DOCSLIB.ORG

Accreditation Guidance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Accreditation Guidance Supporting Guidance for Accreditation Standard November 2018 Accreditation Guidance March 2019 Contents Managing Collections Guidance notes for Accreditation Getting Started Standard requirements 4-6 Introduction ....................................... 3 Managing Collections ..................... 42 How to apply: a step by step Users and their Experiences guide for first time applicants .......... 4 Guidance notes for Accreditation Standard requirements 7-9 Step 1 Check if your museum is Users and their Experiences ............ 60 eligible for Accreditation ...... 6 • What questions to expect ................... 6 Next Steps • Are you ready to complete your eligibility questionnaire? ..................... 9 How your application is assessed .. 79 • Submitting your eligibility • New applicants ............................... 79 questionnaire ................................... 10 • Accreditation returns ....................... 79 • Assessment ...................................... 10 • Returns deadlines ............................ 79 • Working Towards Accreditation ........ 10 The assessment process .................... 80 • If you’re not eligible ......................... 10 What types of assessment are there? ......................................... 81 Step 2 Decide on the size and Who makes the award decision? .... 82 type of your museum .......... 11 What are the possible decisions • Independent museum indicators ..... 12 that panels can make? ..................... 82 • Local authority museum indicators .. 13 How long does it take? .................... 85 • University museum indicators .......... 14 • National museums .......................... 15 Your award letter ............................. 85 • Nationally-styled museums .............. 15 How long does the award last? ....... 85 Promoting your award ..................... 86 Step 3 Make your Accreditation What to do if you’re experiencing application ........................... 16 significant change ............................ 86 • Completing the application form ...... 16 Financially-motivated disposals ....... 87 • Multi-site services ............................. 16 Hosted museums ............................. 87 • National museum authorities ............ 17 What to do if you no longer • Evidence of approval ........................ 17 wish to participate ........................... 87 • Getting help ..................................... 18 Terms and conditions ....................... 88 Feedback and complaints ................ 88 Organisational Health Freedom of information and Guidance notes for Accreditation data protection ................................ 89 Standard requirements 1-3 Review ............................................... 89 Organisational Health ..................... 20 2 Getting started Introduction The Accreditation Scheme is the UK industry standard for museums and galleries. It helps everyone involved with a museum to do the right things, helping people to access and Getting Started engage with collections, and protect them for future generations. The Accreditation Scheme does this by making sure museums manage their collections properly, engage with visitors, and are governed appropriately by encouraging all museums and galleries to meet an agreed standard in: • How they’re run • How they manage their collections Organisational Health Organisational • How they engage with their users The Accreditation Scheme is run for museums and galleries of all sizes and types across the UK. It is managed as a UK Partnership between Arts Council England, the Welsh Government, Museums Galleries Scotland and the Northern Ireland Museums Council. Our shared commitment and UK reach gives Accreditation greater impact and cohesion. The scheme has Managing Collections led the way in raising museum standards in the UK and has been used as a model and source of inspiration for similar schemes overseas. The guidance notes that follow will provide practical information on how to complete the Accreditation form, whether you’re applying for the first time or making an Accreditation return. It will provide links to support and advice to help you, and information on how we’ll assess your & Experiences Users museum against the Accreditation Standard. Next Steps 3 Getting started How to apply: a step by step guide for first time applicants There are three steps to completing an application for Accreditation if your museum Getting Started is not already participating in the Scheme. England Arts Council England If you are a new applicant, you will need to: https://www.artscouncil.org.uk/supporting- arts-museums-and-libraries/museums- accreditation-scheme Step 1 Check if your museum is eligible The Isle of Man and for Accreditation Channel Islands See pages 6-10 Arts Council England Organisational Health Organisational Eligibility questionnaires are reviewed https://www.artscouncil.org.uk/supporting- by Arts Council England in consultation arts-museums-and-libraries/museums- with Museum Development providers accreditation-scheme in England, the Welsh Government, Museums Galleries Scotland and Northern Northern Ireland Ireland Museums Council for museums Northern Ireland in each respective country. Museums Council You’ll need to complete the eligibility https://www.nimc.co.uk/ questionnaire (available to download Managing Collections from the website of your assessing Scotland organisation) and return it with the Museums Galleries Scotland relevant documents to: https://www.museumsgalleriesscotland.org. uk/ Wales The Welsh Government https://gov.wales/topics/culture-tourism- & Experiences Users sport/museums-archives-libraries/?lang=en Next Steps 4 Getting started If your museum has been confirmed in writing Step 3 as eligible to apply for Accreditation, you can Make your application then move on to the rest of the Accreditation Standard requirements: Once you’ve decided on your size and type, you’ll need to read the relevant notes for each section of the standard, so that you Getting Started know what evidence you need to gather to Step 2 make your application for Accreditation. Decide on the size and type of your museum See pages 20 to 41 for guidance notes on the Accreditation Standard requirements The Accreditation Scheme is run for 1-3 – Organisational Health. museums of all sizes and types: from the smallest volunteer-run museums to national See pages 42 to 59 for guidance notes museums, but it’s not ‘one size fits all’. on the Accreditation Standard requirements To ensure that we assess your application 4-6 – Managing Collections. according to your museum’s size and type Health Organisational See pages 60 to 78 for guidance notes you first need to compare your museum on the Accreditation Standard requirements against the size and type indicators. 7-9 – Users and their Experiences. See pages 11 to 15 for guidance notes Complete the online application on size and type. form attaching all relevant required documentation. The online application portal is hosted by Arts Council England on behalf of the UK Accreditation Partners and you’ll find links to the new Managing Collections application form, guidance on how to get started and technical advice on the Arts Council website. Users & Experiences Users Next Steps 5 Getting started Step 1 Check if your museum is eligible for Accreditation What questions to expect Q1 Is the museum based in the UK, Getting Started To be eligible to apply to the Accreditation Isle of Man or Channel Islands? Scheme you must be able to answer ‘yes’ to We will ask for the address and contact details questions 1-6. of your organisation, so we’re able to contact The following types of organisations will not you regarding your application and to check the normally be considered eligible: museum is eligible to participate in the scheme based on its location. • Privately owned museums and historic houses • Commercial galleries • Science centres Q2 Does it meet the agreed • Natural and archaeological sites, historical definition of a museum? Health Organisational and industrial buildings, sites, monuments ‘Museums enable people to explore collections and heritage centres without associated for inspiration, learning and enjoyment. They long-term collections are institutions that collect, safeguard and make • Institutions displaying live specimens, for accessible artefacts and specimens, which they example zoos and botanical gardens hold in trust for society.’ • Educational loan services You’ll be asked to confirm that your museum • Venues for temporary exhibitions without meets the Museums Association definition (1998). long-term collections on display Managing Collections • Record centres Q3 Is the museum a physical site/ • Libraries and archives including sound, space/building which is open to the film and photographic archives public regularly? • Virtual museums You’ll be asked for the name and address Accreditation is awarded to individual museum of your museum, opening hours and website venues (a physical site/space/building) rather (if you have one). than to collections or services. To apply for the Scheme for the first time & Experiences Users or re-apply after a period of non-participation, Q4 Are the public able to see your organisation must meet the following and engage with the museum’s criteria: collections? This section is for you to expand on your answer to question two – to outline how your organisation fulfils its public purpose. Next Steps 6 Getting started Q5 Does the museum have an It’s important to know what type your museum
Load more

Recommended publications
  • Imperial War Museum Annual Report and Accounts 2019-20
    Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1.
    [Show full text]
  • Evaluation of the Cultural Destinations Fund (Phase 2)
    June 2021 Evaluation of the Cultural Destinations Fund (Phase 2) Evaluation Case Studies Background and context The Cultural Destinations Fund programme set out to maximise culture’s contribution to the local visitor economy in several places across England by supporting partnerships that brought arts and culture, and tourism partners together. The second phase of the programme invested £4.2 million between April 2017 and January 2021 to support eighteen consortiums of local partners (including at least one cultural organisation and one Destination Management Organisation) to build on culture’s potential to help grow local visitor economies. The cultural and the tourism sectors are each, in their own right, significant contributors to local economies. Department for Digital, Culture, Media and Sport (DCMS) data valued the arts and culture industry in 2016 at £10.8 billion in Gross Value Added (GVA), supporting over 137,000 jobs.1 Tourism also has a significant and growing role in the British economy, and in 2017 contributed £106 billion (GDP) and supported 2.6 million jobs2. Culture is closely intertwined with tourism and both sectors form part of the visitor economy. The cultural sector is already making a major contribution to the visitor economy; £4.5 billion of spending by inbound visitors, more than 25% of annual spending by international visitors, is attributable to the UK’s culture and heritage sectors.3 Cultural destinations are attractive to domestic and international visitors and in 2019, 18 of the top 25 most visited attractions in the UK were in the cultural sector4. About this report This report presents four case studies that were developed as part of the evaluation of the second phase of the Cultural Destinations Fund programme, undertaken in 2020/21.5 The purpose of the case studies was to identify key learning from the programme to inform the delivery of future interventions.
    [Show full text]
  • Press Release
    Institute of Contemporary Arts PRESS RELEASE 26 February 2019 THE ICA, BBC ARTS AND ACE ARE OFFERING ARTISTS IN LONDON NEW OPPORTUNITES TO CREATE FILM, AUDIO AND INTERACTIVE ARTWORKS The Institute of Contemporary Arts is proud to announce a new partnership with BBC Arts and Arts Council England for New Creatives, a national talent development scheme for which the ICA is the London hub. The ICA will commission 100 new works in moving-image, audio or interactive media by London-based artists under 30 for potential broadcast on BBC Arts in 2019 and 2020. The scheme seeks to broaden access to production and broadcast opportunities. Selected artists will be given education, training and production support, including specialist training in the distribution and circulation of their work from industry professionals, production specialists and mentors from Visible Institute at Kingston School of Art, NTS, SPACE, Chisenhale Gallery, Dazed Media and Werkflow. These Production Partners will work with the artists to develop their commission from initial idea to delivery. There is the opportunity for commissioned artists’ work to be broadcast on television and radio under BBC Introducing Arts and made available on BBC iPlayer or BBC Sounds. Commissioned artists will also present their work at dedicated showcases at the ICA in December 2019 and 2020. The showcases will be a chance for artists to share their creation with peers and professionals, as well as with a large public audience. Artists will be selected through four staggered open calls in February and June of 2019 and 2020. No prior experience is required to apply; the only criteria is that applicants are 16–30 and based in London.
    [Show full text]
  • BBC New Creatives 2020 – South East Frequently Asked Questions
    BBC New Creatives 2020 – South East Frequently Asked Questions Application Deadline: 17:00 Tuesday 23rd February 2021 When will applications open and close for Round 4b? Applications open on the 26th January 2021 and close on the 23rd February 2021 (17:00). Is it free to enter? Yes. Will I own my audio work? You, the Lead Creative will own the IP in the film, audio or interactive work and, after a ‘holdback’ period (between 3 months and 1 year, depending on whether the BBC broadcast your work), you will be able to share and promote it. Who is the Lead Creative? Lead Creatives are classified as the Writer, Producer and any other key person whose vision is being portrayed. Will I be paid? This is a talent development and training scheme, rather than a purely a commissioning scheme. All production costs come out of the budget for the film, including any artist fees. Allocation of funds will be a matter of discussion between you and your Producer. Why is it only for 16-30 years old? The project grants that fund the New Creatives opportunity are looking to address accepted challenges around diversity and entry points for younger people into the creative industries. And so, whilst this programme has a focus on giving opportunities to younger artists, there are many other schemes and funds available offered by Arts Council England and the BBC which have no age limit or are focused on other groups and demographics. Creatives looking for funding for digital focused projects are welcome to consider the Arts Council’s National Lottery Project Grants - an open funding scheme with opportunities for funding all year round.
    [Show full text]
  • Press Release
    Institute of Contemporary Arts PRESS RELEASE THE INSTITUTE OF CONTEMPORARY ARTS RECEIVES LIFELINE GRANT FROM GOVERNMENT’S £1.57BN CULTURE RECOVERY FUND The Institute of Contemporary Arts (ICA) has been awarded a grant of £789,000 from the Government’s £1.57 billion Culture Recovery Fund (CRF), which will help to ensure its future sustainability in the face of the coronavirus pandemic. The ICA is one of 1,385 cultural and creative organisations across England that will receive urgently needed support totalling £257 million, announced this week as part of the first round of the Department for Digital, Culture, Media & Sport (DCMS) CRF grants programme being administered by Arts Council England (ACE). The ICA has been unable to fully reopen its building on The Mall – which includes exhibition spaces, a theatre, two cinemas, a bookstore and a bar-restaurant – since it closed to the public and staff on Monday 16 March 2020. With no income from ticket sales, retail, sponsorship and hires, the world-renowned arts organisation, founded in 1946, has faced increasing uncertainty about when it would be possible to reopen its doors, or even whether it would be able to reopen at all. Thanks to this lifeline, the ICA is now in a far better position to survive and to continue its important work developing and presenting a world-class programme of ground-breaking exhibitions, performances, screenings and keynote lectures by many of the world’s leading artists and thinkers. The ICA will announce its opening date and forthcoming programmes in the very near future. Oliver Dowden MP, Secretary of State for Digital, Culture, Media and Sport, said: ‘This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation.
    [Show full text]
  • Annual Report & Accounts
    Arts Council England, Grant-in-Aid and National Lottery Distribution 2019/20 Annual Report & Accounts FOR THE YEAR ENDED 31 MARCH 2020 HC 416 ARTS COUNCIL ENGLAND GRANT-IN-AID AND NATIONAL LOTTERY DISTRIBUTION ANNUAL REPORT AND ACCOUNTS 2019/20 Presented to Parliament pursuant to sections 34(3) and 35(5) of the National Lottery Act 1993 (as amended by the National Lottery Act 1998 and National Lottery Act 2006). Ordered by the House of Commons to be printed on 16 July 2020 HC 416 © ARTS COUNCIL ENGLAND COPYRIGHT 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government- licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at: Arts Council England The Hive 49 Lever Street Manchester M1 1FN Website: www.artscouncil.org.uk Phone: 0845 300 6200 Email: [email protected] Textphone: +44(0) 161 934 4428 ISBN 978-1-5286-1882-3 CCS0420457470 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office. ANNUAL REPORT & ACCOUNTS Contents 01. Chair’s report 02 02. Chief Executive’s report 06 03. Achieving great art and culture 10 04. Remuneration report 38 05. Sustainability report 46 06.
    [Show full text]
  • Evaluation of the Cultural Destinations Fund (Phase 2)
    June 2021 Evaluation of the Cultural Destinations Fund (Phase 2) Summary Report Contents Background and context ................................................................................................... 1 About this summary report ................................................................................................................. 1 Overview of Cultural Destinations Fund phase 2 ............................................................. 2 Evaluative assessment of the Cultural Destinations Fund programme ......................... 4 Outcomes achieved through the programme ............................................................................... 5 Cultural Destinations Fund: Evidencing achievements .................................................. 7 Enablers and barriers to project success ....................................................................... 10 Enablers .............................................................................................................................................. 10 Barriers ................................................................................................................................................. 11 Recommendations ............................................................................................................ 13 Recommendations for local leaders and project managers ...................................................... 13 Recommendations for Arts Council England, Visit England and visitor economy policy makers ...............................................................................................................................................
    [Show full text]
  • Experimental Culture a Horizon Scan Commissioned by Arts Council England
    Under embargo until 00:01 Thursday 15 March 2018 Experimental Culture A horizon scan commissioned by Arts Council England Summary report and provocations March 2018 Under embargo until 00:01 Thursday 15 March 2018 Contributors and authors Harry Armstrong Georgia Ward Dyer Svetlana Karadimova Hasan Bakhshi Paul Gerhardt Sam Mitchell John Davies Celia Hannon Francesca Sanderson About Arts Council England Arts Council England champions, develops and invests in artistic and cultural experiences that enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to digital art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. www.artscouncil.org.uk About Nesta Nesta is a global innovation foundation. We back new ideas to tackle the big challenges of our time. We use our knowledge, networks, funding and skills - working in partnership with others, including governments, businesses and charities. We are a UK charity but work all over the world, supported by a financial endowment. To find out more visit www.nesta.org.uk Under embargo until 00:01 Thursday 15 March 2018 Experimental Culture A horizon scan commissioned by Arts Council England Summary report and provocations March 2018 Summary report and provocations 4 Introduction 5 1 Audiences and participation 7 2 Workforce and skills 9 3 The changing funding environment and business models 11
    [Show full text]
  • Digital Inclusion and Exclusion in the Arts and Cultural Sector by Jane Mackey, Good Things Foundation
    Digital Inclusion and Exclusion in the Arts and Cultural Sector by Jane Mackey, Good Things Foundation July 2021 Good Things Foundation Prepared for: Arts Council England Contents Executive summary: page 4 • Introducing the digital divide 4 • Headline findings and recommendations 6 1. Introduction: digital delivery in the arts and cultural sector: page 12 2. Defining digital inclusion and digital exclusion: page 16 3. The route to digital inclusion at an audience / participant level: page 20 • The role of arts and cultural organisations in promoting digital inclusion among audiences and participants: page 20 • The barriers to digital inclusion at an audience / participant level: page 21 • Enacting digital inclusion at an audience / participant level: page 24 4. The route to digital inclusion at an organisational level: page 29 • The role of arts and cultural organisations in promoting digital inclusion in their delivery: page 29 • The barriers to digital inclusion at an organisational level: page 29 • Enacting digital inclusion at an organisational level: page 33 2 5. The route to digital inclusion at a community level: page 35 • The role of arts and cultural organisations in promoting digital inclusion in their communities: page 35 • The barriers to promoting digital inclusion at a community level: page 35 • Enacting digital inclusion at a community level: page 37 6. The route to digital inclusion at a sector level: page 41 • Embedding digital inclusion across the arts and cultural sector: page 41 • The barriers to embedding digital inclusion at a sector level: page 41 • Enacting digital inclusion at a sector level: page 42 7. The route to digital inclusion at a societal level: page 43 • The role of the arts and cultural sector in promoting digital inclusion in society: page 43 • The barriers to promoting digital inclusion at a societal level: page 43 • Enacting digital inclusion at a societal level: page 44 8.
    [Show full text]
  • The Guide to National Lottery Funding the National Lottery Is for Everyone We Fund All Kinds of Exciting Opportunities
    THE GUIDE TO NATIONAL LOTTERY FUNDING THE NATIONAL LOTTERY IS FOR EVERYONE WE FUND ALL KINDS OF EXCITING OPPORTUNITIES COMMUNITY 6 • The National Lottery Community Fund HERITAGE 8 • The National Lottery Heritage Fund ARTS AND CULTURE 10 • British Film Institute (BFI) • Arts Council of Wales • Arts Council England • Creative Scotland • Arts Council of Northern Ireland SPORT 18 • UK Sport • Sport Wales • Sport England • sportscotland • Sport Northern Ireland Cover images clockwise from left to right: This Girl Can, Scotland’s Bravest Manufacturing Company, Ulster Orchestra, Streetwise Community Circus, Belfast, 2 Bardic Educational Arts & Media 14-18 NOW 3 WELCOME TO OUR GUIDE TO NATIONAL LOTTERY FUNDING The National Lottery has provided over £40 billion of funding to nearly 600,000 projects across the UK over the last 25 years. That funding spans arts, community, charity, film, heritage and sports activities and is distributed by teams of specialist funders for each of those sectors. This guide lists each funder and summarises the good causes they support. Founded in 1994, The National Lottery is a national treasure and one of which we can all be proud, particularly this year as we celebrate its 25th birthday. Each week National Lottery players raise around £30 million for good causes, helping to transform the lives of thousands of people and communities across the UK. I hope this guide acts as a useful way to find out more about The National Lottery and the amazing ideas it brings to life every day across the UK. Dawn Austwick Images clockwise from left to right: Scotland Flow to the Future, Fight for Chair of The National Lottery Forum Peace, 14-18 NOW, Dundee Dragons Wheelchair Sports Club, BAM! Sistahood! Project, Maiden Voyage, Rosemount Lifelong Learning, Mental Health Foundation 4 5 COMMUNITY THE NATIONAL LOTTERY COMMUNITY FUND The National Lottery Community Fund is the largest community funder in the UK.
    [Show full text]
  • FRL15 Wales Arts International.Pdf
    Wales’ future relationship with the European Union EAAL(5) FRL15 Evidence from Wales Arts International Wales Arts International would like to re-submit our previous consultation response for the inquiry on ‘Implications for Wales of Britain exiting the European Union’ as our position remains the same. In particular response to this current consultation, we would like to note the following regarding: The Welsh Government’s position: We welcome and support the series and response from Welsh Government, Securing Wales’ Future and we share the view that on devolved matters such as cultural policy that the decision to continue or “buy in to” European programmes such as Creative Europe should be a decision for devolved governments and sponsored bodies. There is a precedent even as third countries where devolved administrations can participate in European programmes such as the agreement for Quebec and Horizon 2020. The Committee’s initial view, as expressed in its report Implications for Wales of exiting the European Union: We welcome the work by the committee and feel that it helps us develop our understanding of the implications of Brexit on our sector. The UK Government’s position: Whilst there is merit in having such a cross sectoral platform and there are certainly issues in common for all sectors such as visa quotas etc., there is however a need to continue advocating sector specific needs and impacts. This is something that the Creative Industries Federation is doing at a UK level and as members of that organisation we do benefit, however we often can feel twice removed and discussions in England are not necessarily the same as in Wales.
    [Show full text]
  • Download Publication
    ACKNOWLEDGEMENTS This research has been a lengthy and complex process. We have always stated publicly that this work was for the dance field and it has been carried out in collaboration with the field. We have had support from so many people throughout the process and without this we could not have completed the work. Firstly, we would like to thank Janet Archer, Theresa Beattie, Ellie Hartwell and Tania Wilmer in the dance strategy department of Arts Council England. Without their support this work would not have been possible. Tania Wilmer carried out many of the interviews for the illustrations that pepper the report and we are immensely grateful to her for her rigour and hard work. We are also grateful to those who agreed to be interviewed and gave so generously of their time. There were many Arts Council staff who sourced and contributed data but Jonathan Treadway, Amanda Rigali, Delia Barker and Rebecca Dawson deserve special mention. Regional dance officers provided valuable local data and information and their input through the Dance Practice Group meetings was always valuable. Terry Adams and Claire Cowles (the ‘Survey Monkey’ queen) provided invaluable research backup to us throughout the process and their rigour is evident in the survey data as well as in the analysis of the Arts Council England data. The Steering Group (listed in Appendix One) supported the process, guided us wisely and challenged us when necessary. Their support for the consultation events was also greatly valued. The strategic agencies provided ongoing access to data, Foundation for Community Dance (FCD) staff carried out an analysis of jobs advertised and Sean Williams and his team at Council for Dance Education and Training (CDET) carried out research on the private sector for us that has helped to create a better picture of this sector.
    [Show full text]