Impact of COVID-19 on DCMS Sectors: First Report
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Interim Olympic Delivery Authority (“Ioda”) Published a Set of Procurement Principles (“The Principles”) to Map out the Core Values for the Procurement Activities
Olympic Delivery Authority Procurement Policy (draft for consultation) FOREWORD The opening ceremony for the London 2012 Olympic Games will take place on 27 July 2012. The Olympic Games and Paralympic Games that follow them will be great events, providing memorable moments for millions, in London and across the world. The Olympic Delivery Authority (“ODA”) has been established to deliver new venues and infrastructure for the Games and to facilitate the Legacy – the Games will last six weeks, but the social, environmental and economic benefits will have a far longer reach. The challenge for the ODA, operating under unparalleled scrutiny, is to deliver the Games and the Legacy in a sustainable way, on time and to budget. To do this, we will need to work with some of the best designers and construction companies in the world, many of them based in the UK. We will need to procure and manage the delivery of goods and services in a way that enables us to deliver on time against a tight budget, and to benefit from the innovation and creativity that these companies can offer, but also to help to realise the aspirations and commitments set out in London’s bid and inspired by London’s Olympic vision. The Procurement Policy detailed in this document sets out how ODA intend to do this and to provide clarity to current and potential suppliers and the wide range of stakeholders that have an interest in how the ODA delivers its functions. The ODA has sought to share a common procurement approach with that of the London Organising Committee for the Olympic Games, the Greater London Authority and the London Development Agency to achieve sustainable development by maximising the economic, social, health and environmental benefits of the Games. -
Department for Culture, Media and Sport
Learning Your Guide to Selling to the Department for Culture, Media and Sport www.trackerintelligence.com Selling to the Department for Culture, Media and Sport Learning Department for Culture, Media and Sport About the Department for Culture, Media and Sport The Department for Culture, Media and Sport (DCMS) aims to make Britain the “most creative and exciting place to live, visit and do business” in the world. The DCMS protects and promotes the UK’s cultural and artistic heritage. DCMS is a ministerial department supported by 44 agencies and public bodies including: Arts Council England VisitBritain BBC Channel 4 Ofcom UK Sport British Film Institute Royal Parks National Lottery Commission British Museum Natural History Museum Read more Introduction to Selling to DCMS Procurement at the Department for Culture, Media & Sport covers the purchase of goods, services and works for its central support services. Many of the agencies which support the Department manage their own procurement, making finding opportunities a challenge. However, the effort is worth it as DCMS offers business opportunities for organisations of all sizes with contracts of various values across a diverse range of industry sectors. 2 www.trackerintelligence.com Selling to the Department for Culture, Media and Sport Learning Approach to Procurement DCMS follows the UK Government’s procurement policy to get maximum value for the taxpayer. It complies with EU and UK legislation that governs how to buy from suppliers. The benefits of government procurement policy to you as a supplier include: You will receive honest, unbiased treatment with full transparency DCMS will honour terms of contract in a reasonable manner, whilst also remaining open to negotiation. -
Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court
Family Arts Conference Friday 13 March, Cadogan Hall & Royal Court Theatre, London Delegate list First Name Surname Job Title Company Sam Adams Marketing Co-ordinator Salisbury Arts Centre Jacob Adams Festival Project Manager Attitude is Everything Jill Adamson Head of Engagement & Learning Hull Truck Theatre Sasha Alsop Development Co-ordinator ITC Olivia Amory Communications Co-ordinatory ITC Fiona Anderson Development Director artsdepot Rosie Angus Project manager, Schools Stellar Libraries CIC Susannah Armitage Producer Vox Motus Imogen Armstrong Director of Business development Family and Childcare Trust Katy Arnander Director of Artistic Programme Sadler's Wells Lucy Bampton Relationship Manager, Engagement and Audiences Arts Council England Chris Batstone Juice Festival Artistic Director NewcastleGateshead Initiative Alison Beattie Producer Story Pocket Theatre Stephen Beeny Communications Manager Half Moon Bryony Bell Learning & Participation Manager The Bridgewater Hall Jill Bennison Festival Co-ordinator Northern Children's Book Festival Neil Bennison Music Programme Manager Theatre Royal Nottingham Sudha Bhuchar Artistic Director Tamasha Theatre Company Annie Biddlecombe Regional Programming Ambassador Theatre Group Sarah Bird Director Wild Rumpus Jessica Birtwistle Marketing Campaigns Officer mac birmingham Charles Bishop General Manager Theatre Centre Christopher Block Participation Administrator Bournemouth Symphony Orchestra Matthew Blyth Audience Development Officer Arts Centre Washington Jay Bourley Theatre Manager ATG: -
Year 7 Curriculum Overview - Autumn 2
Year 7 Curriculum Overview - Autumn 2 Subject Unit description Assessment Method Clubs/Catch-up sessions/Revision Enrichment, Book lists, Websites, Places to visit Art Introduction to Art 4 x Assessments: Develop Tuesday P6 Pinterest, various Art books, Gorleston library, Instagram, 25%, Refine 25%, Record www.studentsartguide, The Artchive – www.artchive.com, The 25% and Present 25% British Museum – www.britishmuseum.org, Centre Pompidou – www.cnac-gp.fr, Crafts Council – www.craftscouncil.org.uk, Design Museum – www.designmuseum.org, Guggenheim – www.guggenheim.org, Imperial War Museum – www.iwm.org.uk, The Lowry – www.thelowry.com, The Metropolitan Museum of Art – www.metmuseum.org, The Minneapolis Museum of Art – www.artsmia.org, The Museum of Modern Art – www.moma.org National Galleries of Scotland – www.nationgalleries.org, National Gallery – www.nationalgallery.org, National Media Museum – www.nationmediamuseum.org.uk, National Portrait Gallery – www.npg.org.uk, Natural History Museum – www.nhm.org.uk, The New Art Gallery Walsall – www.artatwalsall.org.uk, New British Artists – www.newbritishartists.co.uk, The Photographer’s Gallery – www.photonet.org.uk, Pitt Rivers Museum – www.prm.ox.ac.uk, Royal Academy – www.royalacademy.org.uk, San Francisco Museum of Modern Art – www.sfmoma.org, Science Museum – www.sciencemuseum.org.uk, Tate Online – www.tate.org.uk, Victoria and Albert Museum – www.vam.ac.uk, Walker Art Centre – www.walkerart.org.uk, The Whitworth Art Gallery – www.whitworth.manchester.ac.uk, Yorkshire Sculpture Park – -
Project Description
PROJECT Bromley Little Theatre A3 posters DESCRIPTION Posters to advertise a variety of different plays being performed at the theatre. IN THE AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD BAR AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD Website graphics CONTAINS VERY STRONG LANGUAGE AND SEXUAL REFERENCES THROUGHOUT for each play were also created. AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD BROMLEY LITTLE THEATRE, NORTH STREET, BROMLEY KENT BR1 1SB BROMLEY LITTLE THEATRE, NORTH STREET, BROMLEY KENT BR1 1SB BROMLEY LITTLE THEATRE, IN THE BAR, NORTH STREET, BROMLEY KENT BR1 1SB BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 BOOKING: visit www.bromleylittletheatre.org or call 0333 666 3366 Members: £8 / Non-members: £12 • Booking opens to non-members on 8th November Members: £8 / Non-members: £12 • Booking opens to non-members on 13th Sept Members: £7 / Members’ guests: £10 • Booking opens on 22 August Tickets also available from the Churchill Theatre box office Phil Graham 07941 508026 [email protected] PROJECT Bromley Little Theatre A3 posters DESCRIPTION Posters to advertise a variety of different plays being performed at the theatre. Website graphics AN AMATEUR PRODUCTION BY ARRANGEMENT WITH SAMUEL FRENCH LTD AN AMATEUR PRODUCTION BY ARRANGEMENT WITH NICK HERN BOOKS for each play were also created. KING CHARLES III BY MIKE BARTLETT Directed by PAULINE ARMOUR Fri 12th - Sat 20th Oct 2018 at 7.45pm (not -
Claire Will, Head of Marketing and Communications, Contact Jane Finnis, Chief Executive, Culture 24 Follow Me: How Do We Know If Digital 'Pull' Marketing Is Working?
Claire Will, Head of Marketing and Communications, Contact Jane Finnis, Chief Executive, Culture 24 Follow me: how do we know if digital 'pull' marketing is working? Claire Will is Head of Marketing and Communications at Contact in Manchester. She has over ten years experience in arts marketing for theatre, galleries and museums in a variety of areas including PR, media relations, audience development and digital communications. Claire began her career at Sheffield Theatres Trust working in a range of marketing, press and groups development roles. Following that, she was appointed as Press and PR Officer for Sheffield Galleries and Museums Trust (now Museums Sheffield) where she was responsible for leading the PR campaign for the £19m redevelopment of Weston Park Museum (winner of the Guardian’s Family Friendly Museum of the Year award, 2008), event management of royal visits, and PR for internationally renowned exhibitions touring from Tate and V&A. During her time there, the Trust became lead organisation in the Yorkshire Museums Hub and her role was adapted to include national media work for the Hub alongside communications strategy development. Claire moved back to theatre in 2008 as she took on her current role as Head of Marketing and Communications at Contact, Manchester, one of the UK’s leading arts organisations for young people. Claire now leads a team of five working on communications for Contact’s diverse artistic programme, internationally renowned work with young people and most recently the development of future resources and income generation. Claire has a particular interest in social media development and communicating to young audiences. -
FOOMI-NET Working Paper No. 1
WILLIAMS, J. (2011), “Women’s Football, Europe and Professionalization 1971-2011: Global Gendered Labor Markets”, foomi-net Working Papers No. 1, http://www.diasbola.com/uk/foomi-source.html FOOMI-NET www.diasbola.com Working Paper No. 1 Author: Jean Williams Title: Women’s Football, Europe and Professionalization 1971-2011: Global Gendered Labour Markets Date: 20.09.2011 Download: http://www.diasbola.com/uk/foomi-source.html Women’s Football, Europe and Professionalization 1971- 2011: Global Gendered Labour Markets Jean Williams Introduction A recently-published survey aimed at Britain's growing number of family historians, had, as its primary aim, to convey 'the range and diversity of women's work spanning the last two centuries - from bumboat women and nail-makers to doctors and civil servants - and to suggest ways of finding our more about what often seems to be a 'hidden history'.i Professional women football players are part of this hidden history. More surprisingly, no athletes were listed among the 300 or so entries, either in a generalist or specific category: perhaps, because of the significance of amateurism as a prevailing ethos in sport until the 1960s. Another newly-released academic survey by Deborah Simonton Women in 1 WILLIAMS, J. (2011), “Women’s Football, Europe and Professionalization 1971-2011: Global Gendered Labor Markets”, foomi-net Working Papers No. 1, http://www.diasbola.com/uk/foomi-source.html European Culture and Society does makes reference to the rise of the female global sports star, beginning with Suzanne Lenglen's rather shocking appearance in short skirt, bandeau and sleeveless dress at Wimbledon in 1919 onwards. -
Reviews: the Heresy of Love | Jumpy | Double
May 2017 | No. 62 | Bimonthly www.bromleylittletheatre.org THE OFFICIAL ORGAN OF PRESIDENT: MICHAEL YORK OBE Reviews: The Heresy Of Love | Jumpy | Double Top Previews: People | The Breath Of Life | Of Mice And Men + Auditions + Events Diary + Noticeboard 1 BLT chair Key contacts Another farewell needs to be made to Emma Kerby-Evans and Maxine Edwards Stevie Hughes, who is stepping down from in BLT's February 2017 production of The Heresy Of Love the role of website, poster, and Spotlights Call: 020 3189 1690 designer. A record of a few of his wonderful for box office, membership and key contacts designs can be seen among the posters enquiries (but not for booking tickets). plastered to the walls of the stage door stairs. We shall certainly miss his intelli- Key contact areas: gent, creative designs. [email protected] The board have been discussing for [email protected] some time how we can better organise the management of the theatre. We have Chair: decided that while Playgoers will remain [email protected] as an entity for the receipt of funds from Key: Jane Buckland the bar, membership and the coffee bar, Artistic: the day-to-day running of these and other [email protected] ooking back over the last couple of aspects of the theatre is to be by existing Keys: Pauline Armour / Jane Buckland Lyears, most BLT members will see that it personnel, overseen by the assigned board has been a period of change and development members. The former members of the for the theatre, and one which is set to Youth group: Playgoers committee will now be able to continue. -
Organisations Alexandra Theatre, Bognor Regis
Statement from (in alphabetical order) Organisations Alexandra Theatre, Bognor Regis - Hazel Latus Almeida Theatre – Rupert Goold, Denise Wood Ambassador Theatre Group - Mark Cornell and Michael Lynas Andrew Treagus Associates - Andrew Treagus Arcola Theatre – Mehmet Ergen, Leyla Nazli, Ben Todd Arts Theatre - Louis Hartshorn and Lizzie Scott Barbican Theatre - Toni Racklin Battersea Arts Centre – David Jubb Belgrade Theatre – Hamish Glen, Joanna Reid Birmingham Hippodrome - Fiona Allan Birmingham Repertory Theatre – Roxana Silbert and Stuart Rogers Birmingham Stage Company - Neal Foster and Louise Eltringham Bridge Theatre – Nicholas Hytner, Nick Starr Bristol Old Vic – Tom Morris, Emma Stenning Bush Theatre – Madani Younis, Jon Gilchrist Cheek by Jowl - Declan Donnellan, Nick Ormerod and Eleanor Lang Chichester Festival Theatre – Daniel Evans, Rachel Tackley Citizens Theatre - Dominic Hill, Judith Kilvington Curve Theatre - Chris Stafford and Nikolai Foster Darlington Hippodrome - Lynda Winstanley Derby Theatre – Sarah Brigham Disney Theatrical Productions - Richard Oriel and Fiona Thomas Donmar Warehouse – Josie Rourke, Kate Pakenham Donna Munday Arts Management - Donna Munday D'Oyly Carte Opera Trust - Ian Martin Eclipse - Dawn Walton Empire Street Productions - James Bierman English National Ballet - Tamara Rojo & Patrick Harrison English Touring Theatre - Richard Twyman, Sophie Watson Everyman Theatre, Cheltenham - Paul Milton and Penny Harrison Festival City Theatres Trust - Duncan Hendry and Brian Loudon Fit The Bill - Martin Blore -
Vol53no3 with Accts
Vol 53 No 3 ISSN 1479-0882 May / June 2019 The Wareham (Dorset) which is celebrating ten years of being run by a Trust – see Newsreel p28; photo taken May 2006 The Hucknall (Notts). A new owner is planning to convert it into a four-screen cinema – see Newsreel p24; photo taken May 2008 I owe all members and also Michael Armstrong and his colleagues at the Wymondham a big apology. For the first two issues this year Company limited by guarantee. Reg. No. 04428776. I erroneously printed last year’s programme in the ‘Other Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. Events’ section of the Bulletin. I must have misfiled the current Registered Charity No. 1100702. Directors are marked in list below. programme card and used the old one instead. I have done a suitable penance. The listing on p3 is correct! Thank you all for continuing to send in items for publication. I have been able to use much of the backlog this time. On p32 I have printed Full Membership (UK)..................................................................................£29 some holiday snaps from Ned Williams. I have had these in stock Full Membership (UK under 25s)...............................................................£15 since July 2017, just waiting for a suitable space. I say this simply to Overseas (Europe Standard & World Economy)........................................£37 prove I throw nothing away deliberately – although, as noted above, I Overseas (World Standard).........................................................................£49 Associate Membership (UK & Worldwide).................................................£10 can sometimes do so by accident. Life Membership (UK only).................................£450; aged 65 & over £350 I still have held over a major article from Gavin McGrath on Cinemas Life Membership for Overseas members will be more than this; please contact the membership secretary for details. -
Core Strategy Vision and Objectives
1. Introduction Your chance to help shape the future of Bromley We would like you to help us develop the long-term planning strategy for the London Borough of Bromley. This strategy needs to show roughly where any new development should go and, how much development there should be, over the next 20 years. We are starting with what is known as the “Core Strategy” - the top-level document where we set the general direction for the future of the borough - but once this is prepared we will produce other documents with policies to guide the detail of any development. So, is this the “Core Strategy”? No, this is just the first step towards a Core Strategy. This document presents a wide range of information about the Borough and its places and suggests some of the key issues for the future. We are asking everyone with an interest in Bromley to tell us what they think about the issues we have identified – are they the right issues? Are there any more issues that our planning strategy needs to consider? Once we have agreed on the main issues, it’s time to look at the ways of tackling them – again, we’ll be asking for everyone to get involved by telling us what they think and whether anything has been missed. After this we’ll be able to produce a draft Core Strategy which will contain policies that can be used to guide development – this is the document that will be submitted to the Government for checking. Overall, this process will take about two years. -
ISPA International Society for the Performing Arts
International Society for the ISPA Performing Arts TODAY’S FUTURE FOR THE ARTS NEW YORK CONGRESS JANUARY 8–10, 2019 Theatre buildings by theatre people for theatre people. Clockwise from top left: Linbury Theatre, Royal Opera House; The Yard at Chicago Shakespeare Theater; Hudson Theatre, Broadway; Studio Theatre, Bristol Old Vic. MESSAGE FROM THE CHAIR OF ISPA Dear Friends, ransitions. We all think about them. Some of us worry about them. But we are all impacted by them. As much as we may try to be present each moment of our days, it is the rare person who does not ponder what comes next. Transitions can be as exhilarating as they are scary. In these times of rapid-fire change and volatility (mostly beyond our personal control), it is Teasy to default to a position of wanting to hang on to what we know. Stay the course. Be steady. Reduce risk. WELCOME Yet continuing to do the same thing that works for us today may be the very act that fails us tomorrow. Our Congress Co-chairs Collette Brennan and Steinunn Ragnarsdóttir have given us a brilliantly provocative theme to consider with an array of thought-leaders from within our field and beyond offering varied perspectives on how we might navigate the inevitability of the transitions we encounter. For me, transitions is a particularly apt theme as I prepare to pass on the chairmanship of ISPA to our colleague Tisa Ho. As an ISPA member for 20 years and board member for most of that time, I have been fortunate to work with so many gifted members who have given selflessly in leading ISPA through incredible Transitions.