Arts Council of Grcat Britain Was Formed in Augus T 1946 to Continue in Peacetim E the Work Begun
The Arts Council of Grcat Britain was formed in Augus t 1946 to continue in peacetim e the work begun. with Government support by th e Council for the Encouragemen t of Music and the Arts . The Arts Council operates under a revised Royal Charter grautt•d in 1967 in which its objects are stated as :
(a) to develop and improve the kno,.a ledge, understanding an d practice of the arts ; (b) to increase the acecssibiliry of the arts to the public throughout Great Britain ; (c)to advise and co-operate wit h departments of government , local authorities and othe r bodies .
The Arts Council, as a publicl y accountable body, publishes al l annual report and accounts t o provide Parliamc•nr and th e general public with an overvie w
Goodbye Piccadilly! Th e of the vcars work .
Chairman and Secretary.
General and staff at the Art s
Council headquarters at
105 Piccadilly, London, whic h they will be leaving neat year.
CONTENTS
Chairman's introduction 2
}'c t ; r f'alennb k }sart%the was f"rward to the nex t
c urn f,r the Arr (C,%jrni l
Secretary-General's report 4 Luke Rtmirt highltghtsthe issues and aehievomentsof 1498/89 and the concerns of the coming yea r
Income Profile 6 Income fit the arts is increasing, especially from the bo x
office and through sponsorshi p
Arts Review B Departmental reports on policies which promoted th e
artsduring 1988/84
Scottish Arts Counci l 3 2
Welsh Arts Counci l 33
Special reports 3 4 Incentive funding shows that artistic integrity, plannin g and enterprise arc not inimical . . .
The Royal Insuranet company asks "is sponsorshi p becoming a sub5hrute for government funding? - . . .
The Council I s
Membership of Council and staff 44
Advisory structure 4 S
Annual accounts 49
Arts Council structure f I S
Summary for the partially sighted 14 6 CH A I R MAN 'S k.,ductfo n
I have written ck c-whcrc, and 1 make no ap,lo .p for repeating now th e debt of gratitude char i owe to my predecessor Lord Rees-htoeg for hr l generous support at all tirm-s bmvccu theanuounecmctn of m y appointrnc nt and the cnd of his term of office . A erafcsrllan of the highes t
distinction told me once that 11115LICCCSi rcflccwd the cxcellence o f previous generarlons, eaCll of %%hi : h had striven to add a factor of on e toward%the unattainable pet#,°cnon of one hundred! I feel thar much rh o
%acne plrslosopll ., pervades the• Arcs Council, not least III its pride , dedication and commitincut to exc(Tencc . Lord Aec<-Mogg applie d
!rear craftsmanslup during his period Ill of}ii e .ls Chairman of th e Arcs Council ill re-focusing the pnormt-S of the C :omwil and i n strcngthcnirrs; the firtancial Input front government . I salute both hi m atd his aC llli'V Cnl enCS.
III rtV VIeW . t11C way forward for the Arts Council was most apd v summarised by my predcceisor when he said rh ;tr ins fob should he t o provide the llcst fvrthe mo%t :art of the highest it-vel of cxc(TC11cc to th e greawst audient7c reach . Tlirs inust surely be our priority and our objective. Our entrv into a suiglc market of 327 ttliihorl pcople in 199 2 will open up untold opportunities for cross-frrtilisaeion nl the arts ; for th e depth of artistic excellem c in Brinin which is, in env opnulm, ullrnatched
counter-balancin g
factor of cultura l
prosperity - foo d
for the soul - if
society is not t o
become philistine
and sterile. P
2 anywhere else in Europe; and which ought to have an increasin g want to entertain, lot alone sustain, the latter notion. Equally, however, influence on the art of other mc•triher nations of the Community . I n artistic demand will always outstrip the supply of funds to promote it , purely economic terms, it is not unreasonable to expect a substantia l even in a buoyant economy, and govemnivilt sources are not infinite, hicreaw in the k.12hn annual turnover achieved by the arts, taken in thei r which is why I am convinced that the way forward for the arts in thi s widest sense, in this country today. In terms of the quality of like which i s country must be by means ofa partnership berweccn public and privat e becoming of increasing concern to every citizen of this country, and th e sector finding. The balance is unequal at the present time by a ratio o f regmerarion of the inner cities, the contribution that the arts arc makin g roughly S:1 in favour of the former . and individual, as opposed to and will continue to make is significant and, in some cases, crucial . corporate giving, is negligible . We do not have in Grear Britain a tradition Whilst it is vital that we recognise the importance of maintainin g of individual giving as it exists in the United Stares, where it has becom e regional identity and variety, it is equally vital that we work together to part of the culture, and where over 90"/ of the arts are funded b y frame agreed priorities and objectives for a long-term national cultura l individual donors. It is that sort of tradition that I shall be seeking ro policy for the arts, embracing the millennium and beyond, that will giv e foster, albeit in lower percentage, terms . The fact is that many people hav e the country as a whole a coherence that it lacks at the present time . made substantial personal fortunes in the last few years, and wirl i The Arts Council is not here to be served by the arts: it is here to serv e encouragement arid the lowest income tax rate for 50 years, I believe tha t the arts . It is here to speak for artists and arr orgatustations, wherever they they will be prepared to acknowledge their privileged position and retur n may be situated in Great Britain ; to offer them advice, to argue for thor n to the eomtriuuity a portion of their good fortune. Like it or not, the y and to champion their interests, in the media and to government have inherited rho mantle (if the great patrons of the 18th and 14t h whenever and wherever the need may anse . The yardstick will be centuries, and it is a responsibility that they can hardly deny. The en d excellence and potential exeellciico widen the resources ofa given ar t result ofsueh a policy would be an even more self-reliant arts community form and organisanon. I have already seen enough to know that with private sector funding supplementing that of the public sector. excellence is not only to be found in London or in our large an d There is one further factor to which neither govertrme•nt nor th e prestigious arts bodies . It springs up in many places . It is however private sector have given sufficient thought, and it is high time that the y essential. I can see no ~ustificarion in spending taxpayers' money In orde r did: the advent of the new millennium iliac is now less than 11 years to celebrate the second rate , hence . In one sense you may say it is no more, no less than another if we are to expand the frontiers of art rather than to allow them t o moment in time . In another, however, an event of profound symbohc remain static we must focus particular attention upon experimental art ; significance and one, incidentally, that none of the five billion peopl e the equal of research and development in industry . We must give the currently inhabiting this planet will ever see again, 1 regard it as som e artist the right to fall . We must invest, oil occasion, in new and innovativ e great national marker towards which we should he directing collectivel y work, knowing full well that the results may fall below the expectation s all our efforts and attention so that when the second hand ticks past of the artist and ourselves ; but knowing also that we may be helping t o midnight into the 21st century our house is in order, socially , nourish a masterwork. This proposition was articulatrd by Lord Keynes . economically, culturally and in tennsof world stability. if we are able t o the first Chairman of the Arts Council. in 1945, when lie said : -The artist achieve that sort of order it will be the happiest of endings as well as th e walks where the breath of the spirit blows him . He cannot be cold his happiest of beginnings for generations yet to come. direction: he does not know it himself, but he leads the rest of us int o fresh pastures and he teaches us to love and enjoy what we often begin b y rejecting, enlarging our sensibilities and purif}ing our insriners ." 1 believe that the arts in Great Britain are the victim of their ow n success: that the explosion of ralenc, the wale of activity, the craving by the general public for arts of all kinds has led to an increase in demand which the available resources from the public and private sectors are no t Peter Palumbo yet able to satisfy. A prosperous society in economic teens will create a cultural climate in direct proportion and importance to that economic prosperity. Food for the body in material terns must Live the counter - balancing factor of cultural prosperity - fixed for the soul - if society i s not to become philisrine and sterile . No government could, or would S E C R E T A R Y G E N E R A L' S repor t
It is sontctintes difficult ro know cxacth how to start the $ccrcrary - General's rc'}x)rt .One thinks of major events of the year under review. One thinks of thentes. rile major innovations, and rries to pick an openin g, that somehow catches the atmosphere, the characterof the ycarjust cndcd . On rhistwcasion I have to say there is no difficu Irv whatsoever i n deciding how to begin . My oprniuk 11asto be taken from the final paragraph of my preface t o the C'ouncil's last annual report. In that closingg paragraph I warned that all the benefits of three-year funding could be blown away by a n unexpected or significant rise in inflation. I hoped that governmen t would heed that warninL . Wcll, one vicar on, the Council finds itsel f %migglingto help a rising title of client organisations facing financia l difficulties as a direct result, not of rnismanagcntcnt or had box office, o r lack of cutrcpreneunal skills . but simply because inflation has outstrippe d grant-in-aid by 6", . Thu strains arc, hying felt throughout the arts world, and althoug h none ofus pants to rcninr us the days of the pcmiancrtt whinge abou t lack of fiends, it seems to me that a failure by governnunt to recognis e this situation will be a crucl slap in the fare to an arrs world that has don e se. touch to adapt to the market econom y ofthc 1980s 1 lictiL-vi: rile Ministerfor rile Arts has iympAiv for this prcdreantent and I hope li e will be able to persuade lus colleagues in the Trcacury of the true nature rnf ncc prohlem and that they in turn null mspnnd by utcruasinp, thei r
Coll) mitnta•nt . as yyutlld anv investor in a succcsstul busutrss that wa s facing a remporary difficult} . Lion has out .
stripped grant-in •
aid by 6% ."
The year heing reviewed was a year that saw the Council under two microscopes. The National Audit Office began its review in August 1988, and this will riot be completed before the end of 1989, so its findings an d repercussions must necessarily await our next annual report . Suffice it to say, we take this review extrernely seriously, and while resisting th e temptation to be over-confident, I do believe the Council is an efficien t
and effective organisation as a result of the many changes that we hav e introduced in the last five Years and we therefore await the findings of the review reasonably sure that we will not be found wanting ut our
adherence to our key objectives or the way in which we achieve them . and bureaucratic And the Council has approved an extension to the In January of this year Richard Wilding embarked on his review, scheme• which is designed to provide training and other help to art s commissioned by the Minister, of the English arts funding structure• and organisations at an early stage in the planning process . to examutc• the working rclationship between the Arts Council and th e An incentive award is a stimulus for private sector contribution to th e Regional Arts Associations. Again, wc• await the results of this review at arts, and the scheme as a whole is an agent for encouraging the arts worl d the time of going to press. The relationship between the Council and th e towards better management practices and greater self-reliance . More an d RAAs has always been spiced with a creative tension verging oil rivalry . If more arts groups arc testifying to the scheme•'s success . the Wilding review results in a new structure that brings greater unity t o The Council is frequently criticised for giving grants that someone felt the two existing systems of funding whilst preserving the essential should not have been given; sometimes for not giving a grant, or more qualities of local decision making and national overview, then the future often, for not giving enough . We arc sometimes criticised by artists , will be an exciting one . sometimes by politicians, occasionally by an aggrieved taxpayer. All this i s The introduction of rhree-year funding has resulted in the publicatio n as it should be . If the• Arts Council did not cause a little controversy then I of our first Thrce•-Year Plan. This dcwument clearly shows the Council's do trot think we would be doing our job property . It does, however, pu t objectives for the next three years and how we can measure the extent to an added pressure on the staff and I want to pay tribute to the dedicatio n which those objectives have or have not been achieved_ Asa public body and professionalism of a staff that has reduced in size from over 300 i n distributing raxpayers' money it scents to me this is an iruportartr step in 1983 to 175 in 1989. They have responded magnificently to th e opening up the Council to wider public scrutiny and accountability. challenges of the eighties, adaptuig with speed and enthusiasm to ne w Change in leadership ofany organisation is always important. On policies, new objectives and new work practices . They are passionatel y March 31st 1989 Lord Rees-Mogg retired after seven years as Chairma n committed to the arts that they serve and I am proud of them an d of the Council . He had served longer than any previous Chaimtan, wit h grateful to thorn for what they do . c the exceptions of Lord Clark and Lord Goodman. Peter Palumbo has Of course it is the artists and the perforniers who make the artistic life paid eloquent tribute to his predecessor in his own introduction to this of our country, lout just as every performance or exhibition needs report. Lord Rees-Nogg steered the Council through a turbulent and technicians, designers and many others behind the scenes, so th e sometimes hostile sea. His period of office saw the Council having to do distribution of subsidy needs its backroom team. The team at the Codicil itsjob with limited resources; it faced the challenge ofabohition ofthc• is constantly striving to get the best for the arts by giving the best of itself . Metropolitan Authorities, the introduction of the infamous Clause 29, Rapid change is taking place in all walks of life and the arts and the Airs the welcome amendments to copyright Law, three-year funding, Tir e Council are not immune . As this report goes to press we await th e Glory ofthe Garden policy review_ Turbulent and challenging times outcome of those two potentially important reviews and of our reques t indeed. I believe the Council owes Lord Rees-Mogg a great debt of to the government to acknowledge the difficulties caused by the rise i n gratitude . inflation. All three could result in major changes. We shall welcome any In the first 1-1 months of the Incentive Funding scheme, ahnost',4 .5m changes that lead to a better deal for the arts . We shall not welcom e was allocated in awards. Those who received awards project a tota l change for changes sake. We shall defend to the hilt that which has bee n
increase of more than (1 3m in their annual self-generated income by th e built up over 40 years of funding by an institution, the Arts Council, end of 1991 . Forty-eight arts groups front all over Britain have bee n operating cntirely at amt's length from the governments that hav e successful in their bids for incentive funds. Successful applications ar e funded it, based on sound three-year plaits .- sornc•thing from which all organisations stand to benefit . Planning does, and should, involve a lot of hard work. But we have been careful to ask only for information which organisations should have readily available, and for plans which should be Luke Rlttner of real benefit to applicants whethet or not they receive an award . This year we have simplified both the guidelines and the applications process , to rebut any lingering criticism that the schetne is unnecessarily complex
INCOME ANALYSI S
!o the account ,
Visual Arts Dance Dram a 1 1,4[;1 .2(111 19W k9,420,8H i i 11,,- : X53 . ] 6:1 .42'1
1989 . = .117,327 1989 ? '1 .4 ~4j? ,, 1989 : 4 6, f, , 3 .71 7
1 .258.11' _.117275 3,446,'8'o _ s 1 .381 .71i 32,'15,411 6
I I - I 3'4,730 Y '
747 .148 ~ I? ] 7,278 ~4Y,437 328,1_'a 1,39'1,131 1 1 .339,>`3 I 986 . i ; 8 1,26 N , 2 69 1i3i4i 4i? 2 .198.2( o !,,6118.61 5
3 .'x65,475 ` 3 .8411 .%4ss ~~ ~ ?3 .37!1,-tG1i t,ex ;.3;u
II
89 89 8 9 ttx xx zfK
m lt,,a OIt1, i & ( M)rr 1 :.lrnrsl In,nrn r
Spt,nsorsfsi p
n LoraI Authu:'in' & (hlsrr p111+III Stth<111 V
n Arr, ( 'r-ni)('llSl11)sld% -
6
South Ban k Institute of Contemporary Arts
Literature Music Notting Mill Carnival Total s 1')Sk_,1 .312,:,<)li 1988 : 1989 1 .390.011 1489 : /')2 .4(, .l OX ; 1989 : 19,x119 .609 1989 : 193,849,1,1 2
`~I1 h7 5 1,030 .511 41,74?.144 45.17 ` ,l?r . rn ,i 55 7233,901 85,357,869 91'116,858
652,000
447,254i~ ® 1-16719 6 i E.3tl8 .500 wow 256,312 11,062,000 9!168 .127 © 1 .5,030,83 8
7,108,197 x 14.557,775 a .-.' - 1 14.423,52 6 4,592,950 I►-snl ~ 5 .t72 .091 70 .63'1,924 ® 72 .478.39 0 30,236 .980 31,6 79.100 1 1 .12 5 ;r,-i .S()() 359,5o 0
89 89 88 8 9 xr $8 vin xx
These m-o pages illustrate the income sources of the Council's main revenue clients in England.
The graphs shorn that the total economy of the arts ha s increased while the proportion of public subsidy to the arts ha s decreased. There has been a substantial increase in earned incom e and sponsorship.
All of the above figures are in ,('s.
7
DEPARTMENTAL 4joW photography exhibitions , repor t and increase the number of I galleries to which they might go; and one to offer funds to Black, Asian and Chinese r - organisarions to develop ne w exhibition programmes. In its _,,• tint year the Black Visual Arts Exhibition Franchise schem e -,tscd additional project moneys to give support to the Pavilion Gallery in Leeds, the Cave with U'Eh'1A5 in Birmingham, Chinese View in Mancheste r and the Elbow Room in Sandy Nalrne , London . Direeter Cultural diversity was also of Visual Arta rn nOliened with the cst~hli ;hnu nt ofAutograph, the Association of Blac k innovation, access an d Two important innovauc)nti Photographers, and the- advocacywere the key in visual arts publishing wert , completion of the first phase of words this yea; in line the introduction of three-yea r the African and Asian Visua l Fwirh the Three-Year Plan . grants in photography (to Artists Archive Projec t A crucial areaofinnovarion, Virago Press, London, and Autograph has developed a performance art, rejoined th e Cornerhouse Publications, monthly newsletter and a n department this year. The Manchester), and a n exhibition programme and i s . Live Art Education schem e experiment in the marketing establishing a picture agency W__ established performance and retail distribution of visual featuring Black photographers' placements at Newcastl e arts magazines by Central work. The Archive Project Polytechnic, Tre•nr Polytechnic, Books. This has opened up a collates documentation from methods. Articles concerning Darlington College of Arts and significant number of new exhibitions of work by artists theory and practice un Brighton Polytechnic. The outlets and increased sales foe of African and Asian origin, photography and education Pe&)rniance Art Promoters a pilot group of magazines b y which is fast becoming a n were published in T.tinp:8. scheme supported new about25% . invaluable resource fo r magazine .,~~cdrd commissions by Hull Time. As part of our strategy to students, curators, researchers EducwioA?4*Ni*i1g events i n Based Arts, Projects UK in increase access a number o f and a base for producing new visual arts-education work Newcastle, Edge 88 and th e new schemes were initiated : educational materials. covered galleries and schools, West Midlands Performance one to support th e Education work develope d scripting for educational consort tnrl . development of ne w with the establishment of th e videos, and using local press National Association fo r and media. New teaching Gallery Education in whic h materials for secondary school Albert Irvin , over 100 galleries and museums and adult education usage South bank Centre are now parucipating. A new have been developed in a touring exhibition , local authority advisory pos t partnership with th e The Experience in photograph}' anti medi a Photographer's Gallery and the of Painting education was supported i n Barnet Education Authority. exhibition ideas and to further partnership with Cheshire , Our role in advocacy i s collaboration betwee n and posrs in Somerset and exemplified by the Percent exhibition venues, one t o Herctordshirt• continued for Art campaign, which ha s strengthen middle-scale to open up new working encouraged many loca l
0 Farris Museum and Art Gallery (Preston), and the Laing Art Gallery (Newcastle) . Three clients were successfu l work including a touring in the first year of the Incentiv e sculptra work, Charuiq Heads 1 Funding scheme: Free Form by Keith Piper and an 4 Arts Trust, rho Museum o f international programme o f Modern Art, Oxford and the events and installations in Edg e W hitec hapel Art Gallery. The 88. Ten titles were supported South Bank board also won a under the Photograph y maxinruini award- The hugel y Publishing scheme includin g successful Leonard,, da Vin, Street Plmtn,.~rapluby Shirle y exhibition at the Haywar d Raker (Bloodaxc }looks), Red Gallery was the recipient of th e Rirrrby Jcm Southant and largest single sponsorship of an Prescturby Clement Coope r N" arts event, from IBM UK. New (Corncrilouse Publications) . .1urhorities and private galleries accepted on to the Ar t The Touring Exhibition dcvdopers to commissio n Development Strategv Service, managed for rho works by visual artists Programme . in partnership Council by the South Ban k and craftspeople for with the local authority were Board, produced a number of new buildings - Carlisle. Cleveland and new cxhihirions including 16 A steering group Rochdale, Nicholas Scrota left A SWILdt. and Built-Qp Arta+ }i.i , hoI-n tanned chaired by rh o the W hitcclhapel Art Gallery, based on works in the Act s .u. Rouen Richard Burton, I n after 12 years work throug h Council Collection . A review 1,.irtncrdhtp with Yorkshire which he transformed it, to of the Arts Council C011eCrion . Y 2 s Arts, and on a pilot haws, som e become director of the Tat e which is operated togethe r w d a tui ids have been allocated to Gallery and was succeeded b y with the exhibitions service , 0 a Development Officer post Catherine Lampert, Antonia Was undertaken by th e L „rt anisrd liv public Arts bu t Payne completed a dynami c National Audit Office. During; • m La~cd in the planning period of reconstructing and the year a number of new 0 ,icpartment ofSheffield City development as director of the
C mincil . Ikon Gallery and has bee n Thy- s tar also brought succeeded by Elizabet h desrl,i, ML-nrs for revenue and Macgregor. it d atuzual chcur%. The wcond C ear Twenty exhibitions receive f O ofrhe appr.ii,J system brough t funding under the Art Project s Z 0 rc h„rrs,on the Museum of scheme and funds wer e 7 M rdrrii Art (Oxford) . contributed to four 4 Arnrlfim GAIL-rv (Bristol) , publications, to conferences w Art Gallcrv. and research projects. Notable t works,,f art were purchasc d and d(111at d, including a sculpture b . Alison Wilding , paintings by Tarn Joseph and drawings by Alastair MacLennan . The sculptor Veronica Ryan was aplxrinted to the Arts Council Fellowship .;t Jesus College . Cambridge organised by Kcttle's Yard Gallery.
DEPARTMENTAL repor t
sought so that tltr-,c Items can b e
~C7CCCI7dCd a%dCITLlilll la %CI ~Crai. 3 The first L-carof th e Management Placcmertt Schem e Npart financed with Greatr r ti. n London Arts) saw fou r administrators placed in fou r
ilfrastru =--''llec&ally-dk4' and ,an extra ,(.1m from the Arts venues looking after 1 0 Jape Nicholas , LACr75U 4 1j,IL'al :%IJ6 Councii_$irtninghani City companies . The scherne provi& %
Director of Danc e the sad I u tS:nitI, Council is spending a furthe r administrators for proleet-base d Dancers dle-scale tourin g 4417 on the new f.icilities whic h companies and choreographers , must be *t Hgdl,-m-d . There must ,.%- ill allow S NA'kB w Stage more and the aim is to expand rh v be nivsstrncnt m regional danc e innnvative and challengin g scheme throughout England- provision and in the training, o f programmes. Wc have collaborated wit h Our main focus last vear centre d artists and managers . We trust New dance cornposcrs hav e The British Council un th e on the Suggested blueprint fo r that funds will hr ford omini t o hem introducedthrnuKhth e Lance Umbrella video schem e
the developntGnt of dance implerm-or Srcpprn~ Ivrimird. Composers for Dance Award s to produce vidt!Oi of throughout England in th e The most excitin g wherne which commissions ti m pc rformances for use i n Nmeric%, Su ppior~ 7brward, by des'elapnu nt is the stove o f music . A notable success Ira% education . And, with the Sport s Graham f )cvlin . This research Sadlers Wells Royal Ballet fro m been Shobana lcvasingh's Council, we are involved wit h
recommends the essential London TO a new base i n Miuiaruin. Sponsorship is being the Dance Leaders in rlic. Birmiugliarn. When the waso n starts in the aurtunn of 1990, SWRB will bc the first national dance company to be based in the English regions . It wil l
receive a funding WOOS[ of/) m
from Birmingham Ciry CO L111H,
s
IiJI~}Y~ A~ ~~~11 . .I
ye L d
dt
11,'U) II :' 'j ,'''
to Community course whic h should lead to greater support fo r the activities of the dance animateur movement- High sales of Dancepack, a guide to danc e companies' education resources . have been achieved with Until such a venue exists, ho w teachers, local authorities and can we expect companies to gai n colleges. the new audiences and new Afrikan People's and South private money they so sorely Asian Dance cwttinue• to gro w need? and build audiences. An All companies are facin g important initiative was a 10 - difficulties with near standstil l w"k educational residency i n grants and nsing inflation . I fear country. Their dance quabry an d Bedfordshire involving South that with inadequate resources accessibility is fully proved, even Asian dancers and musicians. the pressure to play safe ma y though these newly recognised The transition of mime from cramp essential creativity. dance styles are still strugglin g the Dance to Drama departmen t Good things from the last two for survival. has now been accomplished and decades include: the Dancers' National resource we wish it a fruitful future. Resettlement Fund and th e organisations arc now a n Jane Nidrolas, Darer Dire(Yor, has Dancers' Pension Scheme . important feature of the dance consultant to the Leicester nou'retirrd after 19 yinrs at rlec Arts established with Equity's budget. These organisation s International Dance Festival, th e Cor+ndl. In this section of the Dance sponsorship in 1973 ; the include the Black Dance first of its kind to be held outsid e department n'porr shr wmiders th r recognition of the breadth and I)eVA1,prnent Trust and London. aureof dance scale of London Festival Ballet's Community Dance and Mim e Perhaps one of the most I regret that dance has bee n range of work rhroughour Foundation (previously significant change-, for dance wa s given such a restricted dier o n England, leading to its change of NADMA, National Associatio n when Council created the Danc e which to grow. So much talen t name to English National Ballet; forDanee• and Mime). and lately Committee (later Panel) in 1478 . hes out there and yet we still another change of name fo r ADiTi for South Asian dance in the belated recognition o f expect most artists to do for lov e Ballet ldambert to Nambert development . Dance Umbrella dance as a separate artform from
what should be realisticall y Dance Company, proof of its celehrarrd its Tenth Umbrell a music. The Dance departmen t supported. Funds for projec t huge dcvclopment from classica l Festival in 1988 . This was had its first specialist officer i n work have incrcasrd beginnings to its eminence as a followed by the first 1965, and by 1986 employed enormously. but talent now crack chamber ensemble o f intentational Initiatives grant to scwen people to form a crucial seeking support has far Modern dance, the amazin g dance for Going Drach, a festiva l specialised resource now s>std the funds available. growth of London of Dutch dance at the Place constantly in demand for v6%Oirh more apparent Contemporarv Dance Theatre Theatre, as part of the William inforntation, advice and support. securiitythr loss oftw•o middle - to top international standing and Mary tercentenary Added to this are the specialist scale companies is a terrible tinder Robin Howard, the celebrations. In 19H9, Danc e dance officers in Pt-gional Art s waste"Thc really worming lac k founder director of Umbrella acted as dance Associations without who m of ade quarr facilities for danc e Contempotary Dance Trust . there would be no ammateu r throughout the country, excep t The stead} _growth oFAfrikan I710Ve1mnt. no loca l
m occasional pockets o f People's Dance and South Asia n ;i,'%eloprnettt and an altogrther excellence like tive Birmingha m Dance in terms of performances poo ;, r 0 Mtmunity. Togethe r H ippodrome, causes concern. and resourcrs can now be seen in r: ,e officers are the- stronges t Also. there is still no designated a numbcrnf significan t .kdVoCates for the• tuaire strength theai rr in London for dance . developments around th e ofdance.
Theme and variations,
Sa41ar's Wells Royal Balle t
D E P A R T M E M TA L report
divk M'CGM > I,> e6 wkh wb l reKdts, -=4th is reflects their success ast,planning and marketin g thipselves as businesses. Another priority of our work is access to theatre work . In the M d of theatre for young
lac s rows , people, we took on Quicksilve r
*hector of Drama as an annual client and initiated a scheme to encourage writers who have not previousl y written for young people . We continued to prioritise wor k by companies front ethnic The demand for theatre i s This picture is darkened by growing, as demonstrated in the effects of inflation and the recent research by the Polic y fact that the Council's grant-in - Studies I nstitute, and we are a aid has laggrd behind inflatio n crucial support to this growth rates. This puts the companies industry. Our importance i s we fund in real jeopardy an d highlighted by the fact tha t unless the Government i s more than 8D°/, of the 198 8 persuaded to increase th e Olivier Award nominers Council's funding within th e depended in some way o n next year, we face very difficul t AmCounell funding . d clslons over the future allocation of limited resources. At a time when resources ar e diminishing in real terms, ou r only response to calls for expansion contained in th e "rltree-Year Plan can be to Io,atC sources of funding A18 Ourside the Council. Advance s 6, t
Nor Majesty the Quee n in achieving equal funding by The Visit, ThlStre de Compllclt@ Wd 3amid, ,
at the Royal Notional theatre's local authorities for our client s
2$th anniversary continue to be made, and this year we have succeeded i n reaching agreements fo r building-based companies i n a num her of cities, includin g Leicester and Leeds. Theatre companies arc also increasing
minority communities, this year giving revenue status to Tara Arts Theatre Compan y and adopting as annual client s Talawa Theatre Compan y and Black Theatre Forum% workshop programme_ To improve theatre provision in a n area which has previously bee n under-supplied, we assisted i n the launch of the Norfolk an d
Suffolk Theatre Consortium, improving the chances of small which brings together funded scale touring companies which companies in the two counties . have been regularly funded on Most companies are a project basis to achieve more now responding to th e secure funding. The idea of th e opportunities offered b y scheme is to review, on a three - considering disabled people as yearly rolling basi& bids from part of their potential audience. clients currently in receipt o f A itumher of companies hav e revenue funding for small scal e installed induction hoo p touring work against those systems, some are offering from companies that hav e signed performances and the regularly received projec t Merseyside Everyman has funds. The scheme saw th e We continue to take mos t installed a lift to give wheel- establishment of Trestl e seriously our role of advocacy chair access to all levels o f Theatre Company and Theatre and in all our dealings we never its building . All this is very de Compficite on regular cease to ennphasisc the very commendable but most funding anti the withdrawa l great economic and social companies are still thinkin g of revenue status from Foco importance of drama and play only in terms of front of house . Novo and joint Stock. While going. On specific issues, we Our task for next year is to this result was inevitably have contributed to campaigns promulgate the principle of disappointing for the two to alter Clause 28 . and the achieving access backstage, so companies who lost their Education Reform Act in orde r that performers with mobility funding, it has served to to include drama in the core problems are not discriminated promote two companies whose curriculum and clarify the against. excellence and innovation Governments intentions The year saw the first eminently merited the statu s towards arts provision for application of a system aimed at they have now achieved. schoolchildren.
cxf4atn Swta= ,
~ i
'q r O - n
11 1DEPARTMENTAL lip eg
n television;&= o is a s+fe home. In responding to the White Paperwe took th e opportunity ofdravving artcntion to the specifi c contribution we wish to make in achieving this end. li,l e GM c Our proposal is to develop the concept ofanindependen t agency or company linked t o ,y Wilson, Director of Film , the Arts Council . with an and Breadeaitln = entrepreneurial edge to compete in the new television environment . Its objective will More than any other artform We billowed this strateg y be to produce high quality department, we functio n in the debate over th e programming derived from th e within a context over which Government's White pape r work oFArts Council and we have little direct control - on broadcasting, published in Regional Arts Associatio n the broadcasting system . In the November 1988, which ha s clients. This idea has emerge d world of broadcasting we arc shaken up the industry after 2 5 From consultancy work small players, though we have years of stability. It courailled uride rtakc•ti for us by a distinctive role in art s tnanv controversial proposals Coopers and Lybrand. This programming. So the means and provoked a storm of development can only work by which we pursue our aims, reaction . Responses wer e within a synipathe ric an d and which condition all ou r requested and, after nrttc h encouraging envirolunc•ut. We activities, are persuasion , discussion, the Arts Counci l have therefore evolved a rwin- partnership and flexibility. submitted its views urider the track argument ; that th e title B6n.&' theBest to the Most. Government should ensur e In our view, technology- encouragement flu art s driven change is inevitable : the• progranurting throughout th e debate is really about how that system, while also contributin g change is managed . We do not to our new agencv as a mean s agree with everything; the of increasing ConlpetitlOn , Government proposes and ou r choice and quality. response makes this clear. Bur defending the status quo is no t a productive option . As a publi c service organisation, the Art s Council has an affinity wit h public service broadcasting. However• we have to develop models that will work fo r changed broadcasting and art s funding; environments. What we are seeking for the arts both
14
In the mcaninic, we are pursuing four objective s defined in the Three-Year Plan :
rv,fsnore and marker innovafiv arts documentaries We have concluded a new ca- production deal with Channel 1 =our, generated sales income of to devrlop di.,tribwion ofArrs more rhan,(100,000 throug h Coun.ril Films through public
our Filin Sales Office, and libraries lar borne videos rn utc, lied our total expcnditune Our first series of videos will be %virh co-funding . available early in 1990 . ` topuruepr,)Asciortalapportimities This has been a year of 'lrartist lilnr- and rodeo-makers strategic interventions an d We have doubled the tota l long-terns initiatives, baud on production funding available to the Three-Year Plan and a b5 film and video artists throug h increase in our budget. As a the Arts Counc&Channe l result, the Council's role i n Faux 1101 1 [our join t broadcasting is becoming couunksioning scheme . increasingly effective and
, ie r ist dit in, arcs o freachiq udder influential .
tudioiar furArrs C mn61 funded activities This is our most important an d difficult task, involving the possibility of setting up a n
I H&-pendent agency as outline d .; i- % e.
Gavin Brrars, n film by David Rowan on a Five Women Painters e
leading figure in English experimental music Laura Knight
1! r . DEPARTMENTAL kt repor t
unequivocally to defend the right to free expression. The department also committed F )e4 itself to oppose VAT on books and newspapers, endorsed th e view that the Net Boo k Alast aI NIr re n,
blrector of Literatur e Agreemenr should be retaine d and drew attention to it s concern about the implication s for writers and booksellers of Clause 28 .
+1 The department supported W Ik- the International publishers This year the department had Congress which was held i n its first clear run at a ful l London for the first time for programme of initiatives, afte r 2$ years and in particula r nearly ftvv years of reduced promoted the outstandin g
activity, Asa consequence it has keynote address by Georg e received its most sympathetic Steiner on the status of press attention for a long time . literature and reading in th e In a year in which literary world today . affairs received a great deal New funds established in th e of publicity, the departmen t previous year were successfull y played its full part . Followin g developed, among Chem a the Salman Rushdie affai r scheme to support th e the Arts Council was amon g translation into English o f the first public bodies works written in othe r
4
languages. Special priority presses; anden providin g is being given to books in schoolteachers with Asian, East European an d opportunities to address the Scandinavian languages . A problems of introducing; non distinguished ream of advisers Western literatures into thc~~ ~ r assists in the decisions abou t classroom. translation grant-making an d This interest i n the fund is supplemented by internationalism was department is moving to full - The British Council_ We were formulated within the contex t strength and is in buoyant also able to support th e of general policies on literature mood. It was greatly establishment ofa Britis h in education and on busines s encouraged by the Council's Centre for Literary Translation, proficiency. In partnership wit h formal recognition in February based on models which hav e the National Association for that Literature is under-funde d been successfully launched i n the Teachingof English, w e in terms of its status as a France and West Germany. began a series of regional national art and of the call s The department's conferences on literature in the upon its budget ; and by th e commitment to an classroom. We also created a conlrnitment to restore a international and multicultura l client self-sufficiency fund -funding in as short a time as I view of literature wa s which will allow some literary possible to the levels enjoye d strengthened by a number o f journals and organisations to before The Glory ofthe Garden grant allocations. We are develop their management and in 1984 . The Council furthe r particularly interested in marketing capacities . agreed to seek ways o f assisting the establishment of a The Arvon Foundatio n improving the overall, undin g Black literary archive, partly became the first recipient of a n of literature, which cupently based on recorded materials ; Arts Council incentive fundin g amounts to under half a per on improving the managemen t award, followed by Peterloo cent of the Council's of multicultural publishin g Poets and the Poetry Book expenditure . Society. Writer's Bursaries were
P D James present s awarded after competition to
an Incentive Funding award four writers who specialise in
to the Arvon Foundation books for young people .-John Agard. Leena Dhingra, Phili p Gross and Millie Murray. Ai the end of the year unde r review the appointment of a L ire rature Tourin g Co-ordinaror was abou t to be made. Meanwhile . t Antonia Byattjoined th e department as the ne w Literature Officer in ,uceession to Kate Marsh. The DEPARTMENTA L repor t
I- orks.Iieno's L'n Relrr .4,col'r,:. in a remarkably inventive production, displayed the company srrengths of th e Floral Opera, while at English National Opera Rcimann's Lea r met equal acclaim, Both fina l pcrformanccs happened r o coincide and both were .old our. Dnnng the year, David Lloyd jones annotinecd lei s rerir inenr as Artistic Director of Opera North. He has held Kenneth Baird , the post since the founding of Director of Music the company and has built i t over its first 10 years into a company of strategi c importance, serving a wide area of the country with a residen t orchestra able to perform independently ill the• concert hall. This was a year of change, wit h feeling that the finding made Construction wor k a new Music 1)irectorarrivin g available for music shoul d continued ore tlirnninghani s in Novemhrr (for the first hal f increasingly be used to support first purpose-built concert hal l of the year, the department wa s innovation . Many of th e (to Open in June 19e91), whic h managed by the Director : Arts department's clients have been will provide, a home wit h Cu-ordination) . and with th e highly successful in raising greaterseating capacity for panel and officers reviewin g cnrnnrercial sponsorship : the the City of Birmingha m the department's objecrives as new. however, remains least Symphony Orchestra. This Un Re In Ascoito , sec our in the Council's Three- attractive to corporat e larger hall is mach deeded , Royal Opera Year Plan . There is a strong patronage. A revised system for since the orchcsttas cxc•itingl y funding the tour self-governin g adventurous programmin g symphony orchestras in attracts an increasing audience _ London, which resulted from programmes that include th e the review chaired by Rober t sumsual and help develop an d Po11so11by, was pill into place• expand an audience have also during the vc•ar. This allows become the hallmark of th e adventurous progratnnring to Royal Liverpool Phl"lltartnonic be rewarded, and may be a Orchestra under its Czec h useful system of support for Principal Conductor an d other areas of the department's Artistic Adviser, Llb Pesek. In work, M:uK'hcster, rhe,Cir' C61111L it Iioth the Royal Opera and and rhr'Devclopmenr English National Opera gave Coipor ;tion armnmlced darin g first liritish perfomrance s the vc-ar that a city cc iltrc during the year of majo r corlcc•rt hall would be built i n contemporary ELiropean they early 1990s for the• Ifallc .
18 qw''%
As well as encouraging well - prepared performances of rho new and of little known music , the panel andofficcrs are Caribbean, and the other tha t anxious also. to broaden the of Asia. These circuits wil l base of the Council's work, an d bring events to a wide spread especially to develop a n of towns and cirics front the understanding of the music o f Summer of 1989 . We are very other cultures. During the year, conscious that music of th e preparations were made for th e non-wc stern tradition now ha s establ .ishmetic of two [ouring a broad appeal that is not circuits, one promoting th e confined to any particula r music of Africa and the conr~nunitics.
te
DEPARTMENTA L report
residency at the Ne w Towngate Theatre in Basildon. Jack Phipps , The Council, Nvith the hel p La Wariata, Director of Tburin g of Great Britain Tourin g A money, was able to support tw o s^ z other exciting and origina l n expressions of Black Britis h 1 ( ~~' t s y ~ M theatre, the first national tou r y1a a 4ti , O . + . . Wo = m of Black f f eroes in the I fall o f IL Fatne and the stunning revival Our activities rhi+ vcar were supporting Harnlrt, the Roya l by the Albany Empire of Felix n based on partnerships and Shakespeare Company's Cross's Mass Carib, increased funding, including a national tour of major theatres Perhaps the most significant boost of ove t (600,000 from for over five years, and the partnership created this yea r r ` the new Great Britain Touring Royal Fxchangc's Arms and the with money from the Great Fund, which was created wit h ?loan, which played in eigh t Britain Tounn , Fund was extra government money to regional Theatres as part o f that with the Prudentia l The Electrificatio n provide additional touring o f a new scheme to tou r Corporation, for tours by th e of the Sovie t all art forms . productions originating fro m four Loudon orchestras ove r Union, Glyndebourn e The Great Britain Tourin g the larger producing repertory the next threi, years. The Tburing Opera Fund moneys allowed us to companies . In addition, these coming year will see 2 8
.loin with Royal insurance in funds cnablcd plans to be laid concerts played it) 19 venues foramaror tour by dic across the country, all with to p National Theatre of Th e conductors and soloists i n AffsanthrL p e, a co-production programmes based on those with Brisiol Old Vic . presented at the Barbican an d Opera benAted from tile Festival }call.
L nc•w fundthrnugh Five extra With 94 concerts by 1 0 weeks of touring by Wels h different groups, th e National Opera, Opera North , Contemporary Music Glyndebourne Touring Opera Nunvork (the Coutleil`s .- and Scottish Opera. Nesv flagdiip for contemp0rarv !Honey was Found to back th e Pan-African Dance Ensufnble , Adzido, in developing its work in large untnng venues on it s circuit and an interesting example of partnership le d to Second Stride taking up
Makorova's Swan Lake ,
English National Ballet 20 s K T k1Y
music) maintained its record of excellence and interest. The highlight was, undoubtedly, the first major tour of th e all-black British hand,Jazz Warriors, the longest Network tour yet, attracting a recor d number of people to 1 7 Music Network concerts in major towns and cities across England an d Wales . Of etlual interest wa s the partnership betwee n distinguished musicians from
Mali and India who joined force's for the first time . to tour as "Dunya", (the word means "world" in both Urdu an d Mali). The educational work of the Network w'as developed and strengthened further b y various projects arrange d around tours, including a wet k - long residency in Avon by th e electro-acoustic ensemble Metanoia, arranged under th e auspices of the Bath Festival. evidence of the likely problems It has been an exciting and to he faced in children's theatre varied year for touring, whic h as a result of the Educatio n saw opera as the success story Refonn Act. Positive steps of the regional theatres, th e were taken too towards a n inrernarionally successfu l analysis of the managemen t conclusion of the English and marketing difficulties o f Ymkc;peare Company's epi c touring theatres : watch thi s
~ i I'm r11 the Roses cycle and, sadly, space for results!
Mass Car&%
21
r r committee of the Council, bocame an organisation in receipt of a substantial subsidy ever 00m in 1988/89 - direct from the Arts Council, (funds available through th e subject to the sarne criteria and Carnival and Arts Committee conditions of financial for some 41 costume bands and assistance as other directly- also awarded the committee a funded bodies. The Board grant towards the overall produces its own annual report running costs of the event. in which it accounts for th e Supporters of Carnival Lady Au d resources at its disposal . regularly pay tribute to th e ICA Thea The South Barik Board was brilliance and excitement o f the Regional Arts Associations , heavily engaged during th e the event and the planning an d the Council today retains direct year in matters relating to sheer hard work which play responsibility for very few suc h forward planning, includin g such a crucial role in its success . organisations, namely th e exciting plans for th e The Arts Council endorse s South Bank Centre, the improvement of parts ofthe these virws but continues to lnstitutc of Contemporary Arc s South Bank site. These urge that the total impact o f and the Notting Hill Carnival . proposals were unveiled such a spectacular event can , A committee is being towards the end of the year and certainly deserves to established to be cltaired and are now• the subject o f be, developed further. With by a Council member and the platuring procedures. the airn of encouraging containing representatives of At the Council's request, th e improvements in managemen t evaluation, arts organisation s the Council's advisory bodie s board also drew up its forwar d efficiency, a study ofthis and events of a inultt- and will be concerned with the business plan cvhich provides a complex event and its myria d dliseiplinary nature have ofte n artistic evaluation of thes e framework wititin which th e related activities - an d presented a special challenge to organisations . The committee Board "can maximise the Sout h problems - was c.ontmissionr d the Council with its structure will he served by the Director: Bank's current opportunities, from Coopers & Lybrand . pfadvisory panels which tend Arts Co-ordination . take appropriate action t o The resulting; report to focus con a single art-form The need to introduce these anticipate relevant changes i n highlighted the sheer scale , discipline. procedures was brought int o its cnviromncnt and retain the significance and high profil e Largely as a result of change s sharp focus following a study flexibility to implement ne w of the Noreing; Hill Carniva l in policy and substantial limited to managemenr aspect s initiatives" . The quality an d and offered a range of devolution of funding and of the Institute o f significance of this plan wa s recommendations designe d evaluation responsibilities to Contrmporan Arts conducte d recognised by all Incentiv e to encourage the group s by the Council . The main Funding award of ,250,000. participating, the organisers recommendations of th e Thc Notting Hill Carnival i s and the funding bodies to resulting; report were adopte d recognised as the largest event rcalisc its hell potential . by the 1CA in its own forward of its kind in Europe, probably plan submitted in supporr of a attracting a following greate r successful bid for an awar d than rhv total attendance at all under our Incentive Fundin g other Arts Council dire et€y- scheme'. fundcd events on any one da y On 31 March 1988 the Sout h in the year. $seek board, until theft a Ill 1988 the Council made
Gran Gran Fiesta ,
South Ban g s Centre
won
. s sport to one-off , international arts events i n 10*V"* Britain judged to be o f exceptional artistic significance . ON Applications to the fund are the subject of consultation wit h Visiting Arts, the Scottish and Welsh Arts Councils and th e S Regional Arts Associations. ~~~~~N t\AZ~V E Expendirure in the first year Tercentenary celebrations; and of operation is detailed i n conferences on literature, o n Schedule 1 to the Council's cultural co-operation and o n accounts. creativity by and with disabled The accounts also record the people. A small grant enabled (~1' allt+afll~ll~ Cupp otted by additional,C250,000 mad e the distinguished Caribbea n the Council rut a regular basi s available by the Governvnent writer Professor Edwar d were advised rof the v ldening as the first of m o equal Kamau Braithwaite tojoi n of Arts Council subsidy and instalments of a contribution TembaThcarre Company on encouraged to include foreig t 1 towards the budget for the their tour of his play Mother work in their programmes so Glasgow 1990 Cultural Capital Rion and to participate in long as this was consistent with of Europe celebrations. workshops and readings . their overall artistic objective s. The Glasgow production o f Grants were also mad e At the same time, the Tire Mahabharata was part o f towards preparatory costs of Council's submission to a world tour incorporating future events, including th e Peter Brook's production in Government for 1988/89 Zurich, Los Angeles, Ne w international arts dimension o f Glasgow of Thehlababharara grant-in-aid included the case York, Adelaide, Tokyo, the 1990 Gateshead Nationa l was one of the great artistic for new and additional funds to Copenhagen, and Bombay. Garden Festival, a major Sovie t achievements of 1988 . It was enable the Council to respond Other events supported by th e arts season in Glasgow in 1989/ also the first event to receive an toincreasing demands related fund during 1988/89 included 90, and an important sculpture award from the Council's new to a whole range o f the first Leicester Internationa l evenr being presented i n International Initiatives Fund . international arts events often Dance Festival, at which rit e SeVCral centre5 including Our involvement in this epic taking place in this country. Merce Cunningham Danc e Glasgow, Plymouth and presentation th us marked a The response to ou r Company appeared ; dance Newcastle also in 1989/90, al l significant departure for the submission was an additiona l events organised as part of the of which will be covered i n Arts Council, the introduction annual grant from the William and Mary a future report . of an international distension Government of;(.250,000 an d to its direct subsidy operations, with this sum we established as well as the advent of a the International Initiarive s newcomer to the arts-funding Fund which operates marker-place en this country. throughout Great Britain. As recently as 1986 the From the outset, the fund's Council had to dispel the view operational guidelines were that the Royal Charter broadly and flexibly drawn , concentrated Council activity suhiect to revision in the light and resources on British artists of experience and emergin g and arts organisations and prionties. The primary purpo s excluded work from abroad. of the fund is to offer financial
The Mfahabharata at Glasgo w
0 ti f~ +Y 4w V 7 y r`t SeP DEPARTMENTAL ,y r. a or ort t4 t ar ts 14 141 N Q v ~b'r Me rseyside Arts a
4 s East Midlands Art s 4V P Regional Arts west ~idla~ds Art Eastern Ar , Associations
D Q P s this area of its work. Central t o w f 4 Ea the report is the concept of a broad heterogeneous culture , ~mM a ~ reflecting the diversity of Z M 11N~~ , cultural achievement issuing ~o from contemporary society. Marking this, the Council now uses the term "cultural the National Foundation for gene Taylor, Directo r diversity" instead of "ethnic Educational Research has of Planning minority" . With enthusiastic conducted. A conference on cross-departmental co - Arts Education, Media and th e operation, the year saw Curriculum brought together considerable dcvelopments i n several related topics . The arts raisins; the profile and fundin g in prisons project, due to repor t
The Planning department of culturally diverse initiatives. this year, was launched toward s continued itswork across th e Tli tmicMinoriry Arts unit rile end of the year. The AEM S wide range of issues for which itself assisted various initiative s pmjcct (Arts Education for a it has responsibility. of a strategic nature, including Multicultural Society) "cani c Arts and disability achieved overseas visits for research an d ofage" and is now activel y a new prominence . Liaison a directory of artists availabl e suppoidrxg many project s with other departments has for culturally diverse art s throughout its strategic areas, produced disabihty policies fo r education . The department remains at the artforins and practica l During the year the Arts and the centre of relationships wit h commitments to disability Disability and Ethnic Minority the Regional Arts Associations . issues integrated into all three- Arts units merged to creat e The regional arts plans fo r year plans . Almost all the the Arts Access unit, wltli a Northern, Yorkshire and East Regional Arts Association s broadened portfolio to look a t Midlands Arts were presente d have been visited, and a further issues of access and to Council, and wer e national support network equal opportunities in the arts . instrumental in developing created through the Council o f The Education uni t new partnerships and ncw• Regional Arts Associations . continued to pursue its newly Many clients are no w published policy, working implementing the arts an d with other Arts Counci l disability code of practice, an d deparnnents and externa l other innovawry projects have agencies on a wide variety o f 40] been devised and supported . projects. A main emphasis was The year saw tile coinplctio n youth, as demonstrated by of the ethnic minority arts support for a post at Yout h action plan, with th e Clubs UK (formerly ril e publication of the repor t National Association of Youth Towards Cultural Divmify, which Clubs), and for research into offers a way forward into th e the programnies of artists-in- 1990s for the Council ro sustain residence at schools which
24
resources for the regions concerned . Work progressed on regional arts plans for South East, Southern and Mersevsid e The department continue d Taueh, smell and sound , Arts. Management review s to liaise with local authorities No rthern Shapehc Festival of th e were carried out in the Nort h and held early discussion s Fl v e sense s West and West Midlands , concerning the Wilding where, as part of the study, a Review into funding structure s consultancy report on for the arts in this country. As information management well as its ongoing collectio n was commissioned fro m of statistical data, the Research Birmingham Polytechnic . f and Statistics unit assisted the In addition, management publication of Culturat Trcndy, I and was involved in the Council's new computer systems. Research project s included looking at the possible development of a young r,~n~uitants were person's discount card and ccrnrrtissioncd to undertake information service compatible ncc Management Review of with the Young Scot scheme (;mater London Arts. All and many European cards, and Associations were offered identification of good examples ,9,000 for a Training for of libraries' involvement in art s Change package for staff. projects. Work commenced on An officer was appointed in the major report Think Rural: the Regional unit, whose Act Now which has recentl y responsibilities include setting been presented to the Council. up and co-ordittaring a Following previous successes Building for the Arts scheme. together, the Sports Council This will provide funds and the Arts Council worked i n towards the cost of feasibility partnership to launch a scheme studies examining ideas for for dance leaders in th e constructing, improving, community, for which w e 1, or converting buildings for worked closely with the Dance the arts. department .
An AENS kiteworking project in Staffordshire
2 5 D E PA RT M E M TA L repor t
N *r,Vr, F Jt4oI N <
Howard Webber,
Director of incentive Fundin g
corrctipondingly rigorous . The Incentive Board (composed o f the Chaim en of ACGB, SA C
Colway Theatre 7Fust's and WAC, and a representativ e production o f of the Council of Regional Art s
BeorhteM Hill ASSOCta6011s) were faCL,d with 260 applications for sum s rocalling around ,(.25m, thoug h they had only,4.5m to allocate. The decisions were made , and 48 arcs organisations received incentive fielding This was the first year of the awards. They represented a incentive funding scheme. Th , wide range of arc-form, area scheme was set up t o and size•. Art gallerie•S, art s encourage arts organisation s ccnttes, dance companies , to broaden their sources of touring thcarre companies, income and to produce detailed building;-based theatres, musi c three-year plans covering their festivals, ptiblishers, opera arristic, access and manage ria l companies and orchestras were goals. It offer% one-off awards arnong those who gaine d to organisations which receiv e awards ranging betwee n fintding from the Arts Council ,,5,000 and k250.000. of Great Britain, the Scottish Awards are calculated fro m Arts Council, the Wclsh Arts projected income growth, s o COMIC11, or one of the RCgiona l we were Icxiking . applicants'
Arts Associations. canted and raised income 61 Bot11 the numficrand th e 1987/88, and that projected for standard of applications were 1990/91. We were ah1v t o high and the application provide up to (,I for evm C2 process had to 1w of growth hcnve-cn these tw o vcars,uptt the ,250,000
26 faek Hick, The recipients had little i n common except this : all had demonstrated artisti c
Awards being presented to excellence, all had planned fo r
Yorkshire-based arts organisation s sustainable growth and all had
by Peter Palumbo 61i'Lly'ht about the future in a ,; riscttir"Li, systematic and
c ciling. The l:? ruro II . _n T say. Some planned the that the Board expo°cccd d i ,t.,dual growth of an already ,(.4.7iii to lead to a , .9m 'Uccessful organisation . Soni c expansion of the arts economy envisaged a quantum leap into in 1990/91 and future years. In a new area, for which an fact, the standard was so hig h incentive award was a rliar they were able to achieve a precondition. All had though t far higher ratio than this : we hard about why they wanted hope that the 48 award to grow, how growth would recipients will together expand contribute to carrying out thei r the arts economy by as munch as artistic mission, and what area s k,14m by 1990/91 . and what rates of growth wer e best for them to aim at- Most awards, and most of the money; went to organisations based outside London . The innovative stature of th e
We have introduced on e schcme (and, it must be said, major change to the schem e the speed with which it was set for this coming year. In the up and operated) nhcant that it first round, training and was mcr with sonic degree o f co.nsultaney help were not suspicion in its first year Bu t
Available before the preparation the arts community has quickly of.r detailed tlirce-year plan; cone to see that the scheme thus it could be said that the supports rather than conflicts Nclic•me required organisations with its core artistic activities. to have made good any gaps It is already clear that a major or weakness in skulls and purpose and effect of the nanagennent structure before scheme has been to accelerat e they applied. This year, and to publicise trends already applicants who have sound apparent within the arts sector. ideas for income growth , Efficiency and enterprise ar e but who need assistance i n not confined to the commercial producing or implementing a world. The arts conimunin• detailed plan, may he eligibl e demonstrates its distinctiv e for consultancy or training help forln of these qualities. The arranged through their funding incentive scheme has shown kody as part of the incentiv e that it has a sigi gicant part binding process_ to play in furthering this .
The Scottish Chamber Orchestra - recipients
of an incentive funding award DEPARTMENTA L r e p o r
u R ~F s
To help prepare art s imagers for the opportunitie s becred by the creation of the ogle European Market, th e Communications Unit bega n
The Chairman organising Arts Withow Frontiers and delega#Y X"ador international at the Cultural erence on the arts and 092. This will bring togethe r
Dylan Hammond, 660delc•gates front Britain and
]Wrector of Marketin g abroad to explore practica l
420d Resource s antegies and prepare an *cnda for action. Booking i~ ruts for the conference i n Qasgow March 1994 are available From the unit. The department's initiative s tpecial conference on the arts The Press Office ha s this year focused on acting as and cultural diver,ity. organise d developed the Council's role a s all advocarc for tic• arts an d by the unit . It offered a foruni a voice for the arts in the medi a expanding the arts econollty, for 120 delegates representing ; and has continued to dra w Advocacy became a major Black artists, policy-makers, attention to issues crucial t o acrivirv with the first vear o f arts inallagers and broadcasting. C11C arts, snCh as (lie inet'ntiVe - ,Wrations for the ne w Last year's relaunch by the Funding scherne and the The Secretary-Genera l Communications unit. The Communications unit of th e Urban Renaissance campaign. with John Patten MP, an d I iome Office Ministcrjoh n annual report in its present Broadening the base of its Richard Luce MP, at th e Patten, joined the Arts forlliat has won several awards , contacts beyond the art s symposium Minister, Richard Luce, at a including; a Sarclna Pres s ghetto" and into uew area s Award. In June the uni t such as business, marketing; and Wutichcd Thrlrisidrrrnagazin e the environment has been a for arts Managers, offerin g key achievement. regular news from the Arts Expanding the arts econom y Council and comment o n is the task of the two Marketin g issues crucial to the arts . This is units. A notable success was th e goGshcd cluarterly inside an launch of the Artscard . which adept magazine, Arts could bring; up to ,,500,000 t o ma7it, and has thereb y the arts in the next two years. to create a much- Artscard is a credit car d professiona l operated by Midland liank, oil publication for the arts world . which the Midland give 2 5 Readers interested in receivin g pence per,(1U0 spent to all arts &1ttsidc*should contact the organisation nominated by the unit, cardholder free ofc
20 Application forms are available from branches of Midland Flank. The Marketing units also work to improve arts orgatUsanons ' own marketing. In July a distance learnin g package on arts marketing wa s launched on behalf of th e Office of Arts and Libraries , providing a self-help manua l and video. Training for art s Coanputerisation of the Arts managers was also ofti red in a Council has necessitated a +cries of courses funded by the complete review of ou r Office of Arts and Libraries fo r information needs. One of th e touring organisations and visua l c0ttseclue nces of this was the arts clients. To hel p appointment of an Information arts managers further. a Manager to head the computerised dire.crory of Infomtation unit, whose task consultants was created. To is to develop a policy fo r obtain a list of cansultants and information and supervise th e references, arts managers ca n creation ofa co-ordinate d Contact the department or thei r system of databases for all Rt:gional Arts Associarion- departments.
It has been a year o f gathering speed for th e department and we loo k forward to new project s coming on stream . These include a generic- advertisin g campaign for the arts, the possibility of a trading arm fo r the Council, and a nationa l awards scheme for the Urban Renaissance campaign to encourage greater involvemen t of the arts in inner cities,
Press conlcren- following Peter Palumbo's appointment
it
DEPARTMENTA L report
individually-designed programme. A new Associate Director scheme was set up with ]crani a R cI c.partnic nt, tun~- ing sc. lcct. c.d N, ~ cntial artistic directors to :al,lcrtake self-cicsigned caree r 0 1Icvclopment progranitnes . Similarly, the Training uni t Mary Wratten , concentrated its own efforts. I n Director of Personne l direct training, on senior and Trainin g txectitlves of Arts Counci l clients, offering tliree course s Tundefegede , on strategic planning, hosted by studying korn musi c the regional training centres; In Africa and co-operating with nvo In October 1988 Training an d diversity, acid lissi%ting the initiative,, in marketing training Personnel were merged into cicvclopinCiit of new creative funded by the Office of Art,. a single department. ,.yit h skills, and Libraries . responsibility for the internal A major investment wa s The Arts Managenic alt needs of staff at the Art s niade in improving the Centre at Liverpool University Council and the externa l management skills of dance offered its first full years trainLiog of arts organisations companies, becatise of th e programinc of short courses, and practitioners . shortage of experience d while the other two Regiona l Despite the upheavals, there administrators. A system of Training Centro at Leiceste r were several innovativ e tutorial support and short and Newcastle continued t o training developrnents during courses was offered to th e expand their role and produce the year, covering a wide rang e roan'; administrators lookin g increasingly more sophisticate d of artfornis and disciplines. The After .) group of pi- ject-funded packages of training. All the following highlights illustrate new dance companies- A gran t centres are funded i n priority areas within the was awarded to Dance For m partnership with Regional Art s Deparmicnts Thrcv-Year I'lan ; to Organist, a series of shor t Associations. arts management, equa l course,, on nianagVnicnt skill s There were several new lopportulitics/cultural for sinall-scale companies. A initiatives in the areas of arts pilot si bane offering two year - skills. In drama a eousidrrill) l e long trainceships with Black eitipliasis was given t o Dance organisations was set u p physical/visual theatre , specifically [o tn' and recrui t with grants to a variety of more black managers. masterclasscs and worksli ops: Not conrent with this from mask-making to th e example of positive action, the flying trapeze and Wire - Training unit and Danc e walking. Fooltime. the nationa l department pioneered a new circus school based in Bristol , approach to disability, by becatric a three-ycar franchis e enabling, a hearing-impaire d client of the Training unit fo r dancer to retrain as a teacher/ the tint time .
30 Courses in flying trapez e
Kura in Africa; and a woma n artist undertaking a residenc y in Pakistan. Towards the end of the yea r the Training Officers became involved with the Trainin g Agency (formerly MSC) an d the National Council for Vocational Qualifications, wh o hope to encourage the arts to training courses. Similar bodie s form in Industry Lead Body to are being established in al l agree occupational standard s other industries and the Arts where appropriate, and overse e Council is directly involved i n the accreditation of vocational one for arts/entertainment I n visual arts an exciting pilot a pioneering trainceshi p technicians. Liverpool-based scheme was begun to place established with English consultants, Practical Arts, have young performance artists wit h National Opera fora blac k begun the huge task o f established artists for a three - woman director, and limited researching into existing month period, to learn abou t funding to enable the Guildhal l training provision and funding, setting up an d Postgraduate Communication s employers' requirements. The presenting work, and self- Skills prgjcct for musicians. to whole process of establishing promotion- Help was also be opened up to talented blac k a national, comprehensive, given to photographers musicians without formal employer-led vocational through short course educational qualifications. training system will tak e programmes aimed at A range of individual at least two years. particular problem areas bursaries was again offered such as publishing. to artists from all discipline s Thr British Film Institute to undertake sc lf-designed joined with the Council's training prograrnntcs, t o Training unit and Film Video R develop their talents and skill s Broadcasting department to co- further. Successful applications fund a course in 16mm film included a stage designe r production specifically fo r travelling to Europe to study women, to help remedy some the relationship between fin e of the imbalances in their artists and theatre design: a olusota Oyeley e industry. carnival designer working (second from left )
The emphasis in music alongside carnival bands i n Is a trainee training was also very muc h Trinidad; a young musicia n producer a n on equal opportunities with taking advanced training on the Ego's Baylis Programm e
Tom Pilit.,
31 SCOTTISH arts council
The wide range of festivals supported by the Scottish Arts Counci l reflects the cultural identity of the various communities, drawin g together local skills, visiting performers and exhibitions, all of whic h stark a high point in what is frequently a year-round programme of art s activit . The increasing number of feiserr, for example, marks th e y continuing surge of vitality' in the arts of the Gaidheairaehd, while a hos t x}_.« of traditional music fesuvals reflect the current strengths of this aspect o f Further details are given in the Scottish Arts Count il's (,sc n annii .il report, Scotland's cultural life. published separately. Rising inflation and the restrictions upon the Council's own resource s
This was the year of the Three-Year Plan, (If incentive funding, of allowed no reduction io the prv%%ureson Scottish arts organisations . Ove r form-filling, of new and frequently centralised schemes, of business plans the• past few years, they have produced ideas in profusion to resolve th e and of occasional frustration. many difficulties they have faced . They have found ingenious ways o f The Scottish Arts Council's own Three-Year Plan was published i n maintaining and even expanding their programmes of activity ; they hav e October 1988 and set out the Council's objectives to 1991 . These built o n increased sales, box office and attendances. They have continued to the progress made- in implementing the objectives already established b y champion new work and encourage public appreciation an d
the Council in 1984 in The Nem Five Years, and concentrated upo n understanding ; they have developed new partnerships between th e increasing access to the arts, supporting the work of the creative artist, public and private sector, received the enthusiastic support of loca l and encouraging other sources (if income . authorities, pushed forward the levels of business sponsorship at a n Amid the mounting piles of questionnaires, of forms and plans, the art s unrivalled rate . They have improved their financial efficiency and sough t themselves somehow continued to thrive from Shetland to the Border . out training courses which have enabled management at all levels t o The eounedown towards 1990, when Glasgow dons the mantle• of operate within the new environment . For the most part they have don e European city of Culture, focused attention upon both Glasgow an d everything that has been asked of them . Strathclyde and enabled Scottish audiences (and marry from furthe r This success now needs to lie rewarded, for the problems arc not ye t Acid) to enjoy a foretaste of things to come. Elsewhere activiry resolved . Far from it . The queUe of new and exciting projects looking fo r frequently reflected clear statements of regional identity and a first-tithe funding lengthens at SACS door ; existing recipients of support celebration of the cultural strengths of Scotland'sdistmctive areas. In Ross bring forward challenging ideas for which additional subsidy is quit e and Cromarty, for example, the district councilsarts programme aime d properly sought. At the same time, the positive achievcmcntsof three - both to develop and display the talents within the locality and included year funding arc undermined by the now wide gap between the levels o f artists-in-residence programmes and a touring exhibition in SACS ow n increase in the Council's grant-in-aid and rising inflation . The arts i n travelling gallcrr. In Shetland, the pilot programme of the Shetland Art s Scotland need more central government funding, partly to bridge thi s Trust built audiences for visiting performers while encouraging the wor k gap, partly to alleviate a frequently voiced concern from others in th e of Shetland's ow•n artists and performers . In Dumfries and Galloway, th e funding partnership that SAC, and thus central government, is tit) longer Arts Association is now firmly established as a key institution for th e playing its proper part . Most importantly of all, they' now deserve, an d growth and de•veiopnlent of the arts throughout tilt• region. need, to operate on a basis of financial strength and confidence .
SAC's travelling galler y
32 %, WELS H e
arts COLlTICII O ttie~tO'
Arts Counci l
The Welsh Arts C 'miticll reports scparatcly ill detad . I his rc•porr nun s %rip e tllenles.
Annivcrsancs arc %(MIC 7TICS nSCfrll n'inindrn to look back ill wonde r and to look to Elie future in hope . In 1939 a Wrlshman . I)r Thomas ftmc%, persuaded the stair to make- the' first grata for the arts . The Pilgr-inl'sTrus t grant to C FMA, the ACGIis precursor, prompted a government grant o f
up tcl .50.000 Oil the basis of a pouted for even' pound received fro m private sources . Tilday the arts in Wales arc again taking the• challenge o f finding prn•arc' more}', and smcccding, The Wclsll Arts Council is agai n deeply involved for the first time for many years, in raising privat e
moncv . The Walcs office of the AslnelatiOn fur BLISI1lCss Sponsorship O f Elie Arts (AMA) finished in Apnl 1989 its first full years work . A sA i s itlde•[Ierttient of the Arts Council, but works clOSely with ns in Wiles. The W ilcs has taken several steps hackwards as am . Teaching of drama ha s first vcar saw a dramatic increase - at ]east a doubling - in buvne•ss ceased at the Uuivernry Collcgc in C .rrdifl, and will cease in 1989 i n sponsorship . Bangor. The Music department ill Abery"wvth is to close, but the Drari m
A report written in 1989 should also look back a ftrrther 50 years. to departnlvin comimies to flourish a1 thc• last full urliversiry departumit o f (it 1889 . w lien the- new County Councils came onto bemg. The Am Counci l drama ill Wale . At [1111 time, the retore . the rode the Wi•]sll (.,Ollege "t is involved ill a constant partnership with The Counry Councils . A% th e Music and Drama, based in Cardiff, is crucial. The Arts Cl1llnCil will wor k education authorities. the County Councils arc ire the throes of with that Colleges authanrics, including a new- principal, to strengthe n ill) plcnlcntlnrl the Education Momi Act . Ire that prou'ss, the comiti c this national institution as a College devoted to the performirlgarts, l;oodwill is undoubted : tllc'y want to maintain the progress made over th e hopefully including datice , years. for example, in retaining m Waits a network (it Tllratrc i n Lim ation l'tlmpanics nnrivallyd clsewhr're in Britain .1 lowevCr, there• are constraints within the nc%% arrangement for the• schools' budgets, and Eli e Act may Shipwreck, by a mere side wind, some arts veswis . risk seas .] matter of concern in 1988-1989 . Tim is also the thirtieth amlivcrsarv of a talk by Sir Itor Lvans, broadcast by the B13C inf anuary 1959, entitled Yrncpcrts fnra Alinistryo j Fine Arts. Thirty yr .lrs later it makes faxinaring reading . and it should h e rc-read when plaits for the devcloprilcm Of lhe ;lrts appear aS idle' dreams . Sir k or Evans nored itireralia SUhstannal needs for Elie .lrts ill Wiles, all nlct, in on way oranothrr, rhirty years later, Wilt -% still Ines rlo answer to Sir Ifor liv .uls'tlncsrion: "W by should
Copcnilagen have a stare Opc•r,i hOUSC while CaTdlff leas nothing te r
offt•r%" Work Ctlntimk•S On the plan for a laT{;e theatre ill C_aTdift. In the Welsh National Opera's Falstaff nlcantulle, the refltrbished New Thcatrc houses Wclsll Narltlrlal0pera . In its attractive new grilse, the NCw Theatre is assured ofa Vibrant future . cnnnnuing in 1988-89 its great success since it re-opened . The rop prior]( '
in the arts m 17~ales is tort major atldMMLIIn ill North Wale ., for C 011170 M and large-scale theatrical work• including opera, During 19823-89 dis-
cussions contilluc•tl On a plall for a dwatre in L]alldelClnO to n1tYt the liced , A sccond major gap perceived l,v Sir ]fur Evans was the whole area o f tr,L11mig . Artists arc highly trained prcltrssion .ds, Walrs Isar not traine d practltioncv, of the .tuts is it should . Plogrc'ss was (lade, lour in 1988-19239
J3
I N C E N T I V E FU HD I N G
a Special rCPO rt I
M A R Y A LL E N
- .. .13~;emrnt cod,,
TI: I :It l ltlvr T'LII7 X1131 +~}'. 'r11 . . j :c,-rnrs 3 radll .l! .1, ; , -
-..tp>ral approach tc art, II . Britain. It 1, has= .-.
.+,,untptions : that plannln IL! .,u,i •; ntcrpnsr art' not Inimical to arri m creativir . that the arts %% ant to grow anti-perhaps most conrentiomk -
'.flat it Is dcsirahlc for atl aTTS,?rgall[Sanon ro aim forself-cuff cie ncy and
control over its funire devrlopriwnt .
Initial rcactions to the u'hcTnr wrre mixrd . COIICenl Wae espre'ssr d that it -,ca .anothc'r bureaucratic hurd1v to hr uvctc•arnr iu pursuir o f
pUbllc' fllndS : It SCaS alSl1 arrLIL'd thaT tit' FIVE effect If Sllccl'sS 1711411t be an
cvc ntuaI rc-d UL 114TH III StII1SId1' . SoFI1 L' artS ~.ronpS +WTIt'Ll the L-quanoll o
'MM t I I WItII :LTt IStlc 6t'CC[01 1 111(11 t. ( .)rh L'rs crlticiscd tIiv Sc Iicnl t' as licin$ . . . planning and untalrly blast-d cowards the largcr. boildaig-based purformin, C6nl palllL'~.
17l'S I)1[i' the c ootrovCrSN', ovt-r 00 apphcartons N'L'rc rcc4'Ivc d 111 Th e
tic licnI L' s II-Sr \'c'ar of np['Tatli+rl, It s1' ;3ti Inltlll•dioviv dpparellT Lila[ 31 1 enterprise ,1101` 111011S 411)(Altir of work had r;L,nr iron pn•p.LnnK them, rL{uall-,' that
thr .lrt, had .1 c'onsiderablc capacity to ;em-raw Income fl'om a widl ' are not merv +,f Sourer'-, . Sonic orgallisatiom Arcady had direc-vvir plan-, : In d 131 eta Ilti c'IH11'c f1111dIci SI ptc S1'11r1•d all opporrtinirl to attract inv vc tilwn t for a particular :llpecr of tllcirarnsnc or financial decc1opnler4T . Fir o thcr S inimical to r}nc jnosprct Of an a-ward provided rbc initial rtllnn1111 to bcl1111 tlllnklil k ahead. It W .Is AW UbViOL1S th.lt thr Sizr ofall organisation . or thr tYpc o f
,4crnCnv it undertook, bore no n-lation to iz5 ahllin to l11 .111 for the firturc- artistic Sonlt' of the br .t plans ta'cre front ,mall, conmlilnin .-Im%cd, rounn g ++nlpanse-,, a hcrcan sonic larder o[ka111sAtiom fOtntd it hard t o illCOrliUraLC the raullplt'\rtics ofthl-It npcrarinn nl€o a S111gle cohrrc m creativity . . .-9-9 LIocLlnnrnt.
34 In choosing which applicants were put forward forassessrttcnt, the Other applicants are in the process of setting up commercial companie s main consideration was the extent to which rho income growth was to exploit the market value of the skills, experience and reputation the y sustainable . It was also important that the plan was not restricted to th e already possess. Touring companies presented marketing strategie s business side of an organisation but encompassed its development as a designed to extend the range of their clients, while offering marketin g whole, relating the achievement of financial goals to the fulfilment of th e support to their host venues and promoters . Many visual arts artistic mission. organisations are relying either on artracting private sector support or o n Many applications were rejecred because of insufficient preparation . selling their artists' work. Planning is a process that takes time; it involves facing problems, some o f For some organisations these developments could not take plac e which might be long-terns . Solutionsdo not arise overnight. The whole without the injection of funds provided by an award . Others are able t o organisation needs to support the concept of planning and be ready to raise their turnover from within their existing operation and propose to undertake the necessary work . It is not enough just to set goals, them also use an award to create new programmes that, while contributing to th e has to be a realistic strategy for achieving them, together with a schedule overall artistic development, do not have the potential to become self - of specific tasks. sustaining or to recoup their mural costs. Such projects are eligible The plans themselves raised certain issues . Were the arts brin g provided the organisation is able to sustain the new activities by th e encouraged to bceomc market-led, developing their work primarily in increased turnover. response to market doman& The strongest applications respected th e integrity of the work and proposed marketing strategies designed t o make it available to the widest possible audience . Many application s demonstrated the potential of arts organisations to operate in a commercial market. Far from compromising their activities, th e challenges posed by commercial competition encouraged greate r confidence in the value of the artistic activity, resulting in mor e aggressive pricing policies , An area of vulnerability for many arts organisations is their lack of staff. One community orvartisation marketed itself so effectively that it wa s overwhelmed by demands for its services. Core activities were postpone d to make time for additional, fee-earning, project work until mor e administrative staff could be rectuited as a result of receiving an incentiv e award. Many of the plans incorporated an increase in business sponsorship and proposed using an award to employ someone to develop this course of income . These applications had to be considered in th e light of difficulties in recruiting sufficiently experienced staff. Overall, the applications demonstrated the dependence of am organisations on individual commitment, and the concomitant problems arising from th e inevitably high staff turnover caused by heavy workloads and low pay. Most types and sizes of arts organisation are represented among th e award recipients. with their plans for growth reflecting the narure of the activities undertaken arid the level of the resources available. Building- based organisations which charge for attendance are proposing to exten d rho range of their activities, raise prices and increase the numbers o f performances. Premises also provide a base from which to develop a range of ancillary services such as eafrs, shops and conference faa-ilines .
1s
B U S I N E S S A N D
T H E A R T S
rr ,
I A N R U S H T O N
royal 117sllran L
5III LV ncC announienlctlt of,mr record krraknns; ! .!m three-Nea r
sponsorship of the RoyAl Shakespeare Company, I have often been a,kc, i
%%Imt csrrt• our' rt'XSWIs for undertaking; this spon,orshlp and +s hl . thc-r W C
"Is sponsorship becoming a substitut e +i rc %Xhii i 'd with Eh,' results Of OUT +vork with the R V
till company ha+l revll-+vL'd its 111 .0 k,•ting ,Intl prolnouorlal artivitic s
anLl had L-onlc m thL• 0111clIN011 thar undertaking a ;ub,t.Lntia l for government funding?" ill spollsorship+could be ourccnnrlu•rilal irlrerrsts . At div sank• nnlr, W i considered rhar it was in our overall inwrests thar +ttCh sponsorshi p ,hotild he undertaken s+ith a highly respected orpnisarson of national .
MILLI indeed international, stature who could work With LLS llrl :t
nauotm A- ba>I+ . It Was of,sg;tificant importance ro u+ that cvc ,houl d
+s„rk wall a bodv with I ,[lllndlc based ong wok Ilpcratioll . Wi du g no t
it a, hart of our roll, to provldt, the moncv for the normal sidw,lisation
olt it, opt-rations bur rather to ix•lp It undrrutkc a Widt•I1ins of it, actlvitlz s. Sponsorship isau extension of corporate activity Whose success 11rpcnds to a largc exrcrtr upon a clot• working collaboration betwee n
the parties involved . Thcrc need] to hr a rL•eoglialon of cacti other's
obwciives, :l regular dialogue betsvicerl nce ort;:misatiom . and a It•t'Iillg o f
trust . In partlcul :lr, tllr sporl,or should not try to take upotl itself anv role
in arras such a, artistic p,lhcy ill 'Whirl'! it does not have proper skill, r u
hem, to nc~: dkcros iort .
11 +c a, n,1nlr .Li Nix us to consider worktrlg; wle h the 1ttie :. Wr hail .L
IL lr sr.uuho ; itlSUranec CWHI L-011011-W11e11 the „rtkinal thc-atrc burne d
do+s'rl to 192(11 111+ l inllp.i111' IL .Ad 110t 011IF 11.1111 the claim its lull, butt having; founLl that the stun Insured under the pLiltcv extec•de•d the• prol.w r announr rut pa%mcut for the claim . ha l put the kalancc into tllr trust tur d
then cstablishti•d f'01 - d e hulidink of I he rurrerlL t ht arrc . Morc recently.
sincc 1984, ++• t• Ilad Ws )I`kL•d closciv with the ItS(' ulth ncw sponsorship ti t tllL- Royal Irlsur .im v Armchair Prongs at tilt' 113rbican . Wt- opened discussions about an all-rmhraeingt relaricimbip, which in dlic courw le d w our agreement to provide the ( Llnl mcntlsncd above• .
36 In the discussions leading up to tlds, we reassured ourselves as to th e working practieahries of the sponsorshiparid of the security arising fro m our expectation of a long term future for the RSC . The RSC's,rperatin g record and the Governmertt'sarts funding policies were two factors to be considered. It was of significant importance that in 1984 there was a specia l financial scrutiny of the RSC carried out by a Cabinet Office tc am o n behalf of the Government . This prescribed a proper level of subsidy fo r the RSC's scale of activity and recommended that the real value of th e subsidy should he maintained in future years. This led to th e entertainment opportunities, nor just in London but also around th e (;ovc•rnnn•nt5 agreeing "to establish a satisfactorv base line for futur e British Isles, as well as fulfilling our stated policy of living a responsibl e operation" and was received as an expression of confidence in the RSC , corporate member ofthe communiry in which we operate. It also links providing a basis for its future plans and ambitions. our name. through a,joint logo, with one (it the most prestigiousart % At the announcement of our full sponsorship of the RSC: in August companies in the world. 1987, 1 shared the platform with the Ants Minister, Richard Luce. in his To undertake significant levels of arts sponsorships, the busines s speech responding to out sponsorship he eniphasised thar `Sponsorship i s community nerds to have a reasonable assurance• that the body receivin g it supplement to government funding; and riot a replacement fi,r it; that the sponsorship will have a continuing rule. Tliis argues for gove•rtimc•n t would be self-defiaring ." In May this year we learned front the RSC . subsidy for major prestigious companies like the RSC; Tieing maintained what in fact had happened to its grant level since the special scrutiny i n in read value . I figlner than expected rates ofutflauon are negating many o f 1984. Over a five year period the level of subsidy received was £2?tn les s the benefits of three-ye•ar funding . The value of ourown contribution than it would have been had the rccnnimendanon of the Cabinet Offic e leas been enhanced by the RSC being able to plan in the certain team been maintained. In the year 1989-90 alone it is forecast to have knowledge that they will receive a spccifie sum of In Orley over a three - fallen it) real Ecrins by k,855,000, year period . This prone pted nie, in a letter to 77tr Times. to express fears that a The arts have rightly been encouraged to follow an c ntreprencuria l shortfall in government grants was being tier by an increase in course . But encouraging business attitudes requires in return business sponsorship income. Or, putting it another way, "Is sponsorshi p discipline and formal planning. No business could operate successfull y becoming a substitute for government funding?- when a major source of revenue--in this case the Government-expect s I ask this question because I believe that if this is the case, then th e high standards of excellence and of quality of output but is not willing t o interests of Elie arts, of the sporisoy and indeed of the public, are riot bein g offer forward guarantees on income . This is made even worse when th e best served. Government allows that revenue to be reduced in real terms . A business The Government has encouraged many First time sponsor, through it s faced with such a position would surely go bankrupt or have to debase it s Business Sponsorship hreentivc Scheme (BSIS) . Business has responde d standards. well, not out of a sense of chanty but out of recognition of t h e The arts world has been built upon risk - new works, new productions, commercial bcnefrrssponsorship can bring . If sponsorship become s new performancrs . lfwe pare to the hone every last financia l purely an element of core funding, then that commercial benefit will b e commitment, leaving no reserve for the risk which goes wrong, then th e reduced and sponsorship will decline . worldwide reputation of the British arts will be the pcoter. That is th e Sponsorship succeeds when it acts as an enabling force to sustain an d da igcr of current government policy. expand the artistic activities of a company to the benefit of the public an d The strength of plural funding depends upon all parties pulling thei r us, the sponsor. Part of our sponsorship agreement was that the RS C weigh[- the Government maintaining grant levels in real terms, sponsors should undertake a major touring programme and also include othe r maintaining their cotumirmew for the agreed period, and budgete d special events such as the Armchair Proms within the framework; all this audience figures set at a reasonable level. to build new audiences, enable new activities anti provide cornnie•reia l We would like our sponsorship to be parr ofan evolving process - a beitAr to IL:,yal Insurance• from its invc•sanent . Let me say at this sra'4 c partnership which provides new money for growth and not as a n that we have been more than satisfied with the benefits we have receive d altentanve to subsidy. from our sponsorship and that the RSC have played their part in our co - operative venture professionally and enthusiastically . Our decision to undertake what is still the largest single sponsorship commitment to a performing arts organisation was a business derision based on business objectives . The sponsorship gives us unique media and
37
000NCI L
Counci l Peter Palumbo
. •nrr;i Ma . . €' ( .i:a :rman (Apri l P rPeluini .,, ,amcCluirm -
tic Ar•.sC~-un.,rlin19119. H : . . .: (::arrtll a ., Cnalrmall of the appea l ~,r (, . otge Christie rnrnmit[ec for the restoration o f Nbdiacl Clarke Palmhill Park. a member 4th r lamr, Cor k c Visi[Ing Coruntittrr of the Mrtr<,- John Cornwell poliwn .Museum of Art, ties% York, Professor Christopher Frai, lin g and a rrmtec of the Mies van de r Robin Guthrie (rcrircd Oct. 1988) Itohc Archivc at thc .Nlusrurn of 1'arnela, Lade I Iarlcei l Sir George Christi e Modern Art, New York . lic ha s Denvs Hodson C13F VLCr - Chairntan (July 1989 ) been a trustee of the Tatr Gallerv . M ml, Brian Ivon C hairnlan of the Tate Gailerv 11 1 l fAmes 010: Foundarlon and a truster of nc c Sir l io,rgr Christie has bee n Ga%ur lanqe , 11l-havchapel Art Galle n ch,nrman ofGlvndebourn c Clarc Mulholland Fouttdanon. Productions L rd since 11 ;9 . Colin Near s l le was cc dncarrd at Lt,1L1 an d Sir George was educated a t Sir Alan Peacock DSC FBA WorcesterCollcgc, Oxford, w}ier c Eton and Tnnrtv College. Mathew' Prichar d Ire read law, After working; for Canilrridgc. In 1958-62 he wa, 91 Sir Brian Rix C13 F Cluttons and flami+rnS 13auk, he assl,tanr to the Soeretan' of Pamela, Lady Harlech Cllr. Salle Sirasr jotesed the family cornpan% whic h the C A1otiS[C Gulberrkia u Panida . Lade 1 farle ch „a truster Adii.in Ward-lacksou owns pr,rperty in Wesnninsn•r an d Foundation . Sir George• served on of the Victoria R Albert Muwunl - thr Cin wht-rc it has pronlotrd the Am Cotllle'dVM uslc Panel Clialrinanafthc W01T7rn's Policy and Financ e Committe e Some suhstaotial devehipnlc•nts - 1964-60 And wus hxiodiu g PlavhoaseTi u,t and go%rrnor o f Lord Rc, .-Along (retire d notahly the,tiL 1nI011 I louse Squar e Chairman of London SintonLert a ncV South Bank Board . Shc tya , March 19rt9 ) schetne .Over many wars 1w ha s 1968-1988 . hIe received tl L e born in New York, Sire has serve d liter Palurnllo collcc red European and Anwrica n Carahcrc al Writ,, della Rcpublie a on the W,-[,Ii Arts Council, nn th e horns Cook e coilteniporarv pazimnr!san d ltaliana in 1977 .tnd was knighted F, sc•t tttive- Coune it of the Tau A Sir Alan Pcacoc k DSC HI SCkdj)LLLre as well :I, anngoc 111 1984. Therein' „f( ;Ivndchourn c ( :allerv and on the ]Board of the•
Mathew Prichard furniture and vvwran And vintag e gold"T1 tbLlre . l lr also receive d Royal School of Needlework . Sh e
Incentive Advisory Boar d car, . I Ic goes regularly n, opera, I ion . F RCM In 1981) and 1 lon . was also the London editor fo r hallrt anti theatre•. I lc Is a patron of FRNCM In 1986 . Migtic L „rd Rccs-Mogg (renn d 1964-1169 . March 1989 ) eontentporary archirecturr an d Peter I ralunibo „wrlS 11oll5rs designed be .Mies va n David Cargil l der Ruhr . Frank 1-loyd Wi iOit and Robin Guthrie (retire d Lc Corh iswi . In Addition to his arts C ]ember 1988) Lntrrc•Sts, Mr PaltililhO Lea membe r Sir Alan PcaCOCk DSC FB A of the worshiptill Contpanr of M itho" Prichard Salters, a Churchwirdt•ri oftl w Chnrch of St S[ephcn Wall roo k ant.]) guvcrunr of dw Londo n Ile School elf Fcooornics . ts .L pas t tru Ahla\lro Ll]e, ( ;mrp of OWRIC5 . 36 Mathew Prichar d Michael Clark e Sir Alan Peacock Gavin Jantles CSC FB A Chairman .,t W,-1 li Arts Vic,-ChairrnanofWclsh :Art , ( 'I[airman of Ethnic Minorirvv Arts Churmari of Scottish An, ( ut .r : Counci i Counci l Monitoring Committee Sir Alan Peacock is Researc h Mathew Prichani is the grandso n Michael Clarke's career has hccn i n C iavm lantles is a painter and Professor in Public Finance a t of detective writer Agatha Christi e industry, mainly in personnel and primmaker. Born in Cape Town in 1 lenot-Watt University. Born i n and Chairman of Booke r industrial relations work at ICI an d 1948, he was educated at th e 1922, he has held eharrs in McC :onnell's Authors division. I l e the British Strel Corporation. University of Cape Town and th e Economics at Edinburgh and Yor k was born in 1943 and educated a t where he was Director of Industria l Hochschulc fur Bildende Kunste i n Universities and at the Univrrsit y Eton and New College . Oxford - Relations and then Dirccror o f Hamburg. West Germany. H C of Buckingham, where lie was He is President of the Welsh grou p Personnel Services. Now a servrd as a member of the East Principal and later Vicr - of Artists anti a member of the Art personnel consultant, he is a Midlands Arts' Visual Arts Panel Chancellor frttrn 1980-84 . He was Committee and Council of th e member of the Central Arbitratio n from 1983 to 1986, and is a senior Chief Economic Advisor and a National Museum oFWales . Committee and of the Polic e leeturerar the London Institute . Deputy Secretary at th e Arbitration Tribunal. I jr was Departtnenr of Trade and Indusmv edicated at St Edward's School an d from 1973 .76 . In 1969-70 li e Triniry College, Oxford . lit is a charred the Arts Council Enquiry mcmbcr of the Council of th e on Orebrsiral Resourcrs,and i n National Museum of Wales an d 1983 the Council commissione d has hccn a mtmbcr of the Art his report, Inflation anei th e Committee of the Welsh Arts Performed Arts. fl(- is a IornTC t Council. member of the Council of London Phtlhamitnuc Orchestra . He chaired the Commarrv of Eneluir v into the Financing of the 14BC . which tcpurtrd in 1986. Adrian Ward-Jackso n P D James OB E Professor Chrlstophe r Sir Brian Rix CBE D L Fraylin g Adrian NX'ard-l a~w,n:: 1, l : :,I : of Advi,,u-. I'.,~,.. i , , . t liar moan pit A,r, r~ Panel On Ar t and Dirccror of the Fine ar e Llteratu r I ]i .; i arts& Ihs.4khr % c,,n,ultancv company Aclna n Chnstopher Fravling, i%currL•ntl y \l. : C,rtalnlrt .. P U lames is the allIdWr «t tL•n bs ,r - Ward-Iaekwn Ltd. He was hoot u t Profvswr and I Irad of th e Selling dc•tL-(nvr morns Includin g ' ,it Brian I,( :hamimn of Mcm 41 , 1911) and educated at We' nnimtc r llrparrinvrit of Culrurrl Hisror% a t lanoo 1u Blood and A L,i, for Death (R,>y LEI Sol it,rv for 14i'n[aII v and the KumthisturtSChe 111NMM . III,- HUval C:ollegc of Art . A n Slir was born in ( )xford and 161idic ippvci Children an d Vlt•rina- I IC IS Chairman o f hisronan . a L ritir and a hroadcaster . eduearcd at C:antbricige I lig,h Adult,) . E IV XS a, horn 11a Ratnbert Dance Company an d }IV WAS CdtrcaWd ar Hrptcw SCh001 School for Girl, . Parr of her Cotnngham . Yorkshire. ur 1924. Depot}' Chairman of tha• and ChnrC11111 Collogo . Cambridg e working life was spent in the Sir ]man was .m actor-tnanagc r Contrrnporan Arrs Socicn. (i nhere- hr sntdlcd 111SIOM at H A 1 Ionic Office, firm in the Polic e from 194".0 hest known fo r Crvanvc- Manse• AmSts Trust an d and Pht I levels) . After completin g 1)vp4rtntcut and thrn in th e presenting and appearing in larc c Ards Crisis Trust. Through hi s his doctorate, he Ic-Crurrd At Exete r Crin7lnal Policv DL-parmtent . Sh c at the Wbitchall and G :u-ric k Iltte TCst III dance he o also ., and Ilath Univcrsmcs,and 11CCani r was Cha :rman of rhr Soelcty Of Theatres and or] tr Irvisu m I'Ie I S gowroor and board manlier of th e a hln ; arcliiti ist at rhC ImpCnal 1X'a r Authors from 1484-6 and isow sit s a truster of London's Theatre o f ROPaI IS :IIIrt ..1 trustee Of th e Vluscunt . In t979, hr founded t1 w on its Corntil . Shc 1, a Fellow o f Colllydv. I IC also ,crvrs on th e I).I1lcrrs Hc .rrrlrmctrr Fund an :d nn Department of Culnlral Hiswr} a t the Rnvai SociL•rv of Lireraturc an d C :.lrurgu C .OLInCII and IS a the COMIC 11 Of the Hernc•sh Iiistltnir the HCA . 1 Ic was gitvc•rnor of the H an Associatr Fellilw of Untvnn>! Foundation 1bletnlwr of the Lord s im movemL-n Nitration . Othe r Hritrsh f-'i1m 1111MIM' and a Collcgc . CAmbndgc . In 1987 sh e Tacentc•rs. COmnunncnlS tncludr being I menthe(- of the C :rahs COnllCl l sc.I%Chairimin of the Ho1}ker froze trmtre O1 the Roval Opera I inns(- from 1981-8fi, and C'harmmazi of panel ofludges . She Is ,1 Ltovrrnoro f IrusL, Ili(- T ltrarrr Muscu m Freetorm Art, Ihiw tram 1482_"-88 . cite 13130 and is Oil rhr Board o f A,soeianon and dw Socit-w o f I IC i, :1 MTNCt %, et rkil' VICNMA and The British ComiLd . She 11a 1 Itrln,h Cheater I )cmuricrs. Alherr Ntuseuni . .md ( hainnan O f Served as a magwrate III Middlesex the Crdt ' studv C .111m . m 11.1111 . and London . M :%, 1 .1111(-, w .t% awarded the 015L 111 1983 . 40 Colin Hears Chainnan of Advil, ,T% Pan- ] on Dance Colin Ncars is an independen t Denys Hodson CB E television producer. He was Chairman o€ Advisory B-ini , educated at Ipswich School an d Planning& Deveiopnunr King 's College, Cambridge . I is was D"Iys l lod.on has bccn Directo r with the €IBC from 1958-67 a s of Arts and Recreation fo r producer for Schools Tc[rV1SEO1 1 Clare Fiulholland Thamesdown Borough Counci l and with its Music and Arts Chairman of Advisory Panel o n since 1974 . He was born in 192 8 Department 1967-87. He ha s Brian Ivor y Yilnt. Video & Broadcastin g and studird at Marlboroug h speeialkedin dance prograninie5 VICCA halrniao,I- 1r,urish Art s College and Trinity College, and drama docurtirntanes. He ( :[art. Mulholland is Depury Counci l Oxford. Following a career i n received nominations for Britis h Director of Tclcvision at th e Brian G Ivory has been a member commerce and industry he wa s Academy of Filni and Televisio n Independent Broadcastin g of the Scottsh Arts Council sinc e appointed first Controller of Art s Awards for films on Nijinsky an d Authority. Shc joined the IBA i n 1983 . He read Lawand Economic s and Rccreation for Swindo n Joseph Conrad, an award for hi s 1971 as Regional Executive, Bristol . at Cambridge Ll niversirY and Borough Council . He is a forme r film on Colette, an Internationa l In 1978 she bcramc Regiona l worked in Australia and the Unite d chairman of the Council o f £mmv nomination for a Officer for the Midlands . followed States be€nre returning; to Scotlan d Regional Arts Associations and of prograntttic commemorating th e by a year as Chicf Assistant in Eli e io qualify as a Chartered Southern Arts, and has been a fiftieth anniversary of the Roya l IBNsTelevision divisiote. Shc is a Accountant. He is Managing board memhcr of the British Fil m Mallet, and the 1982 Prix Italia fo r member of Council of the Roya l Director of the I I ighland Institute, I Iv is a director of the Music for a Rim version of balle t Tclcvision Society and a nrenther o f Distilleries Company plc. Oxford 'rage Company. Rambcrt's Cruel Garden- the Scottish Film Production Fund. 41 +i James Cook e John Cornwel l Sally Sha w lame% Cimke t .'..is, I- ells.: C .!1.ririnan A„'., . . I Chairman Of V! 1111 -1 1 Literature at St Jolin's College . Touringattddi, I,.i::, . Adyul,n' (n,u p Oxford, torttcd CourTdulds Limited Committee S I l!\ 5, 1-1% ll:as beCtl 4lii- - ill 1967 and then left to take his John Cornwell was all Cic,1 . ,i l mien (if North Vlvst Art s %lSc at London Bmincs%School. nlcnther(ifSheflicldOv. ( :, +1,n ., ! ( ),tol+rr 1983. After rcashrt e I f is consultancy career IwL, at P.A trorn 1966-67 and 1971-74, :tttd o f Lnghsii at Lad\ !Margaret I fall , Management Con%ultants . Fro m South Yorkshire County C .,mi( d Oxford, shy proved to Manrhestvr PMO-84 he was c htef exccunve o f Srunl 1973-X6,S(•rvrn i. as in I )eput} and sine• 1968 liar rcpresrnicd a n the C'BI Special Programmes Ulm , L1•.ldcr from 1982. Nc was horn in inner City arcs nn ManclwNrrr Cit y David Cargil l ,mablingthe lannCll of ihr Yartl l 11 ull 111 1939,111d cd uCatud a t Council . Slit, has I+ccn Chairman o f 1 , i t ji .or 3 „Chairman o f TraimngMimic and leading, th e lvmers Colle5c . I full, tlrr 1, ondo n 141anc }tester Fduc :uton an d I .(,r, In Arts Asscxlariell, x hlch b e fISt series of rrinc'r ci m School of ECor1n1111CS and the ( tillural Cotnnum-cs and is a , I„unded in 1975. He is involved programTmc•s . Between 1984 and Uniwrsiry of Sheffield . I Ic was Govenurr and loaner C :hairni m of kit h a nuni lvi- of other art % 1988 he was ('Lief exectatit•e o f forsucrl%- Vicc-C:Itairman of hurl s M,onchester Po3ytechnr . Fro m „rt;drntia[i(,nti, includingg Th e Binder Harnlyn Managemen t tsar Yorkslurc & I Iumbcrsul e 1977-79 she was a meml,er of th e Theatre Roval . Norwich, Th e Consultants, For the last rwo pear s l((giollal C:nunCti forSpnrt ft' Willpower SCrvitxi, C:omnnssco n Angela Flowers Gallery and Th e he has specialised in advising on th e Recreation and the Yorkshir e representing Loea€ Authorities. Sh e ( .ontctnpuram Art Socicm I IC t, arts and education which he no w tC II lunbi•r,idcTmnst Board . is a Ii.nnixler nirmherof :Maurltestc r Drpurv Chairman of Last Anghat ) dues through his Ivwn firin . )atiies From 1981-1986 he chaired th e Council of CorrtmnnirN' Relations . 4'enrltics I loldirip pl, iin l Cooke Conculuim. He is a dlrccto r Arts & Rc crcatlon Corntnincr of O rrcnrIv she rs a Director of th e ( hairntan(,fRadio Broadlan d of the Oxfordshrrc I irAt h the Association of Mctlt,puhntn Ilm.,al Fxchangc,cnd C„rrrac t t keeling% ply . Authorm Authorlties, I Ic iscurrentlt a Theatre CLIInpalIIV% and (i t memhcr oif rile executive „I Cornerhourw Conrc mporai} Art s Yorkshire Art%,(Atairrnau of borf i Centre. ncc Crunblc Thcatrc R Lyceum Thcatrc• trusts m Shefhrid . I It , is a tru,TCC of rite• Lcadmill Art s Ceutrc . Until 1991 hr will h e involver] in thr organisation of th e %M)rld Studellt -1,3111C, AMI It' accottl ;+anyuig eulturil lestiwal i n Shelhefd. 42 M A N A G E M E N T rc' .iI1] Luke Rittne r Secretan'd.,ncra l Until his appoinnuent to the Arc s Council in 1983, Lukc• Rattler wa s #i 1?ireetor of the Association fo r afir-, ,a Business Sponsorship of the Arts, .A lain Rei d Anthony Everitt position he had held since it % Lew Hodges I >ir-, t,,r; Arc+( : «-ordmano n I )cpury Secretary-(metal formarion in 1976 . Prior to tha t Director of Fcn.im c lairs Reid became Director : Arts lie was Administrative Director Anthony Everitt was horn i n Lew Hodyrs, new Directorof G -,ordination in October 1989 . He of Elie Bath Festival. He was Iso m I Ionsianton in 1940 and educate d Finance, rejoins the Council after n as A+sistant Direeror (Arts) at th e in 1947 and was educated a t at Cheltenham College and Corpus working as Hcad of Finance at th e Caloustc Gulbenkian Foundatio n Blackfriars School at Laxton, Clinso College•, Cambridge . After Council for National Academi c (UK). Drama Officer at Greate r Northamptonshire, and the City o f lecturing in Birmingham , Awards. He was previously wit h London Arts and Administrator at Bath Technical College. lie Studie d Noainghaat and overseas, he the Arts Council from 1981 .87, first the Palace Thcatte, Westeliff, H e drama ai the Darrington College of became a freelanccjournalist. He as a Subsidy Officer and tha t trained at RADA and worked as al l Arts, and stage management at th e was appointed arts editor an d Assistanr Director of Finance . actor for 10 years, notably o n London Academy of Music an d subsequently features editor of Th e Graduating From Utrivcrsrry several of the BBC's Play For Toda y Dratnatic Art. He has served as a Birmingham Post . In 1979 h e College, London, in Classics, h r series. He holds an MA in Thcarrc trustee of the V & A and was a became Director of the Midlan d qualified as a chartered aecounian t Studies from the University of member ofthe British Counci l Group Arts Ccntrc, Nottingham , in 1981 . Lancaster. Music Palle]. and the following year Director o f East Midlands Arts, tic has bee n Lew Hodges replaces Anthon y lain Acid takes over from Vice-Chairman of the Council o f Blackstock who is Finance Grahame March int who is no w Regional Arts Assoc iations and ha s Director at the National Theatre Executive Manager : site served on several Arts Council improvement at the Smith Ban k committers. He is a member of th e Cenrrc . Incirpendrac Broadcasnn g Authority's General Advisors - Council, the Performing Art s C'oninituec of the Council fo r Nanoual Academic Awardsand tic Brimh Film lnstittttr's Regiona l Consultative COntnlittee. 43 Senior Staf f M E M B E R S H I P O F staff council and Headquarters s :crctar'.-, - . :. _ .,cite, : . 105 PI, e .idtlh Dcpun '-, ! , L , :don LX'IV ~'AI Anchor : : I% rr - : fa T::III-621)Y49 ; Ftnancc I) :rc,t- : : .jt :c : HIacA,:, . ,. (Lccy Hodges. a, t .f 1)eptrmI , cr 1989 ) Fsx 01-3i~ 4389 Director : Arts Co-nrdinanon : T:l : s 01-9312102069 AC G Graharn Marchant (lain Reid,As of October 1989 ) DITMOf (If Vl,lial Arts : Sands Nami c Dance D)rt•Chlr : lane Nicholas (Sue Ho1lc . as of Scpa•niher 1989 ) Drama Din•cnu : lan Brow n Film. Vide ., and Iin,adCasnn g Director : Rodncv %X'ilsun Incentive Funding. Dirrcror. Howard A'vl)bc• r Litc raturc I )irector : Alastarr Niv(-n Music Director. Kcvtnrth }lair d I hrectorof Marke•titig .i nd (c%ourtes : I Ilan Hammon d ` I )ircca,r of 1'Ianning ;Janr TivIn r I )irecn+r of Tuunng: lack Phipp s I )ircctor of Pcncnind and Training, : M .irv Wratte n I lead of Secretariat: Law•rvticc Mackintos h Administration Manager, Sam Turne r Council Scotlan d )ircc'tm : Tunuthv Ma-i i Thc follwmiig retired from the C:ouncii: Lord Rees Mogg, Robin Gtirlu is 12 !Manor Plac e 1)eptrn I hrector. Harrv McCan n The following were appointed Council me mhen: Councillor 1-dnhurgh F1 13 7D D Art Director : Lindsay Gordon Sally Shaw. Adrian Vb'ard Jackson 'Frl 01 - 22 6 605 1 I )aucr and I )rama I )[rector : Anna Stapleto Staff Fax 031-"i 983 3 n 1 . itrranire I )irvctor : W'ahrr Cairns I lossanl Webber sy .i, appomtvd Ineenrn•e Funding Dirc•cn x Honours Music Dirccnu : Chrism, Unnca n Combined Arts Direcror : lulus M0rph v Uitr e n Ig.-Jttllatipn,art• crtended to the ti>Ilosymg in the 19X91itrthda } Arts I )evelopmeut Officer. Honotin; Li,rraiiw Milla r John Maridnell (Kingltt Ilarcltrl(Nr ) Information Officer: John Last (C :IiE ) lSarbani, Thompso n borh former nu•mbrrs of Cuum i f Obituaries VVe reeOrd with great u+rrosa the followtng deaths : Wales I hrc•cior: Thomas Om vi i to Hodgkiusun, l )rams Director oft lic Council from 19i4-1970 . Fie ha d Holu 11ouu I )cpun I )irrctor and vlu,ic Director : %%orkrd Inr thr Council since 1945 and tut C1 MA hrhxc that . Museum I'luc. Ito% 16uhana AtN E Lord Olivier, former mcmher of the Council', 1 )!alma Panel 1949- 1 1)31 an d CardifWF1 3NX At[ Director : Pea•r -lonc , 1964-1965 . Tel0222-394711 Craft I)irc•( rot : Roger Lcfrvr e - Marvarct I )uiin, former member of the Couuol's I )ancc Cominitrce 1979 Far' 0222-221447 1)anec Director : Maldw % n fart: 1993 . I )ranm I )trctn,r. Michael Bake • Frlrn I)rrcitnr : Marten I [(,will s Litcranrn• Director. Mcll Stephen s I )rreeror of Finance aml Admimsmatiou : Andrew Mahn FCA A D V I S O R Y Advisory Panel on Pip Broughton Dance David Convill e s t r u c t u r e Colin Nears Alan Drnn• Veronica Lewis Vicky Ireland John Ashford Advisory Panel on Art Geoffrey Joyce Professor Christopher Nicholas Carr r c a. Frayling Christopher ( :able Geaw1 n L McIntosh Deanna Petherbridge Betsy Gregor y r Mary Allen (appointed November 1988) Nancy Mockle Conrad Ackirtsni Linda Jaspcr El%pvth Morriso n • Peter Frver Judith Mackrell 1'rofessor ] It Mulryne Rose Garrard Monica Mason Kenneth Rea Ian Recki e Toby Jackson Chester Morrison Susan Jones Jantt Parry Sylvia S, n u Errol Llavd Piah Ray William Weston Kenneth Rea Chnssir Iiradwell - Antonia Payne Bripsh Council Observe r Andresy Welch llr Nuna Smith Ivor I)avics - A key element of the CouneiN Julian Spalding Chrissie Bradwcll- CoRAA Observer British Gnarled Observer organisation ii its advisory I Ienrv Mcync-Hughes- J R Williams - Malcolm Cudmore- HMI Observer stl'neture of panels, boards . liriti%h Council Observer CoRAA (*,rrvc r Virginia Tandy - Dram comnuttersandgroups. Their Commiteea Dance Projects ec t CoRAA Obscrvcr and Award s members are aplxnntcd by Council Professor j R Mulryne D.J Magoram - Committee from nominations which are open 11 MI Observer John Ashford John Ashtor d to the• public . Members. Who serve Lindsav Gordon- Craig Givens Stella I [Al l SAC Observer voluntarily for up to four years, arc Pushkala Gopal Charlie Flanson rnerally s cialisa in each arts Peter Jones - $ WAC Obscn .cr Dr Stephanie Jordan Vicky Irelan d discipline : working artists, arts Art Protects Committee udi th M ac krel l J Cannon Munro e administrators, scholars and critics . Deanna Petherbridge Chester Morrison Brendan Murra y Tlicv advise and assist the Council Michael Archer Kenneth Rea Paulette Randal l and its officers on the formulation Conrad Atkinson J ulie Tolley Kenneth Rea and unplcmcntaiior] of policy. David A Bailcv Malcolm Cudmorc- William Wv'to n Listed below arc members of the CoRAA Observer Michael Collier Theatre writing an d advisory committees of the Arts Dance Education Bursarles Committe e Rose Finn-Kelcey and Outreac h Council (as at 31 March 1989) and Committee Karim a McIntos h Vivirn Lovel! the Scottish and Welsh Arts Veronica Lewis ati Alrawr Adc•olaSolankc Councils (themselves committees Dr Mollie l navies Pip Broughto David - n David Manlry of the Council) . CoRAA Observer Elaine Forster Annic Casrlcdint: Advisory Group on Nigel Jamieson Nick Dark e Photography (resigned December 1988) Bold type indicates Chairman o r Alan Drury Peter Fryc•r Linda Jasper Tunde Ikoli Vice-Chairman Paul Graham Nasernt Khan I lilarv Salmo n (appointed November 1988) Claire Grey Ssls'ta Sum s Sue Robertson Sunil Gupta (appointed December 1988) Film, Video and Broad - casting Panel Roduni Kcmpadex> Maggie Semple Neil Martensin (resigned November 1988) Clare Mulholland Caroline Tavlor Christopher Thomson Naomi Sargan t Antic Williams Susanne Bunn- RichardCrc•asc v CoRAA Oh+erver Mike Ihhb Paul VG'ombcll Advisory Panel o n Brett Rogers- Drama Pamela. Lady Harlcc h Brtnsh Council Observer Sit Brian Rix CBE Rosemary Har t Marlin Ayres- Beverly Anderson Sv_ )via Harvey CoRAA Observe r Michael Attenborough Malcolm Le Grice John Bradsbaw - CoRAA Observer Patrick Boyd Maunwll Leshc Mcgahcy Jim Pies 1,0249.129 David Britrley Training Committe e W dfStevenson Fiona G ran t Graham Devlin (2jspointedScpxctnber1988) Nicholas Kenyan lUchard lohnston Gcotfrel H .~- Fain Styles ' NiC,)la LcFanu Martin McCallum Vickvlrclan a Barrie 1116 jones - BFI Observer Dand Patmore Anat . •,) V r c h Rob M:cKcr:z: Brea, H ump4des- J.An Patric k ' _',1 NtilMancnV,I: British Council Observer Roberr Ponsonb_v CU Planning Board Chrit, r Morn-i i Judith HiWnbottom- David Sigad Denvs Hudson CBE Antonia Pavn c CoR.AA Observer I.)harambirsiII 0 Madhu A : v .d : Chrisnnc Phillip, Artists Film and Video Committee Felix Warnock Baroncs, Black .;nnc Bernard Ros s (rtsigncd Jarruarv 1989) Malcolm Le Grice Den isC.w Rick Wdro a Eric Wetherel l .Catherine Elvio David Cornwell Anamaria Will , (oho Arian - Chn,( ;arrmtt Bnnsh Council Observe r tiilchad Cowan Chnscopher Gordon - CoRAA 01-c r'c• r Nik Flonghron Judith Clark - Alargarct 1 i utton CoRAA Observer Tbrn Owcn - IsaaCJuiian Geraint Jahn WAC Observer Leon Crickinow - t;athrnnc Lacity I [Ml Ob,c•rver Ted Little Lorralnc \4tllar - (now Ku11Cv SAC OI-wei r ) Kcith Nurland Music Projects an d Larrainr PorreC Monitoring Committee s Awards Committe e Antic Pirru,ll Ethnic Minority Art s Jane Thorburn Felix Cross Tony Traver, Gavin Janr)e s Helen Dohem - CoRAA Oh, ryer Rcfla lihadur i Charles Washingroa Marv Ally n Ray Carless Rick Wulwn Arts Films Production Makcht Coa>un i Committee Lucv Duran John COTIAVCll' Philip I Icdlcy Artforrn Ohscr'c r Mike Dibb Nicola I-Jan u n (resigned Ocrolwr 1988) Rtehard Creasev- Tancl ,Azini Kha lohu Ak+,nifrah :ArtformObwrver Hc•rnlin NIClntos Junior Lincol n h Sial( cxu Allan Christopher Gordon - Chc,n•r Morriso n Dr Peter Manning CoRAA Ohire cr Margar<-t Iverson W111 Walke r David Patmore Keith l luntrr - Juci% Mark Charle, Washing[On [=entice, Shc•phcrd British CAaunCd Ohsrrvcr Esther Ronay Vimnic'a Lv i,- Lola Y,nin g I )irk Witte Attform () wrvrr Archie Trtr Prahhn Guptar .I - Frrku+Blark - Margarvi Williams ( , RAA()I,,,-rvr J&emv Newton- Ol++erec t r CoRAA Observ er Monitoring Committeet ' JaJ0 1111 [inid,haty - Touring Board CoRAA c )kwTver David Patmore- Arts and Disabilit y John Cornwel l Artform (*i vrvc•r Literature Panel Sir Brian Rik CB E ]',uric k N%d M iunsell SirBnan € oCHF. - P D James OB E Artfsurn ( )1 ,,, rv :-, Gar% Bourk e Andre-%s bilni I )r I )avid 1 Tabvdccn Education Committee Chris Uavie s Cvril I )avic, CB E M.itthcw Dovlt Roger (lartirr John Cornwell r Graham 1)"VIII I Adam Reynolds Philippa I larrison Madhu Anjali indaJaspc r I'errr L .Ihdn n F.nld I lankilts Sarah Si Ott Richard (ohnsto n NciI Slatte r PCTIkIIJW L[VCIV lvarmdc I lA7.ViCV licnlr Kapo Sian Vasey Rul)cr[ Mulc•c+d ROVCr hill Martin MLL'allun l Alan Winn. Blake Morrison Veronica Lewis Richard IVl .IIid e RLL O'Shea Sclwvn Goldsmirh- Jiimir!%l ~i r Obscrver inn R :•ckl c Lcela Haindeen, 1 l am r r I is rvrv-Wood) Crotfrcr Lord - Britnli Council ObscrvO Frank Sr 1) Rowniree Oli E 1'c-tcr R('nSliaw (;I)scrvr r Su .lllo)N - GL-ott Andreu Welc h 1)r Kin Robinson I )orotIiv Wilsoa- -CoRAA ()h carver Ohser-r r f nC Wcthrrcl l GrAIA111 1`ra[Cr - Sylvia WC-St s F1111 I )l„river Anainarla Will Jo flurns - J?hu Buston - CoRAA Oli,crver Music Panel CoRAA Oh%erve r 1) 1 M .iriora m Sir ( ;eorge Christii6 FiMI O6SCrvc r '])baring Project s Mir ha, l Iscrkelcy Committee Andr,%y Burin . Cyril Davies CBE Frhx Crow Pairiek BaVt} Mauroscll 46 Dance and Mim e Committee Art Committee Peter Lincoln Myer Laconic dill liurLk-tt C;outts Chris Allan Michael C :lavw n Scottish Arts Council Joycc Deans Sir Alan Peacock Joyce' C.atrns Music Committe e Kenneth Dingwall Norma Mai n Brain Ivory James Sounes s Keith Ingham Elaine McDonald Ollf, Chnstophcr Allan Geoffrc•v Ball Dorothy Munrn Geoffrey Hall Bob McGslvray Peter Evan s 1s1 Mctzstcin Sheridan Nicol Peter Cochrane lan Halliburto a k +_• r Spcncc Peter Evans Duncan Thomson Dctrdre Hutton Drama Committe e Elizabeth Fairbairn France, Wal Colin Mackay Andrew Kerr Ian I lallihurton Awards toArtisr And Bctlr McKill Keith Ingham Anne l unla r Andrea Johnston e Chainnau Robin Miller Trevor Coe l )eirdrv Kcancy Joyce Cairns Linda Ormiston Katllic Pint: A ndrew Kerr l.yndsly I lowicson Nicholas Philhpson AndrewJuhnstu m Mvcr Laconic Ian Hughes Alan Lych iar d Peter Lincoln Kaitic Lorimer Mary Marqui s iilauu• McDonald Bob McC:ilvny Stuart Paterso n Cohn McKay Ruth Saxon Edwin Stivi', 1 John Angus Mackay Karen Strang Paul 1in~ s Mary Marquis FJa'hi6;riort Panc•1 Literature Committee Allan Massie f)uncan Thomso n Deirdre Keaney ki Mctzswin Chairman Jim HirrCll Deirdre Chapma n DOUglas Sinclair Peter Cochrane _lames Souness Norman Colston Allan Massie Frances Walker Elizabeth Cowling Dorothy Porte r K4ars,in•t McLean Deborah Haasc ~l I r Assessor) Robot Living lain Crichton Smith 0I3 L Policy and Resources Andrew Nairne Book Awards Panel Committee Joh n Taylor Deirdre ChaPrisaii Sir Alan Peacock Chaimia n 1 nnlt; r WilsC n Elizabeth Fairbaini Hazel Broadfoo t Combined Arts Brian Ivory Committee Gerald Manga n Deirdre Keanev Brian Ivory Dorothy Porter (r, Mac 11188) Andrew Kerr Frhpn Midd y Elizabeth Fairbatne Myer Laconic (From August 1988) Grano to Pub1Am Pantd C.'ohit Mackay Clive Andreas Peter Cochran e C•hairntan Irnl ti,~t~nr+, Margaret Bennett Robin C :ihnour Ethnic Arts Panel Bridget Brown Allan MaSSFC Clive Andrews Anyda Dobbic Ian MiC.ri)Wa1 1 Pck Yeong Horn John Angus Mackay 1t'rilcn '$i+rsar;rs F'ancr Percy Fentatid,• (from February 1989) ['afiCY Tanochan Cara-Aura Joseph McGinlt'v C'halrin2K Manon Love John Morland Marv Baxter (to August 1988) Agnes Ridley Doutlas Dun n Elizabeth Foulkes AK Sharma (to February 1989) Ian Crichton Smith OBF 47 Regiona l Michael Clarke: Danc e Rhidian Davie % ),, . : .1-. . Welsh Arts Counci l L Mathew Prichard * Michael Clarke' (alit fora• • I „=dfrcv E : a m I'r,r :, .,,r \l ;cnac I An=.lens -r ' 11 Nl I- err , 1 )unca p I lol l luiianMttch :l f LadvCnckhowcl l %icnna Wynn lc,nc ; I)Ilwvn 10rir .ea n Rludtan Davies * H :r I' :ri: {RAA ] Pauline Wvn lane , Nlrc Marl Pric e Branwen lorwert h Y%, tttc V4413n lorw% Sta :L Thomas (RAA ) David lenkin s C; .tnrvn RoL!ir, (RAA ) Captain Norn)an Lh,vd-Edward s Rol, Watling janah lane, ' Eunf_ Thonsa s Julia Longvillc• Rwl Willcmc•ti (BFT ) 'Serra Wynn Jont•s I lush T11oiria , Pcnnv Nicholas (I Im I ) 1111w l m !,!VILS WIII)al n I'JLIhIk • Wvti Joncs W\ 1111 Tll"st)a , I„ hn Prior (RAA ) Ir, i-v Wllllatn , It Girallt j,mnc, ' I)arid NVIIII rl) , Mal l;tc• Rusu•I l Literature 1'rofrsMar It Nt lone + r ' r„n Willi-in„ (RAA I Swift Vauklla n M Wynn Thomas David Lcwi s Art long En-n Williani , f .,ilhan Clark ( Kvoric Lrµi s Hugh Thoma s Shcidra V VATIC {RAA ) lirviri Marim I )!1'ic' S C :aptan, Nomean 1.1„v'd-Edward. Stcv,- hr .i k , Drama I'rof' ,,sor c .irctk Alban I )avic , Ro}wrt Ma,krcv ' f ; ;kith I ) .nrn•, (( :outtcil o f Prote%sur Michae l Ann Ffranron {u, NOv'rlr)hrr 19Hti) l uls,m Mrtchc1 l h1uscuni, rr wdcs ) Anderso n I)r jl+lu, l larrle , I logli Thomas ' l]rather l )avlc , I )avi,l Ad.tm , lion r I lun)phrevs W\'nu Th„IIta, ' I larn I lollarul I )%%%nwrn Bcrrv C :irlf jairtc•s I )avid L willi .ints ' llranwoi Innvcrt h ]tcvcrcnd Cannon Norman Browr 3 W RandalJinktm(IIMI ) IInwTrcgcltrs William , A11n Kvanc(1IMI ) Paul Clrmcrv, Ii,hti (1Iffnrd jm wu (RAA ) L .-, 0H,Ici n far J ai,c , I bather Waltord I )a Plc' , Dr Rolwit I I j„n . r It ( ;c•rallt luny, (Wc1111 Office) jormh font+ Rlndian Davic s 1 1 roI'cs,c,r It .M jc,ne s .10 '. 11tia ~', iin lone , lJ r,~ ) :L VI dlOI t Illtvd R Llov d blavwcri 1'rvs jowl (from (Welsh O{rice . Edncatitm Hugo Icrk, (RAA ) 1 .urrrc• Garvv n Coves)]+cr MN) k•p .trnnrnt ) David Trc a Virgitiia Graha m Kviinc Lc•wi , '.5lrrrrhrr,,lth, Finaine t lldiry° ( .ntiunirrr r Nit c•I flo w Grcmv< Ap Wwy n I) .h1tcharl I' :irnrl l Obit rrrrt - R,-~wnal :I rf> Clhnuap11cr Walla , Anand jasa m f)Ilvcv,-lIRobert s ANY,viafiorr, M =ri, l W11",n (lil'IIA1 Cnttnctl ) Kynrlc LVWI% I rL•r .r 1 r,cn Robert, Cmim illor Ann,-jaunt• , Craft Itt11.tt, MIEC11Cl l Music I lion 1C'•illiam , JonahJonc s I I u .L!n Perk, {RAA } David William s Inter Arts Committee Iiro m Irl,rtrar, 148V ) I 'i ter ( anlf=nd( (I )r,tgn Conucil ) I Ln ., ltobc•rt , I aJ%-Crick11owA ) Mjdien Prichard (( :hatnn :m ) Richard Cox (RAA ) ( :art+•vn Roger (RAA ) E IaYdll Well 1)avri, (IIMI ) 16)dIan I)avic % Rottcr C ockw v I Lislc•v St011L' NTg,-l I-mcrv (IZAA ) I lariv I h,11an d Tlsl,v Ford (C't .ilt, ComIL il ) 1 Ir,m Wflli .tm,(RAA ) John I'nst'i l liranwrn Iom-c-ril l tiimon I Iulbir t Film Dr I ) .ivid I Iarric• , I ),IVI'i Lr%%is ti4 gLtR 1lun,p11n It Gerallrjone s George I Ical d Rol, VVar11ng 1 )livid Icnkiii , I ranee, It„vr~'i r Alarcatvtllcrbcr t I ),n rtl VE'ilham , 11 M fohu(IIN41) Sm,on CoMalefic ]'.loin)( WVnJ11nr, ilhurvrf + I )av i J ] ]t L . tirl , Brian I )osl c l'aptaon Nnnnaa EJncd-EJa .rcd, Paul VC'illrmrn (Ii1'I ) R„hirt M .okri P Nl .ir, Lvar s A I I Inward Ric , I lotto I'crk, (RAA ) MVICS Pcppc f l r .tr,cc,Gallahc r Carl Lhonras 1 111111 W rlliamS (RAA ) I )acid I'ctcnVI 1 Richard L .tnd + I lid,+ Trc,;rlll•, William ; C.irwvn Roger, (RAA) f a,Inrlinc TrcfKarnr ( "111f .McLLICa, ALIt110r11V Woodcock ANNUA L account s for the year ended 31 March 1989 Finance Director's Notes SO Foreword S I Arts Council of Great Britain accounts S2 Scottish Arts Council accounts 78 Welsh Arts Council accounts 96 Schemes and awards 110 49 FINANCE director' s notes 1 Surplus for the period 3 Grants a" Guarantees prior to its liquidation that there The accounts show that with Schedule 1 to the accounts details was no reasonable prospect that the income of £154.459m includin g the grants and guarantees offered company would avoid going into direct promotions, the Arts by the Arts Council in 1988/89 . insolvent liquidation. This liability Council ended the year 1988/89 Asterisks are provided to indicate also applies to a Shadow Director, with a net surplus of f1.406m Th e where the recipient received defined by the Companies Ac t Scottish Arts Council showed a subsidy noted elsewhere in the 1985 as a person in accordance surplus of £0 .232mand the Wels h schedule. with whose directions or Arts Council a surplus of C0.017m. instructions the directors of th e a) Touring company are accustomed to act'. T Allocation of Surplus The Touring section of Schedule 1 Although the liability of Shado w The accumulated surplus disclose d lists those organisations whic h Directorship within the context of in the Balance sheet now stands at received subsidy explicitly for the Insolvency Act 1986 has yet to ,C2.965m. Of this figure, £1 .922 m touring. Touring activities whic h be fully tested within the Courts, represents underspending on arts are a normal part of a total annua l the Council believes that it has Expenditure in 1988/89 an d programme of many music, dance taken full and appropriate action Council has agreed that this sum and drama organisations ar e with both its clients and staff to can be carried forward and spent in included in figures shown in those ensure that it could not be 1989/90. The Council plans to sections of Schedule 1 . considered to have acted as a spend an additional C0 .825m o f Shadow Director of its clients. the remaining surplus. b) Regional Arts Associations Accordingly, there should not be The Regional Arts Association s any possibility of a future liability subsidies, totalling £29.154m , arising under this legislation . reported in note 6 to the accounts are the basic annual subsidies. A further,C0.303m was made available by the Council for a range and variety of schemes and activities and is shown within the relevant category of activity i n Schedule 1 to the accounts. 4 Insolvency Acts The Insolvency Act 1986 established the concept of "wrongful trading" under which a director of a Limited liability company could be made personally liable to contribute to th e company's assets where the directo r knew or ought to have concluded so FOREWOR D 31 March 198 9 History and Review o f Employment Policy activities The Arts Council is committed to a The Secretary-General's preface policy of equality of opportunity i n includes a history and review of th e its employment practices. Council's activities. In particular the Council aims to ensure that no potential or actual Employee communications employee receives more or less During the year, arrangements favourable treatment on th e have been continued to promote grounds of race, colour, ethnic or effective communications with all national origins, marital status, sex , staff. All departments have regula r sexual orientation, disability or staff meetings at which matters religious beliefs. relating to the Council's activitie s are discussed and staff are regularly briefed on the matters discussed a t Director's meetings and Council. Meetings of all staff are held periodically. The Council produces an internal staff bulletin containing current news of interest to staff. A joint Negotiating Committee meets regularly to discuss matters relating to terms and conditions o f employment and there are frequent informal management/union meetings at which similar matters are pursued. Union representatives may attend for part of Directors' discussions on relevant matters. si INCONE i expenditur e accoun t for the year ended 31 March 198 9 90008 !0008 C000s Income Parliamentary grant in aid: Note 2 151,41 1 Other income : Note 3 1,607 154,01 8 Grants and guarantees accrued in previous year, not now required 46 154,064 Expenditure Administration of subsidies and services Staff costs: Note 4 1,909 2,659 Depreciation : Note 9 139 153 Operational costs: Note 5 1,556 2,014 5,704 4,826 Incentive Funding Scheme: Note 14 2,134 79 Grants and guarantees : Note 6 141,310 134,465 Other activities : Note 6 947 76 6 Direct promotions - net costs : Note 7 527 626 General expenditure on the arts in Britain 144,918 135,936 150,622 Operating surplus/(deficit) 3,442 Interest Receivable 41 8 Surplus/(deficit) for thefinancial year 3,860 Transfers from reserves: - Indemnity Provision: Note 13 (3) Incentive Funding Scheme : Note 14 (1,366 Extraordinary Item - Arts Endowment Fund : Note 16 (1,085) Net Surplus/(deficit) : Note 8 1,406 Accumulateda d Surplus brough t forwar d 1r 559 Accumulated surplus carried forward: Note 20 2,965 f2 BALANC E N shee t ~f 000 G t~l BpIiAI as at 31 March 1989 pP OF 11000s 110005 £OOOs £000s Fixed Assets Tangible assets : Note 9 4S7 366 Investments: Note 10 4 4 Loans to clients: Note 11 - - 461 370 Current Assets Stocks: Note 12 31 28 Debtors and prepayments: Grant in aid receivable : Note 2 11,874 11,874 Other 1,135 889 Grants and guarantees paid i n advance 911 565 Cash at bank and in hand 1,178 252 15,139 13,608 Current Liabilities Grants and guarantees outstanding 7,657 8,588 Creditors: amount falling due within one year 1,184 780 Scottish Arts Council and Wels h Arts Council 1,405 3,016 10,146 12,384 Net current assets 4,993 1,224 Total assets less current liabilities S,4S4 1,594 Financed by Provisions for liabilities and charges : Indemnity provisions : Note 13 38 35 Income and expenditure account 1,965 1,559 Reserves: Incentive Fundin g Reserve : Note 14 1,366 - Arts Endowment Fund : Note 16 1,085 - Peter Palumbo Chairma n Luke Rittner Secretary General 4 September 1989 S 3 SOURCE & applicatio n of fund s for the year ended 31 March 1989 90008 'COOO s Source of funds Surplus on ordinary activities 1,406 (903) Adjustment for items not involving the movement of funds: Transfer to/(from) reserves - (548) Transfer to provisions 3 1 Extraordinary Item: fixed assets - 95 Incentive Funding Reserve 1,366 - Arts Endowment Fund 1,085 - Depreciation 263 169 Profit on sale of fixed assets (1) (13) Total generated from/(absorbed by) operations 4,112 (1,199) Funds from other sources : Proceeds of sale of fixed assets 3 13 Repayment of loans by clients - 10 Application of funds Purchase of tangible fixed assets (346) (207) Increase/(decrease) in working capital 3,768 (1,383) Components of increase/(decrease) in working capital Stocks 3 (389) Debtors 601 (1,124) Creditors 3,138 115 Movement in net liqquid funds : Cash at bank and in hand 1,016 15 3,768 (1,383) MINEENEEN cl L 00 C0 r If 6 00 po Of SIG NOTE S to the account s as at 31 March 198 9 1 Accounting Policies end are shown as creditors committees they present separate the scheme assets amounting to a) The financial statements ar e 'in the Balance Sheet and any accounts which are not £7,298,291 represented 101% of prepared under the historical cost advance payments to the client in consolidated with those of the Arts accrued benefits . convention. Without limiting the anticipation of grants and Council. Although the rules of the information given, the account s guarantees to be charged in th e scheme do not guarantee pension meet the requirements of the following financial year are shown Q Lease s increases it has been the Council's Companies Act 1985, and of th e in the Balance Sheet as assets. The Arts Council holds no materia l practice to increase pensions in Statements of Standard Accounting finance leases. Costs in respect o f payment and deferred pensions i n Practice issued by member bodies c) Depreciation and fixed assets operating leases are charged to the line with Civil Service Pension s of the Consultative Committee of Depreciation is provided on all Income and Expenditure account increases, the costs of which hav e Accountancy Bodies so far as those tangible fixed assets at rates on a straight line basis over the life been met by additional Arts requirements are appropriate. calculated to write off the cost les s of the lease . Council payments to the Scheme . Significant departures from estimated residual value of eac h Formal recognition of such Statements of Standard Accounting asset systematically over it s g) Pension Fundin g increases would result in a £2 .7m Practice are disclosed in the note s expected useful life as follows : The total pension cost arising in funding deficiency. With effect to these accounts and the financial Freehol d 1988/89, including the Welsh an d from 1 April 1988 the Counci l buildings over 50 years effect is quantified where Scottish Arts Councils was agreed a range of improvements to Leasehold over the life practicable to do so. buildings of the lease £517,478 (1988 742,703 the scheme including an increased Fixtures including South Bank Board) . contribution rate which include s b) Accruals conventio n and fittings over 4 years The Arts Council provides a provision to eliminate thi s Motor (i) All income and expenditure is vehicles over 4 years defined benefit pension scheme fo r deficiency. taken into account in the financial Freehold land is not depreciated. its employees. The Scheme i s year to which it relates. Works of art are fully depreciated funded by payments by th e (ii) Subsidy expenditure is incurred in the year of acquisition . Council and employees to an in the form of grants and insurance company and to a guarantees which are formall y d)Stock s Trustee-administered fund offered to and accepted by the Stocks are stated at the lower o f independent of the Council's Council's clients. Grants and cost and net realisable value . finances. Contributions payable in guarantees are charged to th e the financial year 1988/89 are Income and Expenditure Account e) Consolidation based on an actuarial valuation of in the year in which funde d The Arts Council of Great Britain the scheme, as at 1 April 1987, using activities take place ; if this is not the projected unit method of is legally responsible for the affairs determinable they are charged i n of the Scottish Arts Council and funding and are charged against the the year in which activities begin . the Welsh Arts Council which are Income and Expenditure account. Any amounts unpaid from grant d s by constitution committees of the The actuarial valuation reveale and guarantees at the year Council. Howevet; in view of th e that, assuming a long-term powers delegated to those investment return of 9% an d pensionable salary increases of 8 % per annum, the net market value of 55 2 Graa*4W-oN Parliamentary Grant-in-aid is voted during a financial year which will sum to finance these unmatured to meet the Couneirs cash not need to be satisfied by cash liabilities, which will be met from payments falling due during the paymentsuntil future financial cash Grant-in-aid receivable i n financial yeat. The Council yeah. The Grant-in-aid figure future financial years. accounts for its expenditure on an shown in the Income and accruals basis, and incurs liabilities Expenditure Account includes a The Parliamentary Grant-in-aid as shown in the Income and Expenditure Account reconciles w i the cash sum voted by Parliament in 1988/89 as follows: 'COOOs Cash Grant-in-aid voted by Parliament andp 'd in fulr in 1988/89 as published in the Parliamentar y Supply Estimates Class XIII Vote 2. 150,000 Capital Grant-inaid made to enabl e the Royal Opera House to purchas e 45-47 Floral Street 2,41 1 1 JL,T 1 1 Less debtor for Grant-in-aid accrued at 1 April 1988 11,874 140,537 Plus debtor accrued for Grant-in-ai d outstanding at 31 March 1989 11,874 Grant-in-aid shown in Income an d Expenditure Account 152,41 1 90008 C000s 3 Other Income Donations 1,078 86 Sundry income S26 40 Surplus on sale of fixed assets 1 13 1,607 139 4 Administration of Salaries and Wages 2,403 2,244 subsidies and servces Staff Employer's National Insurance 168 160 ACGB Retirement Plan (1975) 338 255 2,609 2,659 The Chairman, Council and Pane l members are not paid for their service s The average weekly number of employees during the year was made up as follows : No No Administration of subsidies and services 155 167 Direct promotions 9 17 164 184 £18 323 (1988 45,753) of adminstrativ c stafecosts have een allocated to direct promotions detailed in Note 7. A further £14,219 (1988 Nil) have been allocated to Incentive Funding (Note 14) . so sooos 'C000s S Administration of Travelling, subsistence, & subsidies and services Entertainment 138 189 Operational costs Rent and rates 740 714 Fuel, light and hous e expenses 160 131 Publicity, Conferences & Publication s 107 172 Postage and telephone 1 16 104 Agency Staff Costs 105 112 Stationery and printing 1S3 147 Professional fee s 167 121 Irrecoverable VAT 111 110 Office and sundry 309 214 Provision for non-recovery of Investment 150 - 1,SS6 2,014 £25,082 (1988 34,400) of operationa l costs have been a locate to direct promotions detailed in Note 7. A further 39,169 (1988 NIL) has bee n allocated to Incentive Funding (Note 14) . 6 Expenditure by art form Regional Arts Associations Grants and guarantee s 19,154 27,619 Arts centres and community projects Grants and guarantees 660 918 Other activities 5 Dance and Mime 660 923 Grants and guarantees 11,316 10,236 Other activities 87 1 0 11,403 10,246 Dram a Grants and guarantees 17,54S 26,553 Scheme expense s 11 14 17,567 26,567 Education & Planning Grants and guarantee s 104 292 AEMS Project Income (52) Expenditure 2 10 30 Other activitie s 81 44 306 366 Equal Opportunities Grants and guarantee s 83 52 ~O Other activities 7 3 90 55 49;10 ~00 Carried Fvnvard 69,180 65,776 S7 900015 900ft £000s 40005 6 Expenditure by art form Hlny Video •areelm d (continued Grants and guarantees 157 141 Production and other activities : Note 7 527 401 684 542 HOUBMj the Art - 1,310 International Initiatives Fund Grants and guarantees 3156 Other activities 1 - ' 3157 ~~ Lltersture S` Grants and guarantees 515 488 ~O Poetry Library - G Publications &Promotions 4 1519 514 4' Marketing Initiatives r Grants and guarantees 33 66 Nude Grants and guarantees 14,303 23,708 Wigmore Hall: Note 7 - 95 Other activities 10 14,313 23,803 Report & Surveys 232 170 sew Thurlns Grants and guarantees 7,589 7,042 Publicity, Fees & Sundry expenses 140 147 7,719 7,189 Contensporary Nuslc Network Income (141) (121) Operational Costs 406 401 164 280 Training in the Arts Grants and guarantees 378 360 Short Courses & Training Schemes 31 10 409 370 Visual Arts Grants and guarantees 1,176 1,831 Galleries & Exhibitions: Note 7 - 130 Other activities 37 27 1,988 Carried Fvnvard 106,053 102,008 so 9000s 9000s 6000s C000s 6 Expenditure by art torsi Grant to the south (continued) Bank Board Base Allocation 10,347 1C,338 Poetry Library 64 - Art Exhibition Reserve Note 14 - 454 10,411 10,792 Royal Opera House Development Trust 2,411 _ Grant to Scottish Arts Council 1 s,3S8 14,237 Grant to Welsh Arts Council Base Allocation 8,sS 1 7,920 Sherman Theatre Purchase Grant - 8,SS 1 900 8,820 General expenditure on the arts 141,784 135,85 7 Summary Grants and guarantees 141,310 134,46 5 Direct promotions S27 626 Other activities 047 766 General expenditure on the arts 141,784 135,857 Wigmore Nall Exhibitions Film Production 7btals M= M= M= M= SEEM mans M= M= 7 Direct Promotions 9000s £000s tooos £000s tooos £000S boos £000 s Income - 66 - 48 39S 253 39S 367 Staff Costs: Salaries and Wages - 66 - 67 146 124 146 257 Employers N.I. - 5 - 5 11 9 11 19 Retirement Plan - 8 - 8 14 15 14 3 1 - 79 - 80 181 148 181 307 Operational costs - 81 - 95 718 493 718 669 Depreciation costs - 1 - 3 13 13 13 17 Total costs - 161 - 178 911 654 911 993 Net costs - 95 - 130 S27 401 S27 626 Staff and operational costs include a proportion of administrative overheads as detailed in Note 4 and Note 5. The Council has devolved responsibility for the Wigmore Hall and the Serpentine Trust. 90005 C000s urplus/(deficit) for the year 1,406 (903) Stated after charging (a)Auditors remuneratio n 40 20 (b)Operating Leases 794 688 (c)Employees receiving remuneration over £30,000 No. No. £30,001-£35,000 3 1 £35,001-£40,000 £40,001-£45,000 1 1 Ls" a" Ffxt~ MNHdss Works num"p F1 6OR s Art Total £OOOs £OOOs Cows COON Cwos 9 Isn=lble Hied Assets Cost at 1 April 1988 370 9" 28 1,341 2,728 Additions 37 213 - 96 34 6 Disposals - 9 11 - 20 At 31 March 1989 407 1,193 17 1,437 3,054 Depreciation At 1 April 1988 155 843 23 1,341 2,362 Provided 1988/89 21 133 4 96 25 4 Less depreciation o n Disposals 1988/89 - 1 9 176 968 16 1,437 2,597 Net Book Value at 1 April 1988 215 146 5 - 366 Net Book Value at 31 March 1989 231 225 1 - 457 dooft £OOO S Deprecia 'on is allocated to Subsidiaries and services 239 15 3 Direct promotions 15 16 Incentive funding 2 - 2s4 169 MINEEMENIN The net book value of land and buildings comprises Freehold 151 120 Short leasehold improvements i0 95 231 215 MINEENOWN IO Investments Upstart Productions Limite d (Net of Provision) 5% Treasury Stock 1986/89 (market value £723) 1 1 Equities Investment Fund fo r Charities (5870 units market value £33,042) 3 3 4 4 An investment of £150,000 was made during the year in Upstart Productions Ltd. This investment has been fully provided for. 11 Loan Balance at 1 April 1988 10 Less repayments in year Balance at31 March 1989 ~~ - ~s ro 9000s kooos 12 Stock Films IS 14 Stationery It 13 Bar 1 1 31 28 Balance at Transfer Appro- Balance a t 1 April from priations 31 March 1988 provisions 1989 £OOOs 90005 90005 90005 13 Provisions Provisions for indemnity 35 - 3 38 £oo0s ;6000s 'COOO s 14 Reserve for 1988/89 Grant-in-Aid Allocation 3,500 Incentive Funding Expenditure : Annual Grants 1,78 9 Start-up Grants & Assessment Cost s 206 Scheme operating costs Salaries &Wages 37 Social Security Costs 4 Arts Council of Great Britain Retirement Plan (1975) 5 Operational Costs 56 Depreciation 2 Grants to other funding bodies 35 13 9 Total Expenditure 2,134 2,13 4 Reserve at 31 March 1989 1,36 6 The annual grants offered under the Incentive Funding Scheme represent the first tranche of organisations incentiv e funding awards . The balance of the Councils forward commitments for the Incentive Funding Scheme is shown i n Note 15 . 'COOOs 15 Grant Commitments Incentive Funding: Total Commitments 4,463 Less Committed from 1988/8 9 Grant-in-Aid Allocation 1,789 16 Arts Endowment Fund A legacy of £1,069,504 was received in February 1989 . The Council intends to use this legacy to initiate a separately constituted Arts Endowment Fund The amount shown as a separate Reserve at 31 March 1989 represents the original legacy plus interest accrued to that date . 17 Leases At 31 March 1989 the Council had Annual Commitments under non-cancellable operating leases as set out below. 6 1 Laws a Land & duik"ar otkw Buildinnggss Other too0s 90009 'cz £OOOs Operating Leases which expire: within one year - - - - in the second to fift h years inclusive 453 - 435 4 over five years 504 S8 195 45 957 58 630 49 18 Capital Commitments Authorised but not Contracted - - Contracted 10 16 19 Tax and Social The amounts owing were as follows : 8 71 Security Creditors 10 Great Britain Included in Grant-in-Aid is the sum of 01,500,000 specifically earmarked by the Minister for the Arts as additional louring Fund money to be spent onTouring. In the year to 31 March 1989 £1,129,386 was actually committed for this purpose. The balance of£370,614 has been included in the accumulated surplus carried forward of£2,965,626 and will be spent on additional Touring during 1989/90 . 11 South Bank Board The Council owns the National Film Theatre, the Museum of the Moving Image, the Hayward Gallery, the Quee n Lease Elizabeth Hall, the Purcell Room and the Royal Festival Hall, which are leased to the South Bank Board In the light o f the terms of the lease, no value has been placed on these assets in these accounts . 23 National Theatre The Council owns the freehold of the National Theatre site, which is leased to the South Bank Theatre Board Limite d and occupied by the National Theatre Board Limited under licence . In the light of the terms of these lease and licenc e arrangements, no value has been placed on these assets in these accounts Comptroller and Auditor General gs Certificate I have examined the financial statements on pages 52 to 62 in accordance with the National Audit Office auditin g standards. In my opinion the financial statements give a true and fair view of the state of affairs of the Arts Council o f Great Britain at 31 March 1989 and of its transactions and source and application of funds for the year then ended an d have been properly prepared in accordance with the directions made by the Minister of the Arts . In P O'Keefe Director for the Comptroller and Auditor General National Audit Office 4 September 1989 62 SCHEDULE I 1 t to the account s Brought Forward 33,890 526,000 Perpetual Beauty Carnival Assoc. 2,43 0 as at 31 March 198 9 Quintessenc e 1,20 0 St Clements and St Francis Grou p 83 0 St Mary of the Angels Church 1,130 St Pauls Mask Workshop 40 0 Shango Productions 73 0 Stardust Mas 1,630 Sugumugu Sunday 350 Twelfth Century 2,530 West Indian Development Organisatio n 930 Trinidad/Tobago Assoc . 730 (including subsidies offered, but not paid at that date) Yaa Asantewaa Arts Centre 2,030 COMBINED ARTS 48,700 Revenue Client s 1 1 Strategic Initiative s Institute of Contemporary Arts 476,000 The Riverside Trust 1,100 Carnival & Arts Association 50.000 Green Room 130 526,000 South Asian Arts Forum: "Bazaar" 20,000 21,23 0 Carnival Bands Afro Caribbean Cultural Assoc. 350 Devolved Clients Bahia Radar Projects 73 0 The Riverside Trust (GLA) 62,000 Ballisaye Carnival Clu b IsS30 National Association of Art s Bayie Busuofo 500 Centres (RAAs) 1,800 Caribbean Sunset Club 73 0 63,800 Children and Parents Carnival Assoc. 83 0 Total per note 6 1659,730 Cocoyea 2,800 Dallaway Mas Band Soo Schedule One 7b The Accounts Design in Mind 1,230 Year Ended 31st March 1989 Ebony Steel Band Social Club 2,800 DANC E Elim u 2,030 Royal Opera House Covent Garden Limite d 6,671,63S * Fantasia International Carnival 83 0 Adzido Dance Compan y 30,000* Flamboyan Carnival Clu b 1,230 Ballet Rambert Limited 69S,6SO* Flamingo Carnival Club 1,030 Black Dance Development Trust 35,000* Flyover Carnival and Social Clu b 1,030 Contemporary Dance Trust Limited 704,000 * Genesis 2,530 Creative Dance Artists Trust 12,250 * Grenada Island of Spice Clu b 73 0 Dance Umbrella Limite d 74,750 Grenada Shortney 700 Extemporary Dance Company Limite d 124,500 * Hackney United Clu b 2,130 Kinetics of Social Harmony Limited 42,100 * Harambee Carnival Clu b 35 0 London Festival Ballet Limited 1,3S6,S00* Hibiscus Carnival Grou p 830 Northern Ballet Theatre 661,500* Hippos 1,330 Second Stride Dance Compan y 30,000 * Lei Carnival Clu b 450 Voices Dance Company Limite d IIS,013 Lion Youth 2,330 Mangrove 1,780 IO,5S2,898 Marian Community Centre 38 0 Great Britain 7buring Fun d Nostalgia Carnival Clu b 60 0 London Festival Ballet Limite d 60,000 * Ovalionz 930 Peoples War Carnival Band 700 Carried Froward 33,890 526,000 Carried Forward 60,000 10,552,89 8 6 3 a t t ! BroughtTonwrd 60,000 10,552,898 BroughtFaniurd 117,800 10,860,723 Northern Ballet Theatre Limited 30,000* Triveni Dance/Pratap Priya Pawar 59000 Second Stride Dance Company 309000* Southwest Arts 10,000 120,000 132,1100 Devolved Client Composers For Dance Awards Phoenix Dance Company Limited 709000* DV8 (Sally Herbert) 1,500* English Dance Theatre (Ilona Sekacz) 1,500 New Dance Espirit De Corps (Gail Thompson) 3,500* Adventures in Motion Pictures 625* Extemporary Dance Com any Limited (Stephanie Nunn 1,000 * Adventures in Motion Pictures 2,500* Shobana Jeyasingh (Michael Nyman) 3,400 * Laurie Booth 2,000' Ingegerd Lonnroth (Hilda Parades) 1,300 Rosemary Butcher 209000 Sue MacLennan (Javier Alvarez) 3,000 * The Cholmondeleys 149600* Second Stride Dance Company Michael Clark 7,s0o Limited (Evelyn Fiarra) 3,200* Kate Dalton 1,000 18 940 0 DV8 20,000 DV8 I,s00* Dance and Mine Outreach Projects Glasshouses 39000* 1,000 Images Dance Company 3,000* Bedford College of Higher Education 3,000* Images Dance Company 1,000' Contemporary Dance Trust Limited Dance and The Child International 850 Sue MacLennan 1 9000* 6,250 Sue MacLennan 209000' Gambolling Guizers Green Candle Community Greg Nash 2,000 Dance Company 9,500 Phoenix Dance Company Limited 2,000* Images Dance Company 1,300* Prema 1,100 Kinetics of Social Harmony Limited 2,000 * Theatre of Motion 6,000 Nayee Kiran 500 * Miranda Tufnell I,s00 Lesand 2,26 0 Yolande Snaith 59000 Mimika 1,31 0 The Vic Vics 2,500* National Association of Dance 117,82S and Mime Animateurs 3,000* National Association of Danc e and Mime Animateurs 12,000* Dance of Ethnic Minorities National Youth Dance Company 1 9 300 Adzido Dance Company 500* Northern International Mim e Anjana Batra 1,000* Festival 1,000* Black Dance Development Trust 2,000* Northern Arts 500 Chitralekha Bolar 2,000 Southern Arts 500 Nilima Devi 1 9000 South East Arts (Trestle Theatre Company) 4,500 Esprit De Corps 1,500' South West Arts 2,00 0 Pushkala Gopal And Unnikrishnan 12,500 S2 97" Carmen Hilal Productions 3,000 AILt- Irie Dance Company 209000 40 c Mime Shobhana Jeyasingh 12,000* 4 Black Mime Theatre 2,000 ' , Nayee Kiran 39000* , David Glass/Peta Lily 14,000 ; Kokuma 37,000 Glass Mime Theatre Ensemble 1 9500 Valli Sabbiah 5,000 Peta Lily Mime Theatre 6,000 Kumar Saswat 3,000 London Actors Ensemble IO,soo Alpana Sengupta 6,000* London International Mime Festival 32,000 Nahid Siddiqui 9,000 Mime Action Group 1 9 500 carriedFonaard 117,800 10,860,723 CarriedFvnuard 67,500 11,064,683 M d d d d B ro ugh t Fv nva rd 67,500 11,064,683 B ro ught Bo nvard 2,870,000 13,243,50 0 Mime Theatre Project 7,000 Liverpool : Merseyside Everyma n Theatre Company Limited 334,975 Mummerandada 7,500 Liverpool Repertory Theatre Limited 610945 0 Northern International Mim e Festival 3,500* London : Alternative Theatre Company Limited 103,50 0 Toby Sedgwick 1 9000 Caryl Jenner Productions Limited 212,SO O Theatre De Complicite 35,000 English Stage Company Limited 566,500 Trestle Theatre Company 35,00 0 Greenwich Theatre Limited 141,500 Merseyside Arts (Loudmouth) 5,000 Hampstead Theatre Limited 132,00 0 161,500 Lyric Theatre Hammersmith Trust 325,00 0 Polka Children's Theatre Limited 109,000 Dance Development Pool Soho Theatre Company Limited 68,500 Adventures in Motion Pictures 500* Tara Arts Group 107 9 600 Amici 5,000 Young Vic Company Limited 2329000 Ballet Rambert Limited 9,900* Manchester : Royal Exchan e Laurie Booth 1,000- Theatre Company Limitedg 1,067 9 500 The Cholmondeleys 400* Manchester Young People's Theatre Limited 246,000 Contemporary Dance Trust Ltd . 10,000* Newcastle : Tyne and Wear Theatre Creative Dance Artists Trust 1,750* Trust Limited 444,000 DV8 6,000* Newcastle-under-Lyme : Stoke- Extemporary Dance Company Limited 8,000* on-Trent and North Staffordshire Theatre Trust Limited 261,25 0 Images Dance Company 2,100* Norfolk and Suffolk Consortium 36,60 0 Kinetics of Social Harmony Limited 17,000* Nottingham Theatre Trust Limited 465,000 London Festival Ballet Limited 10,000* Oldham Coliseum Theatre Limited 149,00 0 Sue MacLennan 3,SOO* Plymouth : Theatre Royal Northern Ballet Theatre Company 1,000* (Plymouth Limited 303 9 000 Second Stride Dance Company 1,000* Plymouth Consortium 204,00 0 The Place Theatre (Spring Loaded 12,500 Salisbury Arts Theatre Limited 1 SS,50 0 The Vic Vics Soo* Sheffield : Crucible Theatre Trust Limited 732,50 0 90,1 SO Southampton: Nuffield Theatre Total per note 6 911,316,333 Trust Limited 196,50 0 - Watford Civic Theatre Trust Limited 116,S0 0 York Citizens' Theatre Trust Limited 345,80 0 DRAMA lo,s36,s7s National Companie s National Theatre Board 7,917,000* 7buring Companies Royal Shakespeare Theatre 5,326,500* Actors Touring Company (London) 139243,500 Limited 81,00 0 Avon Touring Theatre Company Limited 110,25 0 Building-Based Companies Bath Arts Workshop Limited 66925 0 Birmingham Repert ory Theatr e Limited 505,000 Black Theatre Cooperative Limited 106,50 0 Bolton: Octago Theatre Trust Limited 181 9SO0 Black Theatre Forum 20,00 0 Bristol Old Vic Trust Limited 423,SOO Cambridge Theatre Company Limited 369,50 0 Coventry: Belgrade Theatre Trust Foco Novo Limited 53,00 0 (Coventry) Limited 31 S,SOO Forkbeard Fantasy 35,00 0 Exeter: Northcott Devon Theatr e and Arts Centre 232,000 Galactic Smallholdings Limited I0S,00 0 Ipswich: Wolsey Theatre Company IOU Theatre Company Limited 69,50 0 Limited 178,500 Joint Stock Productions Limited 80,00 0 Leeds Theatre Trust Limited 374,000 Lumiere and Son Theatre Company Leicester Theatre Trust Limited 660,000 Limited 81,60 0 CarriedFvnvard 2,870,000 13,243,500 carriedFunvard 1,177,600 23,780,075 6 5 t t _ t t Brought forward 1,177,600 23,780,075 Brought Forward 42,389 26,529,97 5 Major Road Theatre Company 103,4100 Derby Playhouse 2,400 Monstrous Regiment Limited 71,000 Dorchester Community Play Association 2,500 Oxford Stage Company Limited 348,000 Dukes Head Theatre Club 650 Paines Plough Limited 106,000 Dukes Playhouse Lancaster 2,50 0 The People Show Society !6,000 Durham Theatre Company 1,200 Red Ladder Theatre Company Limited 82,250 Eastern Angles 2,000 Shared Experience Theatre Elisabeth Bond 1,200 Company Limited 106,000 Errol Lloyd 1,200 Talawa Theatre Company 70,000 Extemporary Dance Company Limited 8410 Temba Theatre Company Limited 170,000 Farley Fesival 1,500 Theatre Centre Limited 220,500 First Fleet Productions 500 Women's Theatre Group Limited 76,900 G W Theatre Company Limited 500 Theatre of Thelema 65,000 Gary Stevens Company 1,000 2,6412,7410 Iain Heggie (John Whiting Award) 4,000 Inner City 1,250 Small Scala Drama Jackie Kay 1,200 Channel Theatre Company Limited 22,000 James Mundy 1,20 0 Compass Theatre Company 22,500 Jezz Simons & Jvoti Patel 1,20 0 Derby Playhouse 2,650 Lambeth Childrens Theatre 1,00 0 Medieval Players Limited 35,000 Leeds Playhouse 2,50 0 Phoenix Bean Theatre Company 15,000 Leicestershire Youth Theatre 2,000 97,1 SO Library Theatre Company 2,400 Live Writing 1,500 Theatre Writing Schemes Liverpool Lunchtime Theatre 2,450 Action Transport 1,425 Liverpool Playhouse 2,400 Albany Empire 2,800 London Actors 2,000 All Change Arts 1,750 Major Road 2,500 Allan Cubitt 1,200 Mazdak Theatre Group I,S00 Anne Aylor 464 Medieval Players 81 0 Asian Co-operative 2,4100 Meetinng Ground 1,070 Battinamzel 1,250 Metro Theatre Company 2,450 Bolton Octagon 2,400 Moving Target 1,000 Breakout Theatre Company 1,000 National Association Of Yout h Bristol Express 1,025 Theatres 87 5 Bruvvers 700 Ned Cox 1,196 Bush Theatre 2,400 Neti Neti 1,500 Caroline Griffen/Penny Casdagli 77S New Playwrights Trust 1,000 Central School of Speech and Drama 1,700 Nick Darke 1,200 Cindy Artiste 2,500 Nick Dear (John Whiting Award) 3,500 Cleveland Theatre Co 2,200 Nick Fisher 2,400 Colin Watts 1 9200 Niki Johnson And Company 1,100 Colway Theatre Trust 2,600 North West Playwrights 750 Contact Theatre Company 1,000 Northumberland Theatre Company 2,50 0 Co. Sign Theatre Company 1,000 Paines Plough 4,80 0 Cut and Thrust 2,000 Pascal Theatre SO O David Bryer 3,000 Paul Doust 1,20 0 David Johnston 2,500 Penny O'Connor 1,20 0 Deborah Levy 3,000 Pit Prop Theatre 2,500 Polka Childrens Theatre 2,500 Carried Fvnvard 42,389 26,529,975 Carried Fonuard 123,540 26,529,975 60 t f t t Brought Fonvard 123,540 26,529,975 Brought Fvnvard 43,710 26,719,975 Proteus Theatre Company 625 Big Brum 0,00 0 Public Parts 725 Blah Blab Blah 4,80 0 Quicksilver Theatre of Thelema 050 Breakout Theatre Company 10,350 Raw Cotton 2,000 DAC 14,500 ReSisters 1,000 Dereck Dereck Productions 3,080 Rob Mawdsley 1,200 Desperate Men 2,400 Robin Pratt 1,200 Dogs In Honey 4,86 0 Royal Academy Of Dramatic Art 1,000 Double Edge 25,00 0 Royal Court 2,500 Double Exposure 32,580 Royal Exchange Theatre Company Electric Theatre Company 3,00 0 Limited 2,400 Emergency Exit Arts 4,20 0 Salisbury Playhouse 2,500 Rose English 20,00 0 Sarah Daniels 1,200 Free Fall Productions 15,500 Scarborough Theatre Trust 1,000 Forced Enntertainment Theatre Scarlet Hariets S00 Co-operative 24,00 0 Sean O'Hare 1,200 Gay Sweatshop Limited 24,00 0 Shameful Practice 1,000 Gloria 0,70 0 Sheila Yegar 5,000 Gloria 20,587 Simon Moss 1,200 Gog Theatre Company 0,060 Steve Shill 1,000 Harmony Theatre Limited 18,60 0 Sugumugu Sunday 1,800 Insomniac Limited 24,00 0 Temba 2,800 Kaboodle Productions 10,00 0 The Combination Limited 1,250 Link Up Theatre Company 0 The Dukes Playhouse 5,200 Lip Service 6,00 0 Theatre Alibi 1,000 Looking Glass 1,00 0 Theatre of Fact 2,825 L'Ouverture Theatre Company 21,50 0 TIE Break/Norfolk Action Man Act III 5,30 0 Against Aids 2,250 Matchbox Theatre O,S00 Tony Benge 3,000 Mu-Lan Arts 3,574 Tony Coult 2,500 Metro Theatre Company 27,80 0 Trevor Suthers 1,200 Ned Ned Theatre Company 18,50 0 Unity Theatre 500 Not Exotic 4,20 0 Upstream Childrens Theatre S00 Oily Cart 33,10 0 Vicky Ireland 1,200 Open Hand 5,10 0 Visible Difference 7S0 Pilot Theatre 8,300 Wakefield 100 1,500 Popova Public Theatre 2,50 0 Womens Playhouse Trust 2,000 Pop Up Theatre 42,03 0 Works Co-operative 1,000 Potemkin Productions 28,00 0 Yana Stajno 1,085 Public Parts 24,10 0 Yorkshire Women 1,100 Red Shift Theatre Company Limited 43,50 0 Young Vic Theatre 2,400 Red Stockings Theatre Company 6,70 0 Zoots & Spangles I,S00 Remould Theatre Company 32,68 0 100,000 Sheffield Popular Theatre 1,000 Steve Shill 24,000 Projects Siren Theatre 8,700 Heather Ackroy d 4,830 • Station House Opera O,S00 Action Transport 4,880 Jonathan Stone 4,41 0 All Day Suckers 12,000 Theatre of Fact 32,220 Axis Mundi 15,000 Umoja Theatre Company 34,500 Battimamzel 7,000 Urban Turban Theatre Company 12,000 Carried Forward 43,710 26,719,975 Carried Forward 803,341 26,719,975 6 7 d t d s BroughtFvnwrd 803,341 26,719,975 Brought Formurd - 134,500 Women Playwrights Group 3,480 Literature 1 Women's Comedy Workshop 16,000 Open College of the Arts 10,000 Workers For Art 3,300 SWA Poets on the Radio 1,000 -4119 825,121 EAA, Poets on the Radio 1,000 - 4 1127,s4S O% National Association for th e Total per note 6 - Teaching of English s,600 17,600 EDUCATION & PLANNIN G Regional Education Projects Dance and Mime Eastern Ara 11,000 Luton Borough Council 700 Lincolnshire and Humberside Ara 11,S60 South Asian Dance In Education Project 6,000 Merseyside Arts 10,000 10,000 South East Arts, Monitoring Northern Ara Trestle Theatre 4so Southern Arts 11,500 North Riding College 700 South East Arts 10,000 6,550 Yorkshire Arts 16,000 7!,000 Central Allocatio n Projects: Music Association for Curriculu m Glyndebourne Touring Opera 2,1100 Development 6,000 Grand Union 5,000 Youth Clubs UK 10,000 Gemini 2,SOO Eastern Arts : Cambridge Darkroom 2,000 Early Music Centre 1,000 Centre for International Studies I,soo Opera 80 3,000 Birkbeck College - Centre for Extra Mural Studies 2,180 City of London Sinfonia 3,000 DaCi 1,000 Western Orchestral Society Limited 2,110 0 Carnival: London Philharmonic Orchestra 2,000 Dudley Caribbean Council 1,000 Regional Opera Trust 3,000 Jenako Arts 2,00 0 24,1100 Crewe Caribbean Carnival 2,00 0 Bahia Radar 2,00 0 Photography St Clements and St James 2,00 0 Museum of Modern Art (•) 2,000 32'311 0 Cambridge Darkroom (EAA) (•) 2,000 Cheshire County Council 12,000 Researc h Hertfordshire College of Art 4,000 The Library Association 4,000 The Photo Co-operative 1,000 4,000 Somerset Local Education Authority 3,000 The Photographers' Gallery 3,000 Departmental Initiatives 27,000 The National Association of Arts Centres 8,000 Inner Cities Symposium 1,000 Film 6,000 Regional Opera Trust 3,000 Total per note 6 11204,330 3,00,0000 ~ Drams EQUAL OPPORTUNITIES INITIATIVE S Children's Theatre Association 1,000 Arts and Disabilities Strategic Initiative s 1,000 The Ark 6,000 Carried Fvnvard - 134,500 Carried Fvnvard 5,00 0 N B ro ugh t Bo nva rd 5,000 - Brought Fonvard 24,250 116,22 7 Shape Network 13,000 Merseyside Moviola "Video Wall" 5,25 0 Puppetworks 1,360 Sheffield City Polytechnic 3,50 0 Leicester Polytechnic 200 33,000 Northern Shape/Calvert Trust S0 0 Working Parts 3,340 Small Exhibitions Oxford Dance 1,000 Brighton Lighthouse/Video 8 (SEA) 75 0 Common Ground Dance Theatre (') I,S00 Steve Farrar 87 5 Tate Gallery, Liverpool 730 Institute of Contemporary Art s (Mandela) 1,00 0 Art Link 5,000 Ipswich Film Theatre (EAA) 23 0 31,850 London Film Makers' Co-operative 1,00 0 Merseyside Movieola 267 Ethnic Minority Arts Katherine Meynell/ Revenue Client Chris Meigh Andrews 99S Minorities Arts Advisory Service 35,000 Richard Philpott 8 0 35,000 Piccadilly Film & Video Festival 1,000 Riverside Studios 1,000 Strategic Initiatives 7,217 Association for Curriculum Total per note 6 156,44 4 Development 3,000 - GLA: Festival of London Workshops 1,500 International Broadcasting Trust 1,000 INTERNATIONAL INITIATIVES FUN D Horizon Gallery S00 City of Glasgow District Council 40,000 Nyahbinghi/Black Image Video 4,600 City of Glasgow District Council (Cultural Capital of Europe 1990) 230,000 Black Dance Development Trust (') 3,000 Cultural Co-operation 5,000 Vincent Osbourne 500 European Association for Creativity Makeda Coaston S00 by and with Disabled Persons 2,000 Art Link 2,000 Institute of Contemporary Arts Limited S,000 - 16,600, International Publishers' Association 1,500 * Total per note 6 983,4SO International Publishers' Association 1,000 * - Leicester Polytechnic 10,000 National Garden Festival , FILM, VIDEO and BROADCASTING Gateshead 1990 15,000 Awards to Film Makers/ Temba Theatre Company Limited 1,000 * Video Artists 62,227 Third Eye Centre 10,000 62,227 TSW-Television South-West Limited 5,000 Annual Clients William and Mary Tercentenary Film & Video Umbrella 43,000 Trust Limited 10,000 London Video Arts 11,000 Total per note 6 93SS,S00 54,000 Regional Project Development LITERATUR E Fund Book Trust (National Book League) 60,000 Artangel Trust 4,000 Password Books Limited 44,500 Bath International Festival (SWA) 1,500 Poetry Book Society Limited 18,500 DVA: Film and Video Supplement 7,000 Poetry Society 112,000 Edge'88 4,000 235,000 Hull Time Based Arts (LHA) 3,500 Instant Films (EAA) SOO Literary Magazines Merseyside Moviola 3,750 Agenda 15,000 Ambit 2,000 Carried Fvnuard 24,250 116,227 Carried Fvnvard 17,000 235,000 69 s 9 s s BroughtFvruwrd 17,000 235,000 BroughtFvruvrd - 510,306 Interzone 3,000 Projects - Ethnic Minority Development London Magazine 30,000 AEMS 1,250 London Review of Books 25,000 Artists Agency 2,500 PN Review 15,000 CLR James 2,000 90,000 Dangeroo Press 1,000 James Berry 3,000 Awards to Writers 15,000 15,000 Marion Boyars I 'm Royal Albert Memorial Museum 7S0 Grants to PuMbhers Stella Dadzie 1,000 Carcanet 54,000 wasafiri :,000 Anvil Poetry so,s0o 16,000 104,500 Total per note 6 tS2S,30b Projects: <.. . Adam International Review 7,000 MARKET 1 N G Avon Poetry Festival 4,500 Development Support Programme 40~+ European Gay Review I,S00 Association of British Orchestras 4,000 Hippopotamus Press 5,000 Stoke on Trent & North Staffordshire 4 International Publishers Congress 2,000 Theatre Trust Limited 1,000 0 John Calder Publishers Limited 2,500 The New Victoria Theatre 10,500 New Departures 2,500 Northern Arts 8,54s Readin University (Location Whitechapel Art Gallery 6,OS0 Register 2,500 30,095 Vi Hughes 1,000 28,500 Other Initiatives East Midlands Arts 2,000 Projectst Translations 2,000 Andre Deutsch (Carlos Fuentes) 2,000 Atlas Press (Alfred Jarry) 900 Art Marketing Schem e Big Little Poems (Ondra Lysohorsky) 1,000 Consultancy 750 Forest Books (M . Matevski) 4,956 7S0 Harish Malhotra 200 Total per note 6 32,84 5 Oxford Univ. Press (Grete Tattler) 1,000 Peter Owen (Adam's Diary) 6,500 MUSIC Serpents Tail (d'Archi Ahmed) S,S00 National Companie s Society of Authors (Scott Moncrieff) 2SO Royal Opera Hous e Covent Garden Limited 6,492,63S - 22,306 English National Opera 6,917,000 13,409,63 6 projects - Client Self Sufficiency Agenda 6,000 Opera European Gay Review 1,500 Opera North Limited 2,191,800 * Password Books Limited 2,000 Regional Opera Trust Limited (Kent Opera) 339,600 " Poetry Book Society 5,000 2,s31,4o0 Poetry Listing Soo 1!,000 Orchestras C.B.S.O. Society Limited 910,00 0 Eastern Orchestral Board 306,00 0 Carried Fvnvard - 510,306 CaniedBonrwrd 1,216,000 15,941,03 5 70 a t ! t Brought Fvnvard 1,216,000 15,941,035 Brought Forward 38,000 23,377,08 5 Halle Concerts Society 875,000 North-East Jazz 20,10 0 London Philharmonic National Federation of Orchestra Limited 436,000 Music Societies 24,000 * London Symphony Orchestra Limited 452,00 0 Northern Sinfonia Former Clients of the Londo n Concert Society Limited 359,500 Orchestral Concert Board s Philharmonia Orchestra Limited 444,000 Friends of Christ Church , Spitalfields 5,000 Royal Liverpool Philharmonia Orchestra 1,075,500 Grosvenor Group 6,000 Royal Philharmonic London New Music 2,58 5 Orchestra Limited 495,000 London Musicians' Collective 14,000 Sinfonietta Productions Limited 296,200 Mornington Trust 4,600 Western Orchestral Society Limited 1,089,000 Nash Concert Society 27,000 6,737,200 New Macnaghten Concerts 10,000 Park Lane Group 10,000 Concerts Percussion Foundation 7,000 City of London Sinfonia 9,000 Songmaker's Almanac 3,000 Early Music Centre Limited 37,500* South Place Sunday Concerts 4,725 Electro-Acoustic Music Association 21,000 175,01 0 English Chamber Orchestra 24,000 Haydn-Mozart Society 24,000 Other Activities Jazz Services Limited 106,500* Awards to Individual Artists 124,52 8 Manor Jazz Festivals Limited 21,400 Awards to Artists - Subsidy to RAAs 32,25 0 National Federation o f Music Societies 12,000* British Music Information Centre 22,000 National Youth Jazz Orchestra 7,1 s0 Contact Magazine 3,500 Orchestra of St. John's, Contemporary Concerts Co-ordination 4,360 Smith Square 9,000 Orchestral Development in th e Society for the Promotion of Eastern Region (EAA, EMA, LHA) 75,000 New Music 15,300 Youth and Music Limited 48,000 Westminster City Council (Wigmore Hall) 199,500 309,628 486,350 Opera Projects Festivals Endymion Ensemble 6,000 Aldeburgh Foundation 63,000 English Bach Festival 28,000 Bath Festival Society Limited 38,500 Innererklang 6,000 Cheltenham Arts Festivals Limited 389500 39,000 Huddersfield Contemporary Music Festival 25,000 Music for Small Groups Three Choirs Festiva l Cambrian Brass Quintet Association Limited 22,500 1 9 965 Cambridge Musicke 1,40 0 187,500 Capricorn 2,50 0 Great Britain 7buring Fund Chandos Baroque Players 90 0 Delta Saxophone Quartet I,50 0 Early Music Network 20,000* Janiculum 50 0 Jazz Services Limited 5,000* London New Music 1,60 0 2s,000 London Veena Music Group 29700 Lute Group 1,900 Devolved Clients Martin Best Ensemble 29 500 Almeida Theatre Company Limited 27,000 Metanoia 2,250 London Jazz 11,000 Nonesuch Consort 2,250 Carried Forward 38,000 23,377,085 Carried Fvnvard 21,965 23,900,723 71 9 t 9 t Broughthonwrd 21,965 23,900,723 Brought Fvnvard 180,503 24,036,073 Red Shift 1,980 Utsav Limited 20,000 Talisker 3,000 WOMAD Foundation 7,090 Uroboros 2,000 207,593 Whitewood and Fleming 1,250 30,195 Improvised Music Tburin g Banv'Rogers/Turner/Zingaro Quartet 2,10 0 Earl? Music Concerts Birdyak 1,950 Consort of Musicke 1,975 Cat O Nine Tails 4,00 0 Early Music Centre 10,000* Cusack/Collins/Tomlinson 2,100 Early Music Centre Festival 15,000* Divers 1,700 The English Concert 5,380 Embers 1,75 0 Fretwork 500 The Scoop 3,000 Gabrieh Consort and Players 6,100 Trevor Warts Drum Orchestra 2,000 Kings Consort 2,000 Wild Pathway Favourites 1,400 London Baroque 4,000 20 9000 London Classical Players 17,800 Monteverdi Choir and Orchestra 4,000 Recordings New London Consort 2,500 ACTA 1,500 Orchestra of the Age of Enlightenment 10,000 EMI 17,000 Sixteen Choir 2,500 Gbakanda African Tiata 5,000 St. James Baroque 5,900 Grand Union Music Theatre Limited 3,500 * Tallis Scholars 5,500 Loose Tubes Limited 3,000 Tilford Bach Festival Matchless Recordings 1,500 * Choir and Orchestra 12,000 Matchless Recordings 1 9 500 * 105,155 One World Performing Arts 2,000* Triple Earth Records 4,50 0 African-Caribbean/South Asian Music 39,500 Arts Worldwide Limited 20,000 Total per note 6 124,303,166 Anjana Batra 1,000 * Bhavan - Institute of Indian Culture 2,00 0 Black Arts - Music Productions 4,800 PERSON N E L/ T R A I N I N G Centre of Indian Arts Limited 41,200 Annual Clients Chinese Cultural Centre 1,000 National Opera Studio 85,000 Gasper Lawal 8,000 Leicester Polytechnic (EMA) 16,000 Grand Union 5,000* Liverpool University (MA) 16,000 Grand Union 2,500* Newcastle Polytechnic (NA) 16,000 Kelefa 8,000 133,000 Nayee Kiran 5,900 * Dade Krama 6,000 Training Schemes LMS 5,000 Traineeships 155,675 London Veena Music Group 5,000* Individual Bursaries 16,83 2 London Veena Music Group 2,428* Short Term Projects 70,20 0 National Steelband Festival 35,000 Regional Training Centres (Greater London Arts) 2,50 0 New Horizon Entertainment 7,000 245,207 One World Performing Arts 6,500* Alpana Sengupta 5,000* Total per note 6 9378,207 ANNESEEMEN Shiva Nova 67 5 Southall Arts 8,500 REGIONAL ARTS ASSOCIATION S Eastern Arts 1,942,560 Carried Fvnuard 180,503 24,036,073 Carried Bonpard 1,942,560 - 72 f t t Brought Forward 1,942,560 - Brought Forward 4,621,99 7 East Midlands Arts 1,096,625 Dance Greater London Arts 7,903,175 Royal Opera House - Royal Ballet/ Saddlers Wells Royal Balle t 827,000* Lincolnshire and Humberside Arts 955,92 0 Merseyside Arts 1,102,15S Large and Middle Scale Dance Northern Arts 3,526,910 Adzido Dance Company 21,000 - North West Arts 2,144,570 Dance Advance 5,000 Southern Arts 1,657,61 S London City Ballet Trust Limite d 2S,000* South East Arts 1,380,330 London Festival Ballet Limite d 3S,000 * South West Arts 1,765,500 Scottish Ballet Limited 74,61S West Midlands Arts 2,4S 1,18 0 160,61S Yorkshire Arts 2,150,30 0 Implementation of Regiona l Plan (EAA) 2S,000 Drama Implementation of Regional Century Theatre Limite d 168,00 0 Plan (LHA) 25,000 Cheek Training for Change (LHA) 9.000 Company Limite d 107,000 - Training for Change (WMA) 9,000 English Shakespeare Company 115,00 0 Training for Change (YAA) 9,000 New Vic Theatre Limited 120,000* 29,053,840 Royal Exchange Theatre Company 87,500* Royal Shakespeare Theatre Limited 499,800 RAA Contingency Yvonne Arnaud Theatre Management Limite d 45,000 Consultancy (WMA) 9,000 1,142,30 0 Implementation of Regional Plan (NAA) 25,000 Implementation of Regional Large Scale Touring Project s Plan (YAA) 259000 Black Heroes Production s 25,000 59,000 Compass Theatre Limite d SS,00 0 New Sadlers Wells Opera 100,00 0 Devolved Education Grants Nottingham Theatre Roya l 5,00 0 East Midlands Arts 20,000 Pelleas Production s 8,132 West Midlands Arts 21,000 Pola Jones Associates Limite d 64,484 41,000 Triumph Theatr e 10,00 0 Total per note 6 929,153,840 WSG Productions Limited 345,61 6 TOURIN G Receiving Theatres 115,992 Middle Scale Touring Projects Visiting Arts 184,50 0 Armada Productions 10,000 Cheek by Jowl Theatre Company Limited 29,500* Opera Circus UK Limited 1 S,000 City of Birmingham Touring Opera Limited 65,000 Co-Producers 19,000 Glyndeboume Productions Limited 375,000* Manchester Royal Exchange 3S,000 * Opera 80 Limited 214,500* The New Vic Theatre Company 3,000 * Opera North Limited 466,000 * Watford Civic Trust 5,000 Regional Opera Trust Limited Westwood Productions 2S,000 (Kent Opera) 418,000 * 141,500 Scottish Opera Limited 23S,000* Welsh National Opera Limited 2,S28,000* Great Britain Touring Fund : 4,321,500 Opera Glyndebourne Productions Limited 65,000* Opera North Limite d 65,000* Carved Forward - 4,621,997 Carried Forward 130,000 7,239,02 8 73 9 s 9 s BraWkForwmd 130,000 7,239,028 BroughtRmwrd - 1,775,53 0 Scottish Open Limited 60,000• Visual Arts Projects Welsh National Opera Limited 35,000* Exhibitions f 225,000 Africa Arts Collective : "The Griot in the Diaspora" 3,500 Barnsley : Cooper Art Gallery: Daiwa "Women's Art Now" 4,500 Adzido Dance Company 20,000* Birmingham Museum and Art Gallery: "Raymond Mason" 5,000 Second Stride Dance Company 30,000* Cambridge: Kettles Yard/ London City Ballet Limited (0,000' Cambridge Darkroom : "Open" 4,000 London Festival Ballet 25,000' Exeter. Museum & Art Gallery: 125,000 Jeffery Camp" 3,000 Halifax: Babel Administration : Total per note 6 t7,Sil,02i "The Drop" 10,000 London: Artangel Trust: "Chanting Heads" 7,500 VISUAL ART! London: Artangel Trust : Revenue Clients "Kryzysztof Wodiczko" 920 Amolfini Gallery 168,000 London: Camerawork: "Representing Disability" 6,870 Free Form Arts Trust Limited 43,750 London: Docklands community Ikon Gallery Limited 130 000 poster project : "Roadshow" 4,000 Museum of Modern Art Limited 161,000 London: EDGE '88 24,500 Photographers' Gallery Ii6,S00 London: New contemporaries: 1988 10,500 Serpentine Trust 210,000 London: Riverside Studios : "Bili Viola" 2,880 Whitechapel Art Gallery 280,500 London: Riverside Studios : "Tim Rollins . . ." 2,960 1,171,750 Manchester : Castlefield Gallery : "Shanti Panchal" 2,540 Development Strate" Clients Newcastle : Projects UK : "Victoria Line" 3,000 Bradford: Cartwright Hall 59,300 Oldham : Art Gallery: "Black Art : Cleveland: Cleveland Gallery 11,000 Plotting the Course" 7,000 Halifax: Piece Hall Gallery 9,000 Peterborough: Museum & A. G.: "Spiritual Dimension" S,S00 Ipswich : Borough Council 41,000 Rochdale : Art Gallery: "°Tam Joseph" 6,300 Ipswich : EVAC 15,000 Sheffield: Intercity'88 7,500 Leeds : City Art Gallery 18,000 121,970 Manchester: City Art Gallery 95,300 Newcastle: Laing Art Gallery 116,200 Map :inas Nottingham : Castle Museum 36,200 Audio Arts 2,500 Oldham: Museum & Art Gallery 10,400 Artscribe International 6,000 Plymouth: City Museum & Art Gallery 20,000 Atlas Press 1,000 Preston: Contemporary Art Society 10,000 Middlesex Polytechnic: "Block" 4,000 Preston: Harris Museum & Art Gallery 29,400 Women Artists Slide LibraryJournal S,S00 Sheffield: City Art Gallery 36,000 New Art Association: Southampton : City Art Gallery 24,300 "New Art Examiner" 7,000 Stoke: City Museum & Art Gallery 35,000 AND Association 4,00 0 Wolverhampton: Art Gallery 32,500 Feminist Arts News 13,16! 505,600 Kala Press : "Third Text" 26,000 South Asian Arts Forum: "Bazaar" 7,500 Annual Clients Britannia Art Publications : Art Monthly" 13,700 Creative Camera 43,800 11,06! Performance Magazine I6,880 Ten .8 2!,500 Publications so,1410 Marysia Lewandowska: "Sight Works" 2,625 Carried Forward - 1,775,530 Carried Fonuard 2,625 1,988,56 9 74 t t t t Brought Fonvard 2,625 1,988,569 Brought Forward 12,000 2,117,47 4 David Medalla & Brian Morgan : Cornerhouse : A Shot in the Dark" 3,612 "Image of Black People" (') 2,045 OBAALA Publications: Andrew Dewdney: "Black Australia . . ." 5,000 "Black Art Profiles" 6,500 Drew Gallery: Australian Sculpture 5,000 Serpent's Tail: "The Artist's Dream" 2,318 Ecstatic Antibodies 3,000 Sylvie Turner: Survey of Contemp Printmaking" 2,000 Jim Harold : Landscape 1,270 17 OSS ICA: "The Glass Chain" (`) 2,000 Leeds City Art Gallery: "New Asian Photography" 2,000 Patronage & Promotion Garry Miller: "The Lands Beyond" 1,000 Cambridge : Fellowship/John Goto 10,500 MOMA: "Signs of the Times" (') 1,68 5 London : City University : Local Authority Research 7,500 Newcastle : Proejects U K "Research for Edge'ects 0" (') 5,000 London : Steve Rogers 2,000 TSWA : "TSWA 1990" 2,00 0 Newcastle: Attic Producers: Artists' Database 10,000 45,220 Sheffield : City Council: Percent for Art Dev 10,000 Consultancies Sheffield : PADSY : Performance Art Conference S00 Museu ms &Galleries Commission 3,00 0 40,500 3,000 Performance Art Photography Publishing Edge'88 7,500 Bloodaxe Books : "Street Photographs" 5,00 0 Hull Time-Based Arts 7,500 Cornerhouse: I Can Help You" by Paul Reas (') 5,400 National Association of Arts Centres : Conference 2,500 Cornerhouse: "Presence" by C . Cooper (') 5,470 Projects UK: Performance Art Promoters Scheme 20,000 Cornerhouse: Two Blue Buckets" (') 6,500 South Hill Park: Symposium 2,500 Methuen : War Photography by J. Taylor S,75 S West Midlands Performance Lokamaya Press: "Critical Practices" 11,000 Consortium 5,000 Seaworks: "Images of the Trees" 10,800 45,000 Jem Southam : "Red River" 5,600 Women Artists' Slide Libra Stategic Initiatives Photography Supplement (T I,000 Shelina Mawani (`) 2,250 S6,S2S 2,250 Photographys Strategic Initiatives Education GB Tburing Fund Blackfriars Photography Project 1,950 Black Arts Exhibitions Manchester: Counter Image I,OS O Leeds : The Pavilion 2,500 Northamptonshire Local Educatio n Authority 1,00 0 London : Elbow Room 20,000 Somerset Education Authority 5,00 0 Manchester : Chinese View 1,600 Southill Park Trust 1,50 0 24,100 Surrey Local Education Authority 1,00 0 Yorkshire Arts Association S0 0 Development Grants for Tburing Exhibitions W Sussex County Council: Education Department 1,000 Bigos : "Displacement" 1,000 13,000 Bookworks: "Bookworks 1990" 3,500 Bonner Road Showroom : "Contemporary Russian Painting" 3,220 Ethnic Minority Arts Eddie Chambers : Association ofBlack Photographers/ "Four Black American Artists" 5,000 Autograph 18,730 Cockpit Gallery "HIV & AIDS" 2,500 18,730 Carried Bo nva rd 12,000 2,117,474 Carried Fvnvard - 2,253,949 7S BroughtForuard - 2,253,949 Brought Fvruard Research and Information Glasgow Print Studi o North West Arts: IFVPA NW Survey/Strategy Report(') 1,000 Glyndeboume Touring Opera IFVPA "Codes of Practice' f50 Hampstead Theatre Limited 1,050 Institute of Contemporary Arts Leadmill Arts Centre GO Touring Fund Leeds Theatre Trust London Bubble Theatre Photography Touring Exhibition Franchises London Philharmonic Orchestra Birmingham: Ten .8 13,000 London Symphony Orchestra York: Impressions Gallery 7,000 Museum Of Modern Art 20,000 National Association of Arts Centre s Northern Chamber Orchestra Total per note 6 91,175,890 Opera North Peterloo Poets Pitlochry Festival Society Poetry Book Society Queen's Hall Arts Centre Rambert Dance Company Royal Exchange Theatre SCHEDULE Z Royal Shakespeare Company Scarborough Theatre to the accounts Scottish Chamber Orchestra South Bank Board as at 31 March 1989 South Yorkshire Photography Project Theatre Royal Plymouth Theatr West Glamorgan 369 Gallery Third Eye Centr e Tricycle Theatre Company Trinity Centre Watermill Arts Centr e GRANTS AND GUARANTEES Whitechapel Art Gallery Incentive Funding Awards Tbtal Yorkshire Dance Centre Aldeburgh Foundation 164,665 Yorkshire Film & Video Centre Amber Associates 36,000 Yorkshire Sculpture Park Arvon Foundation 36,500 Sub Total Benesh Institute of Choreology 11,640 Less: First Instalments (Schedule 3 ) 37,000 Cheltenham Arts Festivals Forward commitments at 31.3.89 (note 18) Chester Gateway Theatre 78,000 Colway Theatre Trust 40,00 0 Contemporary Dance Theatre 37,00 0 Cumbernauld Theatre 31,00 0 Durham Theatre 15,00 0 English National Opera 150,00 0 Environmental Art Organisation 46,500 Free Form Arts Trust Limited 173,500 n y Carried Forward 976,805 76 SCHEDULE 3 to the account s as at 31 March 198 9 Incentive Funding First Instalments E E Aldeburgh Foundation 75,000 Brought Fvnvard 1,269,77 0 Amber Associates 12,000 South Bank Board 125,000 Arvon Foundation 18,250 South Yorkshire Photography Project 17,1 SO Benesh Institute of Choreology 5,000 Theatre Royal Plymouth 125,000 Cheltenham Arts Festivals 17,000 Theatr West Glamorgan 22,000 Chester Gateway Theatre 26,000 369 Gallery 28,000 Colway Theatre Trust 17,000 Third Eye Centre 50,000 Contemporary Dance Theatre 12,000 Tricycle Theatre Company 60,000 Cumbemauld Theatre 12,000 Trinity Centre 5,000 Durham Theatre 5,000 Watermill Arts Centre 10,000 English National Opera 83,000 W hitechapel Art Gallery 40,000 Environmental Art Organisation 23,250 Yorkshire Dance Centre 20,000 Free Form Arts Trust Limited 60,000 Yorkshire Film & Video Centre 5,00 0 Glasgow Print Studio 10,000 Yorkshire Sculpture Park 12,00 0 Glyndebourne Touring Opera 36,000 Total (Schedule 3) 9 1,71111,920 Hampstead Theatre Limted 20,170 Institute of Contemporary Arts 50,000 Leadmill Arts Centre 125,000 Leeds Theatre Trust 100,000 London Bubble Theatre 10,000 London Philharmonic Orchestra 50,000 London Symphony Orchestra 6,000 Museum Of Modem Art 20,000 National Association of Arts Centres 5,000 Northern Chamber Orchestra 5,000 Opera North 100,000 Peterloo Poets 6,250 Pitlochry Festival Society 32,000 Poetry Book Society 3,000 Queen's Hall Arts Centre 7,850 Rambert Dance Company 40,000 Royal Exchange Theatre 75,000 Royal Shakespeare Company 125,000 Scarborough Theatre 48,000 Scottish Chamber Orchestra 30,000 Carried Frnvard 1,269,770 n INCOME & expenditur e accoun t for the year ended 31 March 198 9 t000s t000s ,E000s PON Income Grant from Arts Council of Grea t Britain 1 S,3s8 14,237 Other Operating income: Note 2 11 4 1 s,3" 14,241 Grants and guarantees accrued in previousyear; not now required Expenditure Administration of subsidies and services Staff costs: Note 3 5" 52 1 Depreciation: Note 8 43 44 Operational costs: Note 4 314 293 037 858 Grants and guarantees : Note 5 14,038 13,11 4 Other activities: Note 5 116 140 Direct promotions - net costs : Note 6 General expenditure on the arts in Scotland: Note 5 14,281 13,566 16,118 14,424 Operating surplus/(deficit) 1" (94) Interest receivabl e Surplus/(deficit) for the financial year Transfers (to)/from reserves : Note 9 Net surplus/(deficit) : Note 7 Accumulated surplus brought forward 161 297 Accumulated surplu s carried forward 404 262 MINEENER 78 BALANC E shee t as at 31 March 1989 9000S 9000S C000s C000s Fixed assets Tangible assets: Note 8 169 19 5 Current assets Debtors and prepayment s Grants due from Arts Council o f Great Britain 1,000 800 Other 222 24 1 Grants and guarantees paid in advance 690 42 1 Cash at bank and in hand 13 10 1,925 1,472 Current liabilities Grants and guarantees outstanding 1,401 1,23 0 Creditors : amount falling du e within one year 64 11 5 1,465 1,34 5 Net current assets 460 12 7 Total assets less current liabilities 629 32 2 Financed by Income and expenditure account 494 262 Reserves: Note 9 135 60 629 32 2 Sir Alan Peacoc k Chairman Luke Rlttner O Secretary General C TTI 4 September 1989 #4~tr 110 79 SOURCE AND applicatio n of fund s for the year ended 31 March 198 9 90008 90009 'Cooos £ooo s Source of funds Net Surplus/(deficit) on ordinary activities 307 (49) Sale proceeds of tangible fixed assets 11 9 Adjustment for items not involving the movement of funds : Profit on sale of tangible fixed ) (s) (4 Depreciation 45 47 40 43 Total generated from operations He 3 Application of funds Purchase of tangible fixed assets (1s) (38) Increase/(decrease) in working capital 333 (35) Components of increase/(decrease) in working capital : Debtors 4so - Creditors (110) (35) Movement in net liquid funds: Cash at bank and in hand 3 - 333 (35) so NOTE S to the account s 1 Accounting Policies are charged to the to the Income e) Pension fundin g a) The financial statements are and Expenditure Account in th e The total pension cost for the prepared under the historical cost year in which funded activities tak e period was £68,576 (1988 - convention. Without limiting th e place; if this is not determinable £59,627). The Scottish Arts information given, the accounts they are charged in the year in Council Pension Scheme meet the requirements of the which activities begin. Any arrangements are the same as those Companies Act 1985, and of the amounts unpaid from grants and for the Arts Council of Great Statements of Standard Accounting guarantees at the year end are Britain; the details of which are Practice issued by member bodies shown as liabilities in the Balance provided in their accounts. of the Consultative Committee of Sheet and any advance payments Accountancy Bodies so far as those to the client in anticipation of requirements are appropriate . grants and guarantees to be charged Significant departures fro m in the following financial year are Statements of Standard Accounting shown in the Balance Sheet as Practice are disclosed in the notes assets. to these accounts and the financia l effect is quantified where c) Depreciation and fixed assets practicable to do so. Depreciation is provided on all tangible fixed assets at rates b) Accruals conventio n calculated to write off the cost les s (i) All income and expenditure is estimated residual value of eac h taken into account in the financial asset systematically over its year to which it relates. Setting up expected useful life as follows : costs incurred on an exhibition Freehol d buildings over 50 years promoted by the Council are Leasehold over the life charged to the year in which tha t buildings of the lease exhibition is officially opened t o Fixtures the public. Setting up costs and fittings over 4 years incurred in a year prior to tha Motor t vehicles over 4 years opening are treated as Freehold land is not depreciated. prepayments. Works of Art are fully depreciate d (ii) Subsidy expenditure is incurred in the year of acquisition . in the form of grants and guarantees which are formall y d) Leases offered to and accepted by the The Council holds no material Council's clients . Grants and finance leases . Costs in respect of guarantees operating leases are charged to the Income and Expenditure Accoun t on a straight line basis over the life of the lease. 81 doo0s 'Cooo s 1 Otter operating income Sundry income 7 - Profit on sale of fixed assets S 4 11 4 IMENEENEEM 3 Administration of Salaries and wages 476 438 subsidies and services 30 StaffCosts Employers National Insurance 16 Arts Council of Great Britain Retirements Plan (1975) 65 53 X70 521 Cost of temporary agency stag previously included in employee costs, are now included in othe r administration costs (see Note 5) . Figures for 1988 have been restated on this basis . The Chairman, Council and Committee Members are not pai d for their services. The average weekly number of employees during the year was made up as follows: No No A dministration of subsidies and services 41 40 Direct Promotions S 7 47 47 MEMENEENEW 24,653 (1988:,C53,0881 o f ammtmstrative staff costs have bee n allocated to direct promotion s detailed in Note 6. 4 Administration of Travelling and subsistence S6 56 subsidies and services Operational costs Rent and rates 67 60 Fuel, light and house expenses 16 29 Publicity and entertainment 15 44 Postage and telephone 16 31 Stationery and printing 33 37 Professional fees 17 14 Office and sundry 76 50 341 324 Less administration charge for exhibition 18 31 418,000 (1988 : £31,000) for operational costs have bee n allocated for direct promotion s detailed in Note 6. 82 90008 90008 C000s £OOOs S Expenditure by art form Musi c Grants and guarantees S,86S 5,582 Dance and Mime Grants and guarantees I,SS 1 1,461 Touring Grants and guarantees 336 350 Less: Local Authority Contributions Aberdeen District Council 74 68 Angus District Council - 3 Edinburgh District Council 26 2 8 Glasgow District Council 30 3 3 Kilmarnock & Loudon - 3 Kirkcaldy District Council - 6 Kyle & Carrick District Council 4 - Strathclyde Regional Council 30 3 3 164 17 4 172 17 6 Dram a Grants and guarantees 2,836 2,620 Ar t Grants and guarantees 1,186 1,00 0 Net cost of exhibitions : Note 6 137 32 3 Provision of studio -Amsterdam 2 2 Net cost of maintaining collection: Note6 (10) (11) ` Art film tours - 1 Lecture scheme 16 2 0 Art schemes (4) 3 1,327 1,33 9 Fil m Grants and guarantees 30 40 Literature Grants and guarantees S26 489 Poetry readings S 4 Writers in Schools and in Public 62 58 Other activities 2 7 Neil Gunn Fellowship 8 - Scottish/Canadian Writers Fellowship 3 5 Scottish/Australian Writer s Fellowship - - Magazines to libraries scheme 3 4 Readers fees and book purchases 8 6 617 573 Carried Bonvard - 12,398 - 11,79 1 83 90005 90005 ,Cooos Brought Forward 12,398 S Expenditure by art fa Festivals Grants and guarantees 604 ComMe" Arts Grants and guarantees 1,134 Reports, survey* a" samlwers 1 1 Housing the Arts Grano 134 General expenditure on the arts in Scotland 14,28 1 Summary Grants and guarantees 14,038 Other activities l is Direct promotions 177 14,78 1 6 Direct promotions Income 9 xhibitions Staff costs: Salaries and wages (51) (88) Employers National Insurance (4) (6) Arts Council of Great Britai n Retirement Plan (1975) (4) (7) (58) (l!01) Operational cost (including administrative charge) (85) (303) Depreciation (7) (3) (145) (136) Collection Income 14 Operational cost (4) 10 Net deficit (177) 7 Surplus/(DefiClt) for he year 737 Stated after charging (a) Auditors remuneration 14 (h) Leases in this financial year: Land and Buildings 55 Others 1 9 (c) Employees receivi n remuneration over C 3~000 1 8 Tangible fixed Land & Fixtures & Vehicles Works Tbtal assets Buildings Fittings of Art 'COOOS '6000s £OOOs 'COOOS 'COOOS Cost a t 1 April 1988 354 108 79 299 84 0 Works of Ar t written off - - - (10) (10) Additions - 14 - 11 25 Disposals at 31 March 1989 - (1) (14) (3) (18) 3S4 121 65 297 83 7 Depreciation at 1 Apn11988 19S 92 59 299 645 Works of Ar t written off - - - (10) (10) Provided 1988/89 17 11 6 11 45 Less depreciation 8ispoosals in - - i9 //88 (9) (3) (12) 212 103 56 297 668 Net book value at 1 April 1988 I S9 16 20 - 195 Net book value at 31 March 1989 142 18 9 - 169 The Works of Art Collection which was started in the early 1950's and is available to the public, consists of approximatel y 2,000 works of wh ich 67, costing 9,805, are missing and have accordingly been written off. LOOOs kOOOs Depreciation is allocated to Subsidies and services 43 44 Direct promotions Note 6 2 3 45 47 The net book value of land an d buildings comprises Freehold 119 122 Short leasehold improvements 23 37 142 159 Balance Transfer Balance at 1 April from Appro- 31 March 1988 reserves priations 1989 '6000s 'COOOS 4000s 'COOO S 9 Reserves 60 - 75 135 41-P \ #X,~ a s 10 Leases At 31 March 1989 the Council had annual commitments under non-cancellable operating leases as set out below Lana a other Land i Othe r Buildings Buildings toolls dooOs £000s k000s Operating leases which expire within one year 9 - 48 1 in the second to fifth years inclusive - 13 - 1 1 over five years 10 - 10 - 19 23 58 12 At 31 March 1989 agreement had been reached for the lease of new office premises at 12 Manor Place, Edinburgh. The lease was signed by the Arts Council of Great Britain on 6 July 1989 and is for a period of 25 years, at an annua l rental of 114,250 90002 'COOO s 11 Capital Commitments Contracted Authorised but not contracted 56 - S6 - AMENEEMEN 11 Grant Commitments Forward planning 1989/90 6,119 - 1990/91 6,131 - 11,1SO - AMENEEMEN Comptroller and Auditor General's Certificat e I have examined the financial statements on pages 78 to 86 in accordance with the National Audit Office auditin g standards. In my opinion the financial statements give a true and fair view of the state of affairs of the Scottish Art s Council at 31 March 1989 and of its transactions and source and application of funds for the year then ended and hav e been properly prepared in accordance with the directions made by the Minister of the Arts . P O'Keefe / Director for the Comptroller and Auditor General National Audit Office 4 September 1989 GO SCHEDULE I 9 d to the accounts Brought Forward 12,300 5,574,18 8 Concert Promoters - Other (cont"d ) Balmacara : Live Arts ISO as at 31 March 1989 Banffshire Arts Guild 1,30 0 3 Bearsden and Miingavie Arts Guild SO Beith Arts Club 70 0 Berneray Community Association S0 0 u Biggar Music Club 2,700 Brechin Arts Guild 10 0 Bute Arts Society 70 0 Carnoustie Music Club 80 0 GRANTS AND GUARANTEES Conon Bridge : Moving Art Show Trust . 2S 0 (including subsidies offered, but not paid at that date) Cove and Kilcreggan Literary Society 7S MUSIC Cowal Music Club 1,SOO Opera 9 9 Culzean Arts Guild S0 0 Aberdeen: Haddo House Choral Cumnock Music Club 90 0 and Operatic Society 3,200 Dalkeith and District Arts Guild 50 0 Ayr: Opera West 1,500 Dollar Music Society 450 Dundee: Tayside Opera 2,750 Dumfries : The Guild of Players 3,80 0 Edinburgh : Edinburgh Grand Opera 39300 Dumfries Music Club 2,000 Scottish Masking Company 3,248 Dunblane Cathedral Arts Guild 2,750 Friends of Scottish Opera : Dundee Chamber Music Club 2,750 Grampian Branch 250 Dunfermline Arts Guild 1,300 Oban Branch 290 East Kilbride Music Club 900 Forth Valley Branch 350 Edinburgh : Bach Easter Trust 1 9 500 Scottish Opera Limited 3,260,000 The Classical Guitar Society of Edinburgh 500 3,2749888 Edinburgh Indian Association 2,750 Edinburgh Society of Musicians 900 Concert Promoters - Performing Companies The Georgian Concert Society 79 000 Edinburgh Chamber Music Trust 16,600 Jazzworks Music Club 600 Edinburgh Contemporary Arts Trust 99800 New Town Concerts Society Limited 5,500 John Currie Singers Limited 17,500 The Pleasure of Music Trust 7S0 New Music Group of Scotland Trust 10,400 Fife Regional Council : Lochgelly Centre 600 Paragon Ensemble Limited 9,300 Forfar Arts Guild 120 Platform (Music Societies) Limited SS,000 Galashiels: Ettrick and Lauderdale District Schola Cantorum of Edinburgh Limited 4,200 Council 3,800 Scottish Baroque Ensemble Limited 91,750 Galashiels Arts Association 1,400 Scottish Chamber Orchestra Limited 632,250 Gatehouse Musical Society 1 9 20 0 Scottish Early Music Association 8,000 Girvan Arts Guild 10 0 Scottish National Orchestra Society Glasgow : Asian Artistes Association 3,70 0 Limited 1,444,500 Westbourne Music 7S 0 2,299,300 Glenkens and District Music Club 1,00 0 Glenuig Music Festival Committee ISO Concert Promoters -Other Gordonstoun Concerts Society 1,750 Aberdeen: Aberdeen Chamber Music Club 3,000 Greenock : Greenock Arts Guild Limited 7S 0 Aberdeen International Youth Festival S00 Greenock Chamber Music Club 1,600 Haddo House Choral and Operatic Society 1,750 Haddington Music Club 2,000 Airdrie Arts Guild 100 Hamilton District Arts Guild 37 S Arran Music Society 1,250 Hawick Music Club 9S 0 Ayr: Ayr Arts Guild 49 100 Helensburgh Music Society 2,50 0 Ayr Music Club 1,600 Inasch : Gadie Folk Club 26 0 CarriedFonvard 12,300 5,574,188 CarriedFonvard 79,470 5,574,188 97 s s 9 9 Brought h7nmrd 79,470 5,574,188 Brought Forward 5,745,883 Concert Promoters -Other (cont'd) Concerts in Schools Invergordon Arts Society 1,500 Borden Regional Council 1,81 7 Inverness : Platform Inverness 2,500 Grampian Regional Council 42 S Highland Classical Guitar Society 100 Rannoch School 7 S Irvine Burns Club 1,250 Shetland Islands Council 7S0 Kelso Music Society S,8S0 3,067 Kilmardinny Music Circle 3,000 Kintyre Music Club 2,000 Contemapera" Music Kirkcaldy Music Society 1,800 Assembly Theatre Limited 1,000 Lanark Arts Guild Music Club 1,000 Dunblane Cathedral Arts Guild 1,000 Linlithgow Arts Guild 1,700 University of Edinburgh 868 Lochaber Music Club 050 2,868 Lockerbie Musical Society SS0 Melrose Music Society S00 Other Activities Miingavie Music Club 3,500 Awards 6,000 Moffat and District Music Society SSO Commissions 30,380 Moray Arts Club 400 Performing Material 10,192 Motherwell and District Music 46,572 Society 700 The Queen's Hall (Edinburgh) Limited 10,40 0 Newton Stewart and District Music Club 1,800 Scottish Music Information Centre Limited 23,00 0 Oban Music Society 900 Orkney Arts Society 3,400 Pianos Peebles : Music in Peebles 1,200 Clan Donald Lands Trust 2,000 Perth Chamber Music Society 400 Moffat and District Musical Society I'm Prestwick Arts Guild 300 Music in Peebles 800 Renfrew District Arts Guild 2,500 St. Andrews Music Club 1,800 4,30 0 Skerray Community Hall Committee 30 0 Recordings Skye : Skye Arts Guild 2,400 Urras an Eilein 350 ABCD Production Limited 4,000 Stonehaven Music Club 1,125 Merlin Distribution 5,000 Stornoway: Lewis and Harris Priory Records 2,000 Piping Society S00 Scottish Chamber Orchestra Stranraer Music Association 2,900 Limited 7,500 Strathearn Arts Guild 1,700 Scottish National Orchestra Society Limited 9,000 Thurso Live Music Association 3,500 Temple Records S00 Troon Arts Guild 300 University of Edinburgh 1,00 0 West Kilbride Music Club 800 29,000 West Linton Music Society 1,200 Total per note 5 lS,86S,09 0 Council for Music in Hospital 1,000 Live Music Now Limited 1,000 National Federation of Music DANCE AND NIN E Societies 35,000 Aberdeen: City of Aberdeen 171,695 District Council 7,25 0 Borders Regional Council 7,SS 0 Dunfermline Youth Dance Theatre S60 Musselburgh: East Lothia n Community History and Arts Trust 299 East Lothian District Council 400 Carried Forward 5,745,883 Carried Forward - 16,05 9 u f E f E Brought Fvnvard - 16,059 Brought Forward - 1,516,825 DANCE AND NINE (eont'd) DANCE AND NINE (cont'd) The Studio 1,000 Edinburgh : Assembly Theatre Limited 15,979 Theatre de Complicite 10,000 City of Edinburgh District Council 7,000 Bursaries : Dance and Mime 23,2S 2 Edinburgh Indian Association 1,000 Total per note 5 f1,SS 1,077 First Chance Theatre Dance - Company 1,200 Lindsay John 1,500 D R A N A Mimage 480 Aberdeen : The Invisible Bouncers S,00 0 Spring Lothian Youth Dance Borders Festival of Ballads and Company 6S2 Legends 2,00 0 Falkland : Antics Community Dance Clydebank UB40 Centre 400 Group 2,300 Dingwall : Ross and Cromarty Fife: Fife Regional Council 3,000 District Council 1,000 Glasgow : Alien Arts 400 Dundee : Cats Oct the Bag Theatre Company 1,000 Asian Artistes Association 2,700 Dundee Repertory Theatre Limited 234,S0 0 Glasgow Independent Dance SSO Edinburgh : Netherbow Arts Centre 1,1 S O Glasgow Museums and Art Galleries S00 Oxygen House 2,00 0 Gregory Nash I,S00 Edinburgh Playwrights Workshop 1,000 Rotating Dancers-Scotland 2,000 Edinburgh Puppet Company 9,00 0 Scottish Dance Theatre 1,980 Christian Education Movement in Scotland S0 0 TAG/Gregory Nash Group 10,000 Royal Lyceum Theatre Company Limited 4SS,400 Glenrothes: Frank McConnell 4,750 Edinburgh Arts Promotions 7,50 0 Lanark Youth Dance Theatre 428 Traverse Theatre (Scotland) Limited 26S,S0 0 Renfrewshire Dance Project 5,000 Glasgow : Citizens Theatre Limited 4989824 Ross and Cromarty District Council 2,000 Garret Mask and Puppet Centre Trust Limited 3,00 0 Stirling: Callander Youth Dance 650 Glasgow District Council 20,000 Scottish Youth Dance Festival 7,000 Tron Theatre Limited 133,80 0 Stirling Dance Theatre 492 Irvine : Borderline Theatre Company Limited 1 S2,4S 0 Stirling District Council 8,000 Kirkwall : Orkney Youth Theatre 14,00 0 Stirling Youth Dance 2SO Musselburgh : East Lothian District Council 37,2S O Strathclyde Regional Council 100 Peebles : Tweed Theatre 4S O Stromness: Orcadia Folk Art Studio 1,125 Perth Repertory Theatre Limited 190,550 Kirsten Adam 1,650 Pitlochry Festival Society Limited 179,190 Asian Cultural Association (Tayside and Perth 300 St. Andrews: Byre Theatre of St. Andrews invited 76,73 0 Asian Social and Cultural Association 300 Stirling : Scottish Community Drama Centre Ocean Stream S,44S Association-Stirling District SO O Dance Advance Limited 300 Stornoway : Point Players 700 Heads Together Physical Theatre 1,500 Traquair Children's Theatre SO O Irie Dance Company 3,100 Actors Touring Company (London) Limited 84 1 Joint Action/Interiors 39975 Annexe Theatre Company 12,00 0 The Kosh 4,000 Black Theatre Cooperative 1,200 Michael Clarke Foundation 15,000 Black Box Puppet Theatre Trust 2,47 0 Mime Theatre Project 2,000 Communicado Theatre Company 72,750 Phoenix Dance Company 2,040 Edinburgh Touring Circuit 1,430 Rosemary Lee and Sally Sykes 1,800 Ettrick and Lauderdale District Council 2,40 0 Mark Saunders 3,210 Fablevision 12,47 0 The Scottish Ballet Limited 1,370,560 Focus Theatre Company (Scotland) 4,987 Scottish Council for Dance 2,500 Gay Sweatshop Theatre Company I,S0 0 Scottish Youth Theatre Limited SSO Gloria 7S O Carried Forward - 1,516,825 Carried Forward - 2,406,692 89 9 9 9 s Brought Fvruard - 2,406,692 Brought Forward 229,670 D R A M A (eent'd) A R T (eent'd) Horse and Bamboo 365 Edinburgh Sculpture Workshop 3,750 The Medieval Players Limited 4,500 The Fruitmarket Gallery Limited 222,665 Mull Little Theatre Limited 2,000 Gateway Exchange 86 3 North of Scotland Touring Arts Moray House College 8,000 Coordinating Association 4,050 Graeme Murray Gallery 19,45 2 Pan Project 1,000 The Photography Workshop 20,850 People Show Limited SOO Printmakers Workshop Limited 41,600 Shadow Syndicate 10,000 Shore Gallery 95 7:84 Theatre Company Limited 137,950 Slide Workshop 3,500 Theatre Alba 29,500 Springwell House Centre 650 Theatre de Camping 380 Talbot Rice Art Centre 23,332 Wildcat Stage Productions Limited 154,250 The 369 Gallery Limited 32,136 Wingged Horse Touring Production s (Edinburgh) Limited 24,585 University of Edinburgh ISO Bursaries 25,500 Ettrick and Lauderdale Distric t Council 3,082 Federation of Scottish Theatre Limited 5,625 Fife Regional Council 4,604 National Association of Youth Forfar: H.M . Prison Noranside 250 Theatres 400 Glasgow : Asian Artistes Association 500 Scottish Down's Syndrome Association 95 0 Compass Gallery Limited 25,000 Scottish National Association of Cranhill Arts Project 18,858 Youth Theatre 2,000 Eventspace 2,504 Scottish Youth Theatre Limited 14,000 Glasgow Arts Centre 2,000 Theatre-Craft 1 1,600 City of Glasgow District Council 8,000 Total per note 5 92,835,847 Glasgow Museums aand Art Galleries 4,500 Glasgow Print Studio Limited 50,900 ART Glasgow Sculpture Studios 1 1,750 Aberdeen : City of Aberdeen Transmission 7,720 District Council 4,596 University of Glasgow 1,908 Aberdeen Hospitals Arts Project 1,000 University of Strathclyde 23,276 Robin Palmer 860 Variant Magazine 9SS Peacock Printmakers (Aberdeen) Grampian Regional Council 250 Limited 96,520 Highland Regional Council I,S 1 7 Bathgate : Regal Project Limited 200 Inverclyde District Council 1,995 Bearsden and Miingavie District Council 100 Inverness Printmakers Workshop 4,000 Borders Health Board 400 Irvine : Harbt- ur Arts Centre (Irvine) Limited 1 1 S Dollar Summer School in the Arts 400 Kilmarnock and Loudon Distric t Dumfries: Gracefield Arts Centre 1,269 Council 2,144 Dundee: Dundee District Council 8,OSO Kirkcaldy Museums and Art Gallery 7,850 Dundee Printmakers Workshop Kyle and Carrick District Council 1,82 1 Limited 62,41 4 Lochgelly Centre 460 Dunfermline District Council 341 Lumsden: Scottish Sculptur e Dunning : Artapes Ecosse 3, 1 40 Workshop 17,360 East Lothian District Council ISO Motherwell District Council 1,460 Edinburgh: Artists Collective North East of Scotland Museums Gallery 8,79S Service 800 Alba 1 S,S00 North East of Scotland Touring Richard Demarco Gallery Limited 25,000 Arts Co-ordinating Association 1,667 Edinburgh Indian Association 94S Oban Art Society 16 5 St. Andrews: Crawford Centre for the Arts 29,000 Carried Forward 229,670 - Carried Fvnvard 843,124 90 t t E 9 Brought Forward 843,12 4 - Brought Forward 1,089,94 9 Artists in Industr y ART (cont'd) Sara Brennan : Nobel's Explosives South West of Scotland Gallerie s Company Limited 4,35 0 Associatio n 4,96 5 Malcolm Cheape : Shell U .K. Stirling Smith Art Gallery and Exploration and Productio n 3,000 Museum 8,470 Matthew Dalziel: Shell U .K. Stonehaven Community Centre 60 Exploration and Productio n 3,00 0 Stornoway : An Lanntair Limited 23,78 5 John Hunter : Nobel's Explosive s Company Limited 4,35 0 Stromness: Pier Arts Centre Trust 24,634 Keith Rand: Shell U .K. Tweeddale District Counci l 11 7 Exploration and Productio n 3,00 0 Uddingston : Aitkenhead Primary Gillian Rhind: Shell U .K. School 200 Exploration and Productio n 3,000 Art in Partnership : Scotland 15,000 20,700 The Contemporary Art Society 3,500 Awards 51,26 3 Hands on Productions Limited 2,00 0 Commissions 24,299 Northern Arts 915 75,562 Scottish Photography Group Total per note 5 91,186,21 1 Limited 51,146 Scottish Sculpture Trust 8,00 3 Society of Scottish Artists 4,05 0 FIL M Workshop and Artists Studio Scottish Film Production Fund Provision Scotland Limite d S2,S8 0 Limited 25,000 1,042,!49 Scottish Film Training Trust 5,000 Total per note 5 930,000 Artists in residenc e Aberdeen Art Gallery and Museu m 2,125 LITERATUR E Amsterdam Studio : Jim Pattiso n 7,250 Association for Scottish Literary Callum Innes S0 0 Studie s 14,500 Barrowfield Community Business Book Trust (Scotland) 41,500 Limited 1,000 Edinburgh Book Fair Limite d 14,000 Caithness Arts Association: Edinburgh Children's Book Group 270 Marios Alexander 2,500 The Federation of Children's City of Edinburgh District Council : Book Groups 1,340 Andy Amot 5,500 Friends of the Dictionary of th e Dumfries and Galloway Arts Older Scottish Tongue 6,50 0 Association: Carol Semple 3,500 The Gaelic Books Council 62,40 0 East Kilbride Development : Jim Cathcart 4,400 Scottish National Dictionary Association Limited 3,50 0 Glasgow Arts Centre : Roland Mille r 3,000 Scottish Poetry Library Associatio n 16,60 0 Greater Easterhouse Garde n '88 Group: Leslie Burr 2,500 Scottish Publishers Association S7,S0 0 Irvine Development : Mary Bourn e 4,500 University of Edinburgh 1,400 Springburn Museum : Rona McNico l 475 219,510 Soulisquoy Printmakers: yet to be appointed 1,150 Stirling Smith Art Gallery an d Museum: yet to be appointed 3,000 University of Edinburgh: Hideo Furuta Carved Fvnvard t t t t BroughtFvrumrd - 219,510 BroughtFvrwnrd 11,850 280,43 9 Magazines `rants to Publishers (eont'd) Books in Scotland 6,000 Balnain Books Cencrastus 13,600 "The Alford Tales" by Stanley Robertson 1,000 Chapman 0,760 Blind Serpent Press Edinburgh Review 5,070 "Looking Towards Light" by Gairm 10,460 Margaret Gillies Brown 400 Interarts 000 Canongate Publishing Limited Lallans 1,150 "Dr Mavor and Mr Bridie" by Lines Review 6,240 Ronald Mavor 1,000 d Radical Scotland 000 Canongate Publishing Limite 22,f0 Scottish Book Collector 1,200 Canongate Classics Series 0 'he Devil and the Giro" edited Verse 1,500 by Carl MacDougall 3,000 (7,680 "The Sound of the Sea" by Colin Mackay 1,500 Literary Events "Quincunx -the Inheritanc e of John Huffam " Asian Artistes Association 478 by Charles Palliser 3,000 Creation for Liberation Scotland 300 "Map the Devil Walk Behin d Ye!" by Duncan Williamson 1,000 National Poetry Secretariat 300 "The Poems of Olive Fraser" Open Circle 250 edited by Helena Shire 2,000 Romantic Novelists Association- "Blood on the Heather" by Scotland 310 Griselda Gifford 1,000 Urras an Eilein 1,200 Just Duffy" by Robin Jenkins 1,750 West and Wilde Bookshop 111 "My Life as a Scribe" b y George Thomson I,f00 Workers Education Association 300 "Quest for a Maid" 3,240 by Frances Hendry 1,500 ]emima Blackburn: An Illustrated Memoir" edited with Grants to Publishers introduction by Rob Fairley f,000 Aberdeen University Press W. R. Chambers Limite d "Call to Leviathan" by Norman "The Best of Scottis h Kreitman 600 Poetry" edited by Robin Bell 39000 "Full Score" by Fred Urquhart 2,000 Chapma n "Short Stores" by "Beyond The Border" by Christopher Rush 2,000 Jenny Robertson f00 "Samuel Rutherford Crockett" William Collins Sons and by Islay M . Donaldson 1,000 Company Limited Arthur Berriedale Keith" by Ridgway F. Shinn 1,000 Scottish Short Stories No. 17 S,12 S "The History of Scottish Literature John Donald Publishers Limite d Volume 3" by Cairns Craig and "Scotland Reformed : th e Douglas Gifford 1,7f0 Reformation in Angus and th e "Katherine Atholl : Against the Tide" Mearns" by Reverend by Sheila Hetherington 1,500 Frank D . Bardgett 7f0 "The Seer in Celtic and Other "Grampian Battlefields" by Traditions" edited b y Peter Marren 2,000 Dr Hilda Davidson 7f0 "Improvement an d Enlightenment" edited by Professor T. M . Devine f00 "Ferries in Scotland" by Marie Weir 7f0 Carried Forward 11,850 280,439 Carried Forward 69,375 280,43 9 92 ! t t t Brought Fonvard 69,375 280,439 BroughtFonvard 102,695 208,439 Grants to Publishers (eont'd) Grants to Publishers (eont'd ) "Philosophy and Science in the "Lances and Longships" by Marion Campbell S0 0 Scottish Enlightenment" edited by Peter Jones 1,500 Peter Own Limited "The Highland Bagpipe and Its "Wither O Ship" by Stanley Roger Green 1,50 0 Music" by Roderick D. Cannon 1,000 Phaidon Press Floris Books "Elizabeth Blackadder" by Judith Bumpus 3,000 "Nevi Magic Pea-liens and Other Serbian Folk Tales " Polygo n by Vuk Karadzic translated "A Very Quiet Street" by Frank Kuppner 1,500 by John Adlard SOO "Cells of Knowledge" Gordon Wright Publishing Limited by Sian Hayton 1,00 0 "Making Tracks" by William Neill 1,000 "Moving Worlds" by Tim Edenso r Hodder and Stoughton Limited and Mij Kelly 1,50 0 "Penelope's Hat" by Ronald Frame 39000 "Slipways" by Robert Turner 1,00 0 "Sleeping with Monsters" researched Keith Murray Publications by Rebecca Wilson 1,500 A Nipick O' Nor east Tales " 1,00 by Sheens Blackball SOO "Lord Nelson Tavern" by Ray Smith 0 "Century" by Ray Smith 1,00 0 "The Sunken Well" edited by Keith Murray 750 Prontaprin t Macdonald Publishers "In Hospital" by Kirkpatrick Dobie 200 "The Way Words are Taken" The Ramsay Head Press by Robin Fulton 1,250 "The Life and Work of J . Noel Paton" A Dancing Innocence" by M .H. Noel Paton and P. Campbell 1,000 by Tessa Ransford 750 Richard Drew Publishing Limited Mainstream Publishing Colour printing of "Mackintosh's "Streets ofGold" edited Masterwork" edite d by Moira Burgess and by William Buchanan 2,500 Hamish Whyte 1,000 "The Shadow" by Neil M . Gunn 1,000 "Scottish Garden Buildings " by Tim Buxbaum 3,500 "Remedy is None" by William MacIlvanney 1,000 "William Adam 1689-1748 " by John Gifford 2,000 "The Sun's Net " by George Mackay Brown 1,000 "Market Forces" by David Milsted 1,250 "Off in a Boat" by Neil M. Gunn 2,000 "The Root of the Matter" by Father Anthony Ross 1 9500 "Walk Don't Walk " by Gordon Williams 1,000 "The Bird Path " by Kenneth White 2,000 "Time Will Knit" by Fred Urquhart 1,000 "The Taste of too Much" "The Tomb of Reeds" by Cliff Hanley 1,000 by Sarah Bayliss 750 "The Family of Four" "The Third Eye" by Mollie Hunter 750 by Archie Baird 1,500 "Giftwish " Joan Eardley RSA by Graham Dunstan Martin 750 by Cordelia Oliver 4,500 "On the Island" "In Through the Head" by Ian Crichton Smith 750 by William McIlvanney (book and cassette) 1,500 The Saltire Society John Murray (Publishers) Limited "Why Scots Matters " by J . Derrick McClure 750 "The Wreck of the Archangel" by George Mackay Brown I 9S00 "The Covenanters" by David Stevenson 750 Northern House Schiltron Publishin g "Ben Dorain" by Duncan Ban Maclntyre translated by Iain Crichton Smith 120 Audio cassettes: "Sunset Song " by Lewis Grassic Gibbon 900 The Orkney Press "The Complete Para Handy Stories " "Old Orkney Trades" by Neil Munro 800 by Sheila Spence 1,200 Spa Books Limite d "The Wide Blue Road" by Marion Campbell 500 "David Angus: The Life an d Adventures of a Victorian Railway Engineer" by Craig Mair 1 9 250 Carried Fvnvard 102,695 280,439 Carried Fvnvard 134,345 280,439 9 3 s a s 9 Brought Fononrd 134,345 280,439 Brought Fonrard - 101,08 7 Grsutts to hUMbhers (eentrd) TOURING (eent'd) Stirling University Press Rambert Dance Company 17,022 James Hogg: Scottish Pastorals" Royal Exchange Theatre edited by Elaine Petrie Soo Company Limited 17,00 0 Stramullion Royal Lyceum Theatre Company Limited 15,870 "Poems by Scottish Women" edited by Stramullion 500 Royal National Theatre 30,000 Third Eye Centre (Glasgow) Limited Royal Shakespeare Company 35,00 0 -The New Moors" by Owen Logan Triumph Theatre Productions Limited 9I ,505 and Paul Bowles 2,000 Vanessa Ford Productions 10,00 0 137,345 Whirligig Theatre 10,639 Visiting Arts Unit of Great Britai n Mlriters in re"enee Northern Ireland 7,80 0 Alasdair Campbell: Sabhal Mor Ostaig 4,500 Total per note 5 9335,92 3 where Local Authority contributions Donald Campbell: of £164,061 are detailed. University of Dundee 5,00 0 Valerie Gillies: Duncan of Jordanstone College of Art 4,500 COMBINED ART S Kathleen Jamie: Aberdeen: Midlothian District Council 2,700 Aberdeen Arts Carnival Committee 2,000 Aonghas MacNeaca il : Ross and Cromarty District Council 6,300 Aberdeen Arts Centre Association 4,390 Alison Prince : Jordanhill Airdrie: Monklands Festival Soo College of Education 4,500 Clydebank Arts and Oliver Reynolds: University of Leisure Enterprises 5,000 Glasgow and Strathclyde 3,500 Clydesdale District Council 750 Anna Stevenso n University of Edinburgh S,SOO Conon Bridge : Moving ArtShow 225 Jim Wilson : Stirling District Council 5,000 Cumbernauld Theatre Trust Limited 111,734 41,500 Denny: Bridge Crescent Community Arts Festival 276 Dumfries and Galloway Arts Association 38,983 Book Awards 8,250 Dundee: Dudhope Arts Centre 2,950 Bursaries 49,000 East Lothian Community Travel Grants 7,853 History and Arts Trust 6,250 Publication Award 250 Edinburgh: Artlink 6,750 Special Award I,SOO As Albain 10,400 Total per note 5 dS26,137 Clovenstone Community Centre 627 - Craigmillar Festival Society 16,102 Edinburgh Arts and Entertainment 1,500 TOURING Festival Fringe Society Limited 20,000 14,184 British Actors Theatre Company Legato 10 0 33,500 D'Oyly Carte Opera Trust Limited Lung-Ha's Theatre Company 6,00 0 34,000 E & BProductions (Theatre) Limited Muirhouse Festival Association 1,125 3,800 London Munich Puppet Company Pilton Central Association 3,400 6,800 Micky O'Donoughue Productions The Slide Workshop S4S 8,803 Northbank Productions Theatre Worksho p Edinburgh Limited 106,200 Evanton : Fyrish Community Enterprises Limited 2,000 Fife Regional Council/ Arts in Fife 14,300 Gairloch : West Coast Arts 1,070 Carried Forward 101,087 Carried Forward 363,17 7 94 E 9 9 t Brought Forward - 363,177 Brought Forward - 5,74 5 COMBINED ARTS (eont'd) FESTIVALS (aont'd) Glasgow : Cultural Cooperation 5,000 Dumfries and Galloway Arts Festival 5,600 Glasgow Arts Centre 3,653 Dunfermline Abbey Festival Society 830 Project Ability Limited 5,356 East Kilbride Arts Council 998 Third Eye Centre (Glasgow) Limited 273,700 Edinburgh : Clarsach Society (Edinburgh Branch) 1,100 Glengaraock: Valley Arts Resource Centre 500 Haddington Edinburgh Festival Society : Lamp of Lothian Limited 493,00 0 Collegiate Centre 5 0890 Inverness: Eden Court Theatre Edinburgh Folk Festival 185,133 Society Limited 4,45 0 Irvine: Harbour Arts Centr e Faultline Entertainments Association 49 8 (Irvine) Limited 4,000 Girvan Traditional Folk Festival 567 Islay: Islay Arts Association 1,400 Glasgow : Glasgow Folk Festival 350 Isle of Skye : Sabhal Mor Ostaig 792 Garnethill Community Council 300 Clan Donald Centre 1,542 Festival of New Chinese Music 500 Fearann Eilean Iarmain I ,SO O Glasgow International Jazz Skye The Island 1,000 Festival Limited 5,000 Lothian Play Forum 2,100 Glasgow Tryst 1,07S Langholm : Samye Ling Summer Mayfest Limited 43,264 Festival Committee 1,500 Glenfarg Folk Feast 3 3 Mid-Argyll Arts Association 1,875 Inverness Folk Festival 62 5 Nairn: Faultline Entertainments Association 500 Isle of Bute Jazz Festival 437 Motherwell District Council 4,631 Islay : Rhinns of Islay Festival Society 860 Ross and Cromarty District Council 7,200 Islay Festival Association 1,667 Shetland Arts Trust 24,102 Kirriemuir : The Traditional Music and Shorts Art Guild 2,900 Song Association of Scotland - Stirling: Artlink Central 1,200 (Tayside Branch) 346 Kirkwall : St. Magnus Festiva l MacRobert Arts Centre 130,400 (Orkney Islands) Limited 12,50 0 Stirling District Council 1,500 Melrose Folk Festival 25 5 Stirling District Festival 3,000 Oban : An Comunn Gaidhealach - Stranraer Music Festival 500 Argyll Region 23 5 Strathaven Arts Centre 1,040 Orkney Folk Festival Society 1,150 Ullapool Entertainments 2,235 Perth Festival of the Arts Limited 14,400 Wick: Lyth Arts Centre 6,500 Royal Burgh of Pittenweem Arts Festival 1,100 An Comunn Gaidhealach 27,400 Saltcoats : Three Towns Festival 300 Comunn na Gaidhlig 1,000 Shetland Folk Festival Society 1,500 National Gaelic Arts Project 18,000 Stirling District Festival Limited 1,59 1 Scottish Council on Disability 6,250 St. Andrews Festival Society Limited 4,00 0 Scottish Television Limited 10 9000 Total per note 5 d604,276 Scottish Trades Union Congress 16,000 ow , Traditional Music and Song Association ofScotland 10,000 HOUSIN G THE ARTS Training 1,62 5 Total pernote 5 91,134,101 TOURIN G His Majesty's Theatre, Aberdeen 100,00 0 FESTIVALS AR T Aberdeen Alternative Festival 835 Dundee Printmaker Workshop Limited 3,89 5 Auchtermuchty Festival Society 50 0 Ayrshire Arts Festival 3,600 COMBINED ARTS Borders Festival of Ballads and Legends 810 Volunteer Halls, Galashiels 30,000 Carried Fanward 5,745 Total per note 5 9133,89 1 95 INCONE i expenditur e accoun t for the year ended 31 March 198 9 10008 10008 4000s 'C000s Income Grant from Arts Council of Great Britain 8,553 792 0 Grant from Crafts Council 81 75 Grant from British Film Institute 51 50 Other operating income: Note 2 52 70 8,737 8,11 5 Grants and guarantees accrued i n previous year, not now required 7 17 8,744 8,132 Expenditure Administration of subsidies and services Staff costs : Note 3 534 506 Operational costs : Note 4 234 218 Depreciation : Note 9 39 41 807 765 Grants and guarantees: Note 5 7,344 6,762 Other activities : Note 5 130 154 Direct promotions - net costs: Note 6 s10 473 General expenditure on the arts in Wales: Note 5 7,984 7,389 8,791 8,154 Operating defici t (47) (22) Interest Receivable 46 49 Transfer from deferred capital grant account: Notes 7 & 1 1 18 18 64 67 Works of Art donated to the Council Valuatio n Is - Depreciatio n (1S) Surplus for the financia l year : Note 8 17 45 Accumulated Surplus brough t forward 164 119 Accumulated surplus carried forward 181 164 96 BALANCE shee t as at 31 March 198 9 4000 5 Fixed Assets Tangible assets - Note 9 959 97 1 Current Assets Stocks s8 53 Debtors and prepayments : Grants due from Arts Council o f Great Britai n 401 395 Other: Note 10b 145 234 Grants and guarantees paid in advance 179 151 Cash at bank and in han d 16 1 1 900 844 Current Liabilities Grants and guarantees outstandin g 687 58 3 Creditors: amount failing du e within one year: Note 10 130 18 9 6 817 77 2 Net current assets 83 72 Total assets less current liabilities Financed by Income and expenditure account Deferred capital grant account: Note 7 Mathew Prichard Chairman of the Welsh Arts Council Luke Rittner Secretary Genera l 4 September 1989 97 SOURCE R applicatio n of fund s for the year ended 31 March 198 9 90003 6000s Source of funds Net surplus on ordinary activities 17 45 Sale proceeds of tangible fixed assets 7 20 Capital grant received - 897 Adjustment for items no t involving the movement of funds: Transfer from deferred capital grant (18) (18) Profit on sale of tangible fixed assets (1) (5) Depreciation 65 64 4S 4 1 Total generated from operations 60 1,003 Application of funds Purchase of tangible fixed assets (S7) (971) Increase in working capital 11 32 Components of increase in working capital Stocks S 2 Debtors 46 191 Creditors (44) (20) Movement in net liquid funds Cash at bank and in hand S (141 11 32 to NOTE S to the accounts 1 Accounting Polities clients. Grants and guarantees d) Capital grants a)The financial statements are are charged to the Income and Grants received towards th e prepared under the historical Expenditure Account in the cost of fixed assets are taken to cost convention. Without year in which funded activities income and expenditure limiting the information given, take place ; if this is not account over the useful life o f the accounts meet the determinable they are charged the asset concerned The requirements of the in the year in which activities amount of such grants still to Companies Act 1985, and of begin. Any amounts unpaid be taken to income and the Statements of Standard from grants and guarantees at expenditure account is shown Accounting Practice issued by the year end are shown as on the balance sheet as a member bodies of the creditors in the Balance Sheet deferred capital grant account . Consultative Committee of and any advance payments t o Accountancy Bodies so far as clients in anticipation of grants e) Stock s those requirements are and guarantees to be charged in Stocks are stated at the lower o f appropriate. the following financial year are cost and net realisable value. Significant departures from shown in the Balance Sheet a s Statements of Standard debtors . f) Leases Accounting Practice are The Arts Council holds no disclosed in the notes to these c) Depreciation and fixed material finance leases. assets accounts and the financial Operating leases are taken into Depreciation is provided on all effect is quantified where the Income and Expenditure tangible fixed assets at rates practicable to do so. account on a straight line basis calculated to write off the cost over the life of the lease . less estimated residual value of b) Accruals convention each asset systematically over (i) All income and expenditure g) Pension Funding its expected useful life as is taken into account in the The total pension cost for the follows : financial year to which it period was £87,549 (198 8 Freehold relates . Setting up costs buildings over 50 years £70,709) . The Welsh Arts incurred on an event promoted Leasehold over the life Council pension schem e by the Council are charged to buildings of the lease arrangement are the same as the year in which that event Fixture s those for the Arts Council of and fittings over 4 years takes place . Setting up costs Great Britain, the details of Motor incurred in a year prior to that vehicles over 4 years which are provided in thei r opening are treated as a Freehold land is not accounts. prepayment . depreciated. Works of Art ar e (ii) Subsidy expenditure is fully depreciated in the year of incurred in the form of grants acquisition. and guarantees which ar e formally offered to an d accepted by the Council's 99 dooos £00(s 2 Other operating income Contributions towards special research projects 8 61 Grant from British Broadcasting Corporation 20 - Income from events other than direct promotions: Note 6 9 - Sppoonsorship - Young Welsh Singers' C ompetition 2 - Grant administration charges 7 - Association of Cinematographic and Television Technicians -Residual Fund 3 - Sundry income 1 4 Profit on sale of fixed assets 2 4 52 69 3 Administration of Salaries and Wages 440 430 subsidies and services 34 30 Staffcosts Employers National Insurance Arts Council of Great Britai n Retirement Plan (1975) 60 46 MENNINEEN The Chairman, Council and Committe e Members are not paid for their services The average weekly number of employees during the year was made up as follows : No No Administration of subsidies and services 41 43 Direct promotions 24 23 6s 66 £58,843 (1988 £53,429) of adminstrative staff costs have 6 en allocated t o direct promotions detailed in Note 6. 4 Administration of Travelling and subsistence 70 70 subsidies and services Operational costs Rent and rates 47 47 Fuel, light and house expense s 12 18 Public relations and hospitality 16 13 Postage and telephone 28 25 Stationery and printing 13 13 Professional fees 20 12 Bed debts written off - - Office and sundry 28 20 234 218 £12,020 (1988 £11,909) of operationa l costs have been allocated to direc t promotions detailed in note 6. 100 9000s EOOOs '(OOOs '(OOOs 5 Expenditure by art form Music Grants and guarantees 1,459 2,296 Scheme expense s 1 3 Concert programme: Note 6 167 164 Young Welsh Singers' Competition 7 - 1,635 2,463 Festivals Grants and guarantees 117 122 Danc e Grants and guarantees 176 229 Scheme expense s 1 Professional Dancers' Summe r School 6 - Other activities 1 - 184 23 0 Dram a Grants and guarantee s 1,974 1,841 Scheme expenses 1 Training courses 9 - 1,983 1,842 Art Grants and guarantee s 480 38 4 Exhibition services : Note 6 lie 10 9 Art News " 11 1 0 Maintenance of Welsh Collectio n (1) - Collectorplan, Artists Register, Slide Library and other activitie s 6 5 Scheme expenses 7 6 Depreciatio n 1 1 611 51 5 Fil m Grants and guarantee s 90 8 3 Other activities 8 10 Depreciatio n 4 10 101 103 Literature Grants and guarantee s 641 579 Scheme expenses 1 Competitions and events 1 1 1 0 Other activities 11 1 6 664 606 Regional Grants and guarantee s 1,146 1,13 5 Other activities 1 1 1,148 1,136 Carried Forward 7.665 7,01 7 1 10 1 90005 90008 C000s C000s Brought hmwrd 7,665 7,017 S Expenditure by art form craft (continued) Grants and guarantees S I 52 Scheme expenses 1 5 Showcase network and exhibitions 16 12 "Crefft" and craftsmen's register 12 12 W` Depreciation - 1 Feasibility Study - South Cardiff 3 Facilities 10 - 90 82 Oriel Dookshop and Gallery Note 6 229 200 Special projects Cardiff Centre for the Performing Arts - Design Brief - 40 Lottery Research project - 1 0 "In Media Res" - film consultancy report 4 - 4 50 Mousing the Arts Grants - 40 General expenditure on the arts in Wales 7,984 7,389 HIMENEENE Suwnmary Grants and guarantees 7,344 6,762 Other activities 130 154 Direct promotions : Note 6 510 473 General expenditure on the arts in Wales 7,984 7,389 HIMENNEEN Exhibition Oriel Bookshop services Concerts and Gallery Total 6 Direct Promotions 90009 40000 90005 'COOOs 90008 C000s 90009 C000s Incom e 2 - 49 61 180 180 231 241 Staff Cost s Salaries and Wage s S8 55 9 8 157 140 224 203 Employers N.I. 4 4 1 1 10 8 It 1 3 Arts Council o f Great Britai n Retirement Plan (1975) 8 7 1 1 18 17 27 25 (70) 66 (11) (10 (189) 165 (266) 241 Operational costs (4S) ~38 (20S) (215; (217) ~209~ (467) 462; Depreciation (S) (5) - - (2) (6) (7) (11) Net deficit (118) (109) (167) (164) (22S) (200) (S 10) (473) Staff and operational costs include a proportion of administrative overheads as detailed in notes 3 and 4 102 € dooos 6000s 7 Deferred Capital Balance at 1 April 879 - Grant Account Capital grants received - 897 879 897 Transfer to income and expenditure account 18 18 Balance at 31 March 861 879 8 Surplus for the year 17 45 Stated after charging (a) Auditors remuneration 13 9 (b) Employees receivin remuneration over C3~000 1 1 (c) Lease rental payments during the year on land and buildings 63 60 Land and Fixtures Vehicles Works Buildings & Fittings of Art Total £OOOs kOOOs kOOOs £OOOs 'COOOs 9 Tangible Fixed Assets Cost at 31 March 1988 968 208 92 127 1,396 Additions 21 s 17 Is s8 Disposals - (6) (12) (1) (19) Cost at 31 March 1989 989 207 97 141 1,434 Depreciatio n At 1 April 1988 66 191 40 127 424 Provided 1988/9 19 12 20 Is 6s Less depreciation o n Disposals 1988/9 - (6) (7) (1) (14) as 197 s3 141 47 s Net Book Value at 1 April 1988 902 18 s2 - 97 2 Net Book Value at 31 March 1989 904 10 44 - 9s9 Depreciarion is allocated to Subsidiaries and services 39 41 Direct promotions (see Note 6) 7 1 1 Art departments 4 12 Works of Art Is - 6s 64 The net book value of land an d buildings comprises Freehold 870 88 8 Long leasehold improvements - - Short leasehold improvements 34 14 Land and buildings includes property amounting to 8,500 at 1978 valuation . 10 3 10 Adjustment Of a) In note 6 (Direct Promotions) income and expenditure have both been increased by 3,316 to show gross figures fo r 19" figures readings, exhibition catalogues and other activities previously included net of income . b) 33,900, included as a creditor due within one year in the balance sheet as at 31 March, 1988 has been set against a related debit balance reducing both figures by this sum 11 Prior year adjustments During the year ended 31 March, 1988 the Sherman Theatre was purchased by the Welsh Arts Council at a cost o f 897,090 from a provision made available by the Welsh Office . As disclosed in Note 8 of the 1988 accounts the grant received was set against the cost and the written down value at 31 March 1988 was shown as Nil. To comply with Statement of Recommended Accounting Practice No . 2 Accounting by Charities" published in May 1988, the treatment of both the asset and the grant has now been changed and the accounts show, as at 31 March 1989, the gross cost of the asset, together with the relevant depreciation charge . The grant received has been credited to a deferred capital grant account which is being written off at the same rate as that which depreciation is being provided on the Theatre. Comparative figures for 1988 have been adjusted to show the effect of applying the current accounting treatment sinc e the date of purchase of the asset. There is no effect on the Council's Income and Expenditure Account balance at either 31 March 1988 or 1989. 90002 '6OOOs IZ Investments Unlisted investment UAPT - Infolink PL C 1,142'.N Ordinary 25p shares Nil Nil The Welsh Arts Council had been a member of the United Asociation for the Protection of Trade Limited in order t o obtain credit references for loans made under its Collectorplan scheme. As a member of that Company, the Wels h Arts Council was allotted, free of any cost, 1,142 A Ordinary Shares of 25p each, fully paid, at a premium of 75p , in UAPT -Infolink PLC under a Scheme of Arrangement which became effective on 27 March 1987 . Due to th e nature of the holding no market value has yet been ascribed to these shares . 13 Commitments As at 31 March 1989 the council had annual commitments under non-cancellable operating leases as set out below : Land and building t000s 'COOO s Operating leases which expire : Within one year - 8 In the second to fifth year inclusive - - Over five years I S2 52 IS1 60 14 Capital commitments As at 31 March 1989 the Welsh Arts Council had contractual commitments for capital expenditure amounting t o 262,000 (1988 - Nil) not provided for in these accounts . Comptroller and Auditor General's Certificate I have examined the financial statements on pages 96 to 104 in accordance with the National Audit Office auditin g standards. In my opinion the financial statements give a true and fair view of the state of affairs of the Welsh Arts Council at 31 March 1989 and of its transactions and source and application of funds for the year then ended and have been properly prepared in accordance with the directions made by the Minister for the Arts . G2~ P O'Keefe Director / for the Comptroller and Auditor General National Audit Office 104 SCHEDULE I t t to the accounts BroughrFvnvard - 93,200 Festivals (cont~d ) Swansea Festival of Music and the Arts 22,39 0 as at 31 March 1989 Vale of Glamorgan Festival 11,75S lie Total as note 5 9127,34S DANC E Performing Company Diversions Welsh Repertory Dance Company 114,320 Community Dance - revenue clients Cardiff Community Dance Project - Rubicon 36,373 GRANTS AND GUARANTEES Clwyd Dance Project 10,320 (including subsidies offered, but not paid at that date) Footloose, Powys 2S,14S MUSIC Rhondda Community Dance Project S9 68 S Opera t t Valley and Vale Community Arts 4 9 650 Welsh National Opera 1 9 756,000 West Glamorgan Dance Project 10,320 92,493 Other Organisation s BBC Welsh Symphony Orchestra 396,050 Other Community Dance Chandos Records Limited 19,960 Gwynedd Dance Project 4,01 S Chapter 2,650 North Dyfed Dance Project 10,17 0 Merlin Music Society 4,11 S Music Theatre Wales 28,940 14,185 North Wales Philharmonia 2,01 S Projects and Commissions St Davids Hall 619765 St Donaes Arts Centre 3,21S Consort de Danse Baroque 9,480 Welsh Music Information Centre 30,030 Dance Alive 7,02 0 University College of North Wales : Dance Council of Wales 20 S Archive of Welsh Traditional Music 1,010 Drop of a Hat 5,01 S Welsh Amateur Music Federation 90,030 Gwent Ballet Theatre 7,02 0 Welsh Jazz Society 20,635 National Association for Dance an d Mime Animateurs s l o 660,415 New World Dancers 8 986 0 Wales Dance Trade Fair 2900 0 Awards to Individuals Awards to individuals 14,01 0 Commissions to composers 22,14 5 Awards for advanced study 16,1 SS 54,120 38,300 Training Welsh Dance Theatre Trust 1,010 Publication s Guild for the Promotion of Welsh Music 4,765 Total as note 5 1276,12 8 Total as note 5 92,4S9,480 Festivals DRAM A Cardiff Festival of Music 17,S3S Radical Theatre Companies an d Theatre Initiatives (English Language) Fishguard Music Festival 18,020 Centre for Performance Research 20,145 Llandaff Festival 4 901S Magdalena Project 10,22 0 Llangollen International Musical Eisteddfod 29,53 0 Moving Being 84,93 0 Llantilio Crossenny Festival of Music and Drama 2,31S Paupers Carnival 30,03 0 Lower Machen Festival 29980 Theatr Taliesin Wales 13,030 North Wales Music Festival 16,190 158,36 5 St David's Cathedral Bach Festival 29615 Carried Forward - 93,200 Carved Fonuard - 158,355 105 d t d d Brought Fonvard - 158,355 BroughtFontvrd 25,185 1,937,770 Mainstream Producing Companies (English Language) Theatre writing and WaNdng (cont'd ) Made in Wales Stage Company 100,750 Welsh College ofMusic and Drama 5,01 s Sherman Theatre 27!,5!0 Awards to individuals 5,735 Thearr Clwyd 324,070 35,93 5 Torch Theatre 182,825 Total as note 5 Al 1,973,705 887,235 - Grants to GsNarles (Welsh Language) Producing Companies Association for Photography in Brith Gof 60,030 Wales : Ffotogallery 46,23 0 Cwmni Hwyl a Fflag 85,030 Clwyd County Council: Clwyd Art and Exhibition Service 38,03 0 Cwmni Theatr Cymru 1 1,040 Mostyn Art Gallery •5,03 0 Cwmni Theatr Gwynedd 100,040 Newport Borough Council 10,020 Dalier Sylw 25,030 Oriel 31, Newtown: Davies Memorial Gallery 17,020 Theatr Bara Caws 84,030 Oriel 31, Welshpool 5,01 5 Theatrig 65,030 Swansea City Council 4,020 430,230 University College of North Wales, Bangor 6,020 University College of Wales, Theatre in Education, Young Peoples and Aberystwyth 30,03 0 Community Theatre Companies West Glamorgan County Coucil 3,020 Coracle -South Dyfed TIE 25,030 244,435 Cwmni Cyfri Th 30,505 Cwmni'r Fran Wen 35,030 Grants for Artists Exhibiting Fees Cwmni Theatr Outreach 41,480 Association for Photography in Gwent Theatre 38s140 Wales : Ffotogallery 1,813 Hijinx Theatre 60,030 Bleddfa Trust 28 5 Masquerade Theatre 15,260 Cardiff City Council 1,289 Spectacle Theatre 41,830 Carmarthenshire College of Technology and Art 1,367 Thearr Crwban 24,955 Ceredigion District Council 576 Theatre West Glamorgan 45,530 Chapter 2,070 Theatr Iolo Morganwg 33,030 Clwyd County Council 3,376 Theatr Powys 71,130 Cowbridge Community College 58 1 461,950 Dyfed County Council 58 1 Fishguard Music Festival 15 3 Theatre Writing and Training Gwynedd County Council 72 1 Brith Gof 810 Llanover Hall Arts Centre 1,09 5 Centre for Performance Research 5,780 Llantarnam Grange Arts Centre 370 Cwmni Fran Wen 80 Lower Machen Festival 15 3 Cwmni Theatr Outreach 155 Mid-Wales Festival of the Countryside 62 7 Cwrs Drama Cymraeg 2,315 Monmouth District Council 299 Hijinx Theatre 1,61f Mostyn Art Gallery 440 Masquerade Theatre 1,215 Newport Borough Council 299 National Youth Theatre of Wales 7,520 Newport Spring Festival I S3 Paupers Carnival 510 Oriel 31, Newtown : Davies Memorial Gallery 74S Theatr Crwban 1,010 Oriel 31, Welshpool 1,345 Theatr Cwmtawe 310 Polytechnic of Wales 72 1 Theatrical Management Association S I O South Glamorgan Institute of Higher Education Iles Theatr Taliesin Wales 2,345 Swansea Arts Workshop S49 Torch Theatre 1,010 Swansea City Council 1,06 2 University College of North Wales, Bangor 1,09 5 Carried forward 25,185 1,937,770 Carved Forward 22,650 244,435 106 d 9 t t Brought Forward 22,650 244,435 Brought Forward - 445,16 0 Grants for Artists Exhibiting Fees (cont'd) Travel, Masterclass and industria l experience grants University College of Wales - Aberystwyth Arts Centre 3,986 British American Arts Association 5,51 0 Welsh Sculpture Trust 154 Awards to individuals 15,863 West Glamorgan County Council 1,711 21,373 Wyeside Arts Centre 721 29,222 Loans to Artists Loans made 46,489 Revenue Grants to Art Organisations Less amount repaid (33,244) Association of Artists and Designers in Wales 31,030 13,24 5 The Pioneers 13,020 Total as note 5 9479,778 Welsh Sculpture Trust 33,030 - 77,080 FILM Development Projects Visual Art Development Posts Red Flannel Films ' 4,01 S Dyfed County Council 3,01 S Royal National Eisteddfod S,015 Production Grants Torfaen Borough Council 4,01S Red Flannel Films 2,21 S 12,045 Tension Films 560 Valley and Vale Community Arts sl o Artists in Residence West Glamorgan Video & Film Workshop 1,41 S North Wales Arts Association 5,01S Wrecsam Community Video I,S2 0 South-East Wales Arts Association 8,020 Awards to individuals 6,1 SS West Wales Association for the Arts 7,020 12,375 20,OSS Education Development Projects Projects Clwyd Media Studies Unit 94 S Aberystwyth Arts Centre 1,430 West Glamorgan Video & Film Workshop 61 0 Association for Photography in Wales : Ffotogallery S,82S Wrecsam Community Video 2,01 S Berllanderi Sculpture Workshop 6,020 3,570 Cardiff Arts Marketing 5,02 0 Cardiff Print Workshop 1,010 Training and Education Chapter 1,140 Media Education Centre 8,02 0 City University, London 1,010 Clwyd County Council 3,530 Film and Video Workshops Fishguard Festival 2,01S Aberystwyth Media Group 16,82 0 Gweled 13,030 Black Film and Video Workshop in Wales 10,S70 Llantarnam Grange Arts Centre 4,61S Red Flannel Films 5,170 Media Education Centre 610 Valley and Vale Community Arts 4,96 5 Mostyn Art Gallery 1,940 West Glamorgan Video & Film Workshop 18,670 Newport Borough Council 2,020 Wrecsam Community Video S,S2 0 Oriel 31, Newtown : Davies Memorial Gallery 2,410 61,71 S Seven Wonders Arts 1,068 Total as note 5 !89,695 Swansea City Council 1,010 Taflen ISS LITERATUR E Techniquest 3,01S Grants to Organisations Visual Impact Project 1,5I S Yr Academi Gymreig 56,160 Awards to individuals 3,935 62,323 Carried Forward - 445,160 Carried Fanr and 56,160 - 10 7 s ~ s t Brought F,,,,wd 56,16 0 Brought Fvnwrd 3,675 584,530 Grants to Organizations (cont°d ) Writers on 7bur (cont1d) Cymdeitha_s Gerdd DAM 35,03 0 South-East Wales Arts Association 3,675 Gwasg Gregynog 7,625 West Wales Association for the Arts 3,675 Poetry Wales Press 26,530 11,02 5 Welsh Books Council 185, I SS 310,SOO Vh4teW Bursaries and Residencies North Wales Arts Association 3,51 S Production Grants South-East Wales Arts Association 3,440 Bloodaxe Books 61 0 West Wales Association for the Arts 3,01 3 Gwasg Carreg Gwalch 1,01 0 Awards to individuals 35,15S Gwasg Gee 5,320 45,1241 Gwasg Gomer 6,530 Honno 2,815 Other Lawrence & Wishart 2,015 South-East Wales Arts Association - Writers' Umbrell a 9i North Wales Arts Association 3,S 1S University College, Cardiff - Poetry Wales Press 41 0 Gwyn Jones Lecture 141 5 Seren Books 1,91S University of Wales Press 3,975 Total as note 5 28,115 REGIONA L Children's Literature Arts Associations Gwasg Gomer 1,515 North Wales Arts Association 195,240 Sain (Recordiau) Cyf 1,81S South-East Wales Arts Associatio n 294,950 University of Wales Press 1,41S West Wales Association for the Art s 178,59 0 Welsh Books Council 9,020 668,780 Welsh National Council fo r Children's Literature 21,855 Awards to individuals 6,42 5 Other Organisations 42,045 Chapte r 329,441 6 Drama Association of Wales 32,630 Periodicals Visiting Arts 5,520 'Barddas' 6,520 367,61 S 'Barn' 30,640 'Cambrensis' 260 7buring 'Y Casglwr' 1,51 5 Cardiff Arts Marketin g 51 0 'Golwg' 50,030 North Wales Arts Associatio n 42,759 'Momentum' 260 South-East Wales Arts Association 49,227 'The New Welsh Review' 18,130 West Wales Association for the Art s 44,164 'Planet' 56,870 136,660 'Poetry Wales' 13,21 0 'Taliesin' 12,020 Arts and Disability Projects 'Y Traethodydd' 4,415 North Wales Arts Association 3,01 S 193,870 South-East Wales Arts Association 3,01 S Welsh Dance Theatre Trust ass Prises West Wales Association for the Art s 3,01S Awards to individuals 10,000 9,91 0 Writers on 7bu r Projects North Wales Arts Association 3,675 Arts Council of Great Britain 6,020 Carried Forward 3,675 584,530 Carried Forward 6,020 1,182,965 lee 9 9 9 9 Brought Fvnvard 6,020 1,182,965 Brought Fvnvard - 36,16 5 Projects (cont'd) Regional Craft Centre s Caricature Theatre 6,020 Gwasg Gregynog 6,240 North Wales Arts Association 7,530 Clwyd County Council : Ruthin Craft Centre 5,020 Policy Studies Institute 1,010 University College of Wales, Aberystwyth - Ceramics collection 2,01 5 St Donats Arts Centre 1,010 13,27 S TheatrTaliesin Wales 6,520 Welfare State International 4,01 5 Commmissions and purchases of craft work s West Wales Association for the Arts 1,010 Chepstow Arts and Community Festival 460 33,135 Dan Evans (Barry) Limited 20 5 Marketing Organisation Moors Community Housing Association Limited 260 Arts Marketing in Dyfed 6,020 Royal Welsh Fusiliers 51 0 Cardiff Arts Marketing 13,020 1,43 5 Swansea Arts Marketing 11,020 Total as note 5 950,875 30,060 Total as note 5 91,246,160 Special Projects CRAFT "In Media Res" - film consultancy report 4,000 Residencies and Regional Activities Total as note 5 94,000 North Wales Arts Association 4,74 0 South-East Wales Arts Association 7,17 0 West Wales Association for the Arts 4,940 16,850 Exibition Support Grants VVA 1. E S Aberystwyth Arts Centre 3,555 Clwyd County Council: Clwyd Exhibitions Service 3,01 5 Llantarriam Grange Arts Centre 1,32 5 Newport Museum and Art Gallery sl o Oriel 31, Newtown: Davies Memorial Gallery 71 0 Oriel 31, Welshpool Ss South Wales Potters I O s Award to individual 310 9,58 5 Special Projects and Awards Aberystwyth Arts Council 1,010 The Arts Channel 3,26 5 British Artist Blacksmith Association 1,010 Glamorgan Guild of Weavers, Spinners and Dyers 7 5 Gwent Guild of Weavers, Spinners and Dyers 12 S Llantarnam Grange Arts Centre 46 5 Oriel 31, Welshpool 5 5 St Donato Arts Centre 51 0 Seion Weaving Centre S lo South Wales Potters 16 S Awards to individuals 2,540 9,73 0 Carried Forward - 36,165 109 SCHEMES and awards Nor THEATRE WRITING SCHENES Bursaries David Johnston Cindy Artiste Deborah Lev y Tony Benge Sheila Yegar David Bryer Tony Coul t John Whiting Award Writer Play Nick Dear The Art of Success Iain Heggie American Bagpipe s Royalty Supplement Grants Writer Play Organisation Anne Aylor Children of the Dust Croydon Alternatives Theatre Company Elisabeth Bond Walking in the Darkness Raw Cotton Theatre Company Ned Cox Jazz and the Blue Kitten Camarillo Productions Allan Cubitt Between the Lines Bristol Express Theatre Company Penny Casdagli/Caroline Griffin The Memorial Gardens The Nitty Gritty Theatre Company Sarah Daniels The Gut Girls The Combination Limited Nicke Darke A Place Called Mars Colway Theatre Trust Paul Doust If I Knew You Were Coming Index Productions I'd Have Baked A Cake Nick Fisher Wide-Eyes Kingdom Bristol Express Theatre Company Nick Fisher The Ballad of Johnny Recce Pentabus Arts Vicky Ireland Mrs Wobble the Waitress Quicksilver Theatre of Thelema Jackie Kay Twice Over Gay Sweatsho p Errol Lloyd Whistle for the Wind Carib Theatre Productions Rob Mawdsley Snout & The Rialto is Burning Liverpool Lunchtime Theatre Simon Moss Black Magic Dukes Head Richmond James Mundy Saints & Sinners Croydon Alternatives Theatre Company Penny O'Connor Dig Volley Spike U2 Theatre Company Sean O'Hare Allegiance Tabard Theatre Company Jyoti Patel/Jezz Simons What She Said Battersea Arts Centre Robin B Pratt The Tunnel Soldiers Rose Theatre Company Yana Stajno Salt River Pascal Theatre Company Trevor Suthers Girls Best Friend New Harvest Theatre Company Colin Watts Snoopers Liverpool Lunchtime Theatre Second Production Schem e Writer Play Company Jyoti Patel & Jezz Simons Prem Asian Playhouse Theatre Liz Lochhead Dracula Dukes Playhouse Lancaste r Peter W helan Captain Swing Leeds Theatre Trust Noel Greig Plague of Innocence Major Road Theatre Company Peter Dillon Grace Northumberland Theatre Compan y David Fox Mountains on the Moon Pit Prop Theatre Kjartan Poskitt Sammy's Magic Garden Polka Childrens Theatre Charlotte Keatley My Mother Said I English Stage Compan y Never Should Catherine Hayes Long Time Gone Salisbury Arts Theatre 110 Commissions or Options Award Resident Dramatist Attachments Writer Company Writer Company Paul Goetzee Action Transport Theatre Company Lucy Gannon Alternative Theatre Company Steve Wilson All Change Arts Sarah Daniels The Combination Limited Edgar W hire Battimamzel Productions Maureen Lawrence Derby Playhouse April de Angelis Breakout Theatre Company Chris Hawes The Dukes Playhouse Steve Chambers Bruvvers Theatre Company Chris Hawes (extension) The Dukes Playhouse Steve Gooch Central School of Speech and Dram a John Chambers Library Theatre Company John Bond Cleveland Theatre Company Pat Anderson Liverpool Repertory Theatre David Andsell Co Sign Theatre Company Jim Cartwright Octagon Theatre Trust Arnold Wesker Colway Theatre Trus t Stephen Jeffreys Paines Plough Sarah Daniels The Combination Limited Stephen Jeffreys (extension) Paines Plough Sue Ashby & Tina Earl Contact Theatre Community Tea m Nick Dear Royal Exchange Theatre Company Limited Fidelis Morgan Cut and Thrus t Michael Ellis Temba Theatre Company Katie Campbell Cut and Thrus t Christina Reid Young Vic Theatre Ann Jellicoe Dorchester Community Plays Association Steve Gooch Dukes Head Theatre Club Workshop s Phil Woods Durham Theatre Company Bristol Express Theatre Company Richard Pinner Eastern Angles Theatre Company Live Writin g Tasha Fairbanks Extemporary Dance Theatre Liverpool Lunchtime Theatre Graham Padden Farley Festival Play Committe e Metro Theatre Compan y Maurice Callard First Fleet Theatre Project s New Playwrights Trus t Mike Harris G W Theatre Company Limited North West Playwrights Workshop Shaun Prendergast Inner City Theatre Company Raw Cotton Theatre Compan y Janet Cresswell & Niki Johnson Niki Johnson and Company Ken Campbell Lambeth Childrens Theatre ARTISTS' FILM & VIDEO COMMITTE E John Bowen Leicestershire Youth Theatre Production Award s Keith Melton Liverpool Lunchtime Theatre George Barber Untitled Jeff Young Liverpool Lunchtime Theatre Nicola Baldwin Point of View April de Angelis London Actors Theatre Compan y Nick Collins Various Work s Iraj Jannatie Ataie Mazdak Theatre Group Nina Danino Penelop e James Pettifer Medieval Players Karen Douglas I wish . . . begot me Stephen Lowe Meeting Ground Theatre Compan y Steve Farre r Against the Steady Stair . Garry Lyons Metro Theatre Compan y David Finch Man Of Stone s Olwen Wymark Moving Target Theatre Compan y Rob Gawthro p Field Symbol Phas e Brian Hilton National Association of Youth Theatres Constantine Giannari s Thermogoylae/Trojan s Penny Casdagli/Caroline Griffin Neti Neti Theatre Compan y Sven Harding Bit e Emily King/Curtis Pascal Theatre Compan y Tina Keane Work In Progress Sam Snape Proteus Theatre Compan y Ceri McCab e Return Phil Smith Public Parts Theatre Compan y Jean Matthe e Nona Sheppard Quicksilver Theatre of Thelema Michael Maziere The Red Se a Elisabeth Bond Raw Cotton Theatre Compan y Katherine Meynell Ea t Rob Holden Raw Cotton Theatre Compan y Jayne Parker Untitled April de Angelis ReSisters Nicola Percy The Veil Unveiled John Constable Royal Academy of Dramatic Art Benita Raphan Within/Without Cindy Oswin Scarlet Harlets Mazir Raei n Letter to Christians Sue Frumin Shameful Practice Riverside Studios Steve Shill Steve Shill Compan y Simon Robertshaw From Generation to Generation Gary Stevens Gary Stevens Compan y Andrew Stones Boy in Figh t Rufus Orisayomi Shugumugu Sunda y Tim Spicer Theatre Alibi DISTRIBUTION/COMPLETION AWARD S Lin Coghlan Theatre of Fact Noski Deville Carouse l Nick Fisher Theatre of Fact Gina Czarnecki-Gables Moral Judge Lelie Davidoff Tie Break/Norfolk Action Against Aids Peter Gidal Guilt Mark Hollander Unity Theatre I Hasnain/J Wilson Similar State Of Affairs Sue Mayo & Leah Adeola Upstream Childrens Theatre Gad Hollander Euripedes' Movies Jane Beeson Visible Difference Tina Keane The Faded Wallpaper John Godber Wakefield 100 Festiva l Sandra Lahire Plutonium Blonde Sian Evans Womens Playhouse Trust Michael Maziere Unspoke n Clare McIntyre Womens Playhouse Trust A Nicholson Precarious & Jade d Tim Firth The Works Theatre Co-operative Richard Philpott Stones Of Hollan d Mary Cooper Yorkshire Wome n Martyn Pick Taboo of Dirt Pete Brown Zoots & Spangles Janus Scerek Global Home Moira Sweeney Message From Budapes t TYP Commission Bonus Schem e Alia Syed Unfolding Company Writer Paul Taylo r Cleveland Theatre Company John Bond Chris Welsby Sky Ligh t London Actors April de Angeli s Pier Wilkie Myths and Legends Scarborough Theatre Trust Alan Ayckbourn Wendy Williamson Castles of Sand Theatre of Fact Nick Fisher Andy Wilson Shirts II I TRAINING PROJECT S TRAINING SHORT TERM PROJECT S copying coats AND AWARD S AETTI Christopher Brown Ttaineoslsl p Artlink (West Midlands) Jonty Harrison DavidAiyeol a ASSITEJ James Wood Imarnul Amee n Autograph Basil Anderso n Black Dance Development Trust Bursaries Michael Bat z Dance Fomm Richard Barrett Anne Berry Fooltime Centre for Circus Skills Fred Baker Rebecca Coggins Friends Of Guildhall School Music & Drama Philip Cashia n Jane Connarty The Green Roo m Alan Cohe n Giles Croft Independent Theatre Council Elton Dean Trevor Cromie London Festival of New Circus Philip Durran t Jane Earnscliffe Minorities Arts Advisory Servic e Paul Dunmall Faulty Opti c The Management Centre Erica Fo x Deirdre Fegueiredo National Association of Arts Centres Keith Gifford Betsy Gregory New Cinema Workshop (Nottingham) Nicholas Gotc h Stephen Harris Pan Projects Gus Garside Fiona Hay Projects UK Carol Grimes Gwenda Hughes Research & Training Initiative s Barry Guy Ruth Ingeldow Shape Londo n Eddie Harvey Alastair Jame s Temba Theatre Compan y Jonathan Impett Julie Jones Theatrical Management Association Sianed Jone s Shalani Marag h Theatrical Traders In c John Kelafa-Kerr Shelina Mawani Edward Kla k T Mugnal FILM & VIDEO AWARD S Andrew Lovett Catherine O'Sulliva n Black Arts Vidoo Ric Morcombe Roman Osin Peter Harvey Blue Too Jeremy Peyton Jones Olusola Oyeleye Amanda Holida y Employing the Image Helen Roe Zagba Oyortey Susannah Lopez Polishing Black Diamond s Edward Shipley Alison Procter Pratibha Parm a Social Security Timothy Thome Jonathan Rarty Amon Saba Saakana Texturing the Word Patrick Thomas Leslie Rickford Shafeeq Vellani Little Drummer Boy Param Vir Debra Serrant Errollyn Wallen Patricia Smith CHANNEL 4 ELEVENT H HOUR AWARD S Robert Worby Julie Taylor Slow Glas s Beverley White Ballad of Reading Gao l Andrew William s Hotel Lance Williamson Warrior Woman (Protein) Serpent Rive r INDIVIDUA L Sick as a Do g BURSARIE S London Suite Deborah Bestwic k Kate Burnett MUSI C Teerth Chung Awards to artists commissions Javier Alvarez Sarah Coop Nexus Opera Metanoia Javier Alvarez Common Ground Dance Theatr e Abibi Jazz Arts-Taja HarryBeckett George Dzikun u Delta Saxophone Quartet Gavin Bryers TundeJegede Khadiru Mahdi Almeida Theatre Company Ltd. John Caskin Sheila Macauley Northern Sinfonia Concert Society Ltd . John Caskin n Margaret Sheehy Royal Liverpool Philharmonic Society Peter Dickinso John Duarte Nazreen Subhan Eleftheria Tom Eastwoo d Didier Tickell William Bennett Simon Emmerson Kanta Walker Electro-Acoustic Music Association Royal Opera House, Covent Garden Ltd. The Garden Venture Chris Wallis Bath International Festival Ltd Philip Grange Arditti String Quartet Jonathan Harve y Nash Concert Society Simon Holt Cambridge/Heidelberg/Montpellier Youth Orchestra John Hopkin CRIM Alex Kolkowsk i Erich Gruenberg John Mayer Clive Swansbourne Ian McQuee n Vocem Roger Marsh Gerry Farrell Priti Painta l Royal Philharmonic Orchestra Ltd. Paul Patterso n Duo Contemporain Melvyn Poore Opera North Ltd . Robert Saxto n Aldeburgh Foundation Robert Saxto n CBSO Society Ltd. Toro Takemitsu Electro-Acoustical Music Association Michael Vaugha n Abibi Jazz Arts-Taja Hertnin Wilso n Electro-Acoustic Music Association Wishart Trevor Three Choirs Festival Association Ltd. Douglas Young 112 SCHEME S and awards Yet to be appointed Dundee Public Art Programm e Peter Clarke Yet to be appointe d Neil Mackay, Judith Weir, Vanya Eadie Orkney Arts Society Shaun Dillon, James MacMillan Charles Eldridge Reinhard Behren s and John Wallace Alan Greig St Bernard's Church, Stockbridge The Saltire Society Joyce Henderson Yet to be appointe d music Neil Mackay Paul Johnson The Scottish Ballet Limite d Special Awards PhilomusicaofEdinburgh Tamara McLorg Yet to be appointe d John Bevan-Baker James MacMillan Gregory Nash Scottish Film Council Lyell Cresswell Edinburgh Contemporary Arts Andrew Price Yet to be appointed Peter Davidson Trust Caroline Reagh Scottish Sculpture Trust John Maxwell Geddes St Magnus Festival (Orkney Catherine Seymour Yet to be appointed Nicholas Hind Islands) Limited June Simpson Stromness Academ y John Kenny Scottish Chamber Choir Stephen Thornton Yet to be appointe d Richard Lee Scottish Chamber Orchestra Sustrans Limited Edward McGuire Limited ART Yet to be appointe d John McLeod Gordon McPherson Bursaries and Awards Western Isles Islands Counci l James Macmillan Allander Ensemble Mike Baile y Michael Philip Alasdair Nicolson Alice Bain LITERATUR E William Sweeney John Cranmer Jane Scott Barrett Bursarie s Gordon Tocher John Purser Dorothy Black Christine Adam David Ward Peter Mountain and Angela Dale Frederick Bushe Robert Calder Thomas Wilson Jeremy Stuart Randalls June Carey Angus Campbel l The Acantus Duo Doug Cocker Tom Gallache r Commissions Ronald Stevenson David Cook Janice Gallowa y Lyell Cresswell Cappella Nova Limited Patricia Fisher Andrew Greig National Association of Savourna Stevenson James Gibson Frank Kuppner Youth Orchestras Borders Festival of Ballads Andy Goldsworthy Lom Macintyre Paragon Ensemble Limited and Legends Diane Gomery Hugh McMilla n Gordon Crosse John Surman John Inglis Hugh Macpherson Chorus Trust Limited Glasgow International Jazz Moira Innes Tom Pow Martin Dalby Festival Limited Victoria Keller Hugh Scott Capella Nova Limited Giles Swayne Michael Knowles Valerie Thornton Co-operative Wholesale Society Miingavie Young Singers Philip Krajewski (Glasgow) Band William Sweeney Bob Last Travel Grant s Peter Davidson Kirkcaldy Orchestral Society Josephine Lewington Rosalind Brackenbury The Royal Burgh of Pittenweem Gordon Tocher Kaitie Lorimer Audry Evan s Arts Festival Inverness and District Choral Rob McCarthy Roger Hutchinson The Saltire Society Society Robert MacLaurin Robert Kydd Peter Maxwell Davies John McCulloch Lawrence James Scottish Chamber Orchestra Bursaries Keith McIntyre Gregor Lam b Limited Gerald Doherty Kevin McLean Mary McKerro w Kenneth Dempster Irene Drummond Wendy McMurdo Marianne MacKinno n Napier Polytechnic of Richard Lee Caroline McNaim Wilma Paterso n Edinburgh Allan MacDonald Pradip Malde Tom Pow David Dorward Jacqui Penfold Anne Marzaroli Tessa Ransford Edinburgh Youth Orchestra George Wilson Gunnie Moberg Francis Thompso n Society James Mooney John Maxwell Geddes DRAMA Derek Murray Book Award s Third Eye Centre (Glasgow) Bursaries Graeme Murray Alan Bold Limited Ian Brown Janet Patterson John Burnside Philip Grange Morna Burden Franki Raffles William Donaldson St Magnus Festival (Orkney Robert Carson Edward Scott David Gilmour Islands) Limited Elizabeth Carruthers Telfer Stokes David Groves John Gray Minty Donald Margaret Tait Frances Hendry St Magnus Festival (Orkney Julia Dow Katherine Thomson Frederic Lindsay Islands) Limited Lisa French Joseph Uric Simon Louvish Peter Inness Graham Johnston Isabel Vasseur Norman MacCai g Park Mains High Senior Concert John Murtagh Richard Walker Candida McWilham Band Donald Smith Alan Watson Edwin Morgan Nicholas Smith and John Irvine Judy Sweeney Peter White David Johnson Mark Thomson Lesley Woodbridge Special Award The Saltire Society Ian Turbitt Gordon Wright Charles Lyall Benjamin Twist Commissions Glasgow International Jazz Yet to be appointed ADMINISTRATIO N Festival Limited DANCE AND MINE Aberdeen Art Gallery and Training Bursarie s Ron McAllister Bursaries Museum Susan Hogan Scottish Youth Theatre Jenny Agate Yet to be appointed Mary Kenn y Edward McGuire Fiona Alderman City of Aberdeen District Erika King Phillip Theme Ian Brown Council Graeme Watt 11 3 SCHEME S and award s LITERATUR E Children's literature Irma Chilton Gareth Glyn Clare Coope r BTM Ban d n Marion Eames Criccieth Festiva l Bernard Evan s Guild for the Promotion of Mair Wynn Hughes Welsh Musi c Gwenno Hywyn Royal National Eisteddfod Wyn Maso n MaryJoh n of Wales Dianne Murph y Margaret Jones David Harrie s Martin Newma n TegwynJones C6r Cymdeithas Gymrae g Jan Niedojadl o Sian Lewis Dinas Powys Engine Nowakowski Gweneth Lilly Lower Machen Festiva l Richard Page Hihna Lloyd-Edward s North Wales Festival AR T Vincent Parry Celia Lucas Dalwyn Henshall Project s Max Piarigorsky Bette Meyrick North Wales Festival Paul Brewer Clive Pritchard Jini Owen Alun Hoddinott Glyn Jame s Iris Owen Roberts Corinne Renshaw 1989 Cheltenham Festival Gareth Walto n Timothy Robinso n Frances Thomas Swansea Festival Cecil Rama Samaraweera Gwyn Thoma s Lhfon Hughes Jone s Travel, masterclass and Helen Sear Mari Williams Royal National Eisteddfod Industrial experience Annemarie Schon e Robin William s of Wale s grants Lisa Smithyman Daniel Jones Sarah Bradpiec e Roger Tiley Prizes New Chamber Ensemble Paul Brewe r John Watson T. Glynne Davie s of Wale s Rob Conybear Michael Watt s Rhiannon Davies Jones Jeffrey Lewis Josephine Coy Alun William s R .M. Jone s Chelmsford Cathedral Lisa Driscol l David Alun William s Hilary Llewellyn-Williams Enid Luff Joanna Duncalf Elizabeth Williams Sheenagh Pugh Pwllgor Dathl u David Hackett Stephen Young Oliver Reynolds Pedwarcanmlwyddian t Rozanne Hawksley William Owen Robert s Cyfieithu'r Beibl Kabir Hussai n CRAF T Bernice Rubens William Mathia s Branwen Lisa Jone s Special projects an d Huw Walters 1989 International Choral Deborah Jones awards Glanmor William s Festival, Toront o Mary Lloyd Jone s Jill Barker Caryl Thomas Brenda Oake s Do Burges s Writers' bursaries an d John Metcalf James Riell y Ed and Margaret Burke residencie s Johannes Piano Trio Keith Roberts Rosemary Cochran e Anthony Howel l David Nevens Luke Shepherd Christine Jone s Douglas Houston British Music Information Mark Thompso n Jules Tattersall Dafydd Huw s Centr e Aled Islwyn Rhymney Valley Festiva l Loans to artists DANC E Dic Jones Ian Parrott Patricia Aithi e Projects and commission s PenriJones Frances Griffin and Leo Turne i Paul Beauchamp Jessica Cohen Hilary Llewellyn-Williams Eric Stokes Dominic Boreham Esyllt Harker Celia Lucas Vale of Glamorgan Festival Michael Brimble Sioned Huws Christopher Meredith Robert Swain Michael Brown Grace Roberts South Glamorgan Schools' John Cahill Theatre writing an d Herbert Williams Orchestr a Chris Colcloug h training Philip Thomas Bruce Cook Gilly Adams MUSI C Abergavenny Orchestral Society Paul Davies Gwenno Dafydd Commissions to Adrian William s Thomas George Davies Carmen Jakob i composer s St. Woolos Cathedral Festival Clifford Edwards Bethan Jone s Charles Barbe r Gareth Wood Victoria Evan s Philip Mackenzi e Welsh Jazz Society National Youth Orchestra of Ysabel Marie Gwynn Eryl Phillips Richard Barrett Wales Sally Hargreaves Rhys Powys Barrie Webb an d Norman Higgs Chris Ricketts Elizabeth Davi s Awards for advance d Falcon Hildred Jeremy Turner Django Bates, Steve Berry, study Claire Jay Eddie Parke r Nicholas Barr Lyn Davies Jenkin s FILM Brecon Jazz Festival Juliet Bucknall Marguerite Jenkins Production grants Richard Blackford Vanessa Davi d Allen Jone s Michael Cliffor d Fishguard Festival Neal Davies Lucilla Jones Howard Cooper an d Mervyn Burtc h Bethan Dudley Davie s Jane Keay Eberlee Pringl e The Royal Regiment of Wales Gillian Gree n Dennis Lascelles Dylan Howells Welsh College of Music Nia Harries Alison Leaf Karen Ingham and Drama RosemaryJoshu a Richard Lin Alison Leaf Lyn Davies Elen ap Robert Tony Lon g Jill Nelmes Lower Machen Festival Simon Robert s Stewart Lucas Boyd Walters Peter Racine Fricke r Bryn Terfel Jone s Andrew Lumborg David Webster Lower Machen Festival Jennifer Trew 114 STRUCTURE ,etary Genera l Ritmer Scottish Arts Council Scottish Arts Council Secretaria t Incentive Fundin g Welsh Arts Council Welsh Arts Council Everitt Panels Boards & Special Director : Director of Finance Committees Committees Arts Co-ordination Lew Hodges Art Planning and Development Policy and lain Reid Finance Committee Dance Touring Arts Division Services Division Finance Divisio n Drama Incentive Fundin g Board Advisory Committee on Dance Marketin g Subsidy Film, Video, Vice-Chairman§ & Resources Broadcasting Training Committee Drama Communications Accounts Literature Multi-disciplinary Informatio n Arts & Arts Centres Film, Video & Broadcasting Marketing Marketing & Music Arts & Disability Literature Market Research Monitoring Press Office Music Photography Planning Advisory Group Touring & Development Access Visual Arts Educatio n Regional Research &Statistics Personnel & Training Administration SUMMARY FO R partially sighte d peopl e Arts organisations are facing financial difficulties because inflation has outstripped grant-in-aid by six per cent. Two reviews are currently underway. The National Audit Office is investigating the Arts Council an d Richard Wilding is examining the structure of art s funding in England and the working relationship s between the Arts Council and the Regional Arts Associations. In the first 12 months of the Incentive Fundin g scheme, almost k4.5 mullion was allocated in awards to 48 arts groups from all over Britain . The new Chairman, Peter Palumbo, sees the approaching millennium as a great national marker towards which we should be directing collectively all our efforts to ensure that our house is in order by that time. 116 ISBN 0-7287-0570- 2 4 Arts Council of Great Britain 198 9 105 Piccadill y London W 1 V OA U Designed by GIAN T Photography by Robert Shackleton Printed by $yon Print