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A Data Report 2018-19 Getting Started

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A Data Report 2018-19 Getting Started Equality, Diversity and the Creative Case A Data Report 2018-19 Getting started Read a Foreword from our Chair, Sir Nicholas Serota; find out more about where the data in this report is from; and get the key findings from the Executive Summary. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 2 Foreword Foreword by Sir Nicholas Serota, Chair, Arts Council England In 2017, we announced a new This is the first report to focus on this new analysis, review of reports, conversations To fully embrace these opportunities, the National Portfolio and it’s also the first time and two national consultations. A core cultural sector needs to apply its creativity National Portfolio of organisations we’ve been able to look deeper into the detail. principle of the investment that will be made to all aspects of its business and activities. that would receive regular funding This reveals more information across different under the 2020-30 Strategy is the need to Organisations need to continue to change parts of the country and different types of diversify the cultural sector – the leadership, and develop, to innovate, to explore and to for the period 2018-22. Libraries organisations. We’ve also been able to release workforce and governance of organisations; progress. Diversity of thought, experience and Museums were integrated more granular data looking across disciplines, the audiences and visitors influencing and and perspective are vital, and inclusivity and including individual Creative Case ratings. experiencing the creative and cultural offer; relevance are therefore driving principles in into the portfolio for the first and the artists, creatives and producers. We the Arts Council’s next 10 year strategy. time and, in total, we were able to Whilst we cannot make direct comparisons will work with organisations who embrace between the last report and this year’s, this this principle, and as a result the whole Last year, I wrote to organisations reminding include 168 self-defined diverse report has confirmed that Arts Council and sector will better represent the diversity of them of the compelling reasons for collecting led organisations, 20 of which the organisations we invest in are still not this country. Equally, we shall continue to this diversity data. Sharing and discussing representative of this country as a whole. The scrutinise our own workforce and leadership, this data will help to drive change, and had previously received Elevate long-standing issue of under-representation holding ourselves to account in this respect. enable us all to be clear-sighted about the programme funding. in both the Portfolio and the Arts Council has When we publish the first Delivery Plan for issues we face. We will continue to develop to be recognised and addressed. Let’s Create in April, we will set out how we the way we collect and use data in the next intend to accelerate the move towards a decade, providing evidence to inform policy The level of detail available in this Report will more inclusive and relevant cultural sector in and decisions and to make the case for public become increasingly important as we review this country. We are committed to ensuring investment in the arts to stakeholders and to how organisations progress over this funding that we achieve a decisive shift that will bring the public. period, and how organisations respond benefit to everyone in our country. to our new Strategy as they prepare their applications to be included in the subsequent This feels increasingly important as portfolio, which will begin in 2022. we respond to the obvious global challenges – social, environmental, economic and Let’s Create, the new Arts Council strategy technological – which are transforming the for the decade 2020-30 has been grounded world around us at almost unimaginable in evidence, built through extensive data speed. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 3 Understanding the data We recognise diversity in its broadest This report features data on: As with last year’s report, we have continued sense but as in previous years the data to separate ‘White other’, the category in this report focuses on four protected • The workforce of NPOs including the which includes people from all other white diversity of people in key leadership characteristics, as defined in the backgrounds (including, for example, those roles and at different job levels. from other European countries), from Equality Act 2010: race (referred to here ‘White British’. as ethnicity), disability, sex (referred to • The Creative Case for Diversity ratings of NPOs – for the first time shared for here as gender) and sexual orientation. each organisation and against the new We have also continued to use the two four-point scale. distinct categories: ‘prefer not to say’ and ‘unknown’ to distinguish between where • This year, the report also includes data individuals have chosen not to disclose data broken down by artform (discipline), or where organisations have not been able Arts Council Areas and NPO bands. to submit data. • The diversity of applicants to the last year of Grants for the Arts; the first year As this is the first report for the 2018- of National Lottery Project Grants and 22 National Portfolio, direct statistical Developing Your Creative Practice. comparisons with last year’s report, and the 2015-18 portfolio, are not possible. We will • The diversity of the Arts Council’s re-introduce comparisons in future reports. workforce, leadership and National and Area Councils. • Audience data from NPOs. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 4 Executive Summary All of our investment was made in line with our 2010 - 2020 Strategy, Great Arts and Culture for Everyone. Most of this data is for the period 1 April 2018-31 March 2019. Where it differs, we make that clear in the relevant section. This report focuses on the first year of the 2018-22 National Portfolio, a larger cohort than in previous years and a different set of organisations, including Libraries, Museums and Sector Support Organisations (SSOs). Following the integration of these organisations into the portfolio, where we discuss NPOs or the National Portfolio, we have included Libraries and Museums, unless we have clearly indicated different disciplines. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 5 Workforce and Governance The total percentage of the NPO workforce with a Black and Minority Ethnic background (BME) is 11%. BME board representation across the NPOs is slightly higher at 15%. The percentage of BME Chief Executives is 10%; Chairs and Artistic Directors are both at 11%. The total percentage of disabled workers across the National Portfolio is 6%. Disabled representation at board level is 7%; with 9% Chief Executives, 8% Artistic Directors and 5% Chairs. The total percentage of female workers across the National Portfolio is 47%. Female board representation is also 47%; with 52% Chief Executives, 45% Artistic Directors and 40% Chairs. The total percentage of LGBT people in the Portfolio’s workforce is 6%. LGBT representation at board level is 7%; with 13% Chief Executives, 11% Artistic Directors and 8% Chairs. We continue to see high levels of ‘not known’ for sexual orientation and disability data. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 6 Creative Case for of £6,210,269. A total of 449 DYCP grants were awarded, Of the overall NPO portfolio audiences: 12% responded yes Diversity Ratings at a value of £4,111,327 to ‘disability limited a little/a lot’, 16% of audiences described their ethnicity as BME and 64% of audiences were female. In 2018-19, ratings across the Bands are broadly similar, with Grants for the Arts applications were accepted until 30 the exception of Band 2, which shows the highest percentage October 2018. Later in the report we have also broken down the audiences levels of ‘outstanding’ and ‘strong’ ratings. by socio-economic status and by Arts Council Areas, discipline Developing Your Creative Practice funding programme was and Bands. At Area level, the ratings show that the South West had the launched on 13 March 2018. most rated ‘outstanding’ at 7%, with London showing the least Arts Council workforce and governance rated at this level at 4%. For all programmes, the success rate for Black and Minority Ethnic applications was 35%, which is the same for all The percentage of total female staff has gone up from 65% to Theatre and Combined Arts had high percentages of ‘strong’ applications. 66% with female Directors increasing from 52% to 55%. ratings with, respectively, 33% and 27%. For all programmes, the success rate for disabled applicants There has been an increase in total BME staff from 9% to 11%. * Due to rounding figures may not total 00%1 was 32% compared to 35% for all applications. The percentage of total disabled staff has increased from 6% to 7%. 14% of total staff have identified as LGBT. For all programmes, the success rate for Female applications Grants for the Arts, Developing your was 33%, compared to 35% for all applications. For the first time since reporting we have risen from 0% of Creative Practice and staff aged 20 and under to 1%. Arts Council National Lottery For all programmes, 33% of LGBT applications were successful, compared to 35% for all applications. As of 31 March 2018, there were 521 people working at the Project Grants Arts Council. The mean difference between the average salaries of men and women working for the Arts Council in Grants for the Arts (GFTA) closed on 1 March 2018 and was Audience insights 2018 was 6.7%; the median difference was -0.6%. replaced by the Arts Council National Lottery Project Grants (NLPG) programme that launched on 5 March 2018.
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