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Working for the Arts 2 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.
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