(+0 l A rT L20972
The Arts Council of England is a successor bode to The Arts Counci l the Arts Council of Great Britain (ACGB) which wa s established in 1940 . On I April 1994, the ACGI3's of England responsibilities and functions Here transferred to three new bodies: The Arts Council of England, The Scottis h 2nd annual report Arts (:ouncil and The Arts Council of WaIcs. (The Arts Council of Northern Ireland was alrcadr established a s and accounts a separate body. )
1995/96 I1te Arts Council of England operates under a Royal Charter granted in 1994 in which its objective s are stated as :
(a ► to develop and improve the knowledge, understandin g and practice of the arts ,
(b) to increase the accessibility• of the arts to the public ,
(c) to advise and co-operate with departments o f government, local authorities, the Arts Councils fo r Scotland, Wiles and Northern Ireland and other bodies .
The Arts Council of England, as a publicly accountabl e body, publishes an annual report and accounts to provid e Parliament and the general public with an overvie w of the vicar's work.
ARTS COUNCIL LIBRARY 14 GREAT PETER STREET LONDON SU'1 P 3NO
TEL 0171-973 6517 2 The Arts Council ofF.nglnnd 199.i 96
Contents
5 Chairman's introductio n 6 An abridged version of a speech given in the House of Lord s lit° Lord Gowrie on 12 June 199 6 9 Secretan--General 's report 12 No public subsidx; no West End - essav by Sir Cameron Mackintos h 1 .1 Financial summan; performance indicators , spending by region
21 Deprtronental reports 22 Combined Arts 24 Dancc 26 Drama 28 Education and Training 30 Film, Video and Broadcastin g 32 Literature 34 Music 36 Touring 38 VISLIal Arts 40 National Lotten, 42 The Arts Council Collectio n 44 Regional Arts Board s 48 The Council member s 50 McrnLbership of Council and staff Advisors' structure
53 Accouyw 1995/96 99 National Lotten' : statement of compliance with polic e and financial direction s 100 Partnership funding for ACE Lotten: grants over~5m awarded in 1995/9 6 10.1 Notes on large print versions and accessibilit y 4 171cArrxCozmcil uJZ~t~lnu~f l9U5. '~J(~ In this vear 's anntlal report, I wish to confine my openin g Chairman's introduction remarks to conlnaending Sir Cameron Mackintosh's articl e (sce pctflc 12) cm the contlecrion between the subsidised and unsubsidised arts . It is one of the most powerful pieces o f advocacy - u11,111Swerable even - for sustaining, nor cutting , the very nxxiest contribution the taxpayer makes to ou r share of Britain's third or fourth most important industry. Arts, leisure and tourism are, if you list them as a sector, right up there with oil, pharmaceuticals and financial services. Sir Cameron is concerned with the theatre bu t what he says applies, to a greater or lesser degree, to othe r art forms including popular music .
The dilemma facing the Council is clearly spelt out by ou r Secretary-General in the article which follows . My mai n contribution is an excerpt from a debate I initiated in th e House of Lords, which laid great stress can the positive benefits of the National Lorterv (we are not whingers) bu t which addresses - again, I hope, in a positive seal' - sonle of the difficulties and how we are seeking to tackle them .
Tile best news of all 1s the cimt11lu1ng vigour of the arts at local, regional, national and international level . The funding organisations, the Rc-ional Arts Boards an d oursel. es exist to serve the arts and we are only useftil i n so far as we do so . So I should like to pay tribute to the Regional Arts Boards, with whom sve are now workin g more closely than ever before (all 10 chairmen joined the Council this \-ear), and their staff for their work . Local government, also hard pressed for funds, continues to recognise the regenerative work of cultural initiatives wher e cities, towns and villages are concerned and has responde d vigorously to the National Lotter\ : The authorities are every bit as involved as we are . The Council is grateful to them and grateful, too, for the services of our own dedicated officials. The work that they do, in relation to the material rewards they receive for it, constitutes a system of arts patronage in itself.
Lord Gowrie C'bairrman Airs CouPicil n1'D'yland September 1996 An abridged version of a If we strip the phrase of its sinister, Maoist overtones , nothing less than a cultural rev notion is taking dace in ou r speech given in the House o f country today. Its en,ine is rile National Latter'In onls- a Lords by Lord Gowrie, •ear and a halt, the National Lottery has raised no less than .C2 billion for the arts, spent . the national heritage . caring; Chairman of the Arts Council charities and Schemes to celebrate the new millennium . of England, on 12 June 1996 So tar, -5 .812 awards for nearly 71,000 projects adding u p to .Cl billion have been committed . Through these th e I .otterl is rnccrura,7in~r a sense otcommtrnirY and social cohesion, not [cast ~by acting as a Springboard for the
regcner ation of our towns, our cities and our villagcs .
With both the major political parties acknovdedging that
public spending as a proportion of C11V is not only unSUSrainable, but pieN•ci-it% output from rising as fast a s
It otltenViSe might, it is Surer• fantaw to imagine thar the work being done in those fields could be fulled by conventional public expenditure .
The Lotrcn• is x-cry much the personal creation of the Prim e \ Mister. The Prime Minister "or rite legislation through and, nwst important ofall, he got it through with all-parry supporr.
The Labour Parrv in local and regional government , sharpy assure of the regenerative possibilities of investin g in our culture, Kati beell nwST Supportive. Newcastle an d Gateshcad, Manchester and Liverpool, IIIrmingliam , Bristol and Lf Ilda)Il, to nanic only the biggest cities, wil l soon be transformed in a W .1%, not seen since the contiden r rears of Victorian and Edwardian industrial and municipal expansion. ( )r riles- will be n-anNformed it we keep ou r
heads and th r not mess about with the Lotrer v on an y Significant scale tirr fine or si p Fears . As the Prime Ministe r sari to me when we discussed m\ , appointment:
1 wall t %,(w ill? people M Britain to bare the best por nin7. and clrltllr-al facilities• in Elliwpe witbill I U re•ars. '
That is an honourable and useful aim . It is Shared by th e Deader ofthe Opposition and by the I .cadcr of the I .ibcrai
Democrats . It is, IC \\,c keep our heads, a pertccrlt • achievable ambirion .
So the 1-0-01ution is under way, Culled In, talenr an d commitnient but also hs• the sudden, and rather be\s ildering, availabilirn of ilcw, hard cash .
0 11jeArts (:rnrraiil ref triglrrrir! 1995.`90 By June the arts councils - the largest of which, the one fo r `I ain't knoii, anvtlling about mode;7i sculpture, tl)ouglj I ;ather England, I chair - have made 1,200 awards to the tune of like this one. I do know that out- enablinq contribution to the ,C471m. Ovcr 75% by number of those awards have bee n Lotter, bid isa sensationally cheap inc v ofachicving less than 1:100,000 in value, demanding 10% in matchin g international standing far Gateshead and that rill have positive funds only. Surely this gives the lic to perceptions that al l knock-on effects for our citizens_ ' we do is to provide finances for large and prestigious organisations. Of course we also do that, and quite righ t Had I more time I could continue in a wholly positive vein , too. Britain has starved her great theatres, opera houses , mentioning large awards such as the Cambridge Arts concert halls, living art galleries and dance centres o f "Theatre, the Hall for Cornwall and the Ikon Gallery i n investitaent ever since I entered my teens, which happened Birmingham ; middle scale awards such as the Green Room to be the year of the Festival of Britain . How well I in .Manchester, the Norwich Playhouse and the fil m remember the excitement, the optimism, and the post-wa r adaptation of Thomas Hardy's The Woodlande;s; the small revivalist spirit of 19 ;51 which the Royal Festival Hall, th e awards such as the Wnwickshire County lcnith Orchestra , Domc of Discovery and the much missed Skylon an d the Cheshire Dance Workshop and even Zippo's Academ y Battersea Funfair generated . of Circus Arts . We have even given a little money to a troupe of drum majorettes . When you have spent decades trNing to keep shows o n the road at the expense of investment in infrastructure , Only 14 months on from our first awards last year, it is righ t two things happen . Your overseas trade begins to sutle r to be thoroughly positive - bullish even - because I have n o because, however much foreign visitors admire \,our actors , doubt ,,whatever that so long as any modifications to the actresses and musicians, they \vill not indefinitely suppor t Lottery and its mechanisms are made in the light of realit; uncomfortable, non air-conditioned, tat, theatres and we shall indeed go further tip the slopes of Parnassus than orchestral halls . Your audiences for venues - and therefore at any time since the war. More important, more and more your revenues - start to fall off if you start to starve th e people will enjoy the climb and become entranced by th e venues of investment . More seriously still, you begin t o view. fail to generate the new encounters, the progent; which constitute the gene bank of your culture, be these sporting Of course, anv revolution is fraught with difficulty and or artistic or scholarly or just - and in my view this is no less controversy If not, it is probable not worth doing . important - plain participatory. Audiences also serve wh o Nevertheless, there is confusion in the public mind - only sit and attend to things . expertl- exploited by the Treasury - between the rules tha t govern the Lottery awards and the rules that govern the The arts in Britain arc big business and they repay a minut e grants that we make for the support of the arts Nvith th e public investment a thousand times over. So Nvhen you rea d moncv Parliament votes to that end . It is felt that the art s a snide leader in the Sun or the Daih,Mail about Lottery are doing all right, and perhaps arc even rather spoiled, so grants, or tales of `luvvies lining each other's pockets' , what on earth is the Council doing moaning about cuts please remember that `lugvies' of one kind or another arc and demanding more Money : seeing to it that Britain is boxing above her weight in th e world as well as contributing hugely to her economy. The short answer is that eye are not allowed to use th e Only perhaps the Sovereign carries as much moral weigh t Lottcrv to look after the arts themsel ves. We can build beyond our shores as our artists . shining new palaces of culture, and some very needed and exciting bids have been successful - such as the new centre s In recent years British business has came to recognise thi s at Stoke-on Trent and Milton Kevnes, Paul iMcCartilev's to sonic degree, and I am proud to have played a small part Liverpool Institute for the Performing Arts and Ala n in that. What is new and exciting is that a city council suc h Avckbourn's theatre at Scarborough . But we cannot fund as Gateshead believes that too. This was the council which what goes on inside them . On top of this, the funding under the visionary scheme established by my predecessor , consensus, which has always governed the Council, has i n Lord Palumbo, submitted and won that brave bid for di e effect broken down . Successive governments may not have Anthony Gormley sculpture, the Angel ofthe North. As a provided the money needed but they broadly maintained senior member of the local council put it to me : the provision . Now it is not only being cut in real terms ; it is being cut in cash terms .
7
Since I became chairman of the Arts Council (IfEngl,lnd That view v.-as backed by 1lichael Heseltine in a trenchant in April 1994 . the Government has cut Mir current budger speech at the Roval Socien- of Arts in Max, and I a gree with by about .I 7m in real terms. A further Om cash cut i s him . But as more money is raised and more grants ar e threatened next sear. All this is a violation in practical terms made, we are confident -- and ss c are working with th e of a manifesto o)mmititlenr to t maintain support for the Regional Arts Boards ter ensure it - that the rcrir ins ca n arts. On an annual hug -ct to End-land of Icss rhan .CNIf)m share full\- in the spoils that the Lottcn- brings . I can sat, this is having a devastating effect. We risk crearing cs'nicis m hand on heart, that so tar no a award in one part of th e and dismay about the Lottcrt: The administration which counin- has been made at the expense of one made i n has, through the Lortery, otlered so much possibility to th e anorher parr of the counrrt . To date «e have sufficient ar rs, is at the same time making it exceptionally difficult fo r money the arts to take advanmge of 'what they have been offered . One of thcsr days a number of cherished orchestras o r TO quote Elie All-Tarn Select Committee of the House o f thearre companies w fl] go bust. I do not believe for a C .Umlllons: Minute that you can indefinitely protect every cultura l
institutieal trom marker changes, but ant- collapse n-ill be , 'JJlst fh7• once, let us praise sf);wtbim1 7 which has bren dime' well n 7 put it p I vcrs• much n•clcorn the Secrctanv of Stat e',. new dirccrions in respect o! nest- work, new talents And the making- of teas • audiences . 1 .1111 gratcfill to her tier listening to Its, an d responding rluickl\: It lucks as though the]-c Will be a smal l but wclo wmc shift fi-unl capital to content, from buildin ; ro people and audicitccs, particul 111V c°uung pcuplc . But the challt;r.s w'I[ take quire a time to work rhr'otigll . Ou r problem is etting gr~ I" from here to there. The sane financial I-C~lations, dif Brent from those n lwh goy err! our urlnts-in-aid, and the ..ogle need for challenge binding, Will N111,ain. The English ]larC a genius fil r sul•rou111ding beautiful creations and comrepts with rings ar f 1 -CL 1111 rul•1• tire . SO MC •hat to 11W Sill- pri1C, I non• find Mysel f in the unlikch role of Siegfried, hacking [M' WaV through these sr r that 1;rur111ilde mar rise once more to our rescue . Anxiety has also) been expressed about the share of grants beni-een the capital and the rrgions . Of our own aw .irds, the largest share has so tar gone to Le nd(w - as one n•uuld expccr, London bein g the national cahital rrfa Smal l cr motet'. But, as the HutlsC of Conmurns All-Party Selec t ( '0111111itteC Concluded : `"1h I.ntte rl ra7rts da lint Rn iui arinblt . ort'7 ir! usualll, to uri l~ plush I-Ccipi0llt-+ as t1je Rnral Op0ra House . . . Countl0tis 111110 , iit), and 1117'!11 e'lltelprls"bavc b0nefrt0d, r'ailgi gflrrl u imulll/III ltV Cc'1ltr"eSt0rd171Rt<111'tif7017~ iI1111 t, But. . . !ti rii tthat national institutions - Ill, I Cnreut Giv-d017 iu Londou n r Haurlidell Park in Glayioil, - sholdd reccire substantial aluouut.+. 17)1'V o Q7ht to 60 iarlsc-.c r7f'7r11tintlal pride', not e 117 .x .' N 7brAru(]iuncilo)Entllanrl199.596 For the third year running, vlrrualiv all our framed Secretary- Ge Hera I's orgamsat ons had to do without a funding increase. Standstill funding - in real terms, a deepening cut - has a report cumulative effect . Staff, both artistic and administrative , become overstretched . OUrreach work is curtailed . Artistic work suffers in qualiri; quantity' or bath. Eventually organisations mat' enter a spiral of decline in whic h diminishing box office receipts necessitate further cutbacks . National Lottcrv funding will solve many problems, but Hat these. Companies weakened by persistent revenu e shortfalls may find themselves starring in the midst o f plenty - presenting shrunken programmes in lavish , Lottery411i7dcd facilities . They may- even tail to benefi t at all, if thee- lack the administrative resources to make successful applicarions for Lottery funds, raise partnershi p funding or in7plement Lottery-funded projects . The Arts Council had to plat' contrasting roles in 1995/96 - distributing larger-than-expected capital funds while eking out smaller-than-needed revenue grants . With a workloa d that has effectively more than doubled, we continued t o contain costs in order to pass the I77ax~mtu77 possible to art s organisations. 499-1 Fillmlcial c vermeil , The lar'gcst award vas LC55m to the Royal Opera House , In 1995 96 our grant-in-aid was Z 191 m . This was ..5m with a tiurnccr L23 .5m subject to certain conditions . The more than we received in 1994 :95 - an increase of 2 .7% complerc renovation of such a massive listed buildin1 i s but ~till less, in real terms, than we received two sears ago . inevitably co srly; however, the project is a worthwhil e Ofthis,L'123 .1m was %pentdirccdy by the Arts Counci l investment in a flagship national company that will increas e and C59.6m was given to the 10 Regional Arts Boards . income generation mid make the buildinU 1170rc co)st- This comprised over 1,700 grants of which 93 -went t o effect.ive to run . I..ondon is tar from the onlt- large-scal e re` ularly funded organisations, 79 to tired-terns funde d beneficiar: other awards have included L'-11 .1 m as our organisations and 1,550 to individual projects and scheme s share of L() terV grants totalling LC64m for the Lowry A further L3.3tn wcm to directly tended activities such a s Centre in Salford, and alnlost .L 20m for a theatre and ar t the Contemporan- Music Nenvork and film production . galley- complex in Hilton Keynes . Sales associated with film production gencrated income of- f- 1 . :im. After all apportionment of .L 3m to the Lotter ; The number ofapplications has been far ;greater than L'4.8m was absorbed by oivenccads . This left an operating expected, and so) has the amount of money available ti, r surplus before interest ofd' 1 .7111 . distribution -- bode very welcome developments despite the inevitable IM-din on out- administrative resourCCS . As we anticipated, some orgulisations faced acure financia l At the end of 19953, 96 we were assessing some 60,; pro rblenls dut-ing the vC .u_. We were able to provide short - applications totalling over E500m, by the year 2000 w r term relief in a n11177bet- of CaSe .S With grant, from a now expect to have received up to 6,000 applications contingency fund set up at the beginning of the rear . totalling J-3-4 billion . The largest pavlllents went to bulldrn`-hascci theatr e corllpanies, particularly in the regions -- mans' of whic h .A prcco ndltlorl of LOUCI ' tending IS that pt'ulects shoul d .tl-e experiencing severe diffictlltieS clue W chronic involve some Partnership funding . Projects rusting unde r undcrfunding . .C 100,000 - making up about 75'% of applications to date -- have little ditiiculty in raising the stipulated 10% grimial Lottery partnership fielding . But concerns have been raised abou t The National Lotter-v has more than doubled Out- fUlId S the retiuiremcnt tow 25 IN4 parinct- htp funding oil lar gcr :tvailablC to rI' dltitrlb€ICIo 111, enabling us to provide a level of projects - in particular-, about Whether Sutiicicnt bindin g support t()r the conrltn's arts facilities that has never before will be tilrthcolming from the corporate .sector. Certain[_ ; been possible . It is alsor transforming the :arts Council : WC would not want to see corporate tilnds switched to from being concerned almost excluSivc[' with th e capital spending ar the expense of project sponsorship , professional arts, we are no-' able to respond to ideas ti-on l on which arts or-ganlsations increasingly depend . a far witier range of people covering the whole spectrum of, arts actlyln' from arllarcur groups tol cotllnlcl-clal arts The ]cpartlllcnt of National I Icrit:lge reyuir'es us to take enterprises. account Of the particulat- -Mil, ()t tlllll 111 distrlburing Lotter_- tlndS . We have here exPlorin- wat:S to do this With Lottery support, arts organisations can now creat e and to increase the ovcrall level of investment Ili fil m better facilities and larger capacities ; over time this Shoul d production, working in close collaboration with boldiC S mean larger audiences and we look to rryard ro the reselt111 g such AS the BFI, Ilritish Sr1rc11 Finance,. the British Scl-CC11 improvement in :u'n conlpallieS'reach and rcvcnues . ,Advisorv C :ourlcil, C_ :hamicl 4 anti the BB('. In the first yea r Fluwevel; we adhere strong[• to the view that Lottery tilnd s of Lottel-1" tillIdim" we supported sonic 17 blots. should be additiorl.11 to, and separate from, adequate revenue funding through the Arts Council's grant-in-aid . Our I..otter' support to date has been focused on two areas : capital projects and 171111 production . During 1196, i n WC mane our first Lottery awards at the end ofthe previou S response to new polies' directions ti'olll the Government , financial year, but began in earnest in 111596 . By .Apri l we arc developing a variery of new funding programrllc S 1996 we had -lade 533 awards totalling .L'340n1. These wil l Which will cnahle uS to support the conlrllisSioning of new support projects costing a total of 1'8-1? m inctudi110 " work, the cr'cativc abilities ofvmm, people, and iniriam,cs parmcrship funding . to inct-case access to :old participation in the arts. We are also developing a sc11enic to srrellgthetl the financial an d managerial bases of arts clrga111SI Orls . 10 Tkr.lrtr C:nrnrci! rr/'l rCglarrr# l S1S1.5'r)h Policy dn,dopineut Adrrzinistrr rum Booming Lorten , binds and constricted grant-in-aid both, The enormous rise in Lotterv-related activity has inevitably in different ways, require excellence in the development , required increased staffing in the Lorten- Department , planning and implemenration of our policies . To provide a where total state rase by 7 to 25 during the year, strong lead in this area Nvc appointed Graham Hitchen a s Corporate Polio, Director in Autumn 199- . Lcvv Hodges, Director of Finance and Resources, resigned in Fcbruan• 1996 . He was succeeded by Nigel Copeland i n In Jult' 1995 we published the strategy arising from the June 1990 . Arts Colmc11/1313C Review of National Orchestra Provision . We are now implementing it . Our intention is to deepen the Peter Ciunamer resigned his chairmanship of the Audi t relationships benyeen orchestras and rhei r audicnces - Committee and Lottenv Panel Nvidt effect Erorn :March through residencies, educational and conununirv activity 1996, haying accepted the chairmanship of the Roya l and stronger links with orchestral promoters - and to Opera House. He is succeeded by David Reid on the Audit ensure that our excellent chamber and symphony orchestra s Committee and Prudence Skene on the Lottcn• Panel . can offer a wide repertoire to audiences throughout th e countrv Outlook The level of revenue funding for the arts continues to give Work has continued on the development of a new dram a cause for concern . We had been told to expect a standstill i n police. In May 1995 we published a police Green Pape r funding for 1990/97 . In the event, we have received a cut of which was circulated as widely as possible for consultation . L:5rn. By judicious management of administrative costs w e In line with our aina of making the Arts C OLUIC[I's work have managed to preserve standstill budgets for virtuallV all more open and publicly accountable, we held publi c our funded organisations - for the fourth consccurive year. meetings tin the Green Paper in London and Sheffield as At the same time we have begun to develop new Lottery well as jointly hosting a number of disctrssiOras with programmes that could help stabilise hand-pressed art s Regional Arts Boards (RABs) . The views emerging fro m organisations, increase opportunities for publi c these discussions will be reflected in the White Paper which participation in the arts and respond to new artisti c is publishes{ this Autumn . initiatives. Rcgianal Ans Boards However, our new Lotten• initiatives will depend for thei r The quality and effectiveness of our co-operation with th e success oil a flourishing and properly funded nctwork o f RABs has continued to improve . In particular during arts organisations . It is therefore cause for serious concern 1995/96 the RABs provided important support to the wor k that we face a further funding cut of-0 .2m for 1997/98 - of our I omen• Department - developing capital strategie s for their regions, assessing bids and providing advice an d guidance to potential applicants . ~(S11e", Several RABs have made senior appointments . Roger Ree d took over the chair at South Bast Arts Board in April 1995 . There were three ncw- Chief Executives : Graham Lung at Man• Allen South West Arts Board in June 1991, Lou Stein at Eastern Secretarv- General Arts Board in Januan• 1996 and Sue Robertson at London Arts Council of]upland Arts Board in April 1996. Robert Hutchison joined Southern Arts Board as Executive Director in july 1996 . A landmark in our deepening relationships with the RAB s was the agreement at the beginning of 1996 that all 1 0 RAB chairs should be members of the Council, rather tha n the present five . The new arrangement takes effect from the start of 1996/97'. No public subsidy, Commercial and SubSidiscd theatre have been twalh • lntcrdcpcndcnt for decades . Indeed, the reason tha t no West En d British thcarrc is the emv of the world - both artistic.llh - and financially - is that public mono was im-Cstcd to revitalising regional theatre from the 1950s onwards . Since then a tremendous talent base has de c1l rcd rhreruo- h the UK' s ncnyork (f subsidised theatre companies . And it's here that actors, directors, designers, technicians an d managcnlerlt learn their craft . What%, more, direst U K theatre, outside the Wctir End were built, Sayc•d or funde d by public 111e11C1 ; thro Ul 111 the Arts Council and local authorin" grants. Even theatres nou m private hands were Sal-ed fi'onl disrepair and neglect clueing the 196()4 an d 19-(), ~%-ith public money and personal ctforr , is thr man Grhind a plerhurtr 1-rf'intrr~rationerlll srrccTSSfrll i unturercial blockbusters - Cats. I .cS M iscr•ablcs aril?' ~Ils, At a11y given time, most of the plays and several nulSical s Saigon e711101r17 them - Sir C ;amer•uri .1111ckirrtosh is arrrnaGA ' in the commercial West End Nyi11 has-e enlcrI'cd fi-on 1 the world 's most sari ce'«f ul rhi atr•e produco: But, as he Point s subsidiSrcl dlcan'cs . The International block[llstC[- MUSiCal, out, II csr End srrutsh hits - and the pc(Ple who lrnrk ou them - that attract millions of people (and, therefore, care milli([ s fique•utlr eartr• qc font the subsidised sector. So f7ir tller- crodrn q in tax re p cnuc) have nearly all been created by directors an d public arts S111r.Si& risks br h tjhtq the curtain down on e me of desiatlci's whose p lain protcSSic real experience 11 .15 heed i n Britain 's mosr priceless cultural and co melnle nssetr: its vibrant . the subsidised sector. The wide choice of 5,ho l s (n (Ater in thri?41117 theatres . London and In thcarrc, and concert halls arirfind th e country tCII 1'IWS .1 Vast aillollnt of money tier the British ec(110111V State touriSr authorities in countries Such a s Australia and A111CI - ICa have calculared that for cyery dolla r spent at the theatre box office, an additional asrragc o f S2 .70 i5 spent in the local economy througTh, fisr example , trayei, 11()rCls .llld rCSTlllr ' :1[lC, . The BI ' itlSll CCI1[1(111y bl'nCAltti from the sank knack-on eftecr . The arts are nndollhtcdly one of 13 1-11[,111 ' 4 most important induStries and - finlike nlnSt n1[ our, rtller indu'411CS - do notsutfer ti•onl t61'Citin Co Illpctiti(ln . hlsread, tlleir• mai n i,rohlem al - ISCs ti)ln the nndertilndin4" 4171161 , 11.1,ie117 t,llcilt . - [ 'he health of our [lational arts is now at a watershed . Ovcr the last fey years, the fabric (f British thcarrc, built u p over so 111 .u1y decades, has horn croded to a point wherc the "\ , Stoll is like a worn sock . The high profile rheatre CollTall1C, 11'Ctl' t,llftCl'tll} . IllC,itl'e ' 4 111-,55 roots AN . hoots th,u people aced and Supporr : nccatre in education , Schools' programmes, ftoflrishin~g rcIT1011,11 thcarrc ." \%-here Shakespearean productions are properly cast, grants ti 1- r dr:ulla students . . . In tact. the erosion is evident whereve r tllc Ilea `"Cneration (f produitiVC talent and a111diences i s dc•~elopinti - 1 ? Tbi :1 rte ( 'mmeil efTYualaurf 199.1 -li , When I started producing in the mid 1960s, the only way I I,Vc are all united in wanting to prese rve the fabric that ha s could get a show together financially was by working wit h givcrl us so much success . Sir Peter Hall recently said tha t a subsidised rcpcrton• theatre to launch a tour. The majorin• 1 01,1/b more real subsidy woukf generate 30% mor e of shows that my fellow producers and I put on during ou r productivity and artistic excellence . That has to be in th e formative vears came from state- and local authority - countn"S interest - both ccononlirilly and artistically: I t subsidised theatres. Mv biggest successes in the 1970s were is our llerita`;e at stake . An, company running a sensibl e the hLlgC l' stlccessf1ll Godspell t0L1rS. And their slices. ss was business would be happy to in vest such a reasonable almost entirely due to playing subsidised theatres, as ou r anxnuht when looking to secure their future - and ensur e Secretan•-Gcncral, Stan• Allen gill attest : she starred in the that they don't exhaust old product lines . We have to find show! directors, designers, administrators and great ncty actor s who are going to replace its when we reach our sell-bv date. If there wvcre no subsidised theatre, choice would shrin k Ncw talent is there ; it just needs to be hurt red . dramatically. I and convinced that audience figures woul d also shrink, because varicry stimulates artists and publi c Subsidies to the theatre provide a cushion for learning an d :alike . Spectacular musical productions such as Cats, experinlerlt, just as a commercial company might invest i n Les .,VIis6-ab1cs, Miss Saigan and Oliver! are only popula r testing a ncw prckluct that may not go into successfu l successes because they engage the talents of such world - Production . class directors as Trevor Nunn, Nicholas Wtiler, Sa m Nlendes and heclan Donncllan . Their main body of work Though the arts welcomes Lotter• funds, the Lottery ran rml\- thrive in the subsidised sector where they can wor k mist not become our panacea . Creativity in the arts alway s on new and classic plays and great operas, properly cast an d depends on people rather than buildings and the Lottery realised on a scale that does justice to the author's work . is not designed to keep shows running inside them . It is marvellous that the old buildings are going to benefit and Recentt; there has been a great deal of discussion abou t nc%V ones built. But if we have nothing to phut ill them an d Richard Evre's successor at the National Thcatrc. What was no-one who knows hots' to use them properly; what is the surprising was that so few candidates were deemed eligibl e point,' The Lottery's success is based on the national love for consideration . Of the few, most are currently working of a flutter. But the arts are too important to Britain to be for companies where they have gulled the yCn- experience gambled with in anyway. Furthermore, art has a muc h which made them worthy of consideration . But those longer shelf life than commerce and the UK cannot affor d same companies remain in constant danger of artisti c to squander its artistic fabric as it has done in recent years . strangulation . The small number of suitably qualifie d Rather, it should invest now and plant the seeds of artisti c candidates, unthinkable 20 years ago, is a deeply worryin g glom' and fiscal reward for the twenty-first ucntun: sign - not only for the great national companies, but fo r the theatre industr, as a whole. Everyone working in British theatre is prowl of its succes s and the enormous respect it enjoys %worldwide. Whenever I visit America, people constantly bemoan the fact tha t ( L KLtj there are so few directors and designers coming through i n the US to reyiralise theatre there. In Britain, on the othe r hand, there is a constant steam of new talent. The reason i s simple : the US does not have the fabric of subsidised theatre that the UK has . 13 1995196 summary of income fo r Combined Arts 1995 .'96 income analysis organisations regularly funded by + 'ntr ;butcd income 6'n the Arts Council of England an d :d Regional Arts Boards nc 40° u E 1996 1991 Combined Arts I-..,rncd inconi, 1 -474 19,71 9 A( F R B suhsidti I ~-, 04 I,5,S4S I_A E)rher snhsids 8,080 &498 ( ontrihuted intonac 2.1%0- 2 .81 4 I;,ta1suhridv .income +,n5 Danc e a. I .arnC I incnn7c• 19,908 2 ;,1)1)4 -k(F €LUl ubsid%- 36 0% ~[-F1L B% ;.ihsidt- 24,6€6 23 .02 0 )nccrsuhaids 2-343 2,41 4 contributed inconu• } , 03 6,628 Dance 1995/96 income analysis I[]ra1 tirrh\Id1 In :(),a7c l € „l () a3 .I a6 Dram a I".al'ncd ,llCuFltt' 1,a6a 77,597 ACE 1L1R suhtiiciv -€4 .429 44 .24,; l nc 3{)+! u LA other a IlStLi V 18,693 18,08 2 Omtribured incon7c• 5,056 4,166 - OUI stlhsids- inoinic 140,(743 144 .090 Film, Video and Broadcastin g Farnal incol,rc 1,367 23,5 2 A(.T.,'R,-\B suh, ;O\ 795 I .15 o I.A:onccr%uhsid~ 1-45 84 4 contrlhntt'd income 121 28 4 Toral %ubsidv,'inc{tmc 4 .63 0 %Cl-:, R A Literatur e subsiciv 4 harne~i ilic,mc 2,79;+ ?,~ + A(.'1- KAII%,hsidv 1,092 1,13 9 LA officr sub%icly 1321 13 4 C onrributcd incoMe '20 69 4 Toral suhs ;dv'incnmc: 4. 45 4, 74 1 Drama and mime 1995196 income analysi s Musi c C Iitral wuhsid%- incumc 128,954 130,"" 6 Visual Arts & Photograph y F .lrncd inccxne 8,125 7,692 :~( 1'.: RAI3 Snh.ld% 10 .:)42 9,876 [_A i*,ther,ui%~jds 3,52' 2,22 3 CfmtT;hutCd incnntc 1,949 2,22 2 l'otal uthsids `incol77c -14 143 22,013 suhsid~' 32"~n I'Icase n{)tc the two 1c,1r% .1re not dirccth nnmparahlc iuc it l nc c diHcrencc in the nurttbcr of o rpnisaticln< t% ho prrn idcd intr>rrmarion - 392 myanisarions in 1995 96 and 42 .4 organisations in 1994 95 - 14 I7u- _~ err C :nn>rtsl u%Frrstlan,d 1905 9n Music 1995196 income analysis Film, Video and Broadcasting 1995196 Income analysi s Ointrlbntcd income 11 % IA/ot l IA,'other subsi k suhsid , Farnc d income 49"u Darned income 51 % ACE/RA AGI:/IL subsidy c subsidy Visual Arts & Photography 1995196 income analysi s (:oniributed income 9N) 1 A; othe r subsidy 1 'sarncd income 34 % Literature 1995196 income analysi s Contribute d LA/other stihsidv 3 Earned income S9"'o AGE/RAB subsidy 23% 1S New work commissioned in 199519 6 Fur the first rims the Art, C :r nln,l! has c,,Ilccttd informarion abimt the amount of n xk work commissioned bs organisartons funded rcgularly bs the arts Council and the Rgnonal Arts Roards . ' Iltis int-ormation i s set Out in the table below. The new eork may not hale been pc ormed or presented in 1995 96 . Illc table drxs not include intormarion about ncss work supprlrted b y project or development funding . Ea,tcrn List London Northern North Sounccrn "outh South 11csr York,hire Y An, I- r a Art, Midland% Art, Arts West Arts East We t Midlands Humismidc Council of Board Art, Board Board Arts Board :arts Art, .arts arts England Beard Bnanl Board Board Hoard EAH, F.\1.111 ILAB, NAB NWABI iSAR SEABi ,SWA, tlMABi -111AB ACE , Combined Arts 1 16 1 ; 43 48 44 12 19 lit - 20 23 6 Dance Ballet 13 11 22 la 5 18 - - 13 3 46 146 Drama 22 21 48 Ifl 25 9 1 C) 11 15 14 85 2 79 \lusic 3 2 - 4 - - 8 - 1 49 6 - Film, \ Idco an d Broadcasting 4 - - - 43 - 1 - - - 6 J 8 Literature - - - 2 - 8 12 - 12 - 6 6 Visual Arts 49 25 4 71 1 11 16 14 5 - 121 44 100 532 'fatal ()' - I .;? _'fh 1 . 12 85 Is) 5f1 16 - 74 313 1 .38 4 New work by funding body New work by art for m F .AB Combined .Art s 1B Visual Arr, I ) .laic B .1 HC t Yl 1A B NAB WM -i SEAR till ; 10 I IJr' . 1775 ( U1rNiJI Or F r!RlrUtrt I UU,i U{i The Arts Council of Englan d Grants by art for m Rcrularl r tiuldcd proicct 'rota l organisation s grant s grant s ~:000s xOOOS ~.000 s ( :ombincd Arts 14,782 1,794 16,57 6 (;rosy-discipkina n initiativ" - 1 .242 1 .24 2 Dance 21,136 1,274 22,41 0 Drama 25,403 1,937 27,340 Education and Iralning 147, 729 87 6 Film, ` idco anti BroaLICASting 85 295 38 0 L.iterantrc 733 821 1,554 Music 41,938 1,827 43,765 -Iburing 1,165 3,128 4,24 3 Visual Arts 2,712 1,993 4,70 7 1 ;tah 108,101 15,042 12 .3,143 Cross-discip l initiatives 1.1 Combined Arts 13.5% Education and Training 4.7% Film, Video and Broadcasting 0 .3% Literature 1 .3% Visual Arts 3 .1 Tour 1 7 Numbers of adults in England who atten d arts events 1986187 to 199519 6 Tie ligurc•scome kom rhe - largetGroup hldex CIFU i,conducrcd hr RNIRB Iwernanonal .'hl ;tcollect s intilrntaritm each Yrar irons 25,000 adult-, in Fligland, Scotland :ttld VVAC+. In 1995/96 the nunthers cot adults who artcnd wcrc at their highest Ic%-cls during rhese rcrt `-cars for oper a 128 11/4 nl, err Alan in 1990'871, art gaffe rics;'art rxhihitiunti I9% me ore I and il :tscii .ll nuisic 17{4 b nture I ; these growth rates were higher than the increase in the adult lxopulation Omer the same lxrio d i4 1% 1 Altlu nigh the 19951196 level flit ballet was lower than in 1994/95 it wa% still 19% higher than in 1980!87 . C ;onlcnllxlrary dance rcpmcd ncc Icl,c•I it was aehic•ring hctorc 1990 11 91 . For pl .ll :s ncc 199_, ;96 levcI %% .v, lower than for 1994195 atld for three earlier Ye-irs . The incrcasc IVtwC-C II 198(1 ;'8' .111(1 1995!96 matched the increase itl the adult pclpnlation . The figures fior jazz since 1990/91 cio nor necessarikr indlCAW a decrease, since -chef' maY have been influenced hY the addition to the rlrget tiroup tildes .1t I'r111/kock in ncc 1991/92 suncY. lit earlier rears people Ina \ lure classihcd as •j,lZZ C•CC'llr% 15'hlCh, \\ . heft g1rC•n .1 1 :h1llCC hetlc ern 'laiz'and `1'op/Rtx-k ' ell the 1991 ;9 2 survey and suhseyuc'nrh ; 17110 cl .lssified instead a, Top, Rock' . I lou-eler, the levels in rlle three most merest vcars were• well alxwc those tin• 1991 '92 and 1992,N3 . 10 millil m Play s 9,5 lnilhon -men d 24,1' .. . .I idul n 9Inilhon Art galleries/Art exhibition s 8 . 7 nlsliltorl amend 2 .1'4 .M .Mull s 8111illio n million 6 million 5 million Classical music 5 million atwi d 12J`fb ofadults 4 million 3 million Ballet 2 .7 mill ion attcnd, 6.9% of adults Opera 2 .6 million attend, 0.5% of adult % Jazz 2.5 million attend, 6.5% of adult+ Contemporary danc e 1 .6 million attend, 4-2% ofadults 1 million 1986/87 1987/88 1988/89 1989/90 1990/91 1991/92 1992/93 1993/94 1994/95 1995/96 Arts Council of Englan d per capita spending by region 199519 6 The graph ht )ws the - 1'fularion. Each colurssa h : : .t ': iing elrnsrnts : direct funding which is awarded hi the .fir :, e )-Lincil for activitics a hic h take place within specific reCrons . the main ~r3 ;lr, mad e to die Regional .arts Boards during the star: and grants as% ardcd hs the Am Council . ,Lich as publishing and research grants, -Which cane- )r he ariributed t o me or moire specific regions and which are rcear,led as benefiting al l rcgri T squalls'. ['he cable also r shows the amount allocated to the national companics per head of population in England- This expenditure is not included i n nce per capita anal% is . The table shows the spcno ing of the AnS Council throughout England in the form of grants to regular clients and short term projects sv irlim each of the tcn areas covered by the Regional ?its Boards . The total value o f grants awarded during ncc year was El 82 .-m. 4which i64.7 m 36f16 i is as awarded to the following national companies : the Royal Sh .tkespearc 0 impanr. Royal Opera House, English National Opera, Roeal Nationa l Theatre and the South Rank Board . The regional total of4'1 l Km includes £-9 .`)m which was otlcrcd throug h the Regional Arts Boards and .C'-0 .5)rn spent direct[ bs- the Council i n rhose regions . Norther n £3 .20 ~ Tonal Tiual Tota l grant+ grants ;rants T )ra l per capita per capita per capita grant s 199-'96 1994-- 1993 4 in 000s Yorkshire & Humbersid e Eastern 1,41 1,34 1,33 S, 183 £2 .7 6 Ew Midlands 2 .2- 2 .18 2.03 7.639 London 4.01 3.96 4.00 2- --2 Northern 3.03 ;A o 9,973 320 Nort h North Wca .699 2.42 2,49 2 .44 151 Wes t 2L26 111,496 Snuthel'n 2 .05 2 .0- £2 .4 2 South East 131 1 .34 1 .26 51,282 East South lVest 2,51" 129 228 9,126 Midland s 1'vesr \lidlands 1 .9, 1 .88 L91 10,322 £2 .2 5 l+rrkshire & Humberside 2,70 2 .1i 2.43 13,-2 143 2 .34 133 t17,968 Wes t Midland s A National companies 1 .33 1-33 1.30 641 743 £1 .9 5 Eastern £1 .4 1 Totals 3 . 6 3.6 7 3 .63 182,1 11 Londo n £4.01 Souther n £2 .26 Sout h Grants lx nehting all regions equal[- East LI.3 1 Direct spending by ACHE•. Lin clients in the region Sout h West \lain AC ."E grant ro Regional .arts $ ant £2 .37 20 TheArts Council of'Er{riland199.59 6 DEPARTMENTAL REPORT S 22 Combined Arts 24 Dance 26 Dram a 28 Education and Trainin g 30 film, Video and Broadcastin g 32 Literature 34 NIusi c 36 Touring 38 Visual Arts 21 -4k - i 'N- With a full staff complement for the first time, th e The department continued to stimulate wider critical department was able to undertake several mileston e appreciation of Live Art and inter-disciplinary work, projects that will have a major impact on the fururc of supporting a range of initiatives such as the new on-line combined arts . publication, Brcffer. In addition, it selected artists an d directors to produce seven pieces of live art for the BBC' s Bur progress was achieved despite a particularly hostil e l;.yfln lino Pictures series ; and Nottingham Tren t financial climate which forced the Artrage Intercultura l Universitv officialky launched the LiveArtAudit . Development Agency and the DisabilitvArts magazine int o With support from the department, the Roehampto n voluntary liquidation, and imposed severe constraint s Institute developed a National Carnival database . In a across all department activities . parallel initiative, the Carnival Committee considered how to develop and profile the UK's carnival arts beyond th e The department began its research into arts centres with a Notting Hill Carnival (at which the department funded preliminaii, questionnaire that registered a 7 ')% response 56 hands) , rate . The National Disability Arts Forum began a stud y of the creative opportunities that new technology, offers Swansea's Year of Literataue and Writing reached a disabled artists . And a third departmental study examined successful conclusion and the Northern Region's Year of the capital needs of the Combined Arts constiruencv Its Visual Arts began . Middlesbrough hosted the Internationa l members are rarely building-based and few have benefited Drawing Biennale, the world 's biggest internationa l from Lottery funding to the same extent as building-based drawing shoxv; while Tyne and Wear hosted a series of artists and permanent arts organisations . exhibitions featuring new acquisitions from the Art s Council, the Tate Gallery; the Contemporary Arts Societ,v After lengthy consultation, the department merged it s and the Crafts Council . New Collaborations and Live Art Development funds int o a new Combined Arts Projects Fund -which takes accoun t Despite financial constraints, d-ie department's two largest of new trends, particularly the increasing use of digita l organisations - the South Bank Centre and the ICA i n technologies. The International Initiatives Fund was London - both recorded memorable successes . The South reviewed to ensure that it continues to meet the needs Bank Centre hosted theMeltdoirn festival directed bN, Elvis of UK promoters . Although heavily over-subscribed , Cosrcllo, DV 8's Enter Achilles, theArt and Power exhibition it supported around 70 international events, includin g and Fiction International . ICA highlights included the sell - africa95 and Cirque Plume, the exceptional New Circus out Rapture season and Art and Innovation, supported by from France. Toslvba. The department also supported an exciting range o f Live Art and inter-disciplinary events - despite financial pressures: -with ..400,000 available, for example, the Ne w Collaborations Fund received 203 applications totallin g over 1.2m. Nevertheless, the standard of work remained high. Notable successes included HG, a collaboratio n between Robert Wilson and Hans Peter Kuhn at Clin k Street Vaults, commissioned by Arrangel ; and T'heMaybe, Cordclia Parker and Tilda Swinron's performance installation at the Serpentine Gallery. Combined Arts 23 Despite changes anuing key ,raft: the departmen t Work supported by the department continued tot notch up continued to consolidate its work and relariom -with it s dance and television awards worldwide : Ourside III, Alistair funded organisations remained solid . Fish and Touched, part of the Dance for the Camera series, were among the winners . This was particularly evident during the policy rcVie%k ' process, which proved a highly productive exercise and The departments trainceship in artistic directoring schem e generated welcome dial()vuc with the press and th e bore fruit with past trainers making a posirive contriburio n profession. The annual Dance Qpcr1 meeting at th e to the profession, notably in the programming of Nationa l Y()rkshire Dance Centre g.1Ve the profession an oppurtunin Dance agency events . In all, the countn' 's seven Nationa l ro contribute to the development of The Policy for Dance Dance agencies attracted (wer 300,000 people to 13,00 0 Funding ()f the English Arts Funding System . This Was dance classes, workshops . talk,, and performances acros s finally endorsed bV the arts Council in Februan- an d the count:: identified fis-e prim-itics : dancers, creativity, audiences , infrastrucrurc and the dance ccononiv. \atli mal lottery bolding provided welconic opportunities tr> improve the country's dance infrastructttre . arllong th e after seven years, senior dance officer Julia C:u'ruthers left tir%t on anisations cal yin Lorrerv tilndim, tar Venu e the arts Council to undertake consultancy work, Grcgon- 1111prclyernents a'e1'c YOrk%hirc Dance Centrc- Northern \ash joined the group of development advisers . Three ne w School (A Contemporary Dance and Sadler %, Wclis . Adzll{(1 nlcrlibers joined the Dance Panel : Marion Tait 011E , won funding for a new tour bllti while Dancetchant7c , icn'ille Jones and Koss McGibbon . 'Iivo accl.linled dancers Birminghani and C .lieslure Dance Workshop received whose careers have lung bcnetited from the departrllent 's -t(M'.lyds production equipllicnt . support received horlotti's : Dare C1• BLtssel{ an 1913E an d Sh(lhana Jryasin~~h an ~ll~l-: . Several kcy clients were appraised including Shoha m kvasingh Dance Conlp .lny, lambert Dance Gniip:lnv Arrion- the wear's most nlrnulrahle artistic highlights was .111Li Adventltres in Motion pictures. the maink -Illale Swan Lake by Ad\'Cntures in \Ictric~n Piltllr'es - a sell-out at London's Sadler's Wells, Davi d -1,11I-llghour the year, the dcp .lrtnlent C011611LICd tO IUht-w Bintley created his first new w(wk for Birmingham Roya l Vii oruusly for more discrrtionarV training grants, whic h Ballet since takin g ovcr as its arristic dirccrtrr' : Carim.Irf7 are heconling alarrnin-h- scarce. Burmrn completed a sell-out season in l3irnlin„h,lm b6or-e undcrtaking a higlllV successful national tour. America n choreographer Twvla Tharp created her first bill-length work tilr a British company : Mr 11nrldlr 11isc iilr the Koval Ballet. In Sourhampion, English Narional Ballct'sAhcr played t o c,lpacin' lUdICnQCS and the 0 YTllpan y' S major edtrc .im anal pr-ogranlmc, l'nsspvt ru lithe t, won a Sainshurv 's arts ti>r All award. The C:hohilorldelcy%' outdoor PC I-filt-111 .1 lice fit' Car attracted plaudits and sponsorship support from Saab . British Telecom sponsored a national, VC .u'-round progranltile of youth dance Cvents wllich culminated ill a spectacllla l' PCI 'for'IllaI1CC At Lfllll{() n's C)LICCII hliz:t[let h Ifall, Five ch(Ircographcrs received .C1?,0 12,000 each fr()I-n tile Paul 11an11Vt1 Foundart(m, 16 short-listed c:llldidares CKII received J'500 . 24 The Arts('euniit „1'Ef{rglrtud 1991 96 4r There were several changes among senior staff during th e Artistic success was achieved despite a deterioratin g year, notably the departure of the. Director, Nick Jones . financial climate which forced a rising number of building - But under Acting Director Kathleen Hamilton, and with based companies into debt . Indeed, the Arts Council spent advice from the Drama Paiiel chaired by Thelma Holt, the over half its contingency fund supporting chronicall y department and its funded bodies maintained their under-funded theatres -- mostly regional . While the benefit s commitment to staging high quality; accessible work . of National Lottery funding are indisputable, the fac t Aruna Stapleton was appointed Drama Director in Januam remains that newly renovated and refurbished venues ar e of little use if they cannot afford to fiend performances. Remarkabh; work on regional stages continued to flouris h despite the financial struggles most regional theatres face. Several theatres across the countn• received major Lotter y The West Yorkshire Playhouse had a particularl y awards. They included the Stephen Joseph Theatre , memorable year, winning a clutch of awards from th e Scarborough (1.1 .48m) ; the Nuf1~ield, Southampton 'Theatre Management Association including best overal l (.C 1 .28m) and M anchester's Contact Theatre (L4 .46m ) . production (TitusAdronirus), best actor (Anthony Sher, In London, the Globe received a L12 .4m Lottery grant and TirusAndrorucus), best director (Barrie Rutter, The Cracked rile Royal National Theatre was awarded up to .01,59m. Pot) and best designer ( Robin Don, The Winter Guest) . Regional audiences are set to benefit from the Roya l Other award-winners included Kate Dean's Rotcgh (at Shakespeare Company's decision to reyietti- its model o f Birmingham Repertorv Theatre), and Joe Penhall's Some operation . This will pave the way for the RSC to reduce its faeces (at the Royal Court Theatre Upstairs) . They were presence in London and raise its profile elsewhere in the joint winners of the John Whiting Award, while the fifth country. Extensive consultation on the department 's Green Meyer-Whitworth Award went to ;!Michael Wynne for The Paper reached its final stages ; a White Paper is scheduled for Knockv, also at the Royal Court Theatre Upstairs . Leicester publication in Autumn 1996 . Haymarket transferred two productions to the West End : Mack and Mabel, and Calarnitr Janc . Finalh; the }ear will be remembered with sadness following the death of Tern, Hawkins . A department officer for two TIZe department snpportCd several successful small-scal e years, Term was widely respected throughout the theatrica l tours including Flesh Fly, Trevor Lloyd's adaptation of Ben profession and was instrumental in developing th e Jonson's Lolpone, performed by Graeae, Europe's leading departinent's relationship with its practitioners . company for disabled people_ The Quicksi lver Theatre fo r Children's tour of Shaun Prendergast's The Giant Prince proved highly popular with young thearregoers . In the capital, highlights included the Londo n International Mime Festival, a celebration of contemporar y_ European work at the Gate Theatre and Jez Butterworth' s Alojo at the Royal Court, which received the Olivier Awar d for Best Comedy as well as a Critics' Circle Award . The Royal Court, meanwhile, soon the Prudential Award for th e Arts. Notable fielded projects included ICir of Prussia, written by Nick Darke and performed by Cornwall's K.neehigh Theatre. A co-production Nyith Theatre Royal, Pl-mouth , it concluded a national tour with dates at London's Donmar Warehouse . Drama 27 q snow, 4v7~4, for 146 In 1995/90, the department consolidated its activities In partnership with the Calotaste Gulbenkian Foundation , in three principal areas_ ;assisting the arts sector to develo p the Arts Council supported research into the arts in schools . its training and cducation work ; handing activities tha t -I'hc RSA published the findings in its report Guarantecin 'l support the arts infrastructure ; and promoting the an mritlentent to tbcArtc in schools, which seas launche d importance of the arts across the education and trainin g by Sir Malcolm Thornton at the House of Commons i n sectors. May The report highlighted how curriculum changes ar e atlecting the arts in schools, and how time and resources Development initiatives included theAppiviticechip Scheme tier the arts are being squeezed . The publication has became which enabled eight people with disabilities to take o n an cftective advocacv cloCUtllent for the Arts Council o f management, administrative or technical roles in art s England . organisations. The department also funded 23 arts organisations to explore new ways lit integrating educatio n In October, the department held a major conference - work into} their organisations . In collaboration with the 7inining in theArts - in partnership with the Arts an d RABs, the department helped ten :arts education agencies Entertainment Training Council (AETC :) . Keynote to develop their activities ; and the successful traineeshi p speakers included Dr Mcc Yan Cheung-Judge and Dr Pete r programme enabled 18 trainees to undertake an analysi s Honev. Over 20 workshops offered the 1 .-)0 delegates a n of their individual training needs . opportunity to network and catch tap on the latest trends t o arts training. Fifteen Black and Asian artists with experience in educatio n work received training funds to undertake specific project s After a year of consultation, the Education and Trainin g designed to develop their education practice . Green Paper was completed ; it was published in June 1990 . The paper outlined how Lottery funding; might create nesv The department continued to support the arts opportunities for young people; considered the education Infrastructure b\- funding a range of organisarions includin g work undertaken by arts organisations ; and discussed th e the Independent Theatre C OUncil, the Arts Trainin g training levels required to support tomorrow's arts sector . Nerwork, the Arts and )entertainment Training Council an d the National lnstltnte for Adult Continuing Education . These bodies play a vital rule in providing training , developing qualifications and enabling thousands of adult s to participate in arts projects . The department launched a number of initiatives designe d to raise the arts profile within the education and trainin g sectors. It ftandcd the National Foundation for Educationa l Research to audit the education programmes in 900 arts organisations. Twenty'-two major trusts and foundation s which support arts education and training took part in a series of meetings to explore the options for fun[re development. In addition, the department collaborated with a number of influential organisations including th e Schools C.urriculurn and Assessment Authority• u[a th e statutory arts curriculum ; the Department of National Heritage on its arts review ; and the Council of Europe on its arts education initiative. Education and Training 29 Film, Video an d Broadcasting In 1995/96, the department continued to strengthen The department maintained a firm commitment to new relationships with its constituency, other Arts Counci l technology initiatives . In May 1995, it launched The Hub - departments and broadcasters, many of whom face d a durum designed to explore and promote the creativ e considerable upheaval within their own organisations . potential of the computer. As well as establishing its ow n Stronger links and greater flexibilin , helped bring to Internet site, The Hub held regular meetings for members fruition several milestone projects. in London and Bristol . Through its Emotional Compacting initiative, the department commissioned 12 pieces o f One particularly notable success was the commissioning interactive work for The Hub site. of the first F_vpandirtq Pictures series, a collaboration wit h BBC2 and the Combined Arts Department . This highly With support from the department, the Film and Vide o innovative project features nine films by performanc e Umbrella also launched an Internet site, TechnoSpherq and artists/groups working collaboratively with independen t presetiredAccess AllA;-eas: HsionsoftheFuture at the ICA, directors, and works by film and video artists . Another an exploration of artistic trends in cyberspace . The significant partnership was with Channel 4 on .,14idntgbr department also gave substantial support to Pandenaonaum, Undeiground, a showcase for innovation in Hi and the London Festival ofMoving Images . This event, the first Super 8 formats. international festival for the moving image avant-garde in London fir over 20 years, received additional support fro m The 29 productions broadcast during the year attracte d the London Arts Board and the London Film and Video Sm viewers. The second series ofDance for the Camera on Development Agency: BBC2 attracted t,vice as manv viewers as the first series . Outside In continued to win widespread critical acclaim an d In collaboration with Channel 4 and six leading Londo n awards, including the Grand Prix at the prestigious Pragu e facilities houses, the department continued to offer vide o International TV Festival, Indeed, the departmen t and film makers access to state-of-the-art computer imagin g maintained a high profile at film and television festival s technology through its Hi Tech Fund . worldwide, winning several key awards . Meanwhile, productions supported by the department The second year of the Disability Arts Video Projec t continued to attract buvers on the international market . followed a new format : 12 disabled video makers receive d Broadcasters from as far afield as Canada, Israel and Kore a research and development funds ; six went on to win full bought a total of 42 programmes . Best-sellers included production commissions . Opera hnaginaire, which has now made 48 sales worldwide , and The Sorel of Smy, which made five sales in 1995/96 . The BBC reviewed its commissioning schemes whic h halted planning of the third Soured on Filrra series. But flexibility' and teamwork ensured that fiuuis were reallocated to Oil on Canvas, produced in collaboratio n with BBC Continuing Education . Similarly; after Carlton TV ,,vithdrew its support for Svncro, die department successfully reallocated finds to Channe l 4's cultural diversity series Black Tracks, and committe d further funds to Isaac Julien's Frantz Fanon : Black Skirt, WhiteMask for the BBC2 series Tv . 31 Literature Like other art form departments, Literature had a standstil l Write Out Loud, a joint scheme with BBC, North and the budget in 1995/96 . Regional Arts Boards to encourage new and innovativ e writing for radio, provided training for 24 writer s The current Lotten , guidelines' emphasis on buildings throughout England . Some of the work thev produced wil l and capital investment has inevitably made it difficult fo r be broadcast and the scheme is being repeated this year. literature projects to qualif,, and despite some ye n The Writers in Prisons scheme ran 1 I residencies and wclcomr awards, including; those to the Anon Foundatio n inffuetrced the Home Office to set up a standing committe e and the Poetry Society ; literature attracted only abou t on arts in prisons. We brought several African writers, 0 .251% of total Lottery arts funding in 1995/96 . including Wole Soyinka, to England forArtsin Afiica events. And for the first time all four UK Arts Councils In September 1991 the book trade abandoned the Ne t joined forces with the Irish Arts Council in a joint initiative : Book Agreement, which prevented discounting of retail each selected one major local poet for the Five Cities Tour, book prices . There have been fears that widesprea d covering all five countries . discounting would damage independent booksellers an d small publishers. The department is monitoring the effect After Michael Holroyd relinquished chairmanship of the over nto years, to partnership with Book Trust and th e Litcrantrr Panel in February 1995, Lord Gowrie took ove r British Library. Mean-while, our now fund for marketing as temp owary successor until March 1996, when Andre w independent presses helped 11 ti publishers to promote Motion took over the panel chairmanship . their books nationally during the year. The Music and Literature departments have been pilotin g Events throughout 1995 marked the Arts 2000 Year of ways of advancing the process of integration herwwn Art s I..iterature, This was a nationwide celebration, focused o n Council departments and the Regional Arts Boards . We S"vansea and W]Ics and originally instigated by the Art s made excellent progress and produced recommendation s Council of Great Britain . It proved a great success and the for implementation, subject to Cmincil approval , new National Literature Centre for Wales provides a in 1996/97 . tangible legacy. Library work included completion of Library Trainin g Modules Currently being prlotCd at the Universities o f Central England and Sheffield Hallam . VVe hope they will become fitlly credited parts of librarianship training. Sbelf'Trtllt, a guide to literature promotion in libraries, wa s published in April 1996 and will be updated regularly. 33 It was a challenging \,ear for many music organisations . Lotten, tune{ink, presented some music organisations wit h Cutbacks in local Wthorin' budge« tiarced promoters t o vital new oppornulitics. For csatllplc, the Arts Council wa s reduce the number and range of events, and sponsorshi p able to assist braes bands to purchase instruments for the and donations became increasingly difficult to find . But the first rime. In all, over -0 bands received grants . The Counci l cflifrts of artists and administrators ensured that audiences also made Lt)tterv awards towards the building o r enjoyed a wide range of imaginative, high quality work . refurbishment of music venues and rhearres . projects that ~s-ill have a major impact in \ ,cars to come . The mosr notable st[ccCSSes among projects supporte d by the department Included the Cite ofBirmingllam The CD of Sir Harrison Birtst i.stlc's opera Gairain was Symphony Orchesrra's Beethoven series under Sir Simon relcased. And two other recordings sttppc)rred by the :arts Rattle and its Fioies season of the Thrards rbc .lfrllenrnium Council reached Britain's jazz trap tin : Dick Heckstall - %cries; English National Opera's Ti-an and Lsolde. and Smith's Celtic Sreppe~ and Julian Argelles He nne Truths. Welsh National Opera's hiuIlly succe,401 50th anniyersanv Seam )n featuring pri ~dtlctlt)ns of Nabucco, 7bc Rake's Policy development and Implenlctltation, in close Prurfre +, Crmaller'ia Rustiuzrra and I Ftlahacci, collaboration with the Regional Arts Boards, was a n important teaturc of the departme'nt's year. The orchestral The Purcell Tercentenary celebrations took Purcel l constitclcncy u'clconled the orchestra] sil'atc,* 'The decision perfi)rmanees to areas of the countn' that had not to balk the strategy with additional hinds for chamber an d previous]\, hosted early music eVents, while the London symphony orchestras from the 1996'97 hudget Cotlfil'ml'l1 Symphony Orchestra's Bruckner. \1{ dart series wit h the Arts Council's commitment to addressing needs in thi s Sir" ( ,olio Davis attracted lanye, enthusiastic aUdicncc s area. A more open dialogue with the jazz constinlcnc y to London's Barbican Ccntre . developed though the war. As a result, the Arts Counci l will produce its first policy for jazz in AL1111111n 1996 . The Bournemouth Syniphony Orchestra\ Vaugha n Williams series attracted critical acclaim and the ,Sn-ikiun a \'etl, Note - the consultation paper on nc%y 11lusi c appOintment of'Yakoy hr"C'Ixberg ,15 p3"lncr]1.11 Co11dUCtoE" - was a key priority for the department throughout the year. was widely welcomed . The Bour11i111wrh Sinlirnictta's New mw is cros .scs all musical genres and over the las t Cornwall residency and the Northern Sintimia's village hal l decade it has fintlld a new cncrl„y and vitality, The \,oltlnl c wl'tc5 .11'0 IUst ttyo es :llllplrS Of many ourstanding :Uld1C11Ce of feedback from those r]lyol"cd In 11111' MUSIC today deyc•lopnlent initiatives undertaken by the dcpartment' s indicates a common concern and ctrnlmrtlllcllt to orchestras in rural areas. developing a dynamic Culitn-C COY the nCw nlillenniunl . In Septcmbcr 1995, I .iyerllool s I'll IIliarrnurniC Hall, holll c of rllc Roval Liverpool Philharmonic C )rclicstra, reopene d after CStetlsive restoration work, ' llu initiative - a considerable financial undertaking - returned the spectacular Art Deco buildint- to its 161.111C'r splendour. Heart ' I) ' S(1l1] - a Company whiCll i111'oI1'CS people With L11-111 11 1 difhcultiCS Irl MUSIC theatre pert'01-111,111Ce - sttccessfully completed .1 national and internation,11 tour t o a range of yCrllleh . In March, jazz players based in Britain and the Caribbean -Rllcred at various venues in London . Birnlinghartl and 4w jeld in f NW5 Narroual Opera s Liverpool for the first Carihbcan Jazz Convention, a prndrrrtinx ofMJLJJm Butterfly. MCIN-arion of the region's influence on - and contribution iPhoro: Brian Tarri to - rile dcyeloprtlcnt of j :l%'z worldwide . Music _Alp mow '- . I During I995 . 96, rile department continued to consolidat e Highlights of the 1995 96 CAI N season included the first and develop its activities and touring initiatives . UK tour b\• New York's Ban, On A Can All-Stars ; a tour b\• the Smith Quarter to art galleries ; and the critical]\- Among the \•car's most significant dct'clopmenrs was th e acclaimed rerurn of George Russell's Living Time launch of the Barclays Stage Partners scheme. This Orchestra . initiative, jointly funded b\- the department and Barclav s Bank plc, will pro vide .C2 .5m over three scars. It aims to The Opera, :Music Theatre Projects Fund supported th e encourage collaborations between arts orgallisations t o succc,>ful debut tour of The Opera Conlpam-'s double bill produce and tour high yualin• work for the benefit o f Dic .1hilTic Purr and Rirpletty, and Opera Factors•'s Dino reg iOnal theatre, and their audiences . and Cutlet]' River. First awards were announced in April 1996 with the blu r A high point of the dance calendar was a large-scale tourin g winnrno, consortia touring to over 20 vCnues nationwide . production of a mainly-male .Saran Lake b\• Adventures i n Work% include Blur _11urder by Peter Nichols, Steinbcc k's Motion Pictures, cO-funded with the Dance Department . 0j'.llierand Men, a Robert Lepage production; and nv0 productions from the Ma]y Dramatic Theatre of St Ise\- projects involvin g work fin children and vnung people Petersburg - Gandcannif and Claustrophobia, included roues of The ;llartic Flute by Unicorn Arts Theatre and TA'Adrrrrtuartor mocahtrr, a co-production betwee n The department', nenvork of marketing; developmen t \ortin«hanl Plavliouse and T atro Kismet. agencies expanded wirll rile launch Of the Wcst Yorkshire Arts Markcting Group in Leeds . The ncr ork -- joint]\ ' Among the \'car's memorable international dram a funded by the Regional Arts $cards, local authorities and productions wcre Jazi to i fi-om Suurh Africa and V4, 17 the Arts Council - now has 13 agencies across the COU110 v Baroig front Bali, both promr>rcd by LIFT, and Phaedra by the National Theatre of Cnii(wa. Other drama hltrhliifits National Lottery! bolding began to impact On rile counrl-v' s included rile Abbev Theatre, Dublin's ObSellY the SMIS Of network Ofururirlg vcnucs and rile addition of a new venu e ClcterAMvchii ra Toil 7rds The ,Srrnnne, produced by Thelm a -The Castle in Wellingborough - has helped to expand th e Holt Lnl ; .1nd the Ro v al 1 xrhangc I hratre 1 [chile tour o f touring circuit. I'he dcpartrllcnt colltirlned to allocat e The Caller n Binrrr, which toured n.ltionall\' tO 11011-thcarrc vrnuC dCVelopnlCnt funding to enable touring VC11LIes er r \•C1ILICS . expand and enhance their pr0gramnlirlg and devcl0p thei r audiences. Mean\vhilc, Out Of j0lllt went from strength to srrcrrgth , with its .Srcr1 mil of'Clnirtrrrrlr„a winnim, no Irss than seven The,icpal-tiilctitstrengthened links throu t,hnut its AW,11-dS 111cludrng RVO hest ,;erne awards tilt' Dollar .McCann ; constituency' and hOSICd nVc p 1rticularl\' SL1CCCSSfU l Best New Play 1996 from the Critics' Circle; and the conlercnccs . The fiI'St included venues and companie s Llo\.Lis Plavwrlg ht Of the Ycar Award (to Sebastian Bar'n') . Involved in tollr"ulg and education work . A second - artcnded b\• around 50 delegates - brought togethe r producers, promoters and Vcnucs Within the COMC 111porarv Music Nenvork (CMN) to tcntcr communication and address the tinurC devclopnlcnr ofthc ncnvork . Touring r d, 36 77irArtt Carpw` Visual Arts New technology ~~ it a stn) g si,cus her the scar's acct % The popularity of t}lc .art, ( . ,Lin, il-tLindccl Nationa l Charmed, a web site tier the arts, won fundim , to link k o Collections ToUrs enahlcd the National Gallen to secure photography and media ()rUanisaricns . PhomArrs 2000 , sponsorship ro continue regional o .rllaborations. the agency planning 1998, Year of Phorography and th e The c1cpartment s commitment to increasing support fo r Electronic Image, received la(10,0{)() from Europea n the visual artist saw the launch of the First Time Pub11C.16orl regional development funds . The IIIStItU[C of International Fund to promote artists ' careers ; and rheAitistc'Accecs To Visual Arts 1 inIVA> began a major Internet initiative an d Art Schauls pilot scheme, which funded 16 placements . This AXIS, the national artists' database, registered rn•er 1,50 0 was the final year of a partnership with the Conternpora n artists and deyelc reed an online ser vice with Artlinc i n Arrs Socien' which enabled three regional galleries to Ireland. Research into the creative use of ncty tcchn Touring fields satl4v ()Illy a fraction of demand. Supported SC\'eral education projects concluded succcssfillly. shows included Desert at the John Hansard Gallen ; A partnership bemeen the Arts Cirtlltcil and Open Southampton; 1171ham Nicholson at the Towner Art Gallen, Uni versity, in association with the late Gallen, provide d Eastbourne; and archi ve' photographs of Gandhi at nvo companion publications tier teachers : 1r11'e•+tilzntiulr Leicester Museum and Art Gallen\- . In collaboration syit h 1110dr•7'u Art .Ind Critical stmfirs iu '110derrlArt, puhlished the RABs, the department provided funds to promote by Y.11r Urliycrsin Press. A collaboration with th e curarol'iai partnerships and training ()pporrunifies . Curators Gulbenkian Foundation saw the publication Of a galley from the Northern Region made nmorking yisirs to education manual, CrrUiucts of'Clahvin. Over 200 gallerie s Europe; and the Southern Region hosted two-day seminar s joined the first National Gallen Week organised by Engage , on Touring exhibitions . the National Association tier Gallery kducat 011 . And nine .(;allrric's ft•o1n Carlisle to Soutltanlpton teamed up wit h young people for Uft'Thc I If711, pioncercd by Artswork . 38 -1 Ile AP-ts ('wuurl of'b. gland 19Q5 96 39 In 199 ;96 the Lc>tten- Department awarded .33 I.,otter• Meanwhile, Lotter' funding continues to make a grants worth almost .040m . The largest-will contribute t o significant impact on the qualm s of arts facilities in the redevelopment of the Ronal Opera House ; the smallest E ndand . Lorteny funds are helping to develop, improve o r helped a primary scho of buy new percussion instruments . renovate theatres, cinemas, galleries, concert halls and art% centres nationwide . Grants to village halls, communi n A wide cross-section cof art f6mis benefited from Lottery centres and other locally-based projects are improving art s Money: film, broadcasting, video. crafts, literature, provision at grassroots level . Furthermore, the emphasis o n architecture and circus . Large sums were also invested i n access in assessing grant applications will greatly increas e combined arts, music, drama, dance and opera . Drama opportunities for disabled people to enjoy and participat e received the largest Lotter investment-_'12-1m too 134 in the arts. projects - while music received most awards : 148 grants worth owr L42m . The changes ill Lotte d- SpCnd1114 ; pohCy planned fi or 1996, 97 will sustain and enhance a solid record of achievement . One of Lottery finding's Particular strengths is its abI It V By the end of 1995 96, 665 Lotten- applications valued a t ro support and develop amateur and conlnallnin' :arts. .Ca05111. Were under assessment . The number and narure of I'UhliCin' surrc oundim , 3 handful of lar,_,e awards to high these bids provide clear evidence that the countrx's ails proli[e, national organisation-, obscures the fact that most infrasn-ilcrure still requires considerable investment . So, of the Lottery Department's work is concerned Wit h Lottel•y money will continue to be used primarily to field smaller bids . Indeed, 76%ofall awards were less tha n capital projects . !' 100,000 . The beginning of the year saw the publication of `-uidelines fior a pilot scheme to increase the range and qualin offilrla s produced by encouraging races inycstment . During 1995;96, I .oortrn' grants totalling jusr cwer£9rll contributed to 17 film productions . Nally Lottery capital projects will help to inCl•r .lse interest and participation in the arts . This year, a high number o f education .ltd training initiatives -- including several schoo l projects - received grants . Particular emphasis is also placed oil ensuring Lottery Iunds benefit artists and pr'ortaote ne W work. Several Lottery grants were aNk'arded to projects designed to improve the conditions in which .wrists Nvork . Such developments include new workshop spaces, an d residential and commercial units . In .larch, the C;overnment floated a proposal which woul d allow Lorrery money to fund non-Capital project initiatives thar promo re access, participation and ralcm . The arts Council XvCICa111lCd tht5 prcoposal :as all copportunln'to extend and develop this aspect of Lotterv funding in th e next financial year f 1996!971 . The National Lottery 40 The Arts Council e)(Fixilland 191) .i'06 The Arts Council Collection F 0 : 42 The Arls Council q(FqaIajjd 1 095 9P The Arts Council Collection was founded in 1946, the Purchases from April 1995 to March 1996 same year as the Arts Council of England's predecessor, the in order of acquisition : Arts Council of Great Britain. It is now the largest nationa l loan resource of post-war British art. Tony Kemplen SK329858I Q Pt-94,1994 Christine Borland Berlin Blanket, 1993 It contains over 3,000 original paintings, sculptures an d Garv Hume Four Feet in the Garden, 1995 Elizabeth Wright Untitled: Neta ,spaper•and TescoBag, 1994 drawings, 1,500 artists' prints and 2,000 photographs . Paragon Press London Portfulio, 1991 In all, it represents over 1,700 artists including Fran k John Riddy Perugia Nety Yor•h 1, Milan, Milan, Barcelona, 1991-9 3 Auerbach, Gillian Ayres, Francis Bacon, Sonia Boyce , Richard Patterson Alotorrosser, 199 5 Calum Angus Mackay Isolate, 199 5 Tony Cragg, Richard Deacon, Peter Doig, Lucian Freud, "Iania Kovats Grotto, 1994 David Hockney, Bridget Riley and Rachel Whiteread . Michael Landy Ilip Learc the Scatm ivath No Place to Hide, 1995 Gleam Brown Dcclinr and hill, 1995 Antony Gormley Iieldft'rr the British Isles, 1993 The Collection forms an integral part of National Tourin g Steve McQueen Bear, 199 3 Exhibitions, a service which is administered by th e Willie Doherty At the End if the Day, 199 4 Hayward Gallery for the Arts Council of England . Jane & Louise Wilson Hypnotic Sutlgcstion 505, 199 3 Jane & Louise Wilson Note, 1992 Jane & Louise Wilson Cbrtstruction and Note, 199 2 To celebrate the Collection's 50th anniversary, two Jane & Louise Wilson 8.30, 199 2 exhibitions began touring in March 1996 : ACe!Arts Council Hadrian Pigott liwrtsment(j7lygirm ('case 2), 1995 Victoria Hall lawily'lier Ic°17, 199 5 Collection rim,purchases, a collaboration with the Hatto n Leo Fitzmaurice Rolland, 199 .1 Gallery at the University of Newcastle ; and Antony Nerys Johnson Doublesrmay, 199 5 GormleyField for the British Isles, 1993, an installation of Steve Johnson Binoculars (harm no. 9), 199 5 Ile T-icd to InternaliscEverything, 1992-9 4 40,000 terracotta figures. Held at the BR Greenesfield site Damien Hirst Lucy Gunning C'lin lying XoanulRfyRoom , 199 3 in conjunction with Gateshead Metropolitan Borough Lucy Gunning The lhnse Inapresdonists, 1994 Council, this show was extended due to public demand , Alexis Harding I_tntirle-d (snulv),1995 attracting an audience of 25,000 . Michael Craig-Martin Ilistorv I iunttntt, 199 5 Tim Head L1-1juisi'te Curpse 2&4, 1994 David Mach Clad the Ha yrrard, 1995 The Collection also presented two new cased shows : David Mach Battersea Cheeir 1, 1995 Patrick Caulfield The Poems ofjulesLaforge and Henr i Bruce Bernard Lucitan 1 read i+ ,ithpaintingofLcighBowery, 1990 Bruce Bernard 1 .ci1jliB0urrv posinj( with painting (vertical ) Matisse jazz. Other Collection exhibitions underway a s by Lucian Freud, 1994 part of the National Touring Exhibitions programme Bruce Bernard I oilb Bourrvand Nicola Bateman posing fo r includeArt Unlimited, Neu , Painting, Pop Prints, Prints And for tbeBrtd&roorn, 1993 Bnice Bernard Sac Tilley posing an Lucian Freud's studio, 1995 frozn Wood and the Spotlight exhibitions Francis Bacon , Georgina Starr The ntirn collerrions c f the Seventh Museum, 199 4 Ben Nicholson and William Tucker. Factual Nonsense Odic; nren 'slltnt ,crs, 1995 Sarah Jones Aemr, 199 ; : Sarah Jones Consulting Room, 199 5 Until March 1996, the Purchasing Committee comprised Amanda Thesiger llrrarzgentcrtt, 1994 Simon Linke (artist), Richard Shone (critic and historian) , Lan Davenport Inuredl.ines:1,i0torange,blue,yellim, Nima Poovaya-Smith (Deeper of Arts, Bradford Art dark irn cit and orangc, 1995 Galleries and Museums), Marjorie Allthorpe-Guyton Ilan Hays Guinea Pin, 199 5 JagjitChuhan Sefl'ortruir, 199 5 (Director of Visual Arts, Arts Council of England), Martin Virginia Verran Pink Paintinjt lVal, 1995 Caiger-Smith (Hayward Gallery) and Isobel Johnston e Martin Creed ll brk No . 11, 198 9 (the Collection's curator, Hayward Gallery) . Martin Creed bbbrk No. 117, 1995 Martin Creed 14&k No. 135, 1995 Michael Landy Scrapheap Scrrices, 199 5 As the extensiveAce! exhibition indicated, the Purchasin g Andrew Mansfield No. 130, 199 5 Committee had a very busy year. The Collection is indebted John Lyons Victim ofPapa Bois, 1990-92 John Wilkins I fis 10ndcring, 199 5 to the Henry Moore Foundation for its contribution of Helen Robertson Navel, 199 4 £10,000 towards the purchase of Damien Hirst He Tried to Bridget Smith Premier, 199 5 Internalise Everything, 1992-94; and to the National Art Bridget Smith Odeon (green), 199 5 Alnoor Mitha Ascension, 198 3 Collections Fund and the Henry Moore Foundation fo r Gurminder Sikand Figure and Head, 1994 their grants towards the purchase of Antony Gormley Gurminder Sikand Untitttd 11, 199 4 Field for the British Isles, 1993. Bill Woodrow 93129, 199 3 Lisa Milroy 14otoHouse, 199 4 Lisa Milroy I~Voto Hoztse, 199 4 Shirazeh Houshiary Cube nfMan, 199 2 Chris Ofili Popcorn Shells, 199 5 Permindar Kaur innocence, 1993 43 Regional Arts Board s (as at 31 March 1996 EasternArts Board Southern Arts Board Eastern Arts Board Chem Hinton Hal l 13 St Clement Stree t Chem Hinton Road Winchester 5023 9DQ During a year of considerable change - which Cambridge CB 1 4D W Tel: 01962 855099 included an extensive organisational review - Tel: 01223 215355 Fax: 01962 861186 Eastern Arts focused on preparations for th e Fax: 01223 248075 Area covered : Berkshire, Buckinghamshire , region's Year of Opera and Musical Theatre i n Area covered : Bedfordshire, Cambridgeshire , Hampshire, Isle of Wight, Oxfordshire, 1997, part of the Arts 2000 series . The board Essex, Hertfordshire, Lincolnshire, Norfolk an d Wiltshire and South East Dorset allocated the first tranche of commissionin g Suffolk Executive Director: Sue Robertso n funds and appointed senior staff, who develope d Chief Executive: Lou Stein Chairman: David Reid contacts with performing organisations , Chairman : Dr David Harrison CB E national and international . South EastArts Board East Midlands Arts Board 10 Mount Ephraim The year also saw the successful development o f Mountfields Hous e Tunbridge Well s key partnerships in the business and publi c Epinal Wav Kent TN4 8A S sectors. Notable joint initiatives included the Loughborough Tel : 01892 51521 0 development of the FirstTake Foundation , Leicestershire LEI I OQE Fax: 01892 54938 3 funded with Anglia TV, which supports youn g Tel: 01509 21829 2 Area covered : Kent, Surret; East and Wes t and new video and film makers ; Battered Britain , Fax: 01509 26221 4 Sussex the Channel 4 series featuring short films by Area covered : Derbyshire (excluding High Peak Chief Executive : Christopher Coope r regional makers ; and a joint conference with th e District), Leicestershire, Northamptonshire an d Chairman: Roger Ree d Royal Institute of British Architects (RIBA) on Nottinghamshire Architecture and the Lottery at Robinson Chief Executive: John Buston South WestArts College, Cambridge . Chairman: Professor Ray Cowell Bradninch Plac e Gandy Street While forging links with other Regional Arts London Arts Board Exeter EX4 3LS Boards (RABs), training agencies, arts network s Elme House Tel : 01392 21818 8 and educational institutions, the board also 133 Long Acre Fax: 01392 413554 made substantial progress in partnerships with Covent Garden Area covered : Avon, Cornwall, Devon, Dorse t its 62 local authorities . Local authority arts London WC2E 9AF (except districts of Bournemouth, Christchurch spending in the region now stands at .C 19m - Tel : 0171-240 131 3 and Poole), Gloucestershire and Somerse t the highest total in any RAB area. Fax: 0171-240 458 0 Chief Executive: Graham Lon g Area covered : 32 London Boroughs and the Chairman : Maggie Guillebaud The quality of the board's partnerships wa s City of London matched by the quality of the region's artisti c Acting Chief Executive : John Sharples West Midlands Arts Board output. Aldeburgh Festival consolidated its Chairman: Clive Priestley CB 82 Granville Street success with Early Music and Folk festivals an d Birmingham B1 2L H Wingfield Arts and Music enjoyed a highl y Northern Arts Board Tel: 0121-631 312 1 productive year. New technology projects 9-10 Osborne Terrace Fax: 0121-643 7239 proliferated with notable successes a t Jesmond Area covered : Hereford and Worcester, Cambridge Darkroom Gallery and at The Newcastle-upon-Tyne NE2 IN Z Shropshire, Staffordshire, Warwickshire ; junction, also in Cambridge . In its second year, Tel : 0191-281 6334 metropolitan districts of Birmingham, Coventry First Site Gallery doubled its audience while the Fax: 0191-281 327 6 Dudley, Sandwell, Solihull, Walsall an d Usher Gallery in Lincoln welcomed artists fro m Area covered : Cleveland, Cumbria, Wolverhampton . Archangelsk, Russia . The Trestle Theatre Durham, Northumberland ; metropolita n Chief Executive: Michael Elliott Company and Norwich Puppet Theatre also districts of Newcastle, Gateshead, Nort h Chairman: Bob Southgate provided highlights . Tyneside, Sunderland and South Tyneside Chief Executive : Peter Hewitt Yorkshire &Humberside Arts Boar d Finally, the region won 13 major Lottery Chairman: Cllr Stella Robinso n 21 Bond Street awards. As well as schools and community Dewsbury groups, the Cambridge Arts Trust, King's Lyn n North West Arts Board West Yorkshire WF13 1AX Corn Exchange and the European artists ' Manchester House Tel: 01924 45555 5 exchange project Intaglio were among the 22 Bridge Street Fax: 01924 46652 2 organisations to benefit. Manchester M3 3AB Area covered : Humberside and Nort h Tel: 0161-834 6644 Yorkshire; metropolitan districts of Barnsley, Fax: 0161-834 6969 Bradford, Calderdale, Doncaster, Kirklees , Area covered : Lancashire, Cheshire, Merseyside , Leeds, Rotherham, Sheffield and Wakefield Greater Manchester and High Peak District o f Chief Executive: Roger Lancaste r Derbyshire Chairman: Sir Ernest Hall OBE DL Chief Executive: Sue Harrison Chairman : Professor Brian Cox CBE 44 The Arts Council ofEngland 1995196 EastMidlandSArtSBoard LondonArts Board Northern Arts Board The quality and diversity of the year's artisti c The extraordinary range and diversity of the The year was arguably the most successful in achievements reflected the increasing strength of capital's arts was evident in a year when the Northern Arts' history as the region hosted the board's relationship with the Arts Council . London Underground got its poems back ; the Visual Arts UK - part of the Arts 2000 series . Clink Street Vaults hosted Robert Wilson's HG Labour Party leader Tony Blair, MP fo r Theatre proved particularly prolific : by early - one of the most original arts installations in Sedgefield, launched this year-long programm e 1996, the Nottingham Playhouse had seve n recent memory ; and Cultural Industry turne d of events at London's Tate Gallery, along with productions on tour, as far afield as Japan . Queen Elizabeth Hall back-to-front for Le a The Case For Capital - the board's strategy for Highlights included TheAdventures ofPinocchio , Anderson's Reverse Effect . This diversity was also capital development . an award-winning co-production with Teatro reflected in Well Sorted, the second anthology Kismet . Leicester Haymarkees commitment to drawn from the London Short Story Visual Arts UK opened with a showing o f musical theatre was rewarded with West En d Competition . Antony Gormley's Field for the British Isles, an transfers for Mach and Mabel, and Calamity event which attracted over 25,000 people to a Jane. Though funds available to support London's derelict rail yard in Gateshead. And the region arts fell in real terms, London Arts Board was continued to play a leading role in public art, Dance 4 consolidated in Nottingham and its still able to maintain funding to its revenue and unveiling plans to install Gormley's Gateshea d innovative NottDance Festival went fro m fixed-term clients, and provide more project Angel, David Mach's Locomotive sculpture and strength to strength . Derby Danc e grants than ever before . the C2C sculpture trail. Development caught the city's imagination, inspiring the development of a danced-base d Following a highly constructive consultation Other Visual Arts UK highlights included Video arts centre at Chapel Street . process, the board's review of long-term Me, devised by Tyne'Cees TV and launched b y planning set out a framework for future Secretary of State for National Heritage , The East of England Orchestra performed 42 development. This calls for an increased Virginia Bottomley DIP. This year-long series concerts around the region and held over 6 0 emphasis on the quality of arts activities, with a features one-minute videos made by viewers workshops and outreach projects . The board' s clear explanation of how the board will make about themselves . jazz strategy resulted in support for four ke y quality judgements ; greater flexibility in fundin g independent producers . agreements ; and a partnership strategy with Other art forms - notably drama - also had a clearly defined objectives . highly productive year. Stockton International Visual arts organisations and eight galleries Riverside festival - Britain's largest street theatr e produced almost 90 exhibitions including The board developed a number of key festival - attracted over 150,000 people an d Alison Wilding's highly-acclaimed Echo at relationships in the public and private sectors . companies from Russia, the Ukraine, Polan d Nottingham's Angel Row Gallery. Derby's These will be of considerable importance as th e and America . Northern Stage performed Nest of Montage Gallery and the Derby Photography board develops its National Lottery strategy, Spices in a derelict Wallsend power station. This Festival maintained the city's high photographi c providing a context for Lottery application s multi-media education project, funded b y profile and Nottingham's profile as a media from the capital . Tyneside TEC, involved 1,000 youngsters . centre continued to rise . The First Cutscheme - a partnership with Central TV - offers young The board continued to give high priority t o Tyne Tees TV screened New Voices, a showcase film-makers valuable broadcast experience . Five cultural diversity projects . The 30th Notting for young Northern dramatists, and New Visions, films broadcast in Autumn 1995 were produce d Hill Carnival - now Europe's largest outdoo r a series of short films by new directors . In using improved facilities at Intermedia in the festival - provided a focus for a celebration o f partnership with Tyne Tees and Border TV, the city's Broadway Media Centre . this work. board ran the Northern Electric Arts Awards . The board's cultural diversity strategy saw the The board continued to maintain and develo p Northumberland's 20,000 Voices project achieve d launch of African, Caribbean and South Asian its assessment and advisory systems to ensure its target with the commissioning ofMorpeth in arts networks ; while Leicester Carnival provided that there is a broad base of expert an d Flood while the Appleby Jazz Festival a focus for the development of carnival skills . independent advice to inform policy making and commissioned two new works : the Pennine Suite implementation ; to contribute to the evaluatio n anclAppleby Suite . The board expanded education work, launchin g of arts practice; and to advise on grant aid . several initiatives including the ArtistsAtYour Finally, the region's new arts and listings Service scheme ; while groups such as First Finally, the board said farewell to its founding magazine Northern Review, launched by Movement and Firebird Trust continued their chief executive Timothy Mason and, at the end Keepdate Publishing, was honoured in the 199 5 work with disabled and disadvantaged groups . of the year, welcomed new chief executive Su e North East Press Awards . Robertson back to London . As local authority partners faced greater financia l constraints, the region felt the first benefits of National Lottery funding with several majo r projects coming on stream . 45 Yorth IlestArtsBoard Son thern Arts Board South East Arts Board It seas a hectic year for North West Arts Board, In 199596, the board continued to build on the The appointment of Roger Reed as the ne w im ol-ing a restructuring of the organisatio n solid foundations laid down over the previous chairman of South East Arts heralded a period and a move to newly customised premises at 12 months . of transition : the board recognised tha t Manchester House in Bridge Street . The mor e becoming a major player in the region's was consolidated in March when the Arts Local authorin funding remained stable, despit e economic regeneration is the kev to expandin g Council Chairman Lord Gowrie carried out concern over the ability of some county councils the region's arts activities . an opening ceremony. to maintain arts support . Generally, robus t partnership agreements reinforced the board 's The National Lottery had a profound impact . In the run-up to the millennium, the board i s close links with local authorities and fostere d The board committed almost half its time t o focusing its efforts in three kev areas : young steady development across the art forms . directly managing £3 .2m revenue funding. An d people and the arts, education and the arts an d it devoted the balance of its time to securin g positive action . To support this work, the boar d Salisbury Festival was the region's outstanding .C5 .8m of Lottery capital funding for 29 project s has established a new Resource Development artistic success, attracting increased funding an d ranging from the purchase of brass ban d Department, which will play a key role in raising almost doubling its audience . Music theatre also instruments to design and build arts complexes . additional funds . benefited from investment in partnerships , These capital projects attracted a further £ 12 .8 6 commissions and specialist venues . from regional partners . Following extensive consultations with its annually funded organisations and the region's In its second year as associate dance compam ; Revenue funding, however, remained tight : local authorities, the board introduced ne w Aletta Collins provided a focus for new wor k many local authorities cut some art budgets funding agreements to ensure its arts money i s and built links with regional venues and danc e and failed to meet overall subscription targets . distributed as fairly and effectively as possible . agencies. Talks opened on establishing a These setbacks inspired moves to finance future museum for contemporary crafts, while stronger regeneration through government an d Artistic successes during the year include d links with workshops and exhibitio n European Challenge Fund programmes . Merseyside 's Video Positive Festival o f developments enhanced the regional fil m electronic arts, organised by Moviola. The infrastructure . The board promoted a keen As funding remained unstable, arts growing success of this international festival was debate on visual arts exhibition provision in th e organisations experienced mixed fortunes . crucial to the successful joint bid by Liverpoo l south of the region, following the merger o f While some clients faced financial and and Manchester to host the 1998 Internationa l Southampton University and Winchester operational difficulties, others managed t o Svmposium of Electronic Arts . School of Art . sustain activity levels and some recorde d significant achievements . Literature development was consolidated There was a marked increase in literature through the launch of the North West Literature promotion, with a prominent role for literature There were also some regrettable losses . Development Workers' Forum and the rising development workers and a framework tha t Although the board was able to contribute t o profile of the region's literature festivals . Nobe l embraces community publishing - notabl y rescue and stabilisation packages worth prize-winning poet Seamus Heanev gave a through Corridor Press - and education work. £240,000 for the Yvonne Arnaud Theatre an d reading at Manchester Poetry Festival withi n Broomhill Festival, it was unable to support th e days of receiving his award . The board vigorously promoted the role o f reopening of Farnham's Redgrave Theatre . This education through major regional seminars, th e coincided with a review of the board's policy fo r The region's theatres enjoyed anothe r launch of countywide forums and th e drama funding . New criteria have now bee n productive vear, while Africa Ove and the Electric introduction of a developmental educatio n drawn up for full consultation in 1996/97 . Concerts in Liverpool and Manchester Camerat a strategy A new Venue Development Fun d provided some of the year's musical high points . supported the region's arts centres as they bega n Meanwhile, the South East Touring Agency revitalising their approach to new work, cultura l successfully piloted its first year working with Visual arts continued to thrive . Manchester diversity and outreach . small-scale venues in Sussex while a new hosted the British Art Show, which showcased Director of Education post for the Chicheste r new artists, and Liverpool staged the BT New There were several notable developments amon g Festival Theatre complemented an excitin g Contemporaries . The Ha! and Haul exhibitions key core funded organisations . Under stron g summer season of new plays. celebrated emerging talents in Manchester an d leadership, Salisburv Playhouse achieve d Liverpool respectively: significant artistic success in its relaunch year . The board continued to encourage th e With additional funding and an enhanced exploration of new technology. Sussex has one The board published a new broadcasting policy programme, Southampton's Turner Sim s of the fastest growing concentrations of medi a to promote innovative and creativ e Concert Hall attracted bigger audiences . industries in Europe and in 1995/96 over E1 m collaboration between artists and broadcasters . was raised for - or committed to - computer- And the broadcasting highlight was Hearing is Finally; the board successfully launched it s based arts projects . Believing, which went on air at the Vide o Lottery advice and assessment procedures : in all , Positive Festival to excellent reviews . local arts organisations were awarded Lottery grants totalling E35m for projects worth £70m . Inevitably; National Lottery funding had a major impact. The region received the second largest total of grants in 1995/6 - after Londo n - with Salford's Lowrv Centre and Manchester' s Contact Theatre winning two of the year' s biggest awards . 46 The Arts Council ofEngland 1995/96 South WestArts WstAfidlandsArtsBoard Yorkshire &Humberside Arts Boar d South West Arts' newly implemented Yet again, artists and arts organisations For many artists and arts organisations, financial professional structure generated savings of over overcame financial constraints to record several survival - while maintaining artistic standards - £200,000 . This means that South West Arts memorable successes . And with little prospect o f became an overriding priority. The financial now has the lowest overheads of any Regiona l increased core funding, sourcing alternative health of some, particularly those vulnerable to Arts Board. More importantly, it enabled th e funds became imperative . falling attendances, suffered seriously as deficits board to release invaluable extra funds into the rose to critical levels . region's arts economy. The board devoted considerable effort to maximising the region's share of National Overall, the board's total income rose by 7.3% . South West Arts' commitment to nurturing new Lottery funds . It organised 150 Lottery Funding to franchise organisations increased by work saw the launch of the St Ives internationa l surgeries, 25 Lottery presentations and 10 .5% (but only 4 .5% if one-off contingency project, The Quality ofLBht, and its produced 10 Lottery briefing sheets . Thi s funding is excluded) ; annual funding by 1% . development as a major visual arts and medi a commitment helped arts-related projects in the Projects and schemes finding fell 1% in favour event for 1997 . The board also launched the West Midlands win £16 .5m in Lottery funding. of franchise funded organisations . Expenditure South West Media Development Agency, In addition, local organisations lodged 138 ful l on the board's operating costs was kept belo w which will provide substantial new funds fo r Lottery applications worth £86m . 1994/95 levels in cash terms . And the board commissioning artists' film and video work completed a staff restructuring to mee t through a regional media investment fund . The region attracted £ 10m of its own Europea n envisaged future needs, particularly with the funding while acting as an adviser to the onset of the Lottery. The board began implementing its Theatre government on EU funding programmes, an d Policy Review ; agreed a new operational model assessing applications for European arts fundin g Core funding constraints did not preclud e with the Northcott Theatre, Exeter; an d from other regions . New partnership artistic success . Among the year's highlights established the South West Advisers' Network t o agreements with local authorities generated a were the Designer of the Year Award fo r encourage the exchange of creative idea s further £900,000. And the board's support fo r Sheffield-based jeweller Brett Payne ; an award between the region's theatre producers and ABSA (Midlands) saw a 4196 increase in pairing from the Japanese Festival Fund for thelian practitioners . scheme awards : 41 business advisers were Yasuda exhibition at Yorkshire Sculpture Park ; seconded to 41 arts organisations . and the Theatre Royal in Yorks TMA Martin i Arts Training South West had a highly Award for its musical Atoll Flanders. productive year and the board supported several Staff continued to deliver excellent service milestone education and training initiatives . despite a cut in their numbers at the beginning The first fiill year of the Lottery had a significant Among these was the launch of a nationally of the year. In October, the board became the impact on the board's work . There were 5 8 significant pilot, In Your Place - a guide to first arts funding organisation to win a n successful applications within the region , student placements in arts organisations . Investors in People award. securing just under .C10m . Notable successes included the year's largest public art award - New technologv featured prominently on th e The region's artistic output also attracted high nearly .£lm - to East Yorkshire Borough arts' agenda as the board launched its Ne w praise. Among the year's most memorable Council for the redesign of Bridlington's South Technology Strategy review, established an events was the ground-breaking Here and Now Promenade and completion of Alan Ayckbourn' s Internet site and promoted Grasping the Nettle, a partnership with English Heritage at Witley new Stephen Joseph Theatre in Scarborough . major regional conference exploring the creative Court, Worcester. Altogether, 666 new works potential of new technology. were commissioned in the region including 1 1 Uncertainty surrounded details of the local new films for television. Jubilee Arts undertoo k authority re-organisation in Humberside an d A second major conference, Creating the Future, several highly successful, technology-based North Yorkshire, which came into force on considered the consequences of local partnerships : its collaboration with Geese 1 April 1996 . Negotiations continue d government reorganisation in Avon and led to Theatre Company won an IBM Community throughout the year to ensure minimu m the agreement of a new strategic planning Connections award . damage to existing arts support and maximu m partnership for the county. opportunity for the arts within the policies and Meanwhile, the board made significant progres s structures of the new unitary authorities . Stimulating public interest in the arts remained a in several key strategy areas, most notably art s priority and the Public Art Unit had a and young people; Asian, African an d Although most funding agreements with local particularly successful year, securing Caribbean arts ; arts in rural areas ; and arts an d authorities survived, many authorities continue d commissions for 116 regional artists. disability. It also concluded reviews of dram a to reduce direct art services . This had a Meanwhile, the board played a leading role in and public art. Both emphasised the region's particularly strong impact on galleries an d promoting the benefits of National Lottery enormous potential, which remains hampere d exhibition programming . funding throughout the region's arts by an inadequate funding base . community. 47 Lord Gan-riePC Professor Christopher Framding The Counci l Chairma n Christopher Fravling is Rector of the Roval Lord Goxvrie was appointed Chairman of th e College of Art . A historian, critic. writer and Arts Council of England for a five-rear term broadcaster, he was educated at Repton Schoo l from 1 April 1994 . He is a director of Sotheby-'s . and Churchill College . Cambridge where h e haying been Chairman between 1987 and 1993 . studied history. After completing his doctorate He Was Provost of the Royal College of Art there, he lectured at Exeter and Bath Members oftheArts Council ofEnglan d from 1985 until this year. His political career Universities and became a film archivist at th e at 31 March 1996 included service as Minister of State fo r Imperial «ar Museum . In 1979, as Professo r Employment 1979-81, Minister of State an d of Cultural Histon- at the RCA, he founded Lord Gowrie PC (Chairman ) Depun Secretan of State for Northern Ireland the Department of Cultural History and Faculty Sir Richard Rogers (Vice-Chairman ) 1981-83, Minister for the Arts 1983-85 an d of Humanities there - with new post-graduat e Richard Cork in the Cabinet as Chancellor of the Duchy of courses in the history of design (198 1 Professor Christopher Fraylin g Lancaster 1984-85. Educated at Eton, Ballio l conserv ation (1989) and visual arts Maggie Guillebau d and Harvard, he has been a visiting lecturer a t administration (1992) . He was a governor Sir Ernest Hall OBE D L the State University of New fork, a fellow an d of the British Film Institute, a member of th e Gavin Henderson tutor at Har vard and a lecturer in English and Crafts Council 1981-86 and Chairman o f Thelma Holt CB E American literature at UCL. He was Chairman Frceform Arts Trust 1982-88 . He is a truste e Trevor Nunn CB E of the Serpentine Gallery and a director of th e of the Victoria and Albert .'/Iuseum, Chairma n Stephen Phillip s London Symphony Orchestra. He ha s of the Crafts Study Centre in Bath and a regula r Usha Prashar CB E published books on politics and the arts an d commentator - on radio, television and in prin t David Rei d is a literary critic for The Daily Telegraph . - on the fine and less fine arts . His lates t Stella Robinson television work includes the series The Face of Prudence Sken e Tutankhamun, Strange Landscape and Nightmare Robert Southgate Sir Richard Rogers - the birth of horror . Vice-Chairma n Observer : Denys Hodson CB E Sir Richard is Chairman of Richard Roger s Partnership . He was educated at th e Maggie Guillebaud Architectural Association, Yale University an d Chairman of South WestArts Members of theAudit Committee is a member of the Royal Institute of Britis h Maggie Guillebaud was educated at Wycombe Peter Gummer * (Chairman) Architects . His many awards include the RIB A Abbey School and graduated in English fro m Lord Gowrie P C Gold Medal, the Legion d'Honneur and th e Exeter University. She had a career in educatio n Sir Ernest Hall OBE DL International Union of Architects' August Perre t before taking up a wide variety of voluntary David Rei d Prize for the Pompidou Centre . He is a membe r appointments . She has been a committee Prudence Skene of the Centre International Pierre Mende s member with South West Arts for many years France, Chairman of the Architectur e and is a former Chairman of the English Members ofthe Preparation of Business Committe e Foundation and the National Tenants Resource Regional Arts Boards . She was formerly on Lord Gowrie PC (Chairman ) Centre and former Chairman of the Board of the the board of Cheltenham Festivals Ltd an d Peter Gummer * Tate Gallery His recent works include the new Cheltenham International Festival of Music . Sir Ernest Hall OBE DL headquarters of Channel 4 in London and th e She was also Chairman of the Bristol Cultura l David Rei d European Court of Human Rights i n Development Partnership and, until recently, o n Prudence Skene Strasbourg. Amongst current projects in th e the board of Gloucestershire Everyman . A love r UK are the proposed Terminal 5 at Heathrow of music, theatre and the visual arts, and founde r * until 19 March 1996 Airport, headquarters for Lloyd 's Register o f Chairman of the Friends of Cheltenham Art Shipping and for Daiwa Securities in the City Gallery and Museums, she is also Director of of London . Current overseas projects includ e Bristol 2000 . Minami School in Japan, the new Seou l Broadcasting Centre in Korea, offices an d housing for Daimler-Benz in Berlin and th e Sir Ernest Hall OBE DL Bordeaux Law Courts . Chairman of Yorkshire &Humberside Arts Boar d Sir Ernest founded Dean Clough, the business , arts and educational centre in Halifax, West Richard Cork Yorkshire . He studied piano and composition Richard Cork has been Chief Art Critic fo r at the Royal Manchester College of Music i n The Times since 1991 . He was the Henry Moore the 1950s . In 1961 he launched his own textile Foundation Senior Research Fellow at the company, Mountain Mills, which in the lat e Courtauld Institute from 1992 to 1995 . A critic , 1970s turned from textiles to property. After editor, broadcaster and historian, he has retiring from the company in 1983 he bough t organised many exhibitions including shows i n Dean Clough, a derelict Victorian carpet mill, Milan, Paris, Berlin and at the Royal Academy, which he began transforming into a `practica l Tate and Hayward galleries in London . He has Utopia'. It now houses around 100 companies , also published several books including Yorticism over 3000 workers, an art gallery, the Henr y and Abstract Art in the firstMachine Age, Ar t Moore Studio, two theatre companies an d Beyond the Gallery, David Bomberg and most educational initiatives Design Dimension recentlyA Bitter Truth : Avant-garde Artand The Project and the Calderdale College Enterpris e Great War . In 1989-90, he was appointed Slad e Campus . Sir Ernest continues his career as a Professor of Fine Art at Cambridge University. musician and performs as a soloist with severa l He is currently working on a history of Britis h orchestras . In 1994 he was appointed Chairma n sculpture in the 20th century of Northern Ballet Theatre and became a member of the Design Council . He is als o Deputy Chairman of EUREKA!, the museu m for children . 48 The Arts Council ofEngland 1995196 Gavin Henderso n Stephen Phillips Stella Robinson Gavin Henderson is Principal of Trinity Colleg e Stephen Phillips is a writer, broadcaster an d Chairman ofNorthern ArtsBoard of Music, Artistic Director of the Dartington producer. In these capacities, he has made Born in Leeds, Stella Robinson was educate d International Summer School and President and several hundred arts programmes and variou s at Aireborough Grammar School and Leeds Artistic Adviser to the Bournemouth Festival . current affairs documentaries and dramas fo r University. After taking a degree in English she He was for many years Director of the Brighton television . He is a regular lecturer on arts worked in housing in York and Rotherham . In Festival, prior to which he ran the South Hill subjects for American and British universities . the 1960s she was a Warden of Lodgings for Park Arts Centre at Bracknell, where he create d He was formerly the first arts correspondent fo r King's College, Newcastle-upon-Tyne . During the Wilde Theatre . His wide experience of Channel 4 and editor of its first arts serie s this period she joined the newly-formed working with orchestras included a period a s S~rnals, administrator of Prospect Theatre Regional Arts Association, later to become Chief Executive of the Philharmonia . He is Company at the Old Vic, a presenter of Northern Arts Board, which she has chaired Chairman of the British Arts Festivals Kaleidoscope and critic for the Daily Express . since 1990 . She has been a Labour Councillor i n Association, Vice-President of the Europea n He has intermittently been a member of th e Darlington and County Durham since 1972 an d Festivals Association and President of th e Arts Council's advisory panel on Touring - of is a member of Durham County Council's Arts , National Piers Society. He is a governor of the which he is now chairman - since 1974, and in Libraries and Museums Committee, a Vice - University of Brighton and of Chethams School, that time has chaired the Tricycle Theatre and Chairman of the North of England Open Air Manchester. He is also Chairman of Arts Janet Smith and Dancers . Museum at Beamish, and serves on the Counci l Worldwide/World Circuit Arts and of the of the Museums Service, Durham City Arts an d independent film and television compan y Durham Theatre Company. She is a registered Palindrome Productions . Usha Prashar CBE disabled person with partial sight. Usha Prashar is Chairman of the Executiv e Committee of the National Literary Trust and Thelma Holt CBE a Non-Executive Director of Channel 4. She is Prudence Skene After a successful career as an actress, Thelm a also a part-time Civil Service Commissioner. Prudence Skene's early experience in arts Holt founded and ran the Open Space Theatre , She served on the Arts Council of Great Britai n administration included work with John Gale the pioneer of fringe theatre in the UK. Sh e 1979-81 and was a member of Greater Londo n Productions, The Australian Elizabetha n subsequently spent eight years as Director o f Arts Association 1984-86 . Her record of publi c Theatre Trust and The Roundhouse . She The Roundhouse until its closure, and the n service includes terms of office with the Rac e worked with Ballet Rambert from 1975 to became Head of Touring and Commercial Relations Board, the Executive Committee o f 1986, first as Administrator and then as Exploitation at the Royal National Theatre , the Child Poverty Action Group, the BB C Executive Director. From 1987 to 1990, an d for which she received the Laurenc e Educational Broadcasting Council and th e again in 1992, she was Executive Director of th e Olivier/Observer Award for Outstanding Royal Commission on Criminal Justice . She was English Shakespeare Company. She has worked Achievement in the Theatre . An independent Director of the Runnymede Trust 1977-84 an d as a freelance arts administrator for clients producer since 1990, her most recent Director of the National Council for Voluntary including the Royal National Theatre and i n productions in London have been the Donma r Organisations 1986-9 L Her present May 1993 she became Director of the Arts Warehouse production of The Glass Menagerie appointments include membership of the Lor d Foundation . Until her appointment to the Arts and the Abbey Theatre Dublin's production of Chancellor's Advice Committee on Legal Council she was President of the Theatrical Observe the Sons of Ulster Afarcbing Towards the Education and the Council of the Policy Studies Management Association and Chairman an d Somme. In 1994, she received an honorary Institute (PSI) . Vice-Chairman respectively of the Dancers ' doctorate from Middlesex University. Resettlement Trust and Fund . David Reid Trevor Nunn CBE Chairman ofSouthern Arts Board Robert Southgate Trevor Nunn is Director Emeritus of the Royal David Reid is a former IBM resident director. Chairman of WestMidlandsArts Board Shakespeare Company (RSC) and Artisti c He spent several years in Scotland where h e Robert Southgate is the former Managing Director designate of the Royal Nationa l headed the company's activities and established Director of Central Broadcasting and i s Theatre . He was educated at Northgate a reputation for his commitment to the arts . currently a consultant to Central Television . Grammar School, Ipswich, and Downing He was a member of the Executive Council o f His career in journalism included executiv e College, Cambridge . He began his theatre career Scottish Business in the Community and wa s posts on national newspapers before he joined at the Belgrade Theatre, Coventry, as a traine e Chairman of the Scottish Committee of ABSA. ITN as a reporter and newscaster in 1969 . He and then Resident Director. He joined the RSC Since returning to Hampshire, he has chaire d was a founder member of the successful T VS in 1964 as Associate Director, becoming Chief the newly-formed Business in the Arts South franchise application group for South and South Executive and Artistic Director in 1968 . From Company He is also a governor of Portsmouth East England in 1982 and played a major role i n 1978 to 1986 he was the company's Join t University where he is chairman of the Huma n Central's franchise application in 1991 . He is Artistic Director, and since then he has worked Resources Committee . a Board member of the City of Birmingha m as a freelance director in both theatre and film . Touring Opera, a member of the Advisory Board of Birmingham Royal Ballet and a Non - Executive Director of Central Broadcasting an d Meridian Broadcasting . 49 Membership Arts Council oFEngland stafflist Finance Drama Jennifer OakleN Kathleen Hamilto n of Counci l fixed term contract i Financial Controller i Acting Directo r • member of the Senior Chris Austi n Karla Barnacle - and staff Management Tea m Sonia Dresseki c Karin Garrzkc + + part-tim e Carol n Farr Charles Hart Glen Fogg - Isabel Haw son * Secretan--General's Office Lyn Gathercol e John Johnston Man Allcn ' Marcus Henn ' Penm Lalloz Secretan--Genera h Shirley Larbi Karen Stansfield Directors or Heads o f Brenda Whitehea d Rosemarie Lewi s Claire Templeton Department,R nit are noted . Elizabeth Sel l Staff within departments ; units are Chairman's Offic e Jill Skvers Education and Training othern ise listed in alphabetica l John Dowling Vanessa Truss Maggie Semple (Director ) order. List current as at 31 March Jillian Barke r 1996 . Deputy Secretary-General 's Office Information Sue Barnard * Susan Hoyle * Annie Thackera y Peter Shepherd- Council (Deputy Secretan-General ) (Information Manager ) Damien Robinson` + Changes to Council during Jane Craig Stephen Chappell 1995/96 : Jon Feldmann + Film, Video and Broadcasting Peter Gummcr resigned from the Secretaria t Therese Hanou n Rodney Wilson (Director ) Council on 19 March 1996 . Lawrence Mackintos h Jacqueline Loma s Will Bel l (Head of Secretariat ) Sanjay Macwan a David Curti s Honours Brenda Carruthers-Jone s Sara Newma n Richard Gooderick Our congratulations to th e Andrew Watt Jem Legh following who received honour s Policy, Research and Planning Alicia (Matthew s during the year : Graham Hitchen* (Director ) Office Services Anne Sinclai r Richard Burton (CBE), member Julia Crookenden (Regional Sam Turne r Gan, Thomas of the Visual Arts Advisorv Pane l Director ) (Property° and Se rv ices .Manager ) Fleur Adcock (OBE), membe r Ruth Aldridge Cornelius Desmon d Literature of the Literature Advisorv Pane l Sara Ben n Emma Dunste r Alastair Niven* (Director ) Paddv Masefield (OBE), member o f Christine Eastman + Mike Fouracrc Saul Hvman* + the National Lotter° Advisorv Panel Andy Feis t Steven Goul d Clarissa Luard Many Holland* + Pamela Hurst + Gan, McKeon e Obituaries Naseem Khan + Tonv Patienc e Valerie Olteanu + We record with great sorrow the Jane O'Brie n Erie Pickersgill Judith Palmer* + following deaths: Pat Swel l Judith Rei n Jillv Paver + Charlotte Vignole s William Roache Susan White Brigid Brophy, member of th e Robert Semakula + ACGB Literature Panel from 1967 Press and Public Affairs Jean Stevens + Music to 196 8 Sue Ros e Alan Wheatlcv KathrvnMcDowell* (Director) Helen Chadwick, member of the (Head of Press and Public Affairs ) Roy Wood Rowan Dore y Visual Arts Panel from 1990 to Andrew Barnet t Walter Woodlev Celia Hill 1995 Caroline Leec h Rajan Hooper Sir Kenneth Robinson PC , Jane Parley Personne l Olivia Lowson + Chairman of ACGB from 1977 Matthew Rose + Marv Wratten (Director) Isabel Murphy to 198 2 Jean Stevens + Marion Brown Andrew Pinnoc k Peter Williams OBE, Chairman Marjorie James Louise Rutkowsk i of the ACGB Dance Advisorv Finance and Resources Divisio n Louise Nun n Committee 1973 to 1980 . David Knowles * Keith Simpson * Touring (Interim Director of Financ e Kate Woollin * Kate Devey* (Director ) and Resources ) Elizabeth Adlington Margaret Shackleto n CorrtbinedArts Rachel Baker Iain Reid* (Director ) Joanne Kee Business Assessment and Planning Janet Bailli e Samantha Klige r Peter Greig Theresa Bergne + Rose Lange r (Head of Business Assessment an d Bronac Ferra n Alexandra Lingard Planning ) Simone Hewe r Vivienne Moore Andrea Davidson + Danicla Karsten Shvama Persaud Paul Dxvinfour* + Sarah Scott + Deborah Rees + Denagh Haco n Fiona Seagravc+ Kathy Schuman * Olivia Lacev Sallv Tavlor Emer O'Sulliva n Dance Janet Robinson Hilarv Cam°* (Director) Tobv Scott Claire Carnel l Carol Stone Clemmie Cow l Peter Verxvcv Beyerlcv Griffith s Brendan Keane\ , Jeanette Siddal l Janet Stephenso n 50 The Arts Council oftngland 1995196 VsualArts Advisory A key element of the Council' s IisualArts Exhibitions and Events Marjorie Allthorpe-Guyton * organisation is its advisory structur e Committee. (Director ) structure of panels, committees, advisory and Robert Hopper (Chairman ) Eileen Daly+ monitoring committees and groups . Susan Collins Hannah Daws These advise and assist the Counci l Peter Fraser Joanne Deacon * and its officers on the formulation Richard Hylto n Timothy Eastop + and implementation of policy. Eric Parn Shona Illingworth* + Members are appointed by th e Sandra Perciva l Amanda King* + Council from nominations which Mark Pimlott Mary McDonagh + are open to the public and are Alistair Raphael Alicia Pivaro generally specialists in the relevant Andrea Schlieke r Claire Polloc k arts discipline : working artists, arts Isabel Vasseur Vivienne Reiss + administrators, scholars and critics . Jeremy Theophilus Listed here are the members of th e Education and TrainingAdvisory Council's advisory bodies as at 3 1 (Troup National Lottery March 1996 . Norman Binch (Chairman ) Jeremy, Newton*• (Director ) David Allen Moss Cooper (Director of Abbreviations used : V.inessa Jackson Operations) ACW Arts Council of Wales Roshini Kempadoo Margaret Bolton (Director of BC, British Counci l L.turie Feake Communications) DSS, Department of Social Security Alistair Raphael Alexandra Ankrah OFSTED, Office for Standards i n Veronica Sekules Alison Atkinson Educatio n Lola Youn g Angela Cook RAB, Regional Arts Board Kimberley Cooper * SAC, Scottish Arts Council 1'hotograpby and Neu, Technology Joan Cunningham Advi>orv Group Mark Dunford Advisory Panel on huualArts I)r David Mellor (Chairman ) Peter Ellison Richard Cork (Chairman ) Roy, Ascott Natalie Felix + Rov Ascott Chris Boot Helen Furlong Lewis Biggs Susan Colllins Shreela Ghos h Norman Binch Peter Fraser Anna Hackett Chris Boot Simon Grenna n Attdrew Holdsworth Wil d Richard Burto n Simil Gupta Donna Iles + Dr Germaine Greer Cheryl Reynolds Iqbal Khane m Kate Hero n Sarah Macne e Robert Hopper l 'isu al rl rrsAdvisory Group Heather May+ Prof. Martin Kemp Robert Hopper (Chairman) Will Miller Dr David Mellor Iwona Blazwick Nicola Mulligan + Lisa Milroy Sonia Bovice Matthew Rose + Eric Parry Richard Ilylton - Sally Store I'inka Shonibare Gregor Mui r Monica Tross Lola Youn g Sandra Perciva l Judith Waters Alison Wilding Mark Pin ilott Andrea Schlieke r Architecture Advisory Group Richard Burton (Chairman ) Advisory Panel on Combined Arts Mark Cousin s Usha Prashar CBE (Chairman ) Richard Deacon Derrick Anderson Kate Hero n Maureen Duffy Eric Parry Stella Hall Chris Shepley BILSh Hartshor n Isabel Vasseur Gavin Hcnderson Stephanie Williams Ross McGibbon Brian McMaster VsualArts Publications Committee Antonia Payne Dr David Mellor (Chairman ) Mark Seal y Iwona Blazwick Sarah Wason Mark Cousins Aaron Williamson Simon Grennan Sunil Gupta Adrisory Panel on Dance Gregor Mui r Prudence Skene (Chairman ) Laurie I'eake Professor Christopher Bannerman Cheryl Reynold s Stephen Barr y Veronica Sekules Kate Flatt Stephanie Williams Jane Hall Nigel Hind s Mervillc Jone s Professor Stephanie Jordan Ross MacGibbon Marie McCluskey MB E Dr Glyn Perrin Piali Ray Marion Tait OBE 51 Dance DrreloprnentAdrismi, Team Education and Training Funding AdvisoryPanel on Music Arts and Disabilit),Advison and Theresa Beattie Programmes Sub-Committee Garin Henderson (Chairman , Monitoring Committee Siobhan Davies Maggie Guillebaud (Chairman ) Richard Alston Stella Robinson r Chairma n Sanjeeyeni Dutt a Perm Egan Diana Burrel l Audrev Barke r Emma Gladston e Jane Winte r Geraldine Conne r Joe Bidde r Jeanefer Jean-Charles Observers: Tonv Dudley-Evans Laura Guthrie Jean Johnson-Jone s Debbie Reid, RA B Jonathan Harvey Meena Jafarey Jane Moone v Miles Harrison, RAB Lilian Hochhause r Bushv Kellv ` Gregory Nash Joanna McGrego r Sharon Mace Anthony Peppiart Disability Ernplovmen t David Richardson Emma McMullan Initiative Apprenticeship Scheme Dr Janet Ritterman Maria OShodi Advisor ,Panel on Drama Sub-Committe e Dharambir Sing h Michele Tavlo r Thelma Holt (Chairman ) Jo Verrent (Chairman ) Helen Sprott Paul Whittaker Paul Allen Paddv Masefiel d Janis Susskin d Aziz Zeri a David Brierle v David Mudge John Wallace . until 26 March 199 6 Roger Chapman Paul Whittake r Robert Cogo-Fawcett Advisory Panel on Film , Camilla Whinvorth-Jones Cultural DivenitvAdvison an d Neil Fountai n Vdeo and Broadcasting Monitoring Committee (in respect of Bush Hartshor n Professor Christopher Frayling National Lotterv Advisory Panel Black and Asian Arts) Jude Kell\, (Chairman ) Peter Gummer ' (Chairman ) Usha Prashar CBE (Chairman ) Pennv Mayes Helen Baeh r Jon Foulds Derrick Anderson Sam Mendes Karen Brow n Lady Hopkin s Ferdinand Denni s Michael Ratcliffe Ian Christi e Cleo Laine OB E Deirdre Figueiredo Jenny Toppe r Jonathan Curling Ruth Mackenzie OB E Jean Johnson Jones Jatinder Verma Mick Csaky Paddv Masefield Gerard Lemo s Maggie Woolley Steve Dwoski n Ton, Pender CB E Cheryl Martin Kim Evans Dr Nima Poovava-Smit h Piali Ra, Drama Projects Committee Dianne Nelmes Sir David Puttnam CB E Yinka Shonibare Penny Mayes (Chairman ) Simon Pummell * until 19 March 1996 Parminder Vi r Claire Grove Trevor Phillips David Yi p Bush Hartshor n Gillian Revnolds Advisory Panel on Touring Carolvn Luca s Observer : Stephen Phillips (Chairman ) Joanna Rei d Dr Sean M. Lewis, BC Stephen Brownin g Kullv Thiarai Graham Devlin Charles Washington Advisory Panel on Literature Tony Dudley-Evans Denise Wong Lord Gowrie (Chairman ) Ruth Eastwood Fleur Adcock OB E Mark Fole , Theatre Writing and Bursaries Sue Butterworth Ruth Mackenzie OB E Committee John Coldstrea m Brian McMaster CB E Paul Allen (Chairman ) Ferdinand Denni s Cliodhna Mulhern Giles Croft Tom, Goul d Lucy Nea l Peter Flanner' Tom, Lacev David Patmore Winsome Pinnock Prof. David Lodge Judi Richards Jenny Toppe r Dr Suniti Namjoshi Marion Tait OB E Maggie Woolley Prof. Andrew Motion David Yi p Ohven Wvmark Verna Taylor Observers : Marina Warner Mike Baker, AC W Advisory Panel on Education Observers: John Ruston, RAB and Training Michael Convev, OFSTE D Seona Reid, SAC Maggie Guillebaud (Chairman ) Dr Neil Gilrov-Scott, BC Jim Beirne, RAB Rov Blatchford Eric Bolto n Contemporary Music Network Mick Farle y Committee Bruce Gil l Bruce Col e Philip Hedley Tom e Dudley-Evans Madeleine Hutchin s Sally Groves Evelvn Murrav Brian Morto n Nargis Rashid David Patmor e Jo Shapcott David Sefto n Anne Snclgrov e Observers : Julie Tollev Mark Monument, RAB Jo Verren t Observers : Michael Convev, OFSTE D Jane Brvant, RAB 52 The Arts Council of England 1995196 ACCOUNTS 1995/96 54 The Arts Council of England account s 68 Lottery distribution account 78 Arts Council of England grants and guarantees awarded 1995/9 6 95 Lottery hard commitments in 1995/96 53 Arts Council of England Accounts 1 April 1995-31 March 199 6 Forewor d Introduction The Arts Council of England a as establishe d Statement ofCouncil sand Secretary-General's During the vear, arrangements have been mad e by Royal Chatter and is a registered charm . responsibilities in relation to financial statements to promote etlectiye consultation and On 1 April 1994 it took over the responsibilitie s Under the Royal Charter the Council is require d communications with all staff. All departments in England previousl discharged by the Alts to prepare a statement of accounts for the have regular staff meetings at which matters Council of Great Britain . financial period in the form and on the basis relating to the Council 's activities are discusse d directed by the Secrctary of State for Nationa l and staff are regularly briefed on the matters The Council receives grant-in-aid from the Heritage, with the consent of the Treasun : Th e discussed at senior management and Counci l Department of National Heritage and is one o f accounts are to be prepared on an accruals basi s meetings . Meetings of all staff are hel d the bodies designated to distribute funds fro m and to shoe- a true and fair view of the Council's pcriodicall . The Council recognises the trad e the National Lotter\- by the National Lotterv et c state of affairs at the vear end and of its income union MSE with which it has established a Act 1993 . and expenditure and cash flows for the financia l procedural agreement; representatives o f year. The Council is required to : management and union meet regularly. The Council distributes its grant-in-aid i n support of the arts in accordance with th e - Observe the Accounts Direction issued by th e Statement on conporategovernance objectives set out in the Royal Charter. I t Secretary of State, which sets out accountin g Although the Arts Council of England is no t distributes funds from the National Lotterv i n and disclosure requirements, and apply suitable required to comply with the Code of Bes t accordance with directions issued under the Act accounting policies on a consistent basi s Practice published in December 1992 by th e by the Secretan° of State for National Heritage . Cadbury Committee on the Financial Aspects o f - Make judgements and estimates on a Corporate Governance, nevertheless the Counci l The Council works at arm 's length fro m reasonable basi s believes it should meet the highest standards o f Government and has the status of a non- corporate governance and accordingly complie s departmental public body As such it is regulate d - State whether applicable accounting standard s voluntarily with key aspects of the code . in accordance with Financial Memoranda issued have been followed, and disclose and explain any be the Secretary of State and prepares separate material departures in the financial statement s Members of the Arts Council arc appointed b y accounts, for grant-in-aid and Lottery funded the Secretary of State for National Heritage for activities, in accordance with account s - Prepare the financial statements on the goin g specified terms of office, and are unpaid . Council directions . concern basis, unless it is inappropriate t o members work within a Code of Practice base d presume that the Council will continue in on a Treasury model for non-departmenta l The Members of the Arts Council during th e operation . public bodies, which has been agreed with th e year were : Lord Gowrie PC (Chairman) , Secretan• of State . The Council meets in forma l Sir Richard Rogers (Vice-Chairman) , The Accounting Officer for the Department o f session about 10 times each vear and monitor s Richard Cork, Professor Christopher Fravling , National Heritage has designated the Secretan - the work of the Secretary-General and her staff. Maggie Guillebaud, Peter Gummer (until 1 9 General as Accounting Officer for the Council . Overall policy is determined by the Counci l March 1996), Sir Ernest Hall OBE DL, Gavi n The relevant responsibilities as Accountin g itself and the Council has a schedule of matters Henderson, Thelma Holt CBE, David Reid, Officer, including the responsibility for the reserved for its own decision, including ke y Trevor Nunn CBE, Stephen Phillips, Usha propriety and regularity of the finances for points of strategy; policy; resourcing, an d Prashar CBE, Stella Robinson, Prudence Skene , which the Secretary-General is answerable an d staffing . All Council members have access to and Robert Southgate . for the keeping of proper records, arc set out in the Secretary-General and senior staff as they the Non-Departmental Public Bodies ' require. The Head of Secretariat ensures tha t Revienv ofthe vea r Accounting Officers' Memorandum issued b y the Council follows its established procedures . The Council's principal activity is the support HM Trcasun: of the arts . To this end it makes grants to art s The annual report provides information about organisations and Regional Arts Boards, and Other matters the Council 's overall financial position . The engages in other activities on behalf of the sector. The Comptroller and Auditor General acts as Council maintains objective and professiona l The Secretary-General's report and departmental auditor to the Arts Council, and his report i s relations with the National Audit Office, whic h reports in the annual report provide furthe r presented on page 55 . acts as auditor of both the Arts Council 's grant - details of its policies and activities . in-aid accounts and its Lotter , distribution The Council maintains a register of interest s accounts . The accounts for activities funded from grant-in - of its members, which is available for publi c aid (set out on pages 56 to 67) show a surplus of inspection by appointment at the Council's The Council has established an Audi t .£1 .764m . Great Peter Street address . Committee ; its terms of reference accord with the Code of Best Practice for Board Member s Regional Ants Boards It is the Council 's policy to abide by the CBI 's of Public Bodies issued by HM Treasury The Regional Arts Boards arc independen t Prompt Pavers Code, and in particular to pay companies, and grants to them from the Arts bills in accordance with contract. Mary Allen Council are subject to conditions set by th e Secretary-General Council . The Council made operating grants o f The Arts Council is committed to a policy o f L59.568m to the Regional Arts Boards durin g equality of opportunity in its employmen t the vear, as detailed in Note 4 of the accounts . practices . In particular the Council aims t o In addition the Council made further grants of ensure that no potential or actual employe e .f 1 .983m to Regional Arts Boards for a range receives more or less favourable treatment on of other activities . These grants are itemised i n the grounds of race, colour, ethnic or nationa l the relevant sections of Schedule 1 . origin, marital status, age, gender, sexua l orientation, disability or religious beliefs. 54 The Arts Council o Tingland 19951196 The Certificate of the Comptrolle r and Auditor General to the Houses of Parliamen t I have audited the financial statements on page s John Bour n 56 to 67 . These financial statements have been Comptroller andAuditor General prepared under the historical cost conventio n 4 September 199 6 and the accounting policies set out on page 59 . National Audit Office Respective responsibilities of'Council , 157-197 Buckingham Palace Road Secretarv- General and auditors Victoria, London SW1W 9SP As described on page 54, the Council arid th e Secretary-General as the Accounting Officer are responsible for the preparation of the financial statements and for ensuring the regularity o f financial transactions . It is my responsibility to form an independent opinion, based on m y audit, on those statements and on the regularity ofthe financial transactions included in them , and to report my opinion to you . Basis ofopinion I conducted my audit in accordance wit h Auditing Standards issued by the Auditin g Practices Board . An audit includes examination, on a test basis, of evidence relevant to th e amounts, disclosures and regularity offinancial transactions included in the financial statements . It also includes an assessment ofthe significant estimates and judgements made by the Council and the Secretary -General in the preparation of the financial statements, and of whether th e accounting policies are appropriate to th e Council's circumstances, consistently applied arid adequately disclosed . I planned and performed my audit so as to obtain all the information and explanations which I considered necessary in order to provid e me with sufficient evidence to give reasonable assurance that the financial statements are fre e from material misstatement, whether caused by error, or by fraud or other irregularity and that , in all material respects, the expenditure an d income have been applied to the purpose s intended by Parliament and the financial transactions conform to the authoritics whic h govern them . In forming my opinion I hav e also evaluated the overall adequacy of the presentation of information in the financial statements . Opinion In my opinion : - The financial statements give a true and fai r view of the state of affairs of the Arts Council o f England at 31 March 1996 and of the surplus , total recognised gains and losses and cash flow s for the vear then ended and have been properl y prepared in accordance with the direction made by the Secretary of State for National Heritage - In all material respects the expenditure and income have been applied to the purposes intended by Parliament and the financial transactions conform to the authorities which govern them . 55 The Arts Council of Englan d Income and expenditure accoun t For the period 1 April 1995-31 March 199 6 1996 1995 £OOOs C000s C000S C000S Parliamentary grant-in-aid Note 2 191,133 185,99 0 Other income Yore 3 1,517 1,645 192,650 187,635 Grants Note 4 123,143 118,404 Grants to Regional Arts Boards Note 4 59,568 58,062 Other activities Note 5 3,384 3,455 General expenditure on the arts : 186,095 179,921 Management and services Note 6 7,809 7,695 Less costs apportioned to the Lottery Note 10 (3,052) (515) Net cost of management and service s 4,757 7,180 190,852 187,101 Operating surplus for the year before exceptional items and interest 1,798 534 Exceptional item : transfer from Arts Council of Great Britain Note 22 0 5,242 Interest receivabl e 291 28 0 Operating surplus for the yea r 2,089 6,056 Transfer (to) reserves and provisions Restructuring provision Note 14 0 (261) Capital reserve Note 21 (325) (1,888) Net surplus Note 11 1,764 3,907 Accumulated surplus brought forward 3,907 0 Accumulated surplus carried forward 5,671 3,907 The Council has no recognised gains or losse s other than those shown in the income and expenditure statement for the period . There are no discontinued activities . 56 The Arts Council ofEngland 1995196 Balance sheet At 31 March 1996 1996 199 5 LOWS £OOOs C000S LOWS Fixed assets Tangible assets Note 9 3,997 3,682 Investments Note 12 3 3 4,000 3,685 Current assets Stocks Note 13 45 49 Debtors and prepayments : Grant-in-aid receivable Note 2 11,874 11,874 Othe r 1,436 1,531 Due from National Lottery 1,990 57.5 Grants paid in advance 2,671 2,299 Cash at bank and in han d 267 358 18,283 16,686 Current liabilitie s Grants outstanding 9,775 10,204 Creditors : amounts falling due within one year 4,624 4,372 14,399 14,576 Net current assets 3,884 2,110 Total assets less current liabilities 7,884 5,795 Represented by Accumulated surplus 5,671 3,907 Capital reserves 2,213 1,888 7,884 5,795 Mary Allen Secretary-General Lord Gowrie Chairman of the Arts Council ofEngland 22 July 1996 57 Cash flow statement For the period ended 31 March 1996 1996 1995 £OOO% £OOOs £OOOs £OOOS Operating activities Grants received from the Dept of National Heritage 191 .133 174,11 6 Other cash receipts 1,678 10 6 Cash received from ACG B 0 31 9 Net current assets receis ed from ACG B 0 1,30 7 Grants paid to arts organisations and other bodie s (186,896) (172,056 ) Cash paid to and on behalf of employees (3,632) (3,758) Cash payments on behalf of the National Lotten- ( net ) (1,415) (549) Other cash payments (net ) (718) 84 7 Net cash inflow from operating activities 150 332 Investing activitie s Purchase of tangible fixed assets (539) (262) Proceeds from sale of fixed assets 7 8 Net cash outflow from investing activities (532) (254) Net cash outflow before returns on investment s (382) 78 Returns on investments and servicing of financ e Interest received on short term cash deposits 291 28 0 Net cash inflow from returns on investments 291 280 Net cash outflow after returns on investment s (91) 358 Increase (decrease) in cash and cash equivalents (91) 358 Reconciliation of movement of cash and cash equivalents: Cash at beginning of period 358 0 Cash at end of period 267 35 8 58 The Arts Council ofEnAland 1995196 I Accounting policies E) Leases Costs in respect of operating leases are charge d A) Basis of accounts to the income and expenditure account on a These financial statements are prepared under straight line basis over the life of the lease . the historical cost convention . The Charity Commissioners issued a Statement of Standard F) Taxatio n Accounting Practice (SORP) for Charities i n The Arts Council of England is a Registere d October 1995 . The Council proposes to adopt Charity (No 1036733) and is eligible under th e the SORP for the 1996/97 accounts . The Income and Corporation Taxes Act 1980 to seek accounts have been prepared in accordance wit h from the Inland Revenue exemption from taxe s the Accounts Direction issued by the Secretary on income arising from its charitable objectives . of State for National Heritage ; they meet th e The Inland Revenue has granted this exemption . requirements of the Companies Acts, and o f Accordingly, no taxation has been provided fo r the Statements of Standard Accounting in these accounts . Practice/Financial Reporting Standards issue d and adopted by the Accounting Standard s G) Pensions Board, so far as those requirements ar e The Arts Council provides a defined benefi t appropriate . pension scheme for its employees, the costs of which are charged to the income an d Separate accounts have been prepared for the expenditure account . Council's Lottery activities, in accordance with the Directions issued by the Secretary of State . H) Apportioned costs Consolidated accounts have not been prepared . The Arts Council incurs indirect costs which ar e shared between activities funded from the grant - B)Accruals convention in-aid and activities funded from the National All income and expenditure is taken into account Lottery. It is required to apportion indirect costs in the financial year to which it relates . properly between the two activity areas on a full cost basis in accordance with good accounting Subsidy expenditure is incurred in the form o f practice (Note 10) . grants and guarantees which are formally offere d to and accepted by the organisations funded by the Council . Grants and guarantees are charge d to the income and expenditure account in the year in which funded activities take place ; if this is not determinable they are charged in the year in which activities begin. Any amounts unpai d from grants and guarantees at the year end are shown in the balance sheet as creditors and an y advance payments to funded organisations i n anticipation of grants and guarantees to be charged in the following financial year are shown as assets in the balance sheet . C) Depreciation and fixed assets Depreciation is provided on all tangible fixe d assets at rates calculated to write off the cos t less estimated residual value of each asset systematically over its expected useful life as follows : Freehold land - not depreciated Freehold buildings -- over 50 years Leasehold buildings -- over the life of the lease Equipment, fixtures and fittings - over 4 years Motor vehicles - over 4 years A full year's depreciation is provided in the year of an asset's acquisition, and none in the year of its disposal . Works of art are shown at historical cast, and a n amount equal to the value of the net purchases each year is transferred out of the income an d expenditure account to a separate capital reserv e (Note 21) . This poficy reflects the fact that work s of art are not assets which have a finite usefu l economic life . D) Storks Stocks are stated at the lower of cost and ne t realisable value . 59 2 Grant-in-ai d The Parliamentary grant-in-aid as shown in the income an d expenditure account reconciles with the cash sum voted b v Parliament in 1995 ,96 as follows : 1996 199 5 L000s LOWS Cash grant-in-aid voted by Parliament and paid in ful l during the financial year as published in the Parliamentary Supply Estimates Class XII Vote 2 191,133 185,990 Less : grant-in-aid receivable transferred from ACG B by exceptional ite m 11,874 11,874 179,259 174,11 6 Plus : grant-in-aid receivable outstanding as at 31 March 199 6 11,874 11,874 Grant-in-aid as shown in income and expenditure account 191,133 185,990 3 Other income 1996 199 5 £OOOs £OOOS Grants, sponsorship and donations receive d 294 21 9 Joint funding for traineeships 0 1 4 Conference fee s 10 2 4 Publications and royaltie s 61 56 Profit on sale of feed assets 7 4 Grants and guarantees accrued in past years now no t required 471 42 9 Contemporary Music Network incom e 31 11 6 Film production incom e 386 559 Sundry income 56 6 1 Contributions from other Councils 201 163 1,517 1,64 5 The grants, sponsorship and donation s are analysed as follows : £OOOs £OOOS David Cohen Trus t 15 1 5 London Arts Board 128 88 Othe r 28 7 Southern Arts Board 0 9 Calouste Gulbenkian Foundation 20 9 Building Centre Trus t 0 5 Arts Council of Wale s 30 2 9 The Scottish Arts Counci l 52 52 The Architects' Journal 0 5 The Irish Arts Counci l 1 0 South Bank Centre 20 0 294 21 9 60 The Arts Council ofEn,gland 1995196 4 Grants by art form 1996 1995 LOWS LOWS Architecture 0 158 Combined Arts 16,576 15,360 Arts 2000 (Cities of Culture) 0 275 Cross-disciplinary initiatives 1,242 497 Dance 22,410 21,623 Drama 27,340 26„765 Film, Video and Broadcasting 380 334 International Initiatives Fund 0 51,' Literature 1,554 1,467 Music 43,765 36,131 Touring 4,293 10,236 Education and Training 876 80.3 Visual Arts 4,707 4,238 123,143' 118,4W International Initiatives Fund and Arts 2000 (Cities of Culture) are included in Combined Arts in 1996. See Schedule 1 for details . Grants to Regional Arts Boards 1996 1995 £000s LOWS Eastern Arts Board 4,892 4,842 East Midlands Arts Board 4,341 4,181 London Arts Board 13,867 13,62 1 Northern Arts Board 5,752 5,51 3 North West Arts Board 7,733 Southern Arts 3,529 3,39-1 South East Arts Board 2,644 2,594 Arts Board South West 4,334 4,254 West Midlands Arts Board 5,683 5,52.1 Yorkshire & Humberside Arts Board 6,7.13 6,423 59,568 58,062 5 Other funded activites 1996 1995 LOWS £0005 Architecture Unit 0 1 9 Business assessment and planning 86 0 Combined Arts 78 11 6 Cross-disciplinary initiatives 0 483 Dance 60 55 Drama 14 4 Film, Video and Broadcasting 1,564 1,29 3 Literature 192 227 Music 35 59 Press and Public Affairs 110 0 PB.PD 146 0 Touring 746 854 Education and Training 199 148 Visual Arts 154 197 3,384 3,455 Other funded activities include a very wide range of differen t initiatives comprising film production, promotion of the Contemporary Music Network, research, consultancies , publications and conferences . Income arising from thes e activities has been included in `Other income' (Note 3) . 61 6 Management and services 1996 199 5 £OOOs 1000s Staff costs Note,- 3,731 3,634 Operational costs Note 8 3 .854 3,872 Depreciation Note 9 224 189 7,809 7,695 7 Staff costs 1996 1995 .0000s £OOOS Salaries and wages 3,018 3,005 Employer 's National Insurance 241 24 7 ACE Retirement Plan (1994) 472 382 Total 3,731 3,634 The Chairman, Council and panel members are not paid for their services . In the course of discharging their duties Council members assess artistic work . This assessment involves attending music, dance, drama and other performances, as well as attendance at poetry readings, films , exhibitions and galleries, etc . The cost of tickets for these performances and events is met by the Arts Council of England . In 1995/96, the total cost of tickets purchased fo r this purpose was £8,533 . The Chairman also has the use of a car and driver in order to discharge his duties as Chairman . An acturial valuation of the pension fund takes place ever y three years . The last valuation was in 1993/94 . On advice of the acturan; the employer's contribution was set at 13 .2% . The scheme is financed by payments by the Council an d employees into a trustee-administered fund independent o f the Council 's finances. These contributions are invested b y a leading fund management company. The net market valu e of scheme assets at 31 March 1995 was .C, 16,605,250 . The average weekly number of employees during the yea r was made up as follows : Administration of subsidies and services 144 132 144 13 2 8 Operational costs 1996 1995 .C000s LOWS Travelling, subsistence and entertainment 382 432 Rent and rates 1,450 1,30 0 Fuel, light and house expenses 247 25 8 Publicity and promotions 36 75 Postage and telephone 123 125 Agency staff costs 295 143 Professional fees 141 228 Accrued Value Added Tax 715 663 Office and sundry 465 648 3,854 3,872 62 The Arts Council ofEngland 1995196 9 Tangible fixed assets 199 6 Land Equipment and Fixtures and Works Buildings Fittings Vehicles of Art Tota l £OOOs £OOOs £OOOs £OOOs £OOO s Costs at 1 April 1995 1,909 1,189 11 1,888 4,997 Additions 1 186 27 325 53 9 Less : disposals 0 (36) (11) 0 (47 ) Cost at 31 March 1996 1,910 1,339 27 2,213 5,489 Depreciation at 1 April 1995 353 951 11 0 1,31 5 Depreciation on disposals 0 (36) (11) 0 (47 ) Provided for 1995/96 69 148 7 0 224 Depreciation at 31 March 1996 422 1,063 7 0 1,492 Net book value at 1 April 1995 1,556 238 0 1,888 3,682 Net book value at 31 March 1996 1,488 276 20 2,213 3,997 The net book value of land and buildings comprises : 1996 199 5 £OOOs £OOOs Freehold 348 284 Short leasehold improvements 1,140 1,272 1,488 1,556 The net book value as at 31 March 1996 includes assets with a historical cost of £858,032, (1995 - £790,827) , which have been fully depreciated. Art Collectio n The Arts Council Collection has been valued by the curator at £24,591,856 at 31 March 1996. The purpose of the collection is to increase th e understanding and appreciation of contemporary art an d to widen its audience through loans to other galleries, publi c institutions and exhibitions. It is not held for investmen t or resale . 63 10 Costs apportioned to the Lottery The Financial Directions issued by the Secretan- of Stat e require that indirect costs shared between grant-in-aid funded activities and Lotten- funded activities should be apportioned between the two in accordance with goo d accounting practice . Overhead costs have been allocated to grant distributing departments in proportion to those departments' own costs . The resulting full costs of grant distributing departments are apportioned between activitie s to be funded by grant-in-aid and activities to be funded b y the Lottery in proportion to time spent. 11 Surplus for the year 1996 1995 £OOOs £OOOs Stated after charging : (a) Auditors ' remuneration 39 44 (b) Operating leases 1,241 1,24 1 (c) Emplovees receiving remuneration over £40,000 Number Number £40,000 -£49,999 4 6 £50,000 - .C59,999 1 1 £60,000 -C69,999 1 0 (d) The total remuneration of the Secretarv-General , including taxable benefits is as follows : Salarn° 62,446 Pension @ 13 .2% 8,242 She was an ordinary member of the Council's 70,688 pension scheme 12 Investments On 31 March 1994 the Arts Council of Great Britai n transferred ownership to the Arts Council of England o f 5,870 Charifund Units valued at £41,178 on that date . 1996 1995 The historical cost transferred was £3,082 . LOWS LOWS Equities Investment Fund for Charities 5,870 units market value £43,438 3 3 13 Stock 1996 1995 £OOOs £OOOS Films 0 1 7 Stationery 13 1 4 Publications 32 18 45 4 9 Film stock was written off as at 31 March 1996 as it i s not stock for resale : it is a film libran: Films purchased i n 1995/96 at a cost of £93,915 have been treated a s expenditure in the year. 64 The Arts Council ofEngland 199519 6 14 Provision for redundancy and restructuring The provision was established by the Arts Council of Great 1996 199 5 Britain in 1993/94 for a programme of redundancies an d completed by the Arts Council of England in 1994/95 . £OOOs £OOOs Provision for cost of redundancies 0 293 Provision no longer required 0 (32) Net charge to income & expenditure account 0 (261 ) Provision at 31 March 1996 0 0 The cost of redundancies in 1994/95 comprised £251,00 0 in salaries and £10,000 in other costs . 15 Grant offers 1996 1995 .C000s LOWS Forward funding : 1996/97 169,419 172,41 3 1997/98 520 761 1998/99 44 4 1()Y,VZ56 1 /S, /,/Cy These figures represent the total value of the grants offere d for the years indicated at 31 March 1996 . 16 Leases 1996 199 5 At 31 March 1996 the Council had annual commitments Land and Land and under non-cancellable operating leases as set out below. Buildings Building s £OOOs £OOOS Operating leases which expire : within one year 5 0 inclusive 0 5 over five years 1,236 1,236 1,241 1,241 17 Capital commitments 1996 199 5 £OOOs £OOOs Authorised but not contracted 0 25 Contracted 5 59 5 84 18 Tax and social security creditors 1996 1995 cnnn . cnnn, Y9 1 65 19 South Bank Centre lease The Council owns the freeholds of the National Fil m Theatre, the Museum of the Moving Image, the Has-\\ ar d Gallen_ ; the Queen Elizabeth Hall . the Purcell Room and th e Roval Festival Hall, which are leased to the South Ban k Centre . In light of the terms of the lease, no xaluc has bee n placed on these assets in the accounts . 20 Royal National Theatre The Council owns the freehold of the Royal Nationa l Theatre, which is leased to the South Bank Theatre Board Limited and occupied by the Roval :National Theatre Board Limited under licence . In light of the terms of the lease an d licence arrangements, no value has been placed on the asset s in the accounts . 21 Capital reserves 1996 1995 .£000s £OOOs Balance at I April 1995 1,888 0 Appropriations in 1995/96 325 1,888 Balance at 31 March 1996 2,213 1,888 As stated in Note 9, the Arts Council Collection is not hel d for the purposes of investment or resale and is not depreciated . The Council sets aside a capital resern-c equal to the cost of the Collection, net of disposals and write-offs . The appropriations shown include the sum of£1,848,00 0 transferred from the Arts Council of Great Britain on I Apri l 1994, and an appropriation in 1994/95 of£39,700 . 22 Exceptional item : Transfer from the Arts Council of Great Britai n On I April 1994, all English assets and liabilities belonging to the Arts Council of Great Britain with a total value o f £5,242,000 were inherited by and transferred to the Arts Council of England . 23 Reconciliation of movements in government funds 1996 1995 £OOOs £OOOS Balance at 31 March 1995 3,907 0 Operating surplus for 1996/95 2,089 6,056 Redundancy costs 1995/96 0 (261) Capital reserve (325) (1,888) Accumulated surplus carried forward 5,671 3,907 66 TheArtsCouncil ofF.ngland1995/96 24 Cash flow reconciliatio n 199 6 1995 Reconciliation of operating surplus/(deficit) to net cash inflow from operating activitie s .£000s LOWS Operating surplus before interest receivabl e 1,79 8 534 Depreciation charges 224 189 Transfer from restructuring provision 0 32 Transfer to restructuring provisio n 0 (293 ) Current assets and liabilities transferred from ACGB : Grant receivabl e 11,874 Stoc k 32 Debtors and prepayments 1,091 Cash 319 Grants paid in advance 3,81 2 Grants outstandin g (12,153 ) Creditors (3,349) Net current assets transferred 0 1,626 Profit on disposal of fixed assets (7) (I) (Increase) in stocks 4 (49 ) (Increase) in debtors and prepayments (13,980 ) (Increase) in grants paid in advance (2,:399 ) Increase in grants outstanding 10,20f Increase in creditors 4,372 Net cash inflow from operating activities 332 67 Arts Council of England Lottery distribution account s 1 April 1995-31 March 199 6 Foreword Introduction Stateruei:tofCouncil'sand Sen•etarv-Ger :eral 's During the year, arrangements have been mad e The Arts Council of England was establishe d responsibilities in relation: to financial statements to promote effective consultation an d by Royal Charter and is a registered charity. Under section 35 r 2 i and ( 3 ) of the Nationa l communications with all staff. All departments On 1 April 1994 it took over the responsibilitie s Lotterv etc Act 1993, the Council is required t o have regular staff meetings at which matters in England pre% ioush discharged by the Art s prepare a statement of accounts for the financia l relating to the Council 's activities arc discussed Council of Great Britain . period in the form and on the basis directed b y and staff are regularly briefed on the matter s the Secretarv of State for National Heritage , discussed at senior management and Counci l The Council receives grant-in-aid from the with the consent of the Treasun : The accounts meetings . Meetings of all staff are held Department of National Heritage and is one o f are to be prepared on an accruals basis and t o periodically. The Council recognises the trad e the bodies designated to distribute funds fro m show a true and fair view of the Council 's stat e union MSF, with which it has established a the National Lotten- by the National Lotter- et c of affairs at the sear end and of its income an d procedural agreement; representatives o f Act 1993 . expenditure and cash flows for the financial year . management and union meet regularly. The Council is required to : The Council distributes its grant-in-aid i n Statement on corporategovernance support of the arts in accordance with th e - Observe the Accounts Direction issued by the Although the Arts Council of England is no t objectives set out in the Royal Charter . I t Secretary of State, which sets out accountin g required to comply with the Code of Best distributes funds from the National Lotter v in and disclosure requirements, and appIv suitabl e Practice published in December 1992 by the accordance with directions issued under the Act accounting policies on a consistent basi s Cadbury Committee on the Financial Aspects o f by the Secretar v of State for National Heritage . Corporate Governance, nevertheless the Counci l - Make judgements and estimates on a believes it should meet the highest standards o f The Council works at arm's length from reasonable basi s corporate governance and accordingly complie s Government and has the status of a non- voluntarily with key aspects of the code . departmental public body. As such it is regulate d - State whether applicable accounting standard s in accordance with Financial Memoranda issued have been followed, and disclose and explain an y Members of the Arts Council arc appointed by by the Secretary of State and prepares separat e material departures in the financial statements the Secretary of State for National Heritage for accounts, for grant-in-aid and Lottery funded specified terms of office, and are unpaid . Council activities, in accordance with account s - Prepare the financial statements on the goin g members work within a code of practice based directions . concern basis, unless it is inappropriate t o on a Treasure model for non-departmenta l presume that the Council will continue i n public bodies, which has been agreed with th e Review of the_vear operation . Secretarv of State. The Council meets in forma l The Council's principal activity is the support o f session about 10 times each vear and monitor s the arts . To this end it makes Lottery grants t o The Accounting Officer for the Department o f the work of the Secretarv-General and her staff. arts organisations . The Secretary-General 's National Heritage has designated the Secretanl - Overall policy is determined by the Counci l report and the National Lottery departmenta l General as Accounting Officer for the Council . itself, and the Council has a schedule of matter s report in the annual report provide furthe r The relevant responsibilities as Accountin g reserved for its own decision, including key details of its policies and activities . Officer, including the responsibility for th e points of strategy, policy, resourcing, and propriety and regularity of the finances for staffing . All Council members have access to The accounts for activities funded from the which the Secretar v-General is answerable and the Secretarv-General and senior staff as the y National Lottery Distribution Fund (set out o n for the keeping of proper records, are set out i n require . The Head of Secretariat ensures that th e pages 70 to 77) show an increase in finds of the Non-Departmental Public Bodies ' Council follows its established procedures. 18,578,000 . Accounting Officers' Memorandum, issued b y HM Trcasurv. The annual report provides information abou t Membership of Council the Council 's overall financial position . The The members of the Arts Council durin g Other matters Council maintains objective and professiona l the vear were as follows : Lord Gowric P C The Comptroller and Auditor General acts as relations with the National Audit Office, which (Chairman), Sir Richard Roger s auditor to the Arts Council, and his report i s acts as auditor of both the Arts Council 's grant - (Vice Chairman), Richard Cork, Professo r presented on page 69 . in-aid accounts and its Lotterv distributio n Christopher Frayling, Maggie Guillcbaud, Pete r accounts . Gummer (until 19 March 1996), Sir Ernest Hal l The Council maintains a register of interest s OBE DL, Gavin Henderson, Thelma Hol t of its members, which is available for public The Council has established an Audi t CBE, Trevor Nunn CBE, Stephen Phillips, Ush a inspection by appointment at the Council 's Committee ; its terms of reference accord with Prashar CBE, David Reid, Stella Robinson , Great Peter Street address . the Code of Best Practice for Board Members o f Prudence Skene and Robert Southgate . Public Bodies issued by HM Trcasur . It is the Council 's policy to abide by the CBI 's Membership of the Lottery Advisory Pane l Prompt Payers Code, and in particular to pay The members of the Council's National Lotter ' bills in accordance with contract . Marv Alle n Advisory Panel during the vear were as follows : Secretarv-Genera l Peter Gummcr (Chairman), Jon Foulds, Ladv The Arts Council is committed to a policy of Hopkins, Cleo Laine OBE, Ruth Mackenzi e equality of opportunity in its employmen t OBE, Paddv Masefield, Tonv Pender CBE , practices . In particular the Council aims to Nima Poovava-Smith and Sir David Puttna m ensure that no potential or actual employee CBE . The members of the Panel were no t receives more or less favourable treatment on remunerated for their services . the grounds of race, colour, ethnic or nationa l origin, marital status, age, gender, sexua l orientation, disability or religious beliefs . 68 The Arts Council ofEngland 1995196 The Certificate of the Comptrolle r and Auditor General to the Houses o f Parliament I certify that I have audited the financial I have no observations to make on these statements on pages 70 to 77 under the financial statements . National Lottery etc . Act 1993. Thesc financia l statements have been prepared under the historical cost convention and the accountin g John Bourn policies set out on page 73 . Comptroller and Auditor General 28 June 199 6 Respective responsibilities of Council, Secretary- General and auditors National Audit Office As described on page 68, the Council and the 157-197 Buckingham Palace Roa d Secretary-General as the Accounting Officer are Victoria, London SW1W 9SP responsible for the preparation of the financial statements and for ensuring the regularity of financial transactions . It is my responsibility to form an independent opinion, based on m y audit, on those statements and on the regularity of the financial transactions included in them, and to report my opinion to you . Basis of opinio n I conducted my audit in accordance wit h Auditing Standards issued by the Auditin g Practices Board . An audit includes examination , on a test basis, of evidence relevant to th e amounts, disclosures and regularity offinancial transactions included in the financial statements. It also includes an assessment of the significan t estimates and judgements made by the Council and the Secretary-General in the preparation of the financial statements, and of whether the accounting policies are appropriate to the Council's circumstances, consistently applied and adequately disclosed. I planned and performed my audit so as to obtain all the information and explanation s which I considered necessary in order to provide me with sufficient evidence to give reasonabl e assurance that the financial statements are free from material misstatement, whether caused by error, or by fraud or other irregularity and that , in all material respects, the expenditure and income have been applied to the purpose s intended by Parliament and the financial transactions conform to the authorities which govern them . In forming my opinion I have also evaluated the overall adequacy of th e presentation of information in the financia l statements . Opinio n In my opinion : -The financial statements give a true and fair view of the state of affairs of the Arts Counci l of England Lottery distribution activities a t 31 March 1996 and of the increase in funds available, total recognised gains and losses an d cash flows for the year then ended and have been properly prepared in accordance with th e National Lottery etc Act 1993 and direction s made thereunder by the Secretary of State fo r National Heritage - In .ill material respects the expenditure and income have been applied to the purpos e intended by Parliament and the financial transactions conform to the authorities which govern them . 69 The Arts Council of England Lottery distribution account For the period I April 1995-31 March 199 6 1996 199 5 .C000s LOWS £OOOS £OOOS Share of proceeds from the National Lotten- Note 2 244,194 48,397 Investment returns on the Distribution Fund 10,910 497 Investment income on bank accounts 248 3 Other income Note 3 8 3 255,360 48,900 Grants 229,918 0 Total grants Note 9 229,918 0 General expenditure : Staff costs Note 4 568 188 Other operating costs Note 5 3,215 692 Depreciation Note 6 29 1 6 Costs apportioned by the Arts Council of England Note 1 3,052 51 5 Total operating costs 6,864 1,41 1 Total expenditure 236,782 1,41 1 Increase/ (decrease) in Lottery funds Note 10 18,578 47,489 Accumulated funds brought forward 47,489 0 Accumulated funds carried forward 66,067 47,489 The Council has no recognised gains or losses other than those shown on the income and expenditure statement fo r the period. There are no discontinued activities . 70 The Arts Council ofEngland 1995196 Balance sheet At 31 March 1996 199 6 199 5 £OOOs £OOOs £OOOs .£000s Fixed assets Tangible assets Note 6 7 1 71 47 Current assets Debtors and prepayments 15 5 3 Investments: balance in Distribution Fund Note 7 ?,A q q n4 48,02 8 Cash at bank and in hand 82 48,113 Current liabilties Hard commitments falling due within one year Note 9 104,726 0 Creditors : amounts falling due within one year Note 8 3,728 671 108,454 671 Net current assets 159,607 Total assets less liabilitie s 159,678 Represented by Provisions for liabilities and charges : grant commitments 93,61 1 Reserves 66,067 159,678 Mary Allen Secretary-General Lord Gowri e Chairman of theArts Council ofEngland June 1996 71 Cash flow statemen t For the x-ear ended 31 March 199 6 1996 1995 f000s f000s f000s f000s Operating activities Funds received from the National Lotter Distribution Fun d 39,828 86 6 Other cash receipts 137 3 Grants pai d 131,61 4 Cash paid to and on behalf of employee s 568) (188) Other cash payments (3,210) 1536) Net cash infloNk from operating activitie s 4,573 145 Investing activitie s Purchase of tangible fixed assets (53) (63) Net cash outflow from investing activitie s - (53) (63) Net cash infloxk Increase in cash and cash equivalent s Movements in cash and cash equivalents Cash at beginning of perio d 82 0 Cash at end of period 4,602 82 72 The Arts Council of England 1995196 1 Accounting policies Equipment, fixtures and fittings - over 4 year s A) Basis ofaccounts A full year's depreciation is provided in the year These financial statements are prepared under of an asset's acquisition, and none in the year of the historical cost convention. The Charity its disposal. Commissioners issued a Statement of Standard Accounting Practice (SORP) for Charities i n D) Stocks October 1995. The Council proposes to adopt Stocks are stated at the lower of cost and ne t the SORP for the 1996/97 accounts . The realisable value. No value is ascribed to stocks o f accounts have been prepared in accordance with application packs, as the cost is written off in th e the Accounts Direction issued by the Secretary year in which it is incurred. of State for National Heritage ; they meet th e requirements of the Companies Acts and of th e E) National Lottery Distribution Fund Statements of Standard Accounting Practice/ Balances held in the National Lottery Financial Reporting Standards issued and Distribution Fund remain under the adopted by the Accounting Standards Board , stewardship of the Secretary of State fo r so far as those requirements are appropriate . National Heritage . However, the share of these balances attributable to the Arts Council o f Separate accounts have been prepared for th e England is as shown in the accounts and, at the activities funded from the grant-in-aid, in balance sheet date, has been certified by th e accordance with the Directions issued by th e Secretary of State for National Heritage as being Secretary of State. Consolidated accounts have available for distribution by the Arts Council o f not been prepared . England in respect of current and future commitments (Note 7) . The amount attributable B) Accruals conventio n to the Arts Council has been treated as income All income and expenditure is taken into accoun t within these accounts . in the financial year to which it relates. F) Leases As required by the Secretary of State, a Costs in respect of operating leases are charged distinction is made in respect of Lottery grants to the income and expenditure account on a between `hard commitments', where th e straight line basis over the life of the lease . Council has made a firm offer of grant whic h (together with appropriate conditions) has G) Taxation been accepted by the recipient, and `soft The Arts Council of England is a Registere d commitments', where the Council has agreed in Charity (No 1036733) and is eligible under th e principle to fund a scheme and made an offer, Income and Corporation Taxes Act 1980 to see k but the offer and associated conditions have not from the Inland Revenue exemption from taxe s yet been accepted . on income arising from its charitable objectives. The Inland Revenue has granted this exemption. Hard commitments are recognised in the Accordingly, no taxation has been provided for income and expenditure account, whereas soft in these accounts . commitments are recognised by way of note . H) Pensions Hard commitments payable within one yea r The Arts Council provides a defined benefit of the balance sheet date are recognised in th e pension scheme for its employees, the cost s balance sheet as current liabilities . Those payabl e of which are charged to the income an d more than one year from the balance sheet dat e expenditure account. are shown as grant commitments under `Provisions for liabilities and charges' . I) Apportioned costs The Arts Council incurs indirect costs which Grant commitments for future years have been are shared between activities funded from grant - entered into, taking account of income forecasts in-aid and activities funded from the National provided by the Department of National Lottery. The Council is required to apportio n Heritage. These forecasts have been discounte d indirect costs properly between the two activity aggressively and the Council believes that it has areas in accordance with good accountin g taken a very conservative view of future income . practice. Nevertheless, it assumes, as matters of publi c policy, the continued operation of the Nationa l Lottery and the maintenance of the Arts Council's percentage of the National Lottery Distribution Fund as set out in sections 22 and 23 of the Act . C) Depreciation and fixed assets Depreciation is provided on all tangible fixe d assets financed by Lottery funds at rates calculated to write off the cost less estimated residual value of each asset systematically ove r its expected useful life as follows : 73 2 Share from the National Lottery 1996 £OOO s Share of proceeds from the National Lottcn 244 .38 2 Adjustment (188 ) 244 .194 The Act provided that the start-up costs of the Millenniu m Commission and the National Lotterv Charities Board should be paid b the appropriate Secretaries of State and should be reimbursed from the National Lottc n Distribution Fund. The accounts of the distributing bodie s for 1994/95 were prepared on the basis that the reimbursement would be met from the two bodies' shares of the fund . Legal advice given subsequently is that reimbursement should be a charge against the fund befor e apportionment between the distributing bodies . I n consequence the Arts Council's share of the fund was reduced and this is reflected above . 3 Other income 1996 199 5 LOOOs L:000s Contributions received 2 0 Sales of publications 6 3 8 3 4 Staff costs 1996 199 5 LOOOs C000S Salaries and wages 463 158 Employer's National Insurance 36 1 1 Arts Council of England Retirement Plan 1994 69 1 9 Total 568 188 These costs relate to the Lotten' function and its operatio n for the vear. The Chairman, Council and Lotten• Advisorv Panel members are not paid for their services . An acturial valuation of the pension fund takes place ever y three vears . The last valuation was in 1993/94 . On the advice of the acturan ; the employer's contribution was se t at 13.2%. The scheme is financed by payments by the Council and employees into a trustee-administered fund independent o f the Council 's finances . These contributions are invested by a leading find management company . The net market value o f scheme assets at 31 March 1995 was .C 16,605,250 . The average weekly number of employees engaged directly on Lottery activities during the year was made up as follows : 1996 199 5 LOOOs LOOOs Lottery operations management 3 1 Operational 9 4 Administrative 6 3 .5 18 8.5 74 The Arts Council of England 19951196 5 Other operating costs 1996 1995 L000s LOWS Travelling, subsistence and entertainment 30 8 Publicity and promotions 123 16 6 Postage and telephone 47 38 Agency staff costs 61 15 Professional fees 557 96 Value Added Tax 533 79 Office and sundry 191 201 External assessment costs 1,673 89 3,215 692 These costs relate to the Lottery function and its operatio n during the year. 6 Tangible assets 1996 1995 Equipment, Equipment , Fixtures Fixture s and and Fittings Total Fittings Total .£000s .E000s £OWO .£000s Cost at 1 April 1995 63 63 0 0 Additions 53 53 63 63 Cost at 31 March 1996 116 116 63 ! 2 Depreciation at 1 April 1995 16 16 0 U Provided for 1995/96 29 29 16 1 6 Depreciation at 31 March 1996 45 45 16 Net book value at 1 April 1995 47 47 0 Net book value at 31 March 1996 71 71 47 7 Investments Balances held in the National Lottery Distribution Fun d remain under the stewardship of the Secretary of State fo r National Heritage . However, the share of these balances attributable to the Arts Council of England is as shown in ' the accounts and, at the balance sheet date, has been certified by the Secretary of State for National Heritage as bein g available for distribution by the Arts Council of England in respect of current and future commitments . The funds are invested on behalf of the National Lotter y Distribution Fund by the National Debt Commisioners . The Arts Council's distribution is in accordance with Sections 22 and 23 of the National Lottery etc . Act 1993 . 8 Creditors 1996 1995 L000s LOWS Accruals 1,244 96 Due to the Arts Council of England 1,990 575 Sundry creditors 494 0 Total due at 31 March 1996 3,728 671 75 9 Soft and hard commitments 1996 1995 £OOOs £0005 Sort commitments brought forte and 0 0 Soft commitments transferred to hard commitments X229,918) 0 Soft de-commitment s (60) 0 Soft commitments made 340,050 0 Balance of soft commitments Outstanding carried forward 110,072 0 Hard commitments brought forward 0 0 Hard commitments met in the last vea r (31,581) 0 Hard de-commitments 0 0 Hard commitments made ~~4 q i Q n Balance of hard commitments outstanding carried forwar d 198,36/ a Ageing of hard commitments : 1996/97 104,72 6 1997/98 77,81 2 1998/99 7,52 1 1999/2000 1,200 Over 5 year s 7 o7 Q Total hard commitments 198,33 7 10 Increase in Lottery funds 1996 1995 4000S C000S Stated after charging : (a) Auditors' remuneration 25 1 8 (b) Staff travel, subsistence and hospitality 20 5 (c) Council members ' travel, subsistence and hospitali 0 3 1996 n(d) The remuneration of senior employees attributable t o the National Lotten, was as follows : Lotterv Lotterv Number Total salaries charge proportio n .C000s C000 S Director of National Lottery 1 46 46 100% ACE employees earning £40,000 - 49,999 4 163 57 35 % ACE employees earning £50,000 - 59,999 1 51 25 49% ACE employees earning £60,000 - 69,999 1 61 30 50% 76 The Arts Council ofEngland 1995196 11 Capital commitments 1996 1995 LOWS C000S Authorised but not contracted 0 0 Contracted 0 7 0 7 12 Cash flow 1996 199 5 .£000s LOWS Reconciliation of operating surplus/(deficit) to net cash inflow from operating activitie s Operating surplus/(deficit) before interest receivable 18,578 47,489 Depreciation charges 29 16 Increase in debtors and prepayments (215,427) (48,031) Increase in creditors 201,393 671 Net cash inflow from operating activitie s 4,573 145 13 Movement in Lottery funds 1996 1995 LOWS £000s Lottery reserve at 1 April 1995 47,489 0 Transferred from income and expenditure accoun t 1 R r752 .17 .28 0 Lottery reserve at 31 March 1996 66,U6/ 4/,4cY Y 77 Grants and guarantees awarded 1995/9 6 Schedule 1 to the Account s For the period to 31 March 199 6 Combined Arts £ £ £ \-ational Chganlsations Camerawork 7,000 South Bank Board 13,330,400 Canal Art Project 3,000 Castlefield Gallen- 2,000 13,330,400 Centre for Contemporary Arts 7,500 Regularhl Funded Chganisations Centre for Performance Research 1,50 0 Disability Arts Magazine 30,000 Cheltenham Festival of Literature 5,000 Institute of Contemporary Arts 815,000 Cite of Nottingham 5,000 National Alliance of Women's Organisations 5,500 Clear Dav Productions 15,00 0 National Disabilirv Arts Forum 60,000 Como No! 8,500 Voluntary Arts Network 50,000 Como No! 2,600 Cubitt Artists 1,50 0 960,500 Cultural Industrv 7,500 Fixed-teen Funded CAganisations Dance Umbrella 10,00 0 Artangcl Trust 75,000 Dovecot Arts Centre 5,000 Arts Administration 23,500 Fifth Quarter 4,000 Blast Theorv 7,500 Fine Rats International 8,000 Daily Life 28,500 Fish Krish Agency 6,000 Hull Time Based Arts 25,000 Fotofeis 7,500 Locus + 15,000 Fruitmarket Gallery 6,000 Mayhew And Edmunds 7,500 Gary Crosby 's Nu Troupe 5,975 Moti Roti Company 29,000 Gate Theatre Company 7,000 Second Stride 108,000 Grand Union 15,00 0 Visiting Arts 172,100 Grey Suit 5,000 Hackney Empire 10,000 491,100 Huddersfield Contemporar• Music Festival 7,500 Hull Time Based Arts 3,000 Totalgrants to funded organisations 14,782,000 Ikon Gallery 16,500 Institute of Contemporary Arts 15,000 Arts 2000 Kent Institute of Art And Design 1,500 Northern Arts Board 300,000 London International Festival of Theatre 30,000 London Musicians' Collective 7,500 300,000 Manchester International Arts 3,200 Black Arts Network Marco Polo Promotions (UK) 5,000 African Caribbean, Asian Arts Network 3,750 Midlands Arts Centre 5,000 East Midlands African-Caribbean Artists Network 3,750 Newlyn Art Gallery 7,500 Equator Communications Group 8,160 Norwich Gallen• (Norwich School of Art & Design) 5,000 Heights 3,750 Nottingham Theatre Trust 6,780 North West Arts Board 3,750 October Gallery Trust 8,000 Omorogbe Osa 1,056 Oldham Museum And Art Gallery 9,000 South Fast Arts Board 3,750 Oriel Mostn Gallerv 6,000 Southern Arts Board 3,750 Pan Project 10,000 Yorkshire & Humberside Arts Board 3,750 The Place Theatre 8,000 Puppet & Animation Festival 5,000 35,466 Rainbow Over Bath 4,000 Development Projects Sadler's Wells Trust 4,000 Asian Arts Access 10,000 Salisbury Festival 8,000 British Chinese Artists Association 22,000 Sama Performing Arts Network 8,000 Circus Space 5,000 Sasa Music 10,000 Digital Diaspora 7,500 Scottish International Children's Festival 20,000 inIVA 2,060 Shiftwork Physical Theatre Company 5,000 South Bank Board 20,000 46,560 St Donats Arts Centre 8,000 International Initiatives Swansea City of Literature 1995 29,000 Africa Ove! 1,800 Theatre Roval, Burv St Edmunds 3,000 Arad Goch 9,400 Theatrcbus 4,000 Artangel Trust 7,000 Uz 3,000 Arts Administration 3,810 Walsall Museum & Art Gallerv_ 5,000 Association of British Calvpsonians 4,300 Whitechapel Art Gallery 5,000 Association Sargam 5,000 Yorkshire Sculpture Park 23,000 Bath Festivals Trust 15,000 Zap Art 15,500 Birmingham City Council 5,000 Brams Arts and Management Services 10,00 0 558,365 Camden Arts Centre 7,500 78 The Arts Council ofEngland 1995196 Lire Art Commissions Intersect 2,05 0 Arnolfini Gallery 6,500 It's Queer Up North 2,300 Beaconsfield 7,948 Locus + 1,000 Bluecoat Gallery 5,000 Nick Hem Books 3,500 Anna Douglas 5,686 Northern Stage 5,000 East Midlands Arts Board 5,600 Richard Padwick & Susan Jones 1,11 0 English Stage Company 8,000 The Quarter Club 5,00 0 Ferens Art Gallery 5,000 Shattered Anatomies 3,00 0 Hull Time Based Arts 10,000 South Bank Board 30 0 Institute of Contemporary Arts 22,250 Strike 5,00 0 Locus + 8,500 Writing Research Associates 2,850 Raw Material 7,500 Reckless Sleepers 5,000 81,890 Ruskin School of Drawing & Fine Art 5,940 New Collaborations Serpentine Gallery 7,000 `3 or 4' Composers 27,00 0 Zap Art 6,000 Anti-Rom Collective 18,77 5 Arrange] Trust 29,00 0 115,924 Artec 20,00 0 LmeArtin HigberEducation Mark Baldwin & Carole Murcia 3,000 Sheffield Hallam University 4,000 Bellring 20,000 University of Central England in Birmingham 3,800 Blast Theory 20,000 Zap Art 2,000 Chichester Institute of Higher Education 3,000 The Crick-Crack Circuit 5,000 9,800 Dance City 5,000 Live Art Publications Desperate Optimists 9,634 Institute of Contemporary Arts 8,400 Dovecot Arts Centre 4,900 Nick Stewart 5,000 Rcne Eyre and Chris Nash 4,925 Theatre Record 20,000 Fifth Quarter 22,000 Film & Video Umbrella 3,000 33,400 Galactic Smallholdings 4,750 Lwc Art Travel and Research Great Yarmouth Borough Council 5,00 0 Akulah Agbami 500 The Handsome Foundation 10,00 0 Nilofar Akmut 500 Heart'n' Soul 3,00 0 Michelle Baharier 500 Sheila Hill 30,94 2 Paulette Terry Brian 400 Industrial & Domestic 21,30 0 Gavin Clayton 300 International Symposium Of Shadows 5,000 Common Ground Dance Theatre 380 Lumiere & Son 5,000 Roger Ely 380 Mahogany Arts 5,000 Tim Etchells 500 Man Act Theatre Company 22,754 Tanya Farman 500 Mayhew And Edmunds 4,700 Harriet Fennell 400 Moti Rori Company 30,00 0 Ronald Fraser-Munro 500 Shoevegas 3,000 Hugo Glendinning 500 Shomari Productions 4,000 Roddy Hunter 500 The Showroom 5,345 Susannah Hart 495 Station House Opera 25,000 Susan Lewis 500 Gary Stevens 20,000 Kirsten Reynolds 495 Walks On Water 5,000 Mike Stubbs 750 The Zwillinge Project 5,000 South West Live Art Circuit 23 8 Catherine Waller 100 410,02 5 Jennifer Wahvin 330 Notting Hill Carnival Bands The Zwillinge Project 463 Adun Society 500 Atlantis Black Arts Carnival Club 500 9,231 Balisaye Carnival Club 1,500 Live ArtDevelo[rment Bayie Busuofo 1,500 Arnolfini Gallery 4,995 Beeraahar Sweet Combination 1,000 Artec 3,500 Burrokeets Cultural Club 1,500 Arts Administration 1,000 Callaloo 500 Assemblage Arts 3,000 Camden Black Parents & Teachers Group 500 Michael Atavar 3,425 Caribbean Carnival Club 1,200 Black Arts Alliance 4,870 Chats Palace 1,500 Blunt Cut 5,000 Children & Parents Carnival Association 800 Camerawork 5,000 Cocoyea 2,000 Anna Douglas 1,000 Coffee Boys International 1,50 0 Grey Suit 7,000 Colombian Carnival Group 2,600 Christopher Hewitt 650 Dalston Children's Centre 2,400 Insight Arts Trust 2,340 Design In Mind 80 0 Institute of Contemporary Arts 4,000 Disguised Illusion Carnival Association Newham 1,00 0 ICA Video 5,000 Dominica Sisseton Carnival Club 1,000 79 £ £ Dragons Sporting Cultural Club U K 2,000 Ebom Steelband Trus t 800 Total Combined Arts 16,575,65 1 Elimu Ma s 4,10 0 Flamboyan Carnival Clu b 3,400 Flamingo Carnival Clu b 3,800 Cross-disciplinary Initiative s Genesis Carnival Group 4,10 0 Kuumba Carnival Band 1,000 Business Assessment G"Plannir :q London School Of Samb a 1,500 .-arts Marketing Association 5,000 Mahogany Carnival Club 4,100 Business In the Arts 1,000 Mangrove Steel Ban d 1,80 0 Manna Productions 500 Total Business Assessment C`Planning 6,000 Mas-O-Rama Arts 1,80 0 Masquerade 2000 Associate s 4,100 Ca ntingeng Fun d Misty Carnival Clu b 3,450 Arnolfini Gallen 28,95 0 New Dimension s 800 Artic Producers Publishing Compan y 19,00 0 Pantonic Steel Orchestr a 500 Arts Board South West 27,90 0 People's War Carnival Ban d 3,600 Bournemouth Orchestra s 125,00 0 Perpetual Beauty Carnival Club 3,900 East Midlands Arts Board 50,00 0 Phoenix Carnival Costume Ban d 800 London Arts Board 220,100 Pioneers and Their Offsprin g 1,000 North West Arts Board 225,56 1 Quilombo Do Samb a 1,500 Northern Arts Board 25,00 0 Sagaboys 500 South East Arts Board 95,000 St Clement & St James Community Projec t 1,500 Tara Arts Grou p 15,00 0 St Mary of the Angels 1,500 West Midlands Arts Board 106,500 Seventh Feathers Youth Clu b 500 Whitechapel Art Gallery 30,00 0 Shademakcrs Carnival Club 2,100 Yorkshire & Humberside Arts Board 235,000 Shango Promotions 50 0 South Connection s 2,500 Total Contingency Fund 1,203,011 South London Sports And Social Clu b 50 0 Spektakula r 800 Information Stamford Hill Carnival Club 1,500 East Midlands Arts Board 1,05 8 Stardust Mas 1,500 North West Arts Board 2,500 Sugumugu Sunday 1,000 Northern Arts Board 1,68 6 Tabernacle Children 's Costume Band 1,000 Yorkshire & Humberside Arts Board 5,066 Trinbago Carnival Clu b 3,600 Trinidad & Tobago Carnival Clu b 1,800 Total In/ormation 10,31 0 Westbourne Park Garage Carnival Committe e 50 0 Yaa Asantewaa Arts Centre 3,600 Policy, Research ^`Planning Arts Research Diges t 8,100 95,750 North West Arts Board (feasibility study ) 1,00 0 Strategic Reserve Policv Studies Institute (Cultural Trends ) 5,000 The 1990 Trus t 1,000 Disability Networking Grants 8,511 Artec 2,500 Arts Administration 2,000 Total Policy, Research &Planning 22,61 1 Asian Arts Acces s 6,000 Black Theatre Forum 1,50 0 Community Arts Mobile Workshop Tea m 1,500 Total Cross-disciplinary project grant s 1,241,93 2 Cultural Industry 5,000 Disability Arts Magazin e 6,000 Equator Communications Grou p 5,000 Dance London Arts Board 7,330 National Disability Arts Foru m 2,850 National Companies Northern Arts Board 1,960 Royal Opera House 11,215,000 Sampad 1,500 Second Strid e 20,000 11,215,00 0 Strike 2,100 Regularly Funded Organisations Yaa Asantewaa Arts Centre 1,000 Adzido Pan African Dance Ensemble 643,01 6 English National Ballet 3,903,00 0 67,240 Northern Ballet Theatre 1,225,000 Youth Arts Rambert Dance Compan y 1,200,000 Artswork 9,000 Youth Arts Networ k 12,00 0 6,971,01 6 Youth Clubs U K 9,000 Fixed-term Funded Organisations Adit i 65,000 30,000 Adventures In Motion Pictures 145,00 0 Candoco 90,000 Total projectgrants 1,793,651 The Cholmondelev s 162,00 0 Contemporarv Dance Trust 775,000 Dance 4 80,000 80 The Arts Council ofEngland 1995196 L £ £ Dance City 100,000 Independent Dance Projects Dance UK 60,000 Adventures In Motion Pictures 55,00 0 Dance Umbrella 250,000 Akshaya Dance Theatre Company 20,00 0 DanceXchange 95,000 Alpana Sengupta and Company 8,000 DV8 Physical Theatre 90,000 Amici 15,00 0 Foundation for Community Dance 75,000 Arc Dance Company 45,000 Green Candle 130,000 Badejo Arts 54,95 0 Nahid Siddiqui and Company 44,000 Bedlam Dance Company 5,000 Shobana Jeyasingh 158,000 Bi Ma Dance Company 25,00 0 Siobhan Davies Dance Company 155,000 Bullies Ballerinas 5,000 Suffolk Dance 95,000 Bunty Matthias & Company 10,00 0 Thamesdown Dance Studio 100,000 Rosemary Butcher 6,750 Union Dance Company 60,000 Chitraleka and Company 15,00 0 VT01 74,000 The Cholmondeleys 3,000 Yolande Snaith Theatredance 46,900 Emilyn Claid 30,00 0 Yorkshire Dance Centre 100,000 Claire Russ Ensemble 10,00 0 Contemporary Dance Trust : Spring Collection 6,000 2,949,900 Dance City 15,00 0 Dance UK 15,000 Totalgrants to funded organisations 21,135,916 Dance Umbrella : Chris Harris 1,400 DanceXchange 10,000 Nationall)anceAgency Co-ordination/Expansion Edwards and Walton 9,000 Arts Board South West 35,000 Imlata 28,000 Cheshire Dance Trust 30,000 Irie! Dance Theatre 50,000 Dance City: NDA advocacy document 3,500 Jeremy James 5,000 Jonathan Burrows Group 41,000 68,500 Laurie Booth Dance Company 43,542 Black DanceDepelopment Russell Maliphant 12,95 0 Adeola Bolaji 1,000 Mark Ballwin Dance Company 17,500 africa95 1,400 David Massingham 17,25 0 Albany Theatre 2,000 Motionhe ruse 60,000 Association of Dance of the African Diaspora 10,000 Random Dance Company 19,00 0 Badejo Arts 11,000 Ricochet Dance Company 10,00 0 Stephen Blagrove 330 RIC 40,00 0 Beams Arts And Management Services 3,000 Sheffield Theatres Trust 3,650 Gail Claxton-Parmel 330 Siobhan Davies Dance Company 20,00 0 H Patten 10,000 Small Bones Dance Company 18,00 0 Ceceilin Johnson 1,000 Srishti 7,500 Onyx Consultancy 15,000 Suffolk Dance 20,00 0 Judith Palmer 1,000 Thamesdown Dance Studio 10,00 0 Desmond Pusey 330 Union Dance Company 20,00 0 VT01 20,00 0 56,390 Yorkshire Dance Centre 51 0 Dance Management Partnerships Arts Board South West 3,500 828,002 East Midlands Arts Board 3,000 Policy Research Eastern Arts Board 3,000 British Association of Choreographers 1,65 0 London Arts Board 25,000 Dance UK 3,600 North West Arts Board 6,500 Dance Umbrella: Jerwood Project 16,50 0 Northern Arts Board 5,000 Jane Dudley 5,000 South East Arts Board 8,000 West Midlands Arts Board 3,000 26,750 Yorkshire & Humberside Arts Board 5,000 Training Academy of Indian Dance 15,00 0 62,000 Adzido Pan African Dance Ensemble 10,00 0 Education Bedlam Dance Company 3,500 BBC Education 2,000 Daniel Belton 1,000 Dance 4 : South Asian dance in education 2,500 Buckinghamshire Regional Dance Council 5,000 Doris Humphrey Foundation 1,500 Bunty Matthias & Company 4,000 Fergus Early 350 Cheshire Dance Trust 4,000 English National Ballet 500 Chisenhale Dance Space 3,500 National Dance Teachers Association 5,000 Claire Russ Ensemble 3,000 Anne Rachel Fist 400 Creative Dance Artists Trust 25,000 Roehampton Institute 800 Samantha Dawn 1,000 Royal Opera House : Education Officers' group 2,500 Divas 3,500 Ersatz Dance 1,000 15,550 Fishpool 5,000 Flipside Productions 2,400 Foundation for Community Dance 6,500 81 L £ £ £ Greemvich Dance Agency 4,000 People Show 88,10 0 Paula Hampson 1000 Pop Up Theatre 95,500 Independent Dancers Resettlement Trust 10,000 Red Ladder Theatre Compam 13170 0 International Workshop Festival 10,000 Red Shift Theatre Compam- 114,80 0 Jabadao 2,900 Right Size 97,000 Jeremy James 3,400 Shared Experience 153,20 0 Lisa Ullmann Travelling Scholarship Fund 4,000 The Sphinx (Women's Theatre Group) 112,70 0 Mashango 3,000 Tara Arts Group 174,70 0 H Patten 5,000 Theatre Centre 277,100 Tim Rubidge 2,500 Theatre De Complicite 135,70 0 Salamanda Tandem 4,000 Theatre of Thelema (Quicksilver Theatre) 114,70 0 Shinkansen 10,000 Trestle Theatre Compam 127,00 0 Thamesdown Dance Studio 5,000 Vincent Dance Theatre 4,000 4,855,400 \test Midlands Arts Board 10,00 0 Sheron Wray 2,150 Totalgrants to fzatded organisations 25,403,400 175,350 Trainees-hips YouthArts Imogen Cloet 9,000 Academe Of Indian Dance 2,000 Jennv Darnell 12,000 Kadam 967 Robin Dashwood 9,000 National Youth Ballet 5,000 Jasmine Judd 1,000 National Youth Dance Company 20,000 Steven Luckie 12,000 National Youth Jazz Dance Festival 10,000 Jo Martin 1,000 Sampad 2,000 Kerry Micheal 4,000 Unniti 1,740 Jacob Murray 9,000 Afia Nkrumah 4,000 41,707 Kim Lim Sin 1,000 Janet Steel 9,000 Total projectsgrants 1,274,249 Mark David Thomson 12,000 David Tse 12,000 Fiona Watt 9,000 Total Dance 22,410,165 Stephen Wrentmore 9,000 Deborah Yhip 3,500 Drama 116,50 0 Training National Organisations Stephen Midlane 2,000 Royal National Theatre Board 11,167,00 0 Royal Shakespeare Theatre 8,470,000 2,000 Middle Scale Touring 19,637,000 Cambridge Theatre Compan y Regularly Funded Organisation (Method & Madness) 50,00 0 English Stage Company 911,000 English Touring Theatre 50,00 0 Oxford Stage Company 50,00 0 911,000 Fixed-term Funded Organisations 150,000 Actors Cabal (Compass Theatre Companv) 103,500 National Touring: Cultural Diversity Projects Actors Touring Company (London) 131,200 Fifth Amendment 10,00 0 Bath Arts Workshop (Natural Theatre Companv) 104,000 Hathi Productions 26,81 1 Black Mime Theatre Company 102,500 Maya Productions 34,00 0 Black Theatre Co-operative 137,300 Mu-Lan Arts 17,93 3 Cambridge Theatre Company Nubian Nights 11,59 4 (Method & Madness) 501,500 Tamasha Theatre Company 36,25 0 Check Be Jowl Theatre Company 106,70 0 David Glass New Mime Ensemble 110,000 136,58 8 English Touring Theatre 456,500 National Touring: Disability Projects Forkbeard Fantasy Theatre Company 96,700 Graeae Theatre Company 100,00 0 Galactic Smallholdings Mind The Gap 42,85 3 (Welfare State International) 140,000 Show Of Hands Theatre Compam• 37,95 1 Gay Sweatshop 118,900 Strathcona Theatre Company 44,22 0 Gloria Theatre 89,100 International Workshop Festival 26,600 225,024 IOU 105,500 National Tourinq : Experimental Projects Kaboodle Productions 86,600 Andrew Alison 32,000 Oily Cart Company 84,500 Forced Entertainment Theatre Co-operative 49,182 Open Hand Theatre Company 100,000 Insomniac 29,685 Oxford Stage Company 484,100 Monkey In Heaven 11,000 Paines Plough 147,000 Semblance 18,217 140,08 4 82 The Arts Council of 'England 1995196 E £ £ £ National Touring: Mime Projects Oval House Christ Church (Oxford) United CIub 7,00 0 Brewery Arts Centre 13,000 Pegasus Theatre 9,800 Brouhaha 9,500 Southampton Community Arts Centre Company 9,400 Commotion 14,500 Trinity Centre 8,100 London International Mime Festival 73,577 Trinity Theatre and Arts Association 9,000 Mime Action Group 33,000 Unity Theatre 9,800 Rejects Revenge 12,675 Warwickshire Community Arts 10,00 0 Tottering Bipeds 19,900 Waterman Arts Centre 7,000 Women's Work 2,600 200,000 178,752 Theatre Writing: Bursaries National Touring: New Writing Projects Judith Adams 1,500 Kneehigh Theatre Trust 19,830 Nicola Baldwin 3,000 Quondam Arts 12,044 Parv Bancil 1,500 Simon Bennett 1,500 31,874 Michael Bourdages 3,00 0 National Touring: Puppetry Projects David Cregan 3,00 0 Cornelius & Jones 5,836 Martin Crimp 3,00 0 Doo Cot 27,800 Tim Fountain 1,50 0 Faulty Optic, Theatre of Animation 13,180 David Goodland 3,000 Festival of International Animated Theatre 10,000 Philip Goulding 3,000 Puppet Centre Trust 2,000 Chris Hawes 3,000 Richard Haytc in 3,000 58,816 Tunde Ikoli 3,000 National Touring: New National Touring Abby Morgan 1,50 0 Nigel Charnock 25,376 Gregory Morton 3,000 Clean Break Theatre Company 22,650 Judy Opton 3,000 Dodgy Clutch Theatre Company 16,000 Rebecca Prichard 1,500 Foursight Theatre 28,324 Philip Ridley 3,000 Hijinx Theatre Co-Operative 5,800 Nick Stafford 3,000 Theatre Sans Frontieres 21,000 Shelagh Stevenson 1,500 Volcano Theatre Company 17,542 Peter Thomson 3,000 Wild Iris Theatre Company 30,311 Steve Waters 1,500 Roy Williams 1,500 167,003 Robert Young 3,000 Regional Black Theatre Initiative Black Theatre Forum 6,430 58,50 0 Leeds Theatre Trust 25,700 Theatre Writinq: Commissions or OptionsAwards Leicester Theatre Trust 10,000 Action Transport Theatre Company (Nick Fisher) 2,000 Nottingham Theatre Trust 20,000 Alison Andrews (Mike Kenny) 1,48 0 Blackfriars Arts Centre (Paul Killick) 2,500 62,130 Blackpool Grand Youth Theatre (David Holman) 3,000 Small Scale Touring Caravanserai (Simon Painter) 2,000 Lip Service 10,000 Chimera ( ,Julia Darling) 2,000 London New Play Festval 4,400 Clean Break Theatre Company (Lavinia Murray) 2,000 Magnificent Theatre Company 37,900 Doo Cot (Anna Furse) 1,84 1 Not The National Theatre 16,000 Dorchester Community Plays Association Pan Project 7,200 (A Dickenson) 2,000 Scarlet Theatre 20,155 Eastern Angles Theatre Company (Mary Cooper) 2,000 Strathcona Theatre Company 18,569 Fecund Theatre (John Keats) 1,424 The Wrestling School 17,130 Foursight Theatre (Samjeer Bhaskar) 2,000 Y Touring 12,600 Anna Furse (Anna Reynolds) 2,000 Gay Sweatshop (Pete Lawson) 2,000 143,954 Graeae Theatrc Company (Nabil Shaban) 2,170 Small Scale Venue Greenwich Young People's Theatre (John Wood) 2,000 BAC 7,100 Hathi Productions (Jez Simons & Jyoti Patel) 1,264 Blackfriars Arts Centre 9,800 Jade Theatre Company (Sarah Woods) 2,000 Brewery Arts Centre 9,800 Komedia Productions (John Burrows) 2,000 Cambridge Drama Centre 9,800 Little Angel Marionette Theatre (John Agard) 1,875 Cornwall Promoters' Consortium 10,000 Live Theatre (Alan Plater) 2,000 Dorset Promoters' Consortium 10,000 Major Road Theatre Company (Mick Martin) 2,625 Dovecot Arts Centre 9,800 Maya Productions (Leena Ohingra) 2,000 Drill Hall Arts Centre 7,500 Motionhouse (A L Kennedy) 1,50 0 The Green Room 9,800 New Perspectives Theatre Company (Charles Way) 1,80 0 Havants Arts Centre Company 7,000 Nordlys International Scandinavian Theatre Komedia Productions 9,800 (Kim Damback) 70 0 Leeds Metropolitan University 9,700 NTC Touring Theatre Company (Chris Speyer) 4,000 Live Theatre Company 9,800 Out of Joint (Timberlake Wertenbaker) 2,000 Nottingham County Council 10,000 Plain Clothes Productions (Michael Bosworth) 2,000 83 L £ Pop Up Theatre (Tim Nesyton) 2.500 Education and Trainin g The Posse (Martin Glynn) 2,500 Public Pans Theatre Company (Phil Smith 2.000 Regularly Funded Organisation s Quondam .A,rts (David Naphtine i 3,924 Arts and Entertainment Training Council 80 .000 Remould Theatre Company i Man in Close 2,000 Independent Theatre Council 26,000 Scarlet Theatre (J Bradlee) 1,500 National Institute of Adult Continuing Education 30,000 Shaker Productions (Stephen Plaice) 2,000 Snap People's Theatre Trust (Diane Samuels) 2,600 136,00 0 Solent People's Theatre (Phelim Rowland) 1000 Fixed-tervn Funded Organisation The Sphinx (LayiniaMurrav) 2,000 DeMontfort University 11,000 Stantonbury Campus Theatre Compa m (Bnonv Laverv) 2,000 11,00 0 Tamasha Theatre Company (Ruth Carter) 2,000 Theatre of Thelema (Diane Samuels) 2,000 Totalgrants tofunded organisations 147,00 0 Tripitika Theatre Compam (Iran Heng) 2,000 Tripn ch Theatre Company (Tern Eagleton) 2,000 Disability and Education Voicebox Theatre in Education (Guv Hutchins) 2,500 Trentham Books 6,310 Waterman Lehr Theatre Companv (Pan , Bancil) 2,000 Watcrmi11 Theatre (Adam Thorpe) 1,500 6,31 0 Wild Iris Theatre Company (Adjoa Andoh) 2,000 Disability Emplq~vment Initiative )'Touring (Nicola Baldwin) 6,000 Bournemouth Orchestras 10,000 Yorkshire Arts Circus (Ronv Robinson) 2,000 Signals 10,000 Yorkshire Sculpture Park 10,00 0 107,20 3 Theatre Writing: National Prizes 30,00 0 Kate Dean 3,000 Education Projects Joe Penhall 3,000 Birmingham Education Arts Forum 4,500 Building Sights 7,800 6,000 Council for Dance Education and Training 3,376 Theatre Writing: Resident Dramatist Attachmenis Performing Arts Labs 10,000 Action Transport Theatre Company 4,000 Sonic Arts Network 8,000 English Stage Company 8,000 Yorkshire & Humberside Arts Board 11,300 Gay Sweatshop 4,000 Hampstead Theatre 8,000 44,976 Sheffield Theatre Trust 4,000 Education : Network Warehouse Theatre 8,000 Arts Council of Northern Ireland 5,00 0 West Yorkshire Plavhouse 8,000 Bolton Metro Education and Arts 6,000 Y Touring 4,000 Buckinghamshire County Council 5,50 0 Cumbria Arts in Education 3,500 48,000 Hertfordshire Education Services 7,50 0 Theatre Writing: Theatre Translators London Arts Board 5,00 0 Actors Touring Company (London) 750 National Institute of Adult Continuing Education 10,00 0 Cleveland Theatre Company 2,000 Royal Society of Arts 10,00 0 Gate Theatre Company 5,950 Interact 2,500 52,50 0 Anthony Vivis 3,000 Research and Development Arnolfini Gallen• 8,000 14,200 Anon Foundation 8,000 Unallocated Book Trust 8,00 0 Arts Board South West 8,500 Cheltenham International Festival of Music 8,000 Association of Professional Theatre for Children 5,000 Contemporary Dance Trust 8,65 0 Directors Guild of Great Britain 5,000 Crucible Theatre Trust 8,000 Evervman Theatre 2,250 Cumbria Arts in Education 5,000 Geese Theatre Company 4,750 Project Arts 9,915 London Arts Board 7,500 Eastern Orchestral Board 8,000 Tara Arts Group 1,500 Eastern Touring Agency 5,000 34,500 English National Ballet 8,000 Youth Arts Film & Video Umbrella 8,000 National Association of Youth Arts 24,000 Gloria Theatre 8,000 National Youth Theatre of Great Britain 20,000 Green Room 7,575 World Student Drama Trust 12,000 Impressions Gallery 8,000 Institute of Contemporary Arts 8,000 56,000 London Electronic Arts 8,000 London International Festival of Theatre 8,000 Total projectsgranis 1,937,128 Moviola 8,000 Northern Arts Board 2,150 Oxford Plavhouse 8,000 Total Drama 27,340,528 Poetry Society 8,000 Royal Philharmonic Orchestra 8,000 84 The Arts Council ofEnglar:d 1995/96 L £ £ £ Suffolk Dance 8,000 Sarah Bedell 12,00 0 Theatre Royal, Bury St Edmunds 8,000 Ali Briggs 12,00 0 Visual Learning Foundation 10,000 Sarah Clarke 3,000 Warwick Arts Centre 7,550 Brenda Edwards 12,00 0 Whitechapel Art Gallery 8,000 Kate Fowle 9,000 Emily Kennedy 12,00 0 215,840 Harjinder Matharu 9,000 Further/Higher Education Annabel Mitchell 9,000 Artimage 15,900 Deborah Smith 9,000 Institute of Education 5,750 105,000 21,650 Windsor Fellowship International Work Nina Edge 2,500 British American Arts Association 20,000 Pato Fuentes 500 Pervaiz Khan 600 20,000 Amoafi Kwapong 500 joint Initiatives Winston Lewis 500 Bedford Interactive 3,000 Tony Ogogo 500 Business in the Arts 5,640 Nicky Reid 270 Visual Learning Foundation 11,000 Bisakha Sarker 500 Mary Spyrou 500 19,640 Waves 245 Partnerships British Federation of Festivals 5,750 6,615 Euclid 5,000 Richard Gibson 4,050 Total projectgrants 728,687 Young Person's Concert Foundation 32,400 47,200 Total Education and Training 875,687 One Year Projects Black Literature Project 4,484 Cornwall Video Resource 3,500 Film, Video and Broadcasting Deafworks 5,000 Draughting & Model Making for the Stage 5,000 Fixed-term Funde d English Stage Company 5,000 Film & Video Umbrella 58,00 0 Holborn Centre for the Performing Arts 2,500 Moviola 27,00 0 International Workshop Festival 5,000 Lancashire County Council 960 85,000 London Electronic Arts 5,000 Norwich Puppet Theatre 5,000 Totalgrants tofunded organisations 85,000 Open Theatre Company 5,000 Opera and Music Theatre Forum 4,000 National Distribution Funds: Production Awards Optik 4,500 Ian Bourn 10,00 0 Phoenix Dance Company 4,700 Daniel Copley 5,000 Seeing the Light 5,000 Stuart Hilton 10,00 0 Voice in the Crowd 4,895 Jo Ann Kaplan 5,346 Sandra Lahire 3,000 69,539 David Leister 5,000 Three Year Projects Steve McQueen 7,500 Arts Board South West 2,500 Vera Neubauer 97 2 Arts Training South 4,000 Tom Paine and Siobhan Liddell 10,00 0 Association of British Orchestras 3,000 Jo Pearson 10,00 0 Community Music 5,000 Cordelia Swann 14,93 7 Leicester Theatre Trust 5,000 Alia Syed 7,500 Moviola 5,000 Tanya Syed 7,900 Music Unlimited 5,000 Sarah Turner 3,000 National Association for Gallery Education 5,000 North East Media Training Centre 5,000 100,15 5 Physical State International 7,000 National Distribution Funds: Exhibitions and Initiatives Theatrical Management Association 4,917 1st Framework 8,000 British Animation Awards 5,000 51,417 Camerawork 5,000 Regional Training Centre Development Cinema City 2,000 Arts Training Network 38,000 Coil 5,640 Cornerhouse 10,000 38,000 Durham Cathedral 6,21 4 Trameeships Film & Video Umbrella 25,400 Victoria Allan 9,000 Hull Time Based Arts 10,000 Michael Bailey 9,000 London Electronic Arts 17,500 85 London Filmmakers Co-Operative 7,000 Society for Ston2elling 1,50 0 London Video Access 15,000 UK Section of IBBY 2,500 Bruce Mclean 5,000 Westminster College 23,11 8 Metropolitan Galleries 5,500 Worcester College of Higher Education 1,00 0 Llo%iola 12,00 0 Chris Nash 3,000 60 .30 8 Pandemonium Festival 25,000 General Projects Prema Arts Centre 5,500 57 Productions 5,500 Salisburv Festival 1,000 Centre for the Children's Book 1,260 South Bank Board 15,000 Children 's Literature Research Centre 2,000 Cordelia Swann 600 English Centre of International Pen 1,500 Tate Gallen; St Ines 5,000 Forward Publishing 7,500 Institute of Contemporary Arts 5,500 194,354 The National Life Storv Collection 3,000 The Natural Death Centre 1,000 Total projectgran ts 294,509 Password Books 8,000 Poem Oh•mpics 5,00 0 Poetry Society 6,750 Total Film, Video and Broadcasting 379,509 Saint John's College Robert Graves Trust 3,00 0 Snowball Arts 1,00 0 Society of Authors 16,00 0 Literature The World One-Day Novel Cup 1,00 0 Regularly Funded Organisations 68,01 0 Ambit 8,740 Independent Tours Anvil Press Poetry 61,600 Theresa Bergne 6,000 Arvon Foundation 100,000 Brumhalata 3,00 0 British Centre for Literary Translation 50,000 The Crick-Crack Circuit 4,500 Book Trust 63,800 Survivors' Poetry 1,75 0 Carcanet Press 67,800 Carcanet Press (PN Review) 17,580 15,25 0 Federation of Worker Writers 21,860 Libraries Interzone 4,380 Arts Board South West 3,000 London Magazine 23,300 Cumbria Heritage Services 3,000 London Review of Books 27,640 East Midlands Arts Board 3,000 Password Books 83,300 Eastern Arts Board 3,000 Poetry Book Society 48,600 Leicestershire Libraries & Information Service 3,000 Poetry Society 147,800 London Arts Board 3,000 Wasafiri 7,000 North West Arts Board 3,000 South East Arts Board 3,000 733,400 Southern Arts Board 3,000 University, of Central England in Birmingham 4,800 Totalgrants to funded organisations 733,400 University of Sheffield 4,800 West Midlands Regional Library System 3,000 Broadcasting Yorkshire & Humberside Arts Board 3,000 Bamboo Film & Television Productions 20,000 British Broadcasting Corporation 11,368 42,600 The Drama House 6,790 Libretti Mecklenburgh Opera 5,000 38,15 8 Cultural Diversitv 5,000 africa95 7,650 Literature Development Workers Commonwealth Institute 18,000 Arts Board South West 12,000 National Association for the Teaching of English 6,000 East Midlands Arts Board 12,000 South Bank Board 1,475 Eastern Arts Board 8,000 Wasafiri 6,000 London Arts Board 8,000 North West Arts Board 10,000 39,125 Northern Arts Board 12,000 Disability Projects South East Arts Board 8,000 National Library for the Handicapped Child 6,585 Southern Arts Board 8,000 Survivors ' Poetry 9,500 Sussex Arts Marketing 5,000 West Midlands Arts Board 12,000 16,085 Yorkshire & Humberside Arts Board 10,000 Education In Brief.. . 3,240 105,00 0 National Association of Writers in Education 11,000 Magazine Development Fund Open College of the Arts 10,500 Panurge 2,500 Open University 2,950 The Printer's Devil 12,33 9 Readathon Promotions 4,500 Rialto 5,000 86 TheArts Council ofEngland 1995196 L £ Sunk Island Publishing 4,000 HMYOI Feltham 5,000 Wasafiri 5,000 HMYOI Onley 5,000 Writing Women 2,500 HMYOI Portland 2,500 31,33 9 36,254 Regional Touring Network 14iiters'Awards East Midlands Arts Board 2,000 Lynne Alexander 7,000 London Arts Board 1,000 Ann Coburn 3,500 Man Mela Theatre Company 2,000 Stevie Davies 7,00 0 North West Arts Board 1,300 Ian Duhig 7,00 0 Northern Arts Board 2,000 Sophie Hannah 7,00 0 Yorkshire & Humberside Arts Board 2,000 James Harpur 7,00 0 Catherine Johnson 3,50 0 10,300 Frances Liardet 7,00 0 Small Presses Charles Nicholl 7,00 0 Absolute Press 8,000 Timothy O'Grady 7,00 0 African Books Collective 5,000 Kate O'Kiordan 7,00 0 Bloodaxe Books 8,000 Don Paterson 7,00 0 Book House Training Centre 852 Jeremy Poolman 7,00 0 Iron Press 2,500 Peter Reading 7,00 0 Kirklces Metropolitan Council 1,000 Deryn Rees-Jones 7,000 Only Women Press 275 Jane Rogers 7,00 0 Passworcl Books 5,029 Peepal'Iree Press 5,000 105,000 Peter Riley Books 3,800 It ' itrrs on Radio Poetry Book Society 2,500 Gillian Allnut 30 0 Readers International 8,000 Arts Board South West 2,500 Serpent's Tail 9,500 Josephine Balmer 30 0 Stand Magazine 350 Patricia Bishop 300 Sunk Island Publishing 323 Gary Boswell 300 Sian Williams 7,000 I.ynne Bryan 300 lorkshire & Humberside Arts Board 10,000 Charlotte Cory 300 Linda Cotterill 300 77,129 James Crowden 300 Translations Peter Daniels 300 Absolute Press 4,369 Julia Darling 300 Angel Books 2,380 Steve Davenport 300 Approach Publishing 3,000 Jane Draycott 300 Atlas Press 4,840 East Midlands Arts Board 2,500 Boulevard Books 4,000 Eastern Arts Board 2,500 British Centre for Literary Translation 2,000 Rose Flint 300 Dedalus 4,600 John Gallas 300 Diamond Press 1,200 Pamela (Alilan 300 Enitharmon Press 1,600 Elizabeth James 30 0 Glas Publishers UK 4,500 London Arts Board 2,500 Harbord Publishing 2,700 Simon Miles 30 0 Harvill Press 13,500 Graham Mort 30 0 Index on Censorship 6,600 Vayu Naidu 30 0 International Sacred Literature Trust 6,000 North West Arts Board 2,500 King's College London 10,757 Northern Arts Board 2,500 Mare's Nest 4,700 Ellen Phetheon 30 0 Marion Boyars Publishers 5,000 Jennifer Potter 30 0 Poetry Society 3,350 Mark Robinson 30 0 Portugal 600 1,000 South East Arts Board 2,500 Readers International 4,710 Southern Arts Board 2,500 Reaktion Books 3,530 Martin Turner 30 0 Rockingham Press 4,000 Carmen Walton 30 0 The Translators Association 6,225 'Vest Midlands Arts Board 2,500 University of Liverpool 2,000 Yorkshire & Humberside Arts Board 2,500 106,561 32,20 0 Writers & Prisons Writers (m Tour HM Prison Bedford 7,000 Royal African Society 1,240 HM Prison Birmingham 1,500 HM Prison Channings Wood 4,000 1,240 HM Prison Frankland 1,254 Residem.ies HM Prison Gartree 2,500 Commonword 5,000 HM Prison Springhill 5,000 East Midlands Arts Board 1,75 0 HM Prison Wellingborough 2,500 London Arts Board 11,350 87 £ £ Universin of Kent at Canterbun 7,000 African Music Agency 3,500 University of Wanvick 6,500 Association of British Calypsonians 6,000 Bantu Production 3,500 31,600 Bessa Band 5,000 Black Gospel Media Arts Network 3,500 Total projectgrants 821,159 Black Voices 4,000 Blue Notes Memorial Trust Fund 1,22 5 Cirv of Leeds College of Music 55 0 Total Literature 1,554,559 De Champ 4,000 Douglas-Samson Production 300 Dunni 3,50 0 Music Fish Krish Agency 3,00 0 Formation Films 3,00 0 National Organisations Grupo Palante 5,00 0 English National Opera 11,955,000 Jazz Jamaica 5,00 0 Royal Opera House 8,806,000 Jazz Services 2,000 Juwon Ogungbe Ensemble 4,500 20,761,000 King Masco 5,000 Regularly Funded Organisations Midlands Arts Centre 2,000 African & Caribbean Music Circuit 199,000 John Muir 3,500 Asian Music Circuit 195,000 Multi Asian Arts 2,000 Bournemouth Orchestras 1,584,400 Naad International Instrumental Music Academy 4,000 British Music Information Centre 38,000 Mohammed Nazam 2,500 Cin of Birmingham Symphony Orchestra 1,149,000 Oroluesta La Clave 4,000 City of Birmingham Touring Opera 157,900 Barbara Pukwana 4,000 Earlv Music Centre 73,200 Abdul Raheem Tav_ aman 4,000 English Touring Opera 812,900 Salsa Y Ache 5,000 Glyndebourne Productions 710,000 Pal Sanchita 3,500 Halle Concerts Society 1,251,000 Sidmouth International Festival of Folk Arts 3,500 Jazz Services 127,500 Zak Sikobe 4,000 London Philharmonic Orchestra 700,000 Lance Stehr 3,000 London Symphony Orchestra 1,140,000 Sword Lion Records 4,000 National Federation Of Music Societies 25,000 Taxi Pata Pata African Arts 4,000 National Opera Studio 100,000 The Juju Club 4,000 National Youth Jazz Orchestra 7,600 Timbala 2,500 Northern Sinfonia Concert Society 625,800 Nana Tsiboe 4,000 Opera Factory 120,000 Umova Creative Productions 4,000 Opera North 4,834,000 Unfinished Business 4,500 Philharmonia 700,000 Royal Liverpool Philharmonic Society 1,482,800 142,575 Royal Philharmonic Orchestra 300,000 Artists 'Researcb and Development Fund Sinfonietta Productions 407,200 Frankie Armstrong 1,70 0 Society for the Promotion of New Music 51,000 Simon Bainbridge 2,000 Sonic Arts Network 117,000 Iain Ballamy 1,50 0 South Bank Board 300,000 Jon Banks 1,50 0 Welsh National Opera 3,801,500 Bournemouth Orchestras 10,00 0 Youth And Music 50,000 Mandy Budge 4,200 Patrick Burton 1,00 0 21,059,800 Nell Catchpole 3,100 Fixed-term Funded Organisations Citv of London Sinfonia 9,200 Mecklenburgh Opera 50,000 Peter Cusack 1,25 0 Pimlico Opera 50,000 English National Opera Limited 10,00 0 Sound Sense 18,000 Matteo Fargion 1,50 0 Kevin Figes 1,50 0 118,000 Kate Heath 4,350 Roger Heaton 70 0 Totalgrants to funded organisations 41,938,800 David Jean-Baptiste 2,000 Sianed Jones 1,08 0 Regional Orchestra 's Cballenge Funding London Mozart Players Chamber Ensemble 1,76 0 Bournemouth Orchestras 100,000 Goerge Matheson 2,500 City of Birmingham Symphony Orchestra 100,000 John Milner 99 0 Halle Concerts Society 100,000 Kevin Murphy 2,100 Northern Sinfonia Concert Society 50,000 Gabriel Nuzzoli 1,50 0 Royal Liverpool Philharmonic Society 100,000 Opera North Limited 10,00 0 Priti Paintal 5,000 450,000 Performing Right Society 1,50 0 African, Caribbean and Asian Music Place Theatre 4,000 Abacush 4,500 Anthony_ Reid 3,000 Act One 3,500 G Ross 3,000 88 The Arts Council ofEngland 1995196 L £ £ Sounds Bazaar 3,000 National Music and Disability Information Service 5,50 0 Chris Wood 3,000 35,500 97,930 Music Commissions Bedford Residency Aldeburgh Foundation (Mark Anthony Turnage ) 6,000 Philharmoni a 20,000 Asian Music Circuit (John Mayer/Drugha Ghosh) 1,000 Bath Festivals Trust (Mike Westbrook) 3,000 20,000 Birmingham Jazz (Iain Bellamy, Tom Bancroft)) 3,400 Early Music Bournemouth Symphony Orchestr a Accessible Arts Club 5,000 (Judith Benjamin ) 2,200 Ariya 16,000 Britten Sinfonia (David Horn) 5,500 Avison Baroque Ensembl e 4,000 Cheltenham Arts Festival (Andy Sheppard) 2,000 Bath Festivals Trust 6,000 Coma (Nigel Osbourne, Stephen Montague ) 6,360 Beverley Early Music Festival 4,862 Concorde (Nicol Le Fanu) 2,000 British Library 3,000 Intogen Cooper (Thomas Ades ) 1,500 Buxton Opera Festiva l 5,000 Delta Saxophone Quartet (Elanor Alberga , City Waites 2,500 Michael Finisy) 3,000 Dartington International Summer School 5,000 Evelyn Glennie (Django Bates) 1,600 Early English Opera Society 3,000 Guildford Choral Society (George Lloyd ) 2,000 Early Music Centre 20,000 Canon William Hall (Wilfred Josephs) 2,000 Ex Cathedra 5,000 Halle Concerts Society (George Benjamin) 3,000 Fretwork 2,000 Harrogate International Festival (Derek Boureois ) 1,500 I Fagiolin i 1,065 Linda Hirst (Evelyn Glennie) 1,000 Islington Winter Music Festiva l 1,500 Huddersfield Contemporary Music Festiva l London Handel Festival 2,500 (Glyn Perrin, Simon Holt) 10,500 Lufthansa Festival of Baroque Music 11,000 Icebreaker (Lukas Ligeti ) 1,500 Musical Offering 3,750 Kreutzer Quartet (Keith Tippet ) 2,500 New Macnaghten Concerts 4,000 London Mozart Players (Paul Barker) 2,500 Orlando Consort 5,000 London Symphony Orchestr a Purcell Quartet 1,000 (James MacMillan, Colin Matthews ) 6,750 Tudeley Festival 3,800 Matrix Ensemble (David Sawer) 3,000 Turner Sims Concert Hal l 3,000 Mecklenburgh Opera (Julian Grant, Yorkshire Baroque Soloists 3,500 Errolyn Wallen) 10,000 Moti Roti Company (Keith Waite ) 2,250 121,477 Moving Music Theatre (William Sweeney) 889 Improvised Music Touring Thalia Myers (3-minute piano pieces Acta 1,750 from 19 composers ) 1,000 Ascension Musi c 6,000 National Youth Choir (Jonathan Harvey ) 2,000 Blow The Fuse 5,000 Norfolk And Norwich Festival (Matthew Taylor) 2,000 Calling Signal s 3,000 Northern Sinfonia Concert Society (Dianna Burell) 3,000 Carribean Jazz Festiva l 5,000 Orchestra of St John's Smith Square Dave Draper 2,600 (Stephen Montague) 1,500 Dreamtime 3,000 Philharmonia (Betsy Jolas ) 6,800 Fish Krish Agency 6,000 Phoenix Dance Company (Orphy Robinson ) 3,000 Folkworks 20,000 Piano Circus (Geoffrey King) 1,500 Ian Shaw Big Band / 6,500 Rainbow Over Bath (Laszlo Tihanyi) 2,250 Intersection 3,000 Resurgence (Tony Roberts ) 3,000 John Law 2,400 Royal Liverpool Philharmonic Society Milan Lad Ban d 6,500 (Django Bates) 4,000 Pliff 2,500 Serious Speakout (George Russell ) 2,500 Rhythm-A-Ning 4,500 Sinfonietta Productions (Harrison Birtwhistle ) 4,000 Sax Appeal 6,000 Siobhan Davies Dance Company (Gerald Barry ) 3,000 Paul Shearsmith 1,600 Smith Quartet (Simon Emerson ) 2,000 Slant 3,150 Sonic Arts Network (Peter Green, David Benke , Something Els e 2,000 Robert Worby) 6,000 Women In Music (Luminit Cristina Spinu) 2,000 90,500 Zanfonia Trio (Ruth Byrchmore ) 1,500 London-based Chamber Orchestras Ambache Chamber Orchestra & Ensemble 5,000 137,999 City of London Sinfonia 28,000 Opera /Music Theatre Developmen t Haydn-Mozart Society 17,000 Aldeburgh Foundatio n 22,000 London Musici 5,000 Almeida Theatre Compan y 35,000 Orchestra of St John's Smith Square 28,000 Broomhill Trus t 15,000 Sinfonia 21 17,000 Buxton Opera Festival 12,000 Compact Opera 10,000 100,000 Dartington International Summer Schoo l 5,000 Music and Disability Eastern Touring Agency 8,750 Genie Cosmas 10,000 English Bach Festival Trust 6,000 Heart'n' Soul 20,000 Fifth Floor 2,000 89 £ £ The Gogmagog s 1,50 0 Strategic Initiatives Kent Oper a 21 .00 0 Association of British Orchestras 5,000 Landing Stage Production s 5,000 Blow The Fuse 3,22 0 Lontano 3,000 Coma 7,000 Mecklenburgh Opera 5,000 Folksyork s 2,000 Midsummer Oper a 2,000 jazz Umbrella 2,070 Modern Music Theatre Troupe 3,000 The National Music Counci l 3,000 Norfolk and Norwich Festival 5,000 Northern Orchestra Consortiu m 2,500 Opera and Music Theatre Forum 50 0 Roval Liverpool Philharmonic Society 2,500 Opera Circu s 8,000 Sound Sens e 2,200 The Opera Compa m 10,00 0 South West Jaz z 5,000 Operate 3,000 Southern Arts Board 20,000 Performing Arts Lab s 6,000 Tomorrow's Warrior s 3,000 Selfmade Music Theatr e 6,000 University of Sunderland 4,000 Theatre Royal, Burv St Edmund s 2,500 61,49 0 197,250 Education and Training Period Instrument Ensembles Association of British Orchestras 5,000 The English Concert 14,00 0 Bournemouth Orchestras 5,000 Gabrieli Consort and Players 18,00 0 London Symphony Orchestra 20,000 Hanover Ban d 18,00 0 Northern Sinfonia Concert Society 5,000 Helen Sykes Artists' Managemen t 7,50 0 Royal Liverpool Philharmonic Societ e 5,000 New° London Consort 10,50 0 New Queen's Hall Orchestra 16,000 40,000 Northern Sinfonia Concert Society 12,000 Youth Arts Orchestra of the Age of Enlightenment 13,000 British Federation of Young Choirs 10,00 0 British Youth Opera 14,85 0 109,000 Clonter Opera for Al l 3,500 Recordings National Youth Brass Band of Great Britai n 5,000 33 Records 8,500 National Youth Choir 6,000 Acta Records and Promotion 1,976 National Youth Music Theatre 12,65 0 Blueprint Records 8,500 National Youth Orchestra 25,000 Cala Record s 10,000 National Youth Wind Orchestr a 7,500 Coma 1,500 Divercitv 3,000 84,500 English Chamber Orchestra and Music Societ N 1,500 Keda Records 5,000 Total projectgrants 1,826,580 Mrs Casey Records 2,11 0 Ojama Production s 6,000 People Unite Publication s 4,000 Total Musi c 43,765,380 Quartz Records 6,000 Robi Droli Snc 8,500 Skaaz Records 7,500 Touring Slam Production s 2,51 0 Sound & Languag e 3,000 Regularly Funded Organisations United World Music and Entertainment 7,000 Royal National Theatre 365,000 Unknown Public 5,500 Royal Shakespeare Compan y 550,000 92,096 915,000 Purcell Tercentenary Fixed-term Funded Organisatio n BOC Covent Garden Festiva l 2,000 London City Ballet Trust 250,000 Border Cathedrals Festiva l 3,000 250,00 0 British Library 2,500 Buxton Opera Festiva l 2,000 Totalgrants tofunded organisation s 1,165,000 Carvl Jenner Production s 2,500 Kent Oper a 5,000 Audience Development King of Heart s 51 3 Arts About Mancheste r 5,925 Lichfield Festiva l 3,000 Arts Marketing Association 4,000 New Chamber Opera 1,75 0 Arts Marketing Company 3,175 Spitalfields Festiva l 6,000 Arts Marketing Hampshire 12,10 0 Stour Musi c 6,000 Arts Marketing Warwickshire 9,280 Sarah Stowe 1,50 0 Birmingham Arts Marketing 3,00 0 Three Choirs Festival Association 4,000 Blackpool Grand Theatre 1,940 Windsor Festival 1,50 0 City of Birmingham Touring Opera 5,000 York Earlv Music Festival 5,000 Eastern Touring Agenc y 600 Max - Marketing the Arts in Oxfordshire 3,15 0 46,263 Midlands Arts Marketin g 2,500 North West Arts Board 6,000 Opera North 1,500 90 The Arts Council ofEngland 1995/96 E £ £ £ Poole Arts Centre 5,000 Large and Middle-scale Opera Touring Royal Opera House 5,000 Scottish Opera 300,000 South East Arts Board 9,500 Theatre Royal (Norwich) Trust 12,50 0 Strategic Arts Marketing Initiative 3,460 Sunderland Empire Theatre Trust 5,000 312,500 Sussex Arts Marketing 5,800 Opera/Music Theatre Development Team 7,000 Aldeburgh Foundation 14,00 0 West Yorkshire Arts Marketing 20,000 Compact Opera 10,00 0 Yorkshire & Humberside Arts Board 7,500 Crystal Clear Opera 38,00 0 D'Oyly Carte Opera Company 20,000 126,430 Eastern Touring Agency 7,836 Contemporarvllfusic Network Grand Union 5,000 Cambridge Modern Jazz Club 1,150 Huddersfield Contemporary Music Festival 4,573 Eastern Touring Agency 5,900 Mecklenburgh Opera 4,600 Midlands Arts Centre 125 Music Theatre Wales 30,00 0 Norwich Arts Centre 120 Opera Circus 11,75 0 South Bank Board 15,000 The Opera Company 10,00 0 South West Jazz 3,000 Opera Factory 17,00 0 Turner Sims Concert Hall 3,500 Pimlico Opera 5,000 Vocem 10,00 0 28,795 Ballet Projects 187,759 English National Ballet 170,000 Education Scottish Ballet 138,850 Dacorum Borough Council 170 Sunderland Empire Theatre Trust 11,000 17 0 319,850 Venue and Promoter Development Dance Projects Aldeburgh Foundation 7,500 Adventures in Motion Pictures 110,000 Barrow Borough Council 27,000 Adzido Dance Company 37,000 Birmingham City Council 18,50 0 Arc Dance Company 30,000 Birmingham Jazz 50 0 Brams Arts and Management Services 25,000 Birmingham Repertory Theatre 50,000 Dance i imbrella 87,369 Blackpool Grand Theatre 14,00 0 Motionhouse 13,600 The Brewhouse Theatre & Arts Centre 447 Phoenix Dance Company 53,600 Cambridge Arts Theatre 50 0 RJC Dance Theatre 2,000 Central Theatre, Chatham 6,000 Second Stride 15,000 Chichester Festival Theatre 20,000 Shobana Jeyasingh 9,100 Crucible Theatre Trust 8,800 Siobhan Davies Dance Company 10,000 Dance City 8,000 Thamesdown Dance Studio 1,100 Darlington Civic Theatre 17,50 0 Viol 16,150 Gardner Arts Centre 10,50 0 The Green Room 29,970 409,919 Kirklees Theatre'Trust 24,000 Drama l'r(~ects Leicester Arts Centre 18,22 6 Armada Productions 93,900 Mercury Theatre Colchester 12 6 Bibi Crew 46,000 Midlands Arts Centre 20,000 Black Theatre Co-Operative 60,000 Nottingham Theatre Trust 10,00 0 Carmen Jones 50,000 Oxford Playhouse 35,500 Caryl Jenner Productions 40,500 Queen's Theatre 20,000 Channel Theatre Company 33,884 Theatre Royal, Bury St Edmunds 92 5 Di Robson Arts Management 28,000 Tyne Theatre Trust 30,000 Handstand Productions 29,000 Victoria Theatre, Halifax 25,000 Magnificent Theatre Company 39,900 Wakefield Theatre Royal & Opera House 23,000 Millstream Theatre Company 55,000 Warwick Arts Centre 10,00 0 New Shakespeare Company 35,000 Watford Civic Theatre Trust 13,72 0 Northern Broadsides 68,766 Worthing Connaught Theatre 15,00 0 Nottingham Theatre Trust 38,795 Wycombe Swan Theatre 15,00 0 Out of Joint 126,00 0 The Posse 11,400 479,714 Royal Exchange Theatre Company 103,80 0 Thelma Holt Ltd 194,650 Total prajectgrants 3,127,568 Touring Partnership 64,130 1,118,725 Total Touring 4,292,568 International Projects London International Festival of Theatre 97,00 0 Neil Wallace 46,706 143,706 91 Visual Arts £ £ Regularhv Funded Organisations Arts Council Collection -Arnolfini Gallen- 295 .000 South Bank Board 20 .900 Free Form Arts Trust 65,000 Ikon Gallen 338,000 20,90 0 inI\:A 487,000 Disability Museum of Modern Art (Oxford) 385,000 Art House 5.000 Serpentine Gallen 278,000 Carousel 4,000 Whitechapel Art Gallen 491,000 Hampshire County Council 5,000 Skill 5,000 2,339,000 Eixed-term Funded Organisations 19,000 Attic Producers Publishing Company 32,000 East Midlands Affican-Caribbean Art Autograph 62,000 East Midlands Arts Board 35,000 Axis 50,000 Contemporary Art Society 60,000 35,000 Cornerhouse 20,000 Education Creative Camera 54,000 Attic Producers Publishing Company 5,000 Roval College of Art 70,000 Artswork 22,500 Visual Arts and Galleries Association 25,000 Bash Street Publishing 20,000 Central School of Speech and Drama 1,500 373,000 Germinations Europe 6,000 Manchester Metropolitan University 9,960 Totalgrants to funded organisations 2,712,000 Middlesex University 15,80 0 National Association for Gallen, Education 31,000 Regional Gallery Scheme Queen's Hall Arts Centre 1,00 0 Bradford Art Gallen , 20,000 South Bank Board 15,00 0 Nottingham Castle Museum & Art Gallen- 15,000 University of Brighton 16,00 0 Oldham Museum and Art Gallen_' 5,000 University of East Anglia 14,50 0 Towner Art Gallery 15,000 Watershed Trust 9,100 Walsall Museum & Art Gallery 35,000 Wolverhampton Art Gallen 15,000 167,360 First Time Publications 105,000 Attic Producers Publishing Company 10,00 0 Architecture Development Arts Catalyst 2,926 Architecture Foundation 81,374 Axis 12,00 0 Arnolfini Gallen, 1,000 Book Works London 5,000 Art & Architecture Journal 5,000 Cabinet Gallen 2,500 Blueprint Magazine 5,000 Cambridge Darkroom 5,000 Bristol Centre for the Advancement of Chisenhale Gallery 6,000 Architecture & RIBA 17,500 Control Magazine 2,500 Building Books Trust 4,600 Curtain Road Arts 1,00 0 Building Experiences Trust 15,000 Gasworks Studio Trust 1,09 5 Building of Bath Museum 2,000 Institute of Contemporary Arts 4,903 Design Museum 33,340 John Hansard Gallery 3,000 Desiring Practices 5,000 The National Life Story Collection 12,00 0 Mark Holborn 7,000 Northern Arts Board 6,000 Ikon Gallery 9,000 Royal West of England Academy 5,000 Institute of Contemporary Arts 5,500 The Showroom 1,50 0 James Stirling Foundation 10,000 Todd Gallen 1,00 0 Kettle's Yard Gallen, 7,500 Women's Art Librarv 1,80 0 Landscape Foundation 5,000 Roval Institute of British Architects 17,80 0 83,224 The Royal Photographic Society 5,000 Interactive Multi-Media Access Strangely Familiar 12,450 Artec 30,00 0 Twentieth Centunv Society 5,000 University of East London 2,500 30,00 0 International Travel and Research 256,564 Judv Adam 500 Artists 'Liaison Scheme Michael Archer 600 Attic Producers Publishing Company 5,000 Arnolfini Gallery 600 South East Arts Board 10,000 Art Project Management 305 Autograph 770 15,000 Barbican Art Gallen 1,500 Artists 'Support Initiatives Beaconsfield 1,500 Attic Producers Publishing Company 1,900 Book Works London 1,500 Engaged Magazine 1,000 Camerawork 1,500 Mavis Studios 150 Cartwright Hall 825 City Racing 1,500 3,050 Cleveland County Council 1,000 92 The Arts Council ofEngland 1995196 £ £ £ £ Colchester & District Visual Arts Trus t 400 Public Art Forum Cornerhouse 1,500 Public Art Forum 15,000 Festival of Women's Photography 1,500 Mario Flech a 1,00 0 15,00 0 Hilary Gresry 48 8 Public Art Initiatives Lisa Haskel 73 0 Desiring Practices 3,500 Rosemary Heather 50 0 Ruskin School of Drawing & Fine Ar t 2,000 Impressions Gallery 1,50 0 Science Museu m 9,500 Institute of Contemporary Arts 2,072 South East Arts Board 3,500 John Hansard Gallery 1,20 0 Visual Arts Development Agenc y 2,800 Kettle's Yard Galler y 70 0 Brigitte Lardinois 1,445 21,300 London Print Workshop 1,070 Publications Museum of Women's Ar t 1,50 5 Alfred David Editions 2,200 Mute/Metamute 1,50 0 Aspex Visual Arts Trust 6,695 Paul Neagu 1,00 0 Autograph 15,31 9 Newlyn Art Gallery 60 0 Book Works Londo n 13,700 Norwich Arts Centre 49 0 Coracle 4,189 Norwich Gallery (Norwich School of Cornerhous e 2,00 0 Art and Design ) 54 0 Dewi Lewis Publishing 19,544 Public Art Commissions Agency 1,00 0 Grey Editions 13,78 0 Public Art Development Trust 1,50 0 Institute of Contemporary Arts 4,700 Reportage Magazin e 1,00 0 John Hansard Gallery 2,00 0 Russell Roberts 1,04 0 Kettle's Yard Gallery 5,18 1 Judith Robinson 72 8 Locus + 7,00 0 Serpentine Galler y 53 0 Mates Gallery 10,40 0 Site Gallery 1,00 0 Moviol a 3,00 0 Deborah Smit h 20 0 Mute/Metamut e 2,000 Ingrid Swenson 36 0 The Photographers' Gallery 14,63 4 Swindon Museum & Art Gallery 75 5 Photography Workshop (Edinburgh ) 8,109 Roman Vasseur 30 0 Nina Pop e 3,500 Walsall Museum & Art Gallery 57 8 Vers o 13,63 8 Tracey War r 85 2 Tom Wood 1,220 Whitechapel Art Gallery 70 0 Val William s 1,270 152,809 Women's Art Library 1,400 Site Specific Works Yorkshire Sculpture Par k 1,000 Bath Festivals Trust 10,00 0 BNI Visual Arts Projec t 5,000 46,053 Locus + 5,000 Magazines Tate Gallery, St Ive s 5,000 Art Monthly 24,000 Audio Arts 18,00 0 25,000 Durian Publication s 19,00 0 Strategic Initiatives Kala Pres s 40,000 African and Asian Visual Artists Archive 30,00 0 Untitled Magazin e 6,000 Art 96 - The London Contemporary Art Fai r 6,200 Women's Art Library 21,000 Attic Producers Publishing Compan y 3,000 Artists Book Fair 4,000 128,000 Arts About Manchester 14,00 0 National Artists Association Arts Marketing Hampshire 2,500 National Artists Associatio n 20,000 Autograp h 7,500 Chatto & Windus 4,000 20,000 Cornerhouse 5,500 National Collections Touring East Midlands Arts Boar d 10,000 National Gallery 21,000 European Pepinieres GB 5,730 National Museum of Photography, Everything Magazine 6,000 Film & Televisio n 10,000 Gateshead Metropolitan Borough Council 13,000 Tate Galler y 34,000 Impressions Gallery 3,350 Victoria and Albert Museum 5,688 The Intaglio Project 5,400 National Sound Archive 15,000 70,688 North West Arts Board 1,000 Photography Touring Rear Window 1,000 Artec 40,000 Tony Sinde n 1,000 East Midlands Arts Board 13,000 South Bank Board 3,500 Impressions Gallery 16,600 South East Arts Board 2,000 Open Eye Galler y 18,000 South London Art Galler y 2,000 Site Gallery 20,000 Staffordshire University 14,235 Watershed Trust 21,000 Triangle Arts Trus t 18,000 Watershed Trus t 3,165 128,600 Whitechapel Art Gallery 3,000 93 L £ £ £ Yorkshire & Humberside Arts Board 1000 Williamson Art Gallen 3,000 Zone Gallen- 3,890 186.08 0 Svneposia 190,91 1 Bath Festivals Trust 1500 Training Birmingham Cir' Council 1,000 Axtiyan 150 0 Dewi Lewis Publishing 1450 Northern Arts Board 3,000 Institute of Contemporar-, Arts 2,500 Seeing the Light 20,000 Museum of Modern Art i Oxford) 2,500 Uniyersin of Portsmouth 10,00 0 National Association for Gallery Education 6,550 West Midlands Arts Board 26,500 Organisation and Imagination 2,500 Visual Arts and Galleries Association 1,500 62,000 Walsall Museum & Art Gallen 2,500 V nue Developnzen t Serpentine Gallen 9,960 24,000 South East Arts Board 36,000 Towinq,Exhibition Deielopment West Midlands Arts Board 5,400 David Bailev 4,750 Yorkshire & Humberside Arts Board 27,000 Bank 4,02 1 Barn Barker 5,000 78,360 Beaconsfield 5,000 Book Works London 4,400 Total projectgrants 1,995,682 Cambridge Darkroom 2,600 Camerawork 3,490 Cornerhouse 4,500 Total Visual Arts 4,707,68 2 Drew Gailery Projects 4,000 Global Heritage 5,000 Institute of Contemporary Arts 3,450 Gavin Jantjes 5,000 Ruskin School of Drawing & Fine Art 1,320 Laing Art Gallery 4,000 Locus + 4,750 Maidstone Library Gallen 2,390 Paul Neagu 5,000 Norfolk Institute of Art & Design (Norwich School of Art and Design) 5,000 The Organisation for Visual Arts 5,000 The Photographers' Gallen' 3,380 Purdv Hicks Gallcrv 4,645 Russell-Cotes Art Gallen & Museums 2,500 Petronilla Silver 3,800 South London Art Gallery 4,600 Spacex Gallery 5,000 Pavel Theiner 820 Ultraluxe Publications 5,000 Visionfest 3,367 111,78 3 Touring Exbibitions Judv Adam 11,52 1 Bath Festivals Trust 9,000 Book Works London 6,000 Camden Arts Centre 8,000 Camerawork 8,000 Chisenhale Gallery 14,50 0 Corncrhouse 12,00 0 Institute of Contemporary Arts 7,000 James Hockev Gallery 9,000 John Hansard Gallen 6,000 Kent Institute of Art and Design 5,000 Kettle's Yard Gallery 8,000 Kirklecs Metropolitan Council 8,000 Leicestershire Museums & Arts Service 7,000 New Contemporaries 10,00 0 Norfolk Institute of Art & Desig n (Norwich School of Art and Design) 25,000 The Photographers' Gallery 7,000 Surrev County Council 3,000 Towner Art Gallery 14,00 0 Viewpoint Photography Gallery 6,000 94 The Arts Council ofEngland 1995196 Lottery hard commitments in 1995/96 Schedule 1 to the Account s For the period to 31 March 1996 Eastern Arts Board £ £ £ Aldeburgh Cinema 65,700 Commotion Theatre Company 25,008 Aldeburgh Foundation 40,000 Desford Brass Bands 41,000 Aldeburgh Jubilee Hall 99,000 East Midlands Shape 31,500 Artswork Essex/Essex Youth Service (Brentwood) 94,500 Gedling Borough Council 41,000 Bedford Borough Council 25,000 Gresley Male Voice Choir 7,500 Bedfordshire County Council 35,000 Gresley Old Hall Brass Band 22,500 Borough Council of King's Lynn & Harley Foundation 20,000 West Norfolk 2,236,000 Hathern Band 17,560 Braybrook Primary School 1,546 Haymarket Theatre, Leicester 18,000 Cambridge Arts Theatre Trust 6,640,000 Hindu Temple Cultural & Community Centr e Cambridge Performing Arts 8,250 of Nottingham 77,625 Cawston Band 15,728 Ireland Colliery Chesterfield Band 17,91 5 Cinema 100 85,000 Loughborough Band 30,000 Community Music East 35,983 Mansfield District Council 11,46 8 Cresset (Peterborough) 95,808 Melton Leisure Services 97,700 Eastern'rouring Agency 98,124 Merrill Community School 5,000 Hilgay Silver Band 34,500 Moulton Players 60,000 Holmesyuest Holdings Band 43,600 New Perspectives Theatre Company 46,881 Horncastle & District Photographic Society 9,050 Newhall Band 32,863 Intaglio Project 54,000 Northamptonshire County Council 7,500 Ipswich Co-op Band 7,500 Nottingham Castle Museum and Art Gallery 1,750,000 Jill Freud & Company 15,000 Nottingham Community Arts 96,000 Jubilee Theatre Arts Society 17,750 Nottingham Media Centre 1,330,000 Junction 95,687 Nottingham Theatre Trust 825,000 Leiston Royal British Legion Band 11,954 Nottingham Trent University 7,750 Lexden Springs School 11,621 Royal School for the Deaf & College Lincolnshire County Council 61,300 for Deaf People 50,00 0 Nene Housing Society 65,000 Soft Touch Community Arts Group 35,68 1 New Arts Venue Action Group 28,150 Stamford Shakespeare Company 490,000 Newmarket Operatic, Musical & University of Leiceste r Dramatic Society 60,000 (Richard Attenborough Centre) 730,000 North Kesteven District Council 48,139 We Can Dance 39,14 0 Norwich Playhouse Theatre 400,000 Welbeck Estates Brass Band 34,64 0 Orley Players 17,13 2 Palace Theatre Trust (Southend-on-Sea) 6,720 Total East Midlands Arts Board grant s 6,167,75 0 Palace Theatre Watford 22,568 Pro Corda Trust 100,000 Project for a University College for Lincolnshire 17,135 London Arts Boar d Quay Theatre 47,627 Rainsford High School 100,000 Adzido Pan African Dance Ensemble 123,250 Royal British Legion Youth Band Brentwood 20,000 Age Exchange Theatre Trust 51,00 0 Saxilbv Youth Band 28,000 Artsline 85,94 7 SNAP People's Theatre Trust 17,185 Association for Jewish Youth 16,00 0 South East Television & Media Workshop 198,870 Association of British Orchestras 22,50 0 South Holland District Council 1,698,000 Bankside Gallery 17,00 0 Southend Jewish Youth Centre 7,917 Book Trust 32,42 3 St Neoes Choral Society 9,273 British American Arts Association 21,35 1 Trverham Band 45,000 British Film Institute 250,000 Thaxted Festival Foundation 8,700 British Film Institute 165,75 0 Theatre Royal Trust (Norwich) 13,500 British Library 139,00 0 Tiebreak Touring Theatre 38,115 Caryl Jenner Productions 98,00 0 Usher Gallery 16,000 City Music Society 16,00 0 Village Players, Nayland, Suffolk 9,140 Contemporary Applied Arts 235,000 Ealing & Twickenham Theatre Workshop 9,479 Total Eastern Arts Board grants 12,939,772 Ebony Steelband Trust 60,51 9 Edenwood Productions 750,000 English National Ballet School 87,00 0 East Midlands Arts Board English National Opera 1,384,000 English Stage Company 15,803,505 Ashby Dramatic Society 75,519 English Touring Opera 83,303 Barlestone Parish Council 6,500 Film & General Productions 1,000,000 Bingham Infants Self Help Group 80,000 Flamboyan Community Association 100,000 CODA 16,500 Floating Point Science Theatre 42,492 95 Focus Films Production s 302,42 1 Easington Collier- Brass Ban d 45,000 Glastonbur The Movi e 36,061 East Cumbria Countryside Project 40,000 Greemvich Dance Agency 68,000 Ferr-hill Town Band 35,15 1 Hackney Festivals Support Group 31,030 Groundxyork South Tvnesid e 95,00 0 Halflvay Production House 95,000 Kirkby Lonsdale Handbell Ringers 8,000 Harringav Club 17,249 Kirkgate Centre Trust 110,679 Institute for Performing .-Arts 99,000 Lanchester Communin- Associatio n 71,072 Institute of Contemporary Arts 141,000 Millom Amateur Operatic Society 7,000 Interchange Studios (The Hamden Trus t 22,500 Morden To%%er Poetr y 10,75 0 International Workshop Festiva l 57,31 6 Mordon & Bradbury Village Hal l 63,50 0 Islington Music Worksho p 73,000 North East Disabled Writer s' Project Cleveland 5,943 Jazz Service s 17,23 5 North East Theatre Trus t 971,750 Joanne's Community Entertainer s 23,400 North Tvneside Counci l 38,02 5 Laban Centre for Movement & Danc e 114,538 Northern Junior Philharmonic Orchestr a 86,49 0 Lewisham Academv of Music 331,174 Northern Screen Commissio n 30,00 0 London Borough of Newha m 84,000 Northern Sinfoni a 51,73 1 London Fields Schoo l 5,830 Northern Stage 56,50 0 Lusia Films 95,85 5 NTC Touring Theatre Company 39,72 8 Lyric Theatre Hammersmith 42,000 Penrith Plavers Theatre Club 10,00 0 Musicworks Music Resource Centre 1,155,88 5 Saltburn 500 Club and Redcar & National Trust 36,379 Cleveland Borough Council 63,50 0 National Youth Jazz Orchestra 100,000 Seaham Youth Theatre Grou p 31,00 0 Nettlefold Festival Trus t 40,000 Sedbergh & District Buildings Preservation Trus t 35,00 0 New Queen 's Hall Orchestra 32,385 Sedgefield Community College 6,000 Opera Factory 41,470 Sedgefield District Counci l 109,00 0 The Plac e 19,00 0 South Westmorland Stage & Screen Societ y 30,00 0 Pleasance Theatre Trust 97,741 Staveley Roundhouse 7,00 0 Poetry Society 99,000 Teesdale District Council 34,00 0 Praxis Theatre Company 24,637 The Northern Architecture Centre 100,00 0 Quicksi lv er Theatre for Childre n 48,379 Tyne & Wear Development Corporation 5,951,000 Raw Material Music and Medi a 97,423 Vaux Samson Ban d 42,165 Royal Academy of Dancin g 34,027 Welfare State International 1,626,900 Royal Academy of Dramatic Ar t 850,000 Whitley Bay Playhous e 40,000 Royal Opera House Covent Garde n 55,000,00 0 Roval Philharmonic Orchestra 36,000 Total Northern Arts Board grants 11,734,64 2 Ruskin Players (Theatre in the Round ) 9,500 Sadler's Wells Foundation 30,000,00 0 Sedgehill Schoo l 45,000 North West Arts Board Shakespeare Globe Trust 12,400,00 0 Simba Woolwich Projec t 22,000 Action Factory Community Arts 7,200 South Bank Centre 980,000 Astley Youth Ban d 27,500 Spare Tyre Theatre Compan y 13,50 0 Black Arts Alliance 10,75 8 Spitalfields Arts Project s 235,000 Blackburn Theatre Trust 25,000 St Paul's Arts Trust 99,000 Blue Coat School Brass Ban d 40,000 Strathcona Theatre Company 44,059 Brockhall Village Developments 39,95 0 Tabernacle 150,00 0 Brouhaha International 32,905 Tara Arts Grou p 17,44 0 Buile Hill High Schoo l 97,982 Third Party Productions 38,69 8 Burnley Youth Theatr e 20,000 University of East London 24,90 0 Burv Music Servic e 25,000 WAVE S 97,200 Cheshire Dance Worksho p 32,540 William Penn Steel Band 29,35 7 Chester in Concert 95,000 Women's Art Library 17,00 0 Contact Theatre Company 4,456,392 Yaa Asantewaa Arts & Community Centre 52,85 5 Dobcross Youth Band 34,000 Young Vic Theatre 13,50 0 Dukes Playhouse 194,75 0 Eaton's Farnworth Band 17,91 0 Total London Arts Board grants 124,251,463 Folly Trust 94,41 4 Frodsham Silver Band 15,000 Ghost Drum & Bugle Corp s 57,796 Northern Arts Board The Green Room 750,000 Horse & Bamboo Theatre 149,000 Alnwick District Playhouse Trus t 243,000 Inner City Music 59,142 Barrow-in-Furness Borough Counci l 88,98 0 Inner Sense 40,600 Billingham Silver Ban d 41,500 International Media Centre - Blvth Arts & Community Associatio n 732,483 University of Salford 30,000 Brewer- Arts Centre 85,000 Lions Youth Brass Band 25,000 Broughtons Brass Band 39,32 8 Liverpool Institute for Performing Art s 2,000,00 0 Dance City 66,21 7 Liverpool Jewish Youth & Community Centre , Darlington Borough Counci l 570,250 Harold House 36,957 Dovecot Arts Centre 16,000 M6 Theatre Compan y 76,384 96 The Arts Council ofEngland 1995196 £ £ £ £ Marple Band 41,400 West Meon Village Hall 20,000 Mersey Film & Video 88,873 West Wight Arts Association 30,000 Merseyside Dance Initiative 28,319 Wiltshire Music Centre Trust 1,768,024 Merseyside TU Community & Unemployed Yateley Industries for the Disabled 14,056 Resource Centre 98,450 Zippo's Academy of Circus Arts 48,177 Morecambe Youth Band 47,566 Mossley Community Arts 53,785 Total Southern Arts Board grants 30,294,040 Multi Asian Arts 39,19 0 New Everyman 99,766 New Longton Village Hall 30,000 South East Arts Board North Fylde Music Circle 41,108 North West Arts Board 60,000 All Saints Arts & Youth Centre 96,330 Pendle Borough Council 40,000 Chichester City Band 62,955 Pendle Youth Orchestra 22,000 Chichester Festival Theatre 57,00 0 Pendleton College 20,000 Dual Control International Theatre Company 66,497 Port Sunlight Lyceum Brass Band 33,292 East Grinstead Town Council 680,000 Queen Elizabeth School 84,678 Epsom & Ewell Silver Band 9,000 Royal Court Theatre Foundation 50,000 Fosmic Charitable Trust - Friends o f Royal Liverpool Philharmonic Society 850,000 St Mary in the Castle 50,000 St. Ann's Church, Manchester 95,000 Hanover Band Trust 44,000 Standish Brass Band 48,000 Kent County Council 26,000 Stockport Borough Council 73,480 Kent Opera 51,178 Storeys of Lancaster Brass Band 38,212 Kent Shakespeare Project 25,561 Sutton Community Music Centre 10,000 Margate Theatre Royal Trust 22,500 Tameside College of Technology 98,205 Nomad Players 50,000 The Theatre in Prisons & Probation Centre L3,338 Performing Arts Labs 14,663 Theatre Workshop 12,850 Royal School for Deaf Children, Margate 100,000 Tintwistle Band 52,709 Worthing & Southlands Hospital Art Project 40,500 Walk The Plank 328,698 Zap Art 84,378 Warrington Borough Council 40,000 Zap Club 145,35 3 Whaley Bridge Brass Band 44,995 Total South East Arts Board grants 1,625,91 5 Total North West Arts Board grants 11,455,094 South West Art s Southern Arts Board Art for Life - Taunton & Somerset NHS Trust 98,500 The Ark 25,000 Art Shape for Gloucestershire Artsway 306,000 Framework Consortium 96,220 Bournemouth & Poole College of Artspace Bristol 935,000 Further Education 22,000 Arvon Foundation 297,375 Bournemouth Concert Brass 59,612 Beaford Arts Centre 584,198 Breakout Theatre Company 15,288 Bristol Centre for the Advancemen t Burnbake Trust 15,000 of Architecture 354,600 Chipping Norton Theatre 678,520 Bristol City Council Leisure Services 375,000 Forest Forge Theatre Company 35,000 City Screen 577,173 Hampshire Fire & Rescue Service 5,000 Exeter & Devon Arts Centre 1,768,278 Heyling Island Amateur Dramatic Society 120,000 Gloucestershire Everyman Theatre Company 17,00 0 Healing Arts : Isle of Wight 31,550 Hall for Cornwall Trust 2,584,52 1 Kathakali/Centre Ocean Stream 6,859 Holbeton School Creative Arts Organisation 18,46 3 Ladies Association of British Barbershop Singers 9,556 Ilminster Entertainments Society 25,000 Lee Players 15,000 International Musicians Seminar 73,80 0 Mainline Pictures 707,700 Lechlade Parish Council 30,00 0 Maskers Theatre Company 70,875 Maisemore Village Hall 50,000 Milton Keynes Borough Council 19,671,485 Nailsea Theatre Club 50,000 Norden Farm Centre Trust 20,000 Natural Theatre Company 369,059 Olney Players 8,207 Palace Theatre Trust 84,337 Oxford Film & Video Makers 36,722 Queen's Theatre Trust 39,345 Oxford Playhouse Trust 2,525,000 Robinswood Primary School, Matson 80,000 Oxford Printmakers' Co-operative 14,326 Rondo Trust for the Performing Arts 82,920 Reading Film & Video Makers 9,570 Sherborne Town Band 50,58 2 River Films (Woodlanders) 1,400,000 Spacex 59,00 0 Shanklin Town Brass Band 44,190 Spinners & Weavers Workshop 71,746 South West Trains Woodfalls Band 47,446 Spirit of Bristol Marching Showband 15,00 0 Southampton Nuffield Theatre Trust 1,279,330 St Keverne Band 25,00 0 Steve Ross Foundation for the Arts 1,100,500 Sterts Arts & Environmental Centre 47,500 Test Valley Brass 32,495 Take Art! 10,50 0 Watermill Theatre 86,552 Theatre Royal Bath 496,768 Wavendon All Music Plan 15,000 Thornbury Band 32,895 97 Wellington Silver Ban d 20,542 Beaumont Street Studio s 79,20 0 \tevmouth Drama Clu b 29,078 Bethanv Trus t 1 1,00 0 Bradford (Cin) Metropolitan Council 130,31 0 Total South West Arts grants 9,449,400 Canon Lee School 40,00 0 Croy of Leeds College of Musi c 7.875 Craven .-arts i Department of Crave n West Midlands Arts Board District Council ) 10,00 0 DAM i Disability Arts Magazine 21 .460 Ah cley Village Band 44,466 Darts-Doncaster's Community Arts Project 12,190 Angle Galle n 26,99 6 Dewsbury Arts Grou p 85,500 Arrow Valley Brass 12,00 0 East Riding Youth Brass Band 55,565 Avonbank (Evesham) Brass Ban d 22,31 5 East Yorkshire Borough Counci l 986,500 Birmingham Arts Marketin g 12,00 0 Emlcy Brass Band 54,000 Birmingham Bach Choir 14,50 0 Freehand Theatre 19,62 6 Bretforton Silver Ban d 5,000 Gawthorpe Brass'85 6,000 Brewhouse Arts Centre 125,63 4 Great Grimsby Borough Counci l 29,500 Bridgnorth Community Hall Trust 5,000 Greentop Community Circus Centre 7,825 Bridgnorth Endowed Schoo l 6,500 Harrogate Borough Council 57,400 Bridgnorth Theatre on the Steps 7,500 Henshaw 's Society for the Blin d 50,000 Castle Vale Housing Action Trus t 60,000 Howdenshire Live Arts 22,000 CBSO Societ y 3,729,305 Hull Community Artworks 28,050 City of Coventrv Brass Ban d 35,184 Impossible Theatre 19,49 7 Coventn , City Counci l 96,000 Ingleton Rural Community Association 18,00 0 DanceXchange 40,500 Kirkbvmoorside Town Brass Ban d 27,00 0 Hereford Sixth Form College 25,000 Kirklees Metropolitan Counci l 12,51 8 Hereford City Counci l 3,000,00 0 Live Arts 100,000 Hi8US 98,076 Music Heritag e 1,585,000 Huntingdon Hal l 89,555 North Yorkshire County Council Community Ifton Ban d 36,000 Education Servic e 94,275 Ikon Gallerv 3,776,00 0 Northern Ballet Theatre 65,00 0 Jackfield (Elcock Ressen) Brass Ban d 17,68 2 Northern School of Contemporary Danc e 1,750,000 Leamington & Warwick Dramatic Study Club 84,51 0 Northern Theatre Compan y 12,25 2 Lion Gallerv 20,500 Old Meeting House Trust, Helmsle y 275,000 Malvern Lynx Marching Band 5,000 Open Hand Theatre Compan y 16,75 0 Montford Handbell Ringers 5,300 Phoenix Dance Company 9,000 Muller Cleobury Mortimer Band 28,432 Prickly Pea r 21,000 National Federation of Music Societies - Public Arts 573,200 West Midlands 20,00 0 Reeth Brass Ban d 13,73 0 Newport Town Ban d 18,900 Scarborough Theatre Development Trus t 1,480,000 Oak & Acorn Projec t 5,000 Scunthorpe Borough Counci l 119,85 0 Oldburv Wells Schoo l 11,25 0 Sheffield Recreation Band Club 30,000 Pentabus Arts Theatre 83,600 Sheffield Theatre Organ Enthusiasts 20,000 Porthy- waen Silver Band 40,000 Sonic Arts Network 63,000 Presteigne Folk & Jazz Associatio n 7,220 Theatre Royal & Opera House, Wakefield 195,200 Pudleston Village Hall Management Committe e 8,863 Theatre Royal - York 99,000 SAMPAD South Asian Arts Victoria Dock Compan y 100,00 0 Development Organisatio n 22,903 Wallace Arnold (Rothwell) Ban d 50,000 Scrappie s 90,000 Worsbrough Brass 30,000 Sherifthales County Primary Schoo l 7,500 Yorkshire Dance Centre 606,000 Shropshire County Counci l 76,861 Yorkshire Evening Post Band 37,84 1 Solihull Arts Complex 68,500 Staffordshire Knights Drum & Bugle Corps 48,330 Total Yorkshire & Humberside Arts Board grants 9,284,610 Stratford-upon-Avon District Council 100,00 0 Tutbury Band 16,86 9 Visual Arts Trus t 21,700 Warwickshire County Youth Orchestr a Association 22,154 Wolverhampton Borough Counci l 545,500 Worcester City Museum & Art Gallery 70,750 Total West Midlands Arts Board grants 12,714,85 5 Yorkshire & Humberside Arts Boar d Action Space Mobile 18,496 Actors' Workshop Youth Theatre 45,000 Ampleforth Village Hal l 25,000 Barnsley Building Society Band 59,000 98 The Arts Council ofEngland 1995196 Statement of compliance with policy and financial direction s issued under section 26 of the National Lottery etc . Act 1993 Figure 1 : 1. The Arts Council must ensure that it does not solicit grants awarded by art form 199519 6 particular applications. Art form £ No. Architecture £837,600 li £120m During 1995/96, the Arts Council and the Regional Arts Broadcasting £738,395 6 Boards (RABs) took steps to secure the widest possible Circus £150,277 3 Combined Arts £47,713,386 85 awareness that Lottery funding is available . This work Crafts £6,783,302 13 generated over 9,000 enquiries resulting in 1,426 full Dance £30,491,319 30 Lottery applications . Each of these was considered on its Drama £124,250,148 134 Film Production £9,338,628 17 individual merits against published criteria . Film other £3,759,343 15 Literature £530,601 7 £100 m Music £42,627,411 148 Opera £56,533,773 4 2. The Arts Council must consider applications across other £1,750,807 4 the full range of activities for which it has the Video £87,639 2 authority to distribute money. Visual Arts £14,456,833 54 Total £340,049,461 533 Every art form has benefited from Arts Council Lotter y grants. Grants have been made for architecture , £80m broadcasting, circus, crafts, dance, drama, film, literature , music and the visual arts . Figure I gives a breakdown o f how many grants and how much funding was committe d to each art form during the period . £60m £40m N ` V R O C 7 COi C d C O O O v V 9ai V 97 £ O V C a LL Q co aE 99 LL 3 . The Arts Council must distribute money fo r • A Lottery_ grant will enable a multi-media project to projects which promote the public good (includin g develop its work with young people on inner city housing wider public access) or charitable purposes, and estates, using film to explore issues such as racism an d which are not intended primarily for private bullying. (Rau, Material a-,yarded £97,423 ) purposes . • A festival of contemporary music now attracts larg e Public benefit is one of eight criteria which the Arts Counci l audiences for work that is normally hard to market. How, applies to all Lottery applications . Each of the organisations Largely because a Lottery grant has enabled it to invest in a that received a Lottery grant during 1995/96 demonstrate d highly unusual venue : a purpose-designed inflatabl e that its particular Lottery development would benefit th e sculpture. (Nettlefold Festival Trust awarded £40,000 ) public by providing new or improved opportunities for th e public's enjoyment of- and participation in - arts activities . • A theatre group that runs participative events for peopl e The examples listed below show how particular project s with learning difficulties had problems finding venues tha t will widen public access . could accommodate its special sets . Its Lotter, award will now widen public access to its own premises . (Horse an d In assessing public benefit, the Arts Council places a Bamboo Theatre awarded £149,000 ) particular emphasis on disabled access . Each organisatio n that receives a Lottery grant is required to ensure maximum access for disabled people whether they are participants , 4. The Arts Council must distribute money for capita l performers or other employees . Over time, Lottery fund s expenditure on projects . It can only distribute fund s will radically improve arts access for disabled people . for the purpose of endowments or as revenue grant s where: How particular projects will widen public access - such costs are associated with a capital projec t which has received or expects to receive mone y • A steel band did not have enough instruments to go - the project would not otherwise be completed round. As a result, it began losing young trainees since they because there is no other source of financia l had limited opportunities for hands-on learning . Now, a assistance. Lottery grant for new pans will enable the band to recruit and train more young people . (Ebony Steelband Trus t In fact, no endowment or revenue grants were awarded i n awarded £60,519 ) 1995/96. The Lottery application pack published by the Arts Council in November 1994 stated that - initially - the • A consortium of public, private and voluntary Council would only consider applications for capital organisations is working to develop artists' workshops . projects such as new buildings and building improvements ; The project, part-funded through the Lottery, will give th e the purchase of equipment, vehicles and musica l public a chance to meet sculptors and gain hands-o n instruments ; public art; and film productions . It said that sculpting experience . (Brockhall Village Developments Ltd applications for revenue or endowment funding would no t awarded £39,950 ) be considered during this initial period . The Arts Council promised to review this policy at the end of the 1995/9 6 • After winning a Lottery grant to improve its premises, a financial year. theatre club plans to start a youth group . (Nailsea Theatre Club awarded L50,000 ) At the end of 1995, the Arts Council held four seminars to review Lottery policy The consensus was that the bulk o f • A Lottery grant for a new vehicle will enable a wheelchai r Lottery money should continue to go to capital projects , dance group to give more displays to primary schools , although the Council should adopt a wider definition o f demonstrating that people in wheelchairs have talents - an d capital . This would allow funding for commissions of ne w express them. (We Can Dance awarded £39,140 ) artistic work. In addition, some money should be used to fund revenue schemes aimed at increasing public interest • With a Lottery award, a contemporary arts gallery wil l and participation in the arts, and developing the talents of have the space and resources to expand its education young people . programme . It now plans to increase school visits by at leas t 30% . (Ikon Gallery awarded £3,776,000) 100 The Arts Council of England 1995196 The Arts Council warmly welcomed the Department of Partnership funding for Lottery projects comes from a National Heritage's announcement at the end of 1995/9 6 variety of sources . For smaller projects (bids unde r that consultation was to begin on a proposal to allow som e £100,000), voluntary labour, small-scale fund-raising and Lottery money to fund revenue schemes aimed a t gifts in kind are often important. Larger projects often rely increasing audiences and developing the talents of young on grants from central and local government and Europea n people. As a result, new Lottery programmes will b e funding sources . We continue to monitor the progres s announced in the Autumn . projects are making in raising partnership funding. 5. The Arts Council must consider the viability o f 7. The Arts Council must obtain the informatio n projects and, in particular, the need to make necessary to make decisions . This includes takin g resources available to meet any running o r independent expert advice where required . maintenance costs associated with the project for a reasonable period, a period set according to the size During 1995/96, the Regional Arts Board and, through and nature of the project. them, local authorities; the British Film Institute; the London Film and Video Development Agency; the Crafts Financial viability is one of the eight Lottery assessment Council; the Arts Council's own specialist departments ; criteria and unless a project can satisfy it, the Arts Counci l and other appropriate agencies gave expert advice on every does not award a grant . Where entirely new buildings are application that fell within their remit . In all, the y created, external assessment concentrates particularly on th e completed 2,380 assessment reports . building's operational viability. Each organisation that received a Lottery grant in 1995/96 demonstrated that An independent assessor or assessors appraised al l funding for their Lottery project was secure and sufficien t applications above £100,000 and some below. During the to last for a reasonable period after completion . Many year, the Arts Council received 332 reports fro m Lottery-funded capital schemes will create no extra revenu e independent assessors examining particular aspects o f funding needs, and some will actually reduce the need fo r applications . public subsidy. Many organisations that received a grant in 1995/96 provided evidence to demonstrate that the Lotter y The Arts Council also took advice on developing its project would make a significant contribution to the assessment methods for certain types of applications fro m applicant's future viability by reducing running costs , the following agencies : the Association of British Theatr e by increasing earned income or, in some cases, both . Technicians, the Theatres Trust and the Brass Ban d Federation. 6. Projects must include a significant element o f The Arts Council also set up two specialist groups to partnership funding and/or a contribution in kind fro m provide advice on applications for film production : the other sources. Independent Film Advisory Panel and the British Scree n Advisory Panel. Each organisation that received a Lottery grant in 1995/9 6 met the Arts Council's minimum partnership funding Further information about the decision making process and requirements . Most had raised or expected to raise far mor e departmental staffing. than the minimum (see Figure 2) . The Arts Council of England decides Lottery grants on the Figure 2: Partnersbip funding required bygrants basis of advice given by the Lottery Panel. During 1995/96, the members of the Lottery Panel were : Peter Gummer Percentage of costs (Chairman), Jon Foulds, Lady Patricia Hopkins, Type of grant Minimum raised/expected to Cleo Laine OBE, Ruth Mackenzie OBE, Paddy Masefiel d awarded requirement be raised OBE, Tony Pender CBE, Dr Nima Poovaya-Smith an d Sir David Putmam CBE . Up to £100,000 10% 67% Over£100,000 25% 59% The Lottery Panel is serviced by a Lottery Department . Film production 50% 76% The Director of this department is Jeremy Newton . At the beginning of 1995/96, 21 staff worked in the department - by the end of the year, this number had increased to 25 . 101 8. The Arts Council must not, if so instructed by th e 11. The Arts Council must aim for the highes t Secretary of State for National Heritage, distribute standards of architectural quality and building desig n money to an organisation over which it has materia l in funded projects . influence or control . Qualitv of design is one of the eight criteria against whic h During 1995/96, the Arts Council did not approve an y the Arts Council assesses every Lottery application . In Lottery grant to an organisation over which it had materia l addition to external assessment, the Arts Council retains th e influence or control . services of specialist architectural advisers and its Architecture Committee reviews all significant buildin g design proposals. Each organisation that received a Lottery 9. The Arts Council must address the needs of project s award in 1995/96 clearly demonstrated that its project wa s related to film and the moving image. well designed and fit for purpose . In April 1995, the Arts Council announced a pilot fundin g programme for film production . The aims of the pilot were to encourage new investment in the British film industr y and to increase the quality and quantity of films made . The The Secretary of State for National Heritage also issue d pilot period, due to finish at the end of the financial year, has financial directions to the Arts Council regarding its now been extended until September 1996 . management, control and accountability for Nationa l Lottery funding. These directions can be summarised During 1995/96, the Arts Council contributed just ove r under the two additional requirements detailed below : .69.3m to 17 film productions . (These productions include d a film adaptation of Adrian Noble 's acclaimed production of AMidsummer NBht'sDream and a psychological thrille r 12. The Arts Council must abid e called Crimetime.) In addition, 15 grants valued at just over by the Statement of Financial Requirements . .£3 .7m went to other film projects such as new or improved cinemas and film editing equipment. The Arts Council has abided by the Statement of Financia l Requirements in its management and control of Lotter y funding. Its systems and practice have been verified 10. The Arts Council must address the needs o f through external audits by the National Audit Office and projects related to the crafts . the Department of National Heritage, as well as rigorous internal audit. During 1995/96, the Arts Council made 13 awards wort h nearly .S6.8m to projects involving the crafts . Examples of organisations that benefited include : 13. The Arts Council must develop and enforce a policy for dealing with conflict of interest . • Contemporary Applied Arts, a membership organisatio n of craftspeople, received a Lottery grant of £235,00 0 The Arts Council's Procedural and Ethical Code includes a towards the cost of a new gallery to present work to the rigorously enforced procedure for dealing with fundin g public. applications where a Council or panel member has an interest in the project under discussion . The Arts Council Tyne and Wear Development Corporation in Sunderland also maintains a register of interests for all staff, panel and received a grant of.£5 .9m towards an .£ 11 .9m project to Council members . establish a new national glass centre. The centre will be a working museum with workshops and galleries for bot h permanent and temporary exhibitions . • Bethany Trust, Sheffield, provides residential accommodation for adults with severe learning difficulties . It received £ 11,000 towards the cost of converting a garage into a craft workshop where the trust will develop it s programme of workshops led by local artists and craftspeople . 102 The Arts Council ofEngland 1995196 Partnership funding for ACE Lottery grants over £5 m awarded in 1995/96 Milton Keynes Covent Garde n Tyne & Wear English Stag e Borough Council Roya l Royal Oper a Sadler's Well s Salfor d The Cambridg e The Shakespeare Development Company Limited (MKBC) Albert Hall House Limited Foundation City Council Arts Theatre Trust Globe Trust Corporatio n Companies £4,420,000 £1,000,000 £2,250,000 01,750,000 £233,263 £650,00 0 Donated goods £2,500,000 £1,250,000 £42,15 0 Government departments an d other UK public sector agencies £4,930,637 £2,000,000 £6,600,000 £2,998,00 0 Increased revenue funding £15,085,000 Individuals and general fundraising £2,245,000 £58,350,000 £3,000,000 £6,050,000 £1,078,636 £5,353,155 £50,00 0 Local authorities £3,200,000 £365,500 Non-UK public sector finding £15,100,000 £2,285,00 0 Other funding bodies , trusts and foundations £120,000 £1,500,000 £1,346,045 Other Lottery distributors £20,180,000 £23,300,00 0 Other sources £ 1,435,000 £2,048,906 Partnership finding total £5,975,000 £8,430,637 £37,510,000 £58,350,000 £10,000,000 £86,000,000 £5,114,500 £5,353,155 £5,983,000 w0 This annual report is available in large print . If you require the report in additional format s such as audiotape, braille or computer disk, please contact Jane Parley, Press and Public Affairs Assistant, at the Arts Council of England . Telephone 0171-973 6565. The Arts Council of England is committed to being open and accessible. If you have any suggestions on how to improve our service, or if you want to make a complaint , please write to the Head of Press and Public Affairs , Arts Council of England, 14 Great Peter Street , London SW1P 3NQ. ISBN 0-7287-07-22 5 © The Arts Council of England 14 Great Peter Street London SW I P 3N Q September 199 6 Copywriting and project management by Lang Communication s Designed by Derek Birdsal l Typesetting and production by Omnifi c Photographs of the Chairman and Secretary-General by Harri Peccinotti Printed in England by Balding+Mansell