regional The Artists in Sites for Learning scheme of history and culture through the full the Belgrave Mela in Leicester, n Development Fund, for its role in spectrum of their work. February where local artists and gives grants to 12 projects. Visual s Charles Saatchi donates 100 works, community groups created a regeneration. artists work with a range of people and iered autum giant Rangoli. The Guinness projects to offer experience and valued at over £500,000, to the Arts , prem Book of Records came to film We announce 30 grants to independent this record-breaking Council collection. The gift features works learning about contemporary visual arts Billy Elliot decoration, traditionally made dance companies for projects totalling by artists who have formed the bedrock of practice. The projects range from: 2000, was one of the last film for Indian festivals. £779,000. These are for making and October the Young British Artist phenomenon. The we backed funding before Council transferred responsibility in April to developing the creative uses of We brief the Regional Arts Boards, our touring dance work of various styles, for film software in schools; making Arts Council collection is the most actively including contemporary, jazz, South regularly-funded organisations and the new Film photographic images and a performance used and widely circulated of all the recipients of lottery awards, about the 2000. Set during the 1984 Asian, Irish, and African people's dance. national collections. cope with his with staff and customers of a large need to meet the requirements of the January miners' strike, the film tells the supermarket; to working with teenagers Disability Discrimination Act. Through Joanna MacGregor, international concert story of a young boy who finds dancing helps him to make their own miniature artspaces. papers and seminars, we suggest actions pianist and member of the Arts Council, mother's death.er artistic The film director is the receives the South Bank Show Award that arts organisations could take to be at the directorial debut of Stephen March September ready for 2004, when arts providers will for Classical Music. The Clocksjudges cite her Daldry, form The National Student Music Awards final is The Axis database goes online, at have to take reasonable steps to work on the 1999 national SoundCircus of the Royal Court Theatre held, after 15 showcase heats around the in London. www.axisartists.org.uk, with support provide access. tour with the Arts Council’s Contemporary country that featured up to 60 bands. The from us and the Joint Information Music Network, and her London premiere awards promote fresh talent while giving Services Committee. It is the largest of Harrison Birtwistle’s student musicians the chance to perform interactive database of contemporary BBC Proms.

Joanna MacGregor Joanna in a professional environment. Our British art on the web. Visual artists Firestarter grant funds the marketing and including sculptors, conceptual artists, promotion. print makers, ceramicists, designers,

painters, photographers, video artists, House RoyalOpera Hall, Floral We announce that 34 spaces presenting jewellers, live artists, glassmakers, the visual arts across England will receive metal workers, furniture designers and an extra £2 million a year. This helps digital artists provide a full CV and up address the needs of those presenting a to nine samples of their artwork. wide range of work, including the visual arts and crafts, photography, new media, artists' film and video, live art and architecture. Kathryn Tickell 5. Gerry Robinson, comedian Griff Rhys Jones Kathryn is a composer and performer whose roots lie firmly in and Culture Secretary Chris Smith promote the tax changes. the North Tyne Valley of . She specialises in the , a small bellows-blown bagpipe. A competition winner by the age of 13, she has recorded many albums, featured on television, and performed on stage with and Jimmy Nail. Kathryn sees herself as one in a long line of Northumbrian musicians and is deeply committed to passing on the music to the younger generation.

4. The Silver Tassie, English National Opera. nurturing the artist The Arts Council wants artists and arts professionals to benefit from sustained investment in their development and training at all points in their creative careers.

The year 2000 is Year of the Artist. In a blaze of professional development for artists, arts managers publicity, 1,000 artists were given residencies in and other arts professionals. This represents the 1,000 places across the country - often in places biggest single investment in professional where the public least expects to find them. development within the sector in the Arts Residencies range from anything to sound artist Kate Council’s history. It will be delivered with the Tierney working on the Radio 4 programme to the RABs, Metier (the national training organisation Cornelius Cardew Ensemble creating a ‘pub opera’ for the arts and entertainment sector) and with the unsuspecting drinkers at the Millers Arms in other partners. Canterbury. The placements bring new ideas into new contexts, with a sense of playfulness and adventure. The Arts Council is nurturing the artists, managers This celebration of the artist is the culmination of and administrators of the future through the launch our Arts 2000 initiative that began in 1992. Year of of careers advice - Your Creative Future - in the Artist is managed by the Regional Arts Boards. conjunction with the Department for Culture, Media and Sport and the Design Council. In 1999/2000, we initiated a number of new programmes that have grown from earlier investment The Arts Council handbook, Employing Disabled in work with young people, professional artists and People, which was launched by Arts Minister Alan arts organisations. Howarth in July 2000, encourages people with disabilities to work within the arts sector, Funded by the Arts Council and Regional Arts Boards, particularly where capital investment, funded by the the Arts Education Interface is working with two National Lottery, has resulted in a new generation of Education Action Zones in Bristol and Corby. Young accessible arts buildings. people, artists and teachers develop creative projects together, putting the arts at the heart of historical debts – move to a more flexible way of Ensuring that all young people, professional artists raising standards in schools. Another innovative working. It also gives them scope to offer a more and administrators benefit from the lifelong learning project supported by the National Lottery, in varied repertoire. (October 1999) agenda is the aim of a new programme of Creative partnership with the European Union, is CAPE - Partnerships. At least 12 centres will benefit from Creative Arts Partnerships in Education - in Leeds 3. The National Touring Programme is launched, to new funding made available to the arts by and Manchester. This focuses on the creative help take art of any type and scale to audiences Government in its review of public spending. across England. The programme encourages engagement of young people and local artists. The Arts Council is offering a range of international dynamic relationships between artists/producers, Building on the work of the Arts Council’s pioneering fellowships and opportunities over the next two venues/promoters, and audiences. (November 1999) Interim Funding Scheme, the Government has years. The Individual Artist Programme will initially introduced new Dance and Drama awards, for young provide about 40 international fellowships across 4. The English National Opera premieres, to huge people beginning their careers in dance, drama and Highlights all arts disciplines with a view to creating a longer critical praise, The Silver Tassie. This is a new work stage management. The success of our scheme term programme. Through collaboration with 1. The Regional Arts Lottery Programme is launched, by composer Mark-Anthony Turnage, commissioned helped persuade the Department for Education & other national bodies, international agencies the first lottery programme managed by the with Arts Council funds, and based on the play by Employment to fund the new awards. Funding will and practitioner-run organisations, the Arts Regional Arts Boards. The programme set aside Sean O’Casey. It’s a box office success and is also be made available for tuition and maintenance Council is working across all continents with £13 million in its first year for arts activity and shown on television. (February 2000) costs through the higher and further education projects across the country, focusing on access, funding councils. innovative host institutes, academies, studios education, production and distribution of new art 5. The Chancellor of the Exchequer announces tax and artist-led organisations. The fellowships commissions, and investment in projects which reliefs as part of his 2000 Budget a boost for As part of its commitment to the individual artist, offer opportunities for critical, practice-based support artists. (May 1999) charitable giving. We campaigned for these changes the Arts Council has invested £1 million over two research and enable production of innovative to taxation on charitable giving, and worked with years to provide a framework for continuing new work. 2. We announce a new package for orchestras. This the Charities Aid Foundation to provide information provides substantial funds through the Stabilisation and advice to arts organisations to help them take programme to help orchestras – several with large, full advantage of the changes. (March 2000) 15 THE ARTS COUNCIL OF ENGLAND Mavin Khoo dances for Akademi, at their 21st anniversary performance, on the level 5 balcony of the Royal Festival Hall in London. Akademi, with ADiTi, KADAM and SAMPAD, make up the South Asian Dance Consortium. Each partner concentrates on particular aspects of dance development, and they share methods and networks with each other. The Arts Council's dance department initiated the creation of the consortium.

building a new understanding As the national body for the arts in England, it is our responsibility to ensure that policy and planning for future development is underpinned by hard evidence. The Arts Council is putting in place a comprehensive research strategy to ensure that we have the facts we need.

The Arts Council commissioned The Henley Centre to like them’. A high proportion also recognised the paint a picture of what Britain will be like in 2010 contribution that the arts make to the economy and what this will mean for the arts. Society as a and to encouraging tourism whole has more money to spend on leisure but less ArtStat was published, a valuable reference time, and many people are faced with competing volume containing a wealth of information on demands for what little spare time they have. expenditure on and income from the arts, sources England is also becoming an increasingly diverse of funding, and attendance and participation in society, with a greater variety of lifestyles. The the arts challenge for the arts is how to plan provision that ‘Arts’ – what’s in a word?: ethnic minorities and recognises and caters for these social and the arts reported on the results of focus group demographic changes. discussions with Black, Asian and Chinese people. The report explores people’s understanding of and engagement with the arts, and gives Key research projects examples of a rich range of culturally diverse In the last year, we have commissioned some arts activity significant pieces of research: A survey by MORI found evidence of widespread Planning ahead support for making the arts more accessible. Almost three quarters of the population support Future plans include a large scale survey of attendance public funding for the arts and a similar and participation across England and further work on proportion of adults interviewed thought that the cultural diversity in preparation for the Diversity 2002 arts ought to be made more accessible to ‘people initiative (see page 9 for further details).

17 THE ARTS COUNCIL OF ENGLAND Eden Benchmarks People strolling along any length of the 60km River Eden in Cumbria can stop off and rest in the artworks placed along the way. Known as Eden Benchmarks, these are carved stone sculptures, each commissioned from a different sculptor. The variety of shapes and designs encourages the public to take the time to enjoy both art and nature.

78% of people believe the arts In 1999/2000, more than 37% had Since it began in 1998, more than Thanks to lottery funding from the Arts play a valuable role in the life of recently been to a performance in 1.3 million people have attended events Council, there are already 80 new and this country. a theatre. or participated in activities funded by the 550 refurbished arts venues in England. New Audiences Programme.

revealing figures

73% of people think there should Audiences for performances, One thousand artists-in-residence are Over 162,000 people have been to the be public funding of the arts and exhibitions and education sessions working across the country in a huge New Art Gallery Walsall since it opened in 49% would like more opportunity presented by organisations regularly range of locations – hospitals, radio February 2000. This far exceeded to participate in the arts. funded by the Arts Council and Regional stations, prisons, schools, factories and predicted visitor numbers, and has already Arts Boards totalled 25 million in more – as part of the ‘Year of the Artist’. proved a major lottery-funded success. 1998/99.

19 THE ARTS COUNCIL OF ENGLAND Robert Hewison has published widely on 19th and 20th century British arts and culture, and writes on theatre and the politics of the arts for The Sunday Times. He curated this year’s Ruskin centenary show at Tate Britain and was Slade Professor of Fine Art at Oxford. new times the arts in 2010 ‘If you can predict a discovery, it can’t be that has come to be seen to be vital to our commercial will be the middle-aged; perhaps today’s 35-44 year universal corporate culture - is that it will produce important. Major advances should be totally viability (already London’s design industry is thought to olds will carry with them their tastes as they grow a homogeneous texture of bland conformity. Yet unpredictable’ - Sir Harry Kroto, Nobel prizewinner. be more valuable than the financial sector). But a older, perhaps not. What does seem likely is that often it is local reaction to globalising forces that As in science so in art: crystal ball gazing may seem a culture of consumption literally carries a price tag in proportionately more people will be in retirement produces the greatest creative leaps: the British singularly fruitless and questionable activity, but it terms of the way we determine what is truly valuable (many of them early retirees), with increased invented Pop Art, for example, in a positive response tempts even the most cynical because the future about the arts. Sir Richard Eyre, for one, has disposable time on their hands. They will be richer to American consumerism. Britain, with its pivotal bemoaned the demise of a ‘theatre-going fascinates and worries us all. and healthier than any previous generation, but - role in the North Atlantic nexus, bound to Europe by constituency’ replaced by a new generation raised on without wishing to sound unduly romantic - they will geo-political and commercial ties, and sharing a When I was commissioned by the Arts Council of sound bites, video culture and the remote control. England to write an essay on what our cultural be seeking fulfilment and a sense of identity. ‘Third common language with America, could play an landscape might look like in 2010, the only thing I But, like the politicians, we must be businesslike in Age’ retraining in the arts is a serious option - and important role in the emerging picture, providing it could be sure of was that the arts would still exist in thinking about the future. Demographic, economic and its effect, as well as making good use of the many does not fall back on a negative, ‘heritage’ vision some shape or form. The arts have survived - as technological change will affect the arts, like and varied skills of retired people in a socially useful of itself. Auden says of poetry, ‘in the valley of its making’ - everything else, but they will affect them in way, would be to enlarge the constituency for the One of the consequences of globalisation is that through decades of neglect, interference, distinctive ways. Computers, telecommunications and arts, both in terms of audience and of participants. the changes in the media are affecting the way many information is becoming a more important economic underfunding and overshadowing: more than survived, Over the next 10 years the world of work, which artists work and the way audiences view and factor than material goods. Artists process they have grown clever and resourceful, able to frames leisure, will continue to shift and change participate. We can be certain that having more older information, and manufacture meaning. In an weather the storms of commercial indifference and shape. Manufacturing industry will decline further, political criticism. and fewer younger people will produce social change: economy where information is the raw material, but an ageing population will have a significant effect on placing even more emphasis on the service sector. knowledge the key product, they will have an Now, the arts are under the spotlight as never before. the character and quantity of artistic output, as well The creative elements of services, which generate increasingly important role to play as the generators the most profit, will become pre-eminent. The Increased public funding will come on stream in the as the way it is consumed. ‘Yoof culture’, the icon of and communicators of ideas. If, by the phrase concept of a job for life has already vanished - by next two to three years, and there is a growing the late 20th Century, may well be struggling by the ‘cultural industry’, we understand, not that culture 2010, even a ‘career’ will seem rather different. realisation of the social and economic importance of end of the first decade of the 21st. is being turned into a commodity, but that industry People will have to be more adaptable, more the arts. We are becoming less frightened of talking is having to become more culturally creative, it may Research into what this means is vital - a key role for creative in their use of their time and skills. In fact, about ‘culture’ as something that embraces more be possible to square the circle between the strategic bodies in the field and one where they will have to become more like artists. In these than the high arts, and which shapes the way we live external economic and instrumental demands placed Government must be advised. Certainly the reduced circumstances, the importance of the arts in helping and express ourselves. People in government are on the arts by politicians, and the internal increasingly fascinated by the seemingly contradictory number of young people in society will have a people to maintain a sense of themselves is imperative of the arts to follow their creative concept of a ‘cultural industry’. significant effect - not least on inner city renewal, strengthened. which has been built on creative, media and impulses. The arts will, as I said, survive. That phrase sums up the way the creativity entertainment industries that target under 35s as both At the same time, the threat from globalisation - the Surprisingly, they may best survive in the new encouraged by cultural activity in its broadest sense producers and consumers. The largest group in society weakening of national identity in favour of a economy of 2010 by existing for their own sake. Robert Hewison

21 THE ARTS COUNCIL OF ENGLAND The New Art Gallery Walsall opened in 2000, through a £15.75m lottery grant. The building is stunning, sitting in the heart of the town and at the end of a canal basin. The gallery highlights the Council members 1999-present Garman Ryan collection, and captivates new audiences with the Children's Discovery Gallery. Members in 1999 Members joining in 2000 Gerry Robinson Anish Kapoor Emmanuel Cooper Chairman May 1998-present June 1998–present September 2000–present Chairman of Granada Group plc. Sculptor, Venice Biennale and Potter, with work in many national Turner Prize winner. and international collections. Editor Derrick Anderson of the leading magazine of studio June 1998–present Joanna MacGregor pottery, Ceramic Review. Visiting Professor at the Royal College of Art. Chief Executive of Wolverhampton June 1998–present Metropolitan Borough Council. Concert pianist, Professor of Brian McMaster CBE Music at Gresham College. David Brierley CBE June 2000–present November 1997–present Professor Andrew Motion* Director of the Edinburgh April 1996–June 2000 International Festival since 1991, Advisory Director for the Royal Chair of the National Opera Studio. Shakespeare Company. Poet Laureate, Professor of Previously Artistic Director of Creative Writing at the University Vancouver Opera and Managing Deborah Bull CBE of East Anglia, biographer. Director of Welsh National Opera. June 1998–present Prudence Skene CBE* Principal Dancer at the Royal Ballet. Dr Janet Ritterman May 1992–June 2000 June 2000–present Professor Christopher Frayling* Former Executive Director of the Director of the Royal College of January 1988–June 2000 Rambert Dance Company, former Music, Visiting Professor in Music Executive Producer of the English Education at the University of Rector of the Royal College of Art, Shakespeare Company. Chairman of the Design Council and Plymouth. Chair of ABRSM Publishing, Crafts Study Centre. the publishing arm of the Associated financial summary Hilary Strong Board of the Royal Schools of Music. Antony Gormley OBE June 1998–present William Sieghart June 1998–present Executive Director of Greenwich Theatre, previously Director of the June 2000–present These figures have not been audited; they are extracted from the Arts Council’s audited accounts for Sculptor, Turner Prize winner. Edinburgh Festival Fringe. Founding Chairman of Forward central government grant (grant-in-aid) and lottery. A copy of the audited accounts may be obtained from Creator of the Angel of the North. Publishing, founder of the Forward the Arts Council at the address on the back cover. Poetry Prize and National Poetry Day. *Retired June 2000 A Fellow of the Royal Society of Arts, Central government grant involved in its management and 1999/2000 1998/99 programming. £000 £000 income Grant-in-aid from the government 228,250 189,950 Other income eg bank interest 1,212 1,221 229,462 191,171 expenditure Direct arts expenditure 149,094 129,917 Grants to Regional Arts Boards 65,140 58,376 Operating costs 5,567 7,412 219,801 195,705

Lottery* 1999/2000 1998/99 £000 £000 income Share of proceeds from the National Lottery 188,021 210,954 Investment returns and other income 27,175 30,794 215,196 241,748 expenditure Grant commitments 182,288 57,925 Operating costs 24,605 21,038 206,893 78,963

* In 1999/2000, lottery operating costs include £2.4m of IT development costs. In addition to the above grant commitments, the Council made soft commitments in the year totalling £174,121,000 (1998/99: £192,648,000 including an adjustment between hard and soft commitments). Soft commitments represent grant offers made, the conditions of which have not been formally accepted by the potential recipient at year end.

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