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The Arts Council of Great Britain Thirty-first annual report and accounts year ended 31 March 1976 The arts in hard time s

ARTS COUNCIL OF GREAT BRITAIN

REFERENCE ONLY

DO NOT REMOVE FROM THE UBRARY~ Thirty-first annual report and accounts 1975-1976 ISBN 0 7287 0112 X

Published by the Arts Council of Great Britai n 105 Piccadilly, London W IV OA U

Designed and printed at Shenval Press, Englan d

The illustration on the cover is the detail from the painting `The Gleaners'by J. F. Millet that was used on the poste r announcing the Millet exhibition .

Contents

4 Staff

7 Chairman's introduction

8 Secretary-General's Report

21 Scotland

25 Wales

30 Membership of Council and Staff

31 Council, Committees and Panels

37 Annual Accounts

The objects for which the Arts Council of Great Britai n is established are :

To develop and improve the knowledge, understandin g and practice of the arts;

To increase the accessibility of the arts to the public throughout Great Britain ; and

To co-operate with government departments, loca l authorities and other bodies to achieve these objects . Staff

Secretary-General: Roy Shaw Headquarters Deputy Secretary-General: Angus Stirling 105 Piccadilly Finance Director: Anthony Field, 1P, FCA London W 1 V OAU Art Director: Robin Campbell, DSO 01-6299495 Director ofExhibitions : Joanna Drew Drama Director : N . V. Linklater, CB E Deputy Drama Director : D . G . Andrew s Music Director : John Cruft Deputy Music Director : Eric Thompson, OBE Literature Director: Charles Osborne Director of Touring: Jack Phipp s Advisor for Festivals andExternal Matters: K . H . Jeffery Chief Administration Officer : J. D. Haskin s Accountant : David Pelham, ACA

Director : Alexander Dunbar Scotland Deputy Director : Harry McCann 19 Charlotte Square Art Director : William Buchanan Edinburgh EH2 4DF Music Director : Christie Duncan 031-226 6051 Drama Director : J. R. H . Faulkner Literature Director : Trevor Royl e Director of the Council's Arts Centre in Glasgow : Tom McGrath (350 Sauchiehall Street, Glasgow C2)

Director : Aneurin Thoma s Wales Music Director : Roy Bohana Hoist House, Museum Plac e Drama Director : William Dufto n Cardiff CFI 3NX Art Director: Peter Jones Cardiff (STD 0222) 39471 1 Literature Director : Meic Stephen s Finance Director : R. J. K. Harris Accounts Officer : D . T. Murdoch

4 Rom firepo .srer far an Arls Council touring erlribilhur of u'reerrpriurs In• Purrick C'uulfiekl for a hook ofpoems by the bwnclr poet Jules L alorkue . Chairman's introductio n

The arts in hard times

The title of this report applies not only to the year under Inevitably, and rightly, most of our money has gone to th e review. It describes the last three years . We are not perhaps traditional arts . This is not due to any desire on the part of quite like the women on our cover, who were allowed only t o the Arts Council to dam the flood of change . It is due to its glean what was left after the harvest, but it is certainly tru e belief that each generation has a right to enjoy its cultural that throughout these three years our resources have inheritance, and that each time it is explored afresh it ca n hardly grown in real terms. Our problem, therefore, has bring with it new insight and understanding . d been to maintain intact what was so successfully create There is, however, a new creed emerging, to which we are t before runaway inflation took hold, but to do so withou totally opposed . This is the belief that because standard s denying all response to new ideas and initiatives . have been set by the traditional arts and because those art s Mr Roy Shaw's report on his first year of office as Sec- are little enjoyed by the broad mass of people, the concept retary-General reflects these difficulties, but readers wil l of quality is `irrelevant' . The term cultural democracy has note a change of emphasis, a move towards a mor e been invoked by those who think in this way, to describe a explicit cultural policy, into which, when finances permit , policy which rejects discrimination between good and ba d initiation as well as response will increasingly be fitted . and cherishes the romantic notion that there is a 'cultura l Such a development must await a Government decisio n dynamism' in the people which will emerge if only they ca n that education and the arts are to have more money - an d be liberated from the cultural values hitherto accepted by a n at present this is not part of the Government's plan fo r elite and from what one European `cultural expert' ha s national solvency. recently called `the cultural colonialism of the middl e classes'. During the year we lost our Minister, Mr Hugh Jenkins. He held office during a period of acute economic difficult y This demagogic doctrine insults the very people it i s and he fought hard for the Arts Council's share of the supposed to help. On the other hand, what is undoubtedl y national budget throughout the two years of his service a s true is that many people who have had no chance to enjo y Minister. We greatly appreciated his efforts on our behalf the arts can be helped to approach them by being encourage d which met with not inconsiderable success and we send hi m to participate in creative activity rather than merely to our good wishes and thanks . We know he will keep a experience it passively. It is this feature of community art s benevolent eye on our activities, even if he sometime s which is of particular interest to the Council . We have criticizes our constitution as not according with his ideas given work of this kind some encouragement over the pas t of democracy . We welcome Lord Donaldson as our present two years and the results are currently being reviewed . Minister. His love for the arts, especially music, is equalled But here as elsewhere, we must not jettison our concern for only by his lifelong concern for the underprivileged. No standards, and we need to improve, not abandon, ou r better combination of interests could be found in a Ministe r methods of assessing them . of the Arts and we look forward to our work with him wit h It is encouraging that the TUC's first major statement o n enthusiasm. the arts, which appeared as this was being written, repudiates Another major event in the Arts Council's affairs, sub- the particular brand of `cultural democracy' to which I hav e sequent to the year under review, has been the publicatio n referred above and emphasizes the need for high standard s of Lord Redcliffe-Maud's report . Mr Shaw gives it specia l in the arts which they are rightly anxious to see made mor e attention and I can only add here that it will be of th e accessible to their members. the greatest assistance to us in developing our regional It is easier to talk about standards than to define them, and policy. We know that in the long run we can achieve littl e the task of assessing the multitude of artistic enterprises we without the help of the Local Authorities and we can onl y support is more difficult every year . The Council is deeply hope that the example set by the best of them wil l grateful to the panels which advise and assist it in this work . gradually be followed by the others . We believe strongly i n Panel members go to great trouble to attend performances , the potential of the regional arts associations to achiev e often in remote places, and to examine the work of individua l what no national arts council can achieve from the centre . artists. Like Council members, they receive no materia l Our relationship with them must be developed construc- reward and we are very conscious of our debt to them . I am tively, with particular reference to our accountability fo r by no means sure that the system of relying so much o n the funds they receive from us, and we look forward t o volunteers to carry out the work of assessment can continu e . special discussions with them this autumn indefinitely, and I believe that the Council's staff should be In his introduction to the report Mr Shaw sets out clearl y strengthened so that they can undertake more of this work his own approach to state support for the arts, and I themselves . . There are two main elements in Art s endorse it keenly Finally, I should like to extend to our staff the Council' s . One is to use our resources to help maintai n Council policy grateful thanks. It is they who wrestle unendingly and o and improve the practice of the traditional arts, and t uncomplainingly with the intractable problems faced by the make them not only more accessible to, but more ap- arts in hard times . I can only say that they seem, as we al l proachable by, an increasing number of people. The other do, to enjoy it. is to support artists working in experimental forms, an d to give encouragement to ways of involving new audience s in artistic experience. GIBSON 7 (;sport

Introductio n

A new Secretary-General has a great deal to learn . and l must begin by acknowledging the kindness and help I hav e received from all quarter, ; from the Minister and his staff. from my Chairman and from colleagues, especially my Deputy, Mr Angus Stirling .

Before proceeding to report on particular activities, I shoul d like to review some of the general questions which hav e emerged during the past year . Thirty years ago, the firs t Chairman of the Arts Council, Lord Keynes, forecast tha t the economic problem would soon take the back sea t 'where it belongs' . However, the year under review has bee n one in which the economic situation has overshadowed everything, including arts finance . In the circumstances, th e Minister, Mr Hugh Jenkins, secured for the arts as muc h money as could be expected, and more than we might hav e feared. Nevertheless, it was a year in which most of the Council's 1,200 or so clients were beset by financial anxiet y to an extent which cannot be good for creative enterprise . Perhaps everyone found this harder to take after a decade o f expansion in arts funding, and my first public statement ha d to be a reminder to subsidised organisations and thei r employees that the Arts Council's purse was not a bottomless one .

Policy I t is sometimes said that, unlike our European neighbours, we in Britain do not have a cultural policy, and it is implie d [ hat we do not want one, since it would involve a degree o f government control which is foreign to our traditions . However, a year ofwaiting for Maud' has ended with th e publication of Lord RedclifTe-Maud's very valuable repor t on Support Jar the arts in F,ngland and Wales, and the report is really an invitation to radical thinking about cultura l policy, although Lord Redcliffe-Maud confines himself (a s his brief required) largely to analytical description of th e existing scene and shrewd comment .

He notes that the first basic principle followed by the Arts Council appears to have been *not to formulate dogmati c policies, but to respond to initiatives of artists an d audiences'. (Earlier in the year, a Welsh Arts Counci l report said, without apparent irony, that `like the Art s Council of Great Britain, the Welsh Arts Council's polic y has been to have no policy as such, but to be guided by events'.) I t is therefore not surprising that Lord Redcliffe-Maud goes on to report that one of the mos t frequent criticisms he heard of the Arts Council (not on e which he endorsed) was that it'had no policy of its own, s o that he who shouted loudest got most' .

Fortunately, there is only a little truth in the criticism ; we do have policies and Nye have learned to be a little deaf to th e loudest shouters. Although the last Annual Report spoke o f a system 'based on the principle of-response - ', the Counci l and its officers do in fact frequently take initiatives and encourage a response. Many examples could he given, bu t suffice it to mention the introduction of training for art s administrators, the financial encouragement of new writers for the theatre, the first moves to found a Theatre Investment

Secretary-General's Report (continued )

A balanced future policy for the Arts Council will not onl y the arts to assemblies in Scotland and Wales have bee n ensure through improved availability and arts education that discussed by the Council . Doubts have been expressed the best of traditional arts reach a much wider audience, i t whether devolution would benefit the arts at all, but the mai n will also foster, even more than it already does, experimental concern has been to ensure that, if they are to be devolved , and more unconventional arts provision, always subject t o the ability to formulate British policies should not be lost an d careful scrutiny of the quality of what is being offered . that arrangements for close cooperation between the Wels h and Scottish Arts Councils with the British one should be A survey of cultural policies in Europe prepared for the Oslo preserved. The arts cannot and should not be narrowly conference of Ministers of the arts, in 1976, says that `mos t confined. Touring arrangements, for example, involve th e experts today vigorously reject any policy which merel y crossing of boundaries. The Council welcomes the attempts to democratise the culture of an elite' . The crucial Government's assurance in its White Paper that nothing word there is `merely', and some enthusiasts for `cultural would be done to impair the fundamental unity of the United democracy' would simply omit it . Certainly I found at Osl o Kingdom. (Devolution is further discussed in the Scottis h that many of my fellow experts from Europe cared too littl e and Welsh Arts Councils' sections of this report .) for what they sometimes disparagingly refer to as `th e heritage concept of culture' . I shall never forget having t o `ABSA' fight single-handed to persuade a group of experts that it was The Council welcomed the establishment during the year o f essential to ensure the quality of the arts we foster. `Quality', the Association for Business Sponsorship of the Arts, an d they unanimously assured me, was a purely subjectiv e has been in close touch with its founders . The Council is very concept, far too vague to use in cultural policy . A few people happy to collaborate with it whilst recognising that th e in Britain say the same, advocating `relevance' as a n Association will want to preserve its own distinct identit y alternative to qualitative standards . If not resisted, suc h and purpose. thinking could gradually subvert any cultural policy an d produce a situation where `anything goes' . The founding of the Association at a time of busines s recession might be thought surprising but it is certainly very Redcliffe-Maud report encouraging . It would, however, be a mistake to expect too Although preparation of this report was much talked abou t much from business sponsorship, and folly to regard it as a n throughout the year under review it did not actually appear alternative to public aid to the arts . For most arts until after the end of the year, and the Council has not ye t organisations it will be a small, though valuable, supplemen t fully discussed its recommendations . It has however noted to public aid . For example, the Royal Opera House has an Lord Redcliffe-Maud's view that the locally elected council s extremely successful record in attracting business support will become `the chief art patrons of the long term future' . and it deserves congratulation for it . It has enabled it t o It also notes his insistence that those councils need to lear n spend extra money on new productions or on refurbishin g the practice of `the gentle art of patronage' and to embod y old ones. Nevertheless, it is important to remember tha t in their policies the self-denying ordinance of keepin g business sponsorship accounts for less than 3 % of it s themselves at arms length from artists and arts organisa- income, whilst the Arts Council is responsible for over 50 % . tions to be subsidised . Until they learn this, says Lor d Redcliffe-Maud, `there is no future for arts patronage i n Drama local government' . Certainly the Arts Council agrees that local government should follow national government in The National Theatr e adopting `the buffer principle', which means insulatin g After many delays the National Theatre was finally opened artists and arts organisations from the influence and vagarie s in March 1976. Unfortunately, however, at the time o f of party politics. Indeed, this is the very reason for the Arts writing, only one of its three auditoria is operational : the Council's existence . Lyttelton Theatre, which has a proscenium stage and seat s 890. The larger Olivier Theatre and the smaller Cotteslo e The Arts Council's and the Regional Arts Associations ' will, it is hoped, be ready later this year . experience is that locally elected councils throughout th e country differ very widely in their ability to take on the The delays in opening this huge theatre complex, for which responsibility which Redcliffe-Maud prescribes for them i n no precedent exists in this country, have put a very grea t the manner in which he prescribes . The Arts Council already strain on the Director, Mr Peter Hall . These delays have been collaborates with local authorities and is always happy t o entirely due to structural and not administrative problems, make the experience of its expert staff available to them . and it is fitting to acknowledge here the remarkabl e At present it is usually called in when special problems dedication and skill which Mr Hall has brought to his arise ; in future we hope it would be asked, along with the mammoth task . Regional Arts Associations, to advise even more extensivel y on the development of new local authority policies for th e Given the uniqueness of the enterprise, no one could hav e arts. foreseen precisely the cost of running it, and the opening wa s made possible only by the Minister securing additional funds Devolution specifically for this purpose. The overheads of the National The Government's proposals to devolve responsibility for Theatre building itself will absorb a very substantial 10 proportion of the theatre's subsidy . The financial have in common is that they do not seek to play i n consequences of having a National Theatre lead some to conventional theatre buildings to an already converte d criticise the whole project . Nevertheless, having for so lon g theatre-going public. Supporters of the alternative theatre willed the end, it is essential that the country should now will , sometimes see it as a replacement for conventional o r without grudging, the means to run its National Theatre . Of `establishment' theatre . The Arts Council sees it rather as a course, the Council acknowledges its duty to keep very close complement to regional theatres and has considerably scrutiny on the costs of the enterprise. And it is already doing increased its support to enable these groups to pay the unio n so. rates which many of them have hitherto not done.

The Arts Council wholeheartedly welcomes this grea t International Theatre Institute addition to the British theatre, which has been striven for A regrettable feature of the year was the closing down of the for so long by the profession itself. When the immediate British centre of the International Theatre Institute . These difficulties have been resolved and the dusts of controvers y institutes were set up by UNESCO in 1947 to promote have settled, it will surely be recognised as the crown of th e international understanding through the exchange o f whole edifice of the British theatre . At the same time, th e companies, personnel and information . The British centr e Council firmly believes, as does the National Theatre, tha t had always been run on a shoestring by two dedicated an d the rest of British theatre should in no way suffer financiall y seriously underpaid officers . It derived most of its incom e because of the cost of establishing and running the Nationa l from the British Council and the Arts Council, with only Theatre. negligible sums from the theatrical profession . At the end of 1973 the Arts Council and the British Council, worried b y A sad consequence of the move of the National Theatre the ineffectiveness of the British centre and faced by th e company to its new home was that the Old Vic theatre had t o resignation of its two officers, requested the Theatres ' go dark. The Arts Council awaits a decision of th e Advisory Council to put forward proposals for the Centre' s Governors of the Old Vic about possible future tenants o f future, and a Review Body was set up by them. Twelve the theatre, and will do what it can to ensure the continuance month's notice of withdrawal from the ITI had been given b y of this historic theatre, subject to the limits of its own the British centre and this expired in June 1975 . Since no resources. further funds were forthcoming the British membership ceased from that date. This is very regrettable and th e Regional theatres possibility of re-establishing a British centre is being The regional theatres are the backbone of the British theatre . explored. Apart from direct service to the public, they provide a breeding ground of knowledge and talent . If they were to Mr J. W. Lambert collapse, the national companies, the commercial theatre Mr Lambert retired from the Council after seven year s and every area of drama including television and radio , membership, during which period he was Chairman of it s would be desperately weakened . The trouble is that the Drama Panel to which he had been appointed in 1966 . He regional companies themselves have been weakened by a brought to the service of the Council a combination of wide steady erosion since about 1973/4 when inflation overtook knowledge, forthrightness and diplomacy which earned him their earned income and subsidy . not only everyone's gratitude, but also their respect an d affection. The amazing resilience of the theatre has meant that managements'have somehow contrived to continue giving a service which, as far as the public is concerned, may appea r Art not to have deteriorated . But the fact is that many The plight of visual artists in the present stringent economi c companies have had to reduce their acting strength or climate has been a cause of concern to the Council . VAT ha s shorten their season or put up prices, and there is a limit t o made art more expensive to buy, and dealers were reportin g how far these measures can be taken without doin g a falling off in sales of contemporary painting and sculpture ; permanent harm to the companies . It is encouraging tha t few of them were inclined to invest space and money in th e many local authorities have been able to increase thei r promotion of any but artists of already proven market value . subsidies to regional theatres in spite of the financial difficulties under which they are operating. At the best of times only a handful of successful artists have been able to make a living from sales of work ; the majority Small-scale companie s must rely on teaching jobs. As a result of economies in loca l In recent years there has been a considerable growth i n authority education budgets, opportunities for artists t o what has been variously referred to as fringe or experimental teach in colleges of art and design are dwindling . drama and most recently as alternative theatre . This is composed of small scale, mainly touring, companies wh o A questionnaire designed to gather facts and views fro m explore new attitudes in theatre and try to reach a ne w artists was sent out, and the Council subsequently decide d public. Forty-seven of these companies are supported by the that funds for the various schemes for direct support to Arts Council, and there are many more which are not . artists should be substantially increased . Funds for Their policies differ widely, and perhaps the main thing they purchasing artists' work were increased almost threefold 11 Secretary--General's Report (cowiniic,l

(from £20,500 to E57,000). Bursaries and awards for artist s Eleven documentary films were begun on subjects rangin g increased from E23,728 to E59,000. For provision of studio s from Taoism to the architecture of the Industrial Revolutio n the corresponding figures were E23,600 to E39,800 . and the origins of Pop Art . Three animation projects were initiated, one by Geoff Dunbar, the director of Lautrec. In the field of exhibitions perhaps the most notable was th e The existing means of assisting artist film-makers were Jean-Frangois Millet exhibition at the Hayward Gallery (fo r extended by the introduction of a bursary scheme . The a full list of exhibitions see pp A66-A68 of the Arts Council' s distribution of all Arts Council films was further improve d accounts). It was not only successful by the criterion of the by the establishment of a film library to service the educa- number of visitors (an average of just over 2,000 admission s tional market in Great Britain . The films have also been per day), but also achieved its goal of revealing the work of a made available in the USA through a major distributo r great painter to many who, not knowing much more of working in association with the American Federation o f Millet's work than reproductions of The Angelus, had been Arts and they are much in demand . The transmission of Arts conditioned by an earlier generation to regard him as a Council documentaries on television in Great Britain an d sentimental anecdotalist. The show was also an example of Europe is now a regular occurrence . Most widely-screene d international collaboration : it was jointly organised by the to date has been the animated film Lautrec which won the Arts Council and the Louvre, and the catalogue was writte n coveted Grand Prix at Cannes and has since been broadcast by an American art historian, Dr Robert Herbert . It is good throughout Europe and the USA . to record that, as a result of a decision taken by the Counci l during this year, 295 parties of schoolchildren visited th e At the same time the work of artist film-makers has bee n exhibition free of charge . Many of them heard lectures abou t brought to a wider public by the funding of the Festival o f the exhibition and received shortened catalogue-guides a s Independent British Film at the Arnofini Gallery in Bristo l part of a plan to supplement the exhibition work wit h and the Festival of Expanded Cinema at the ICA in London . educational activity. Photograph y New work by contemporary British artists was exhibited a t For the third year the Council continued its support for the Hayward Gallery at the same time as another popular photography with an expanded programme of exhibition s exhibition, Burne-Jones, which we showed also at and publications, and an increased allocation for grants and Birmingham and Southampton . guarantees . Four galleries devoted exclusively to showing photographs received subsidies towards their annua l At the Serpentine Gallery we continued the policy o f running costs : The Photographers' Gallery, London ; supplementing the summer programme of shows by youn g Impressions Gallery, York; The Photographic Gallery at artists with exhibitions by artists already well known to th e the University of Southampton ; and the Half Moon Gallery public, such as Mark Boyle, Richard Hamilton and Tom in Whitechapel, London . Awards were granted to 28 Phillips . An exhibition of drawings by the American Jaspe r photographers to enable them to work on themes of thei r Johns finished a successful tour outside London at the own choosing. Serpentine. A programme of publications on British photography wa s Thanks to the kindness of the Home House Trustees we wer e launched with two monographs, one on George Rodger, a able to send French Paintings from the Courtauld Collections former photographer for Life magazine, and the other on to the Graves Gallery in Sheffield . This important show , Bert Hardy, a photojournalist for Picture Post. The first which included major works by Cezanne, Gauguin, Lautrec , issue of British Image also appeared . This anthology features Seurat, Monet and Renoir, was seen by 65,000 visitors . the work of eight photographers who have successfull y Unfortunately, it was virtually ignored by the national Press . completed projects supported by Arts Council Awards .

On the other hand, disproportionate attention was attracte d The exhibition programme started the year with The Real by a very minor `performance art' activity in which three Thing, an anthology of British photographs 1840-1950, and young men walked around with a pole on their heads. If, as ended with a major retrospective exhibition of photograph s may well be the case, it was a mistake to subsidise them, tw o taken between 1915 and 1968 by the American photographe r pleas of mitigation should be entered . The first is that the Paul Strand . This exhibition, which was starting its mistake was, like the legendary barmaid's illegitimate baby , European tour in England, was organised in association wit h a very small one . The second is that an organisation makin g the National Portrait Gallery . over 3,000 grants a year must, especially if it is to support experiment in the arts, occasionally back a loser . Music Art Films In the year's wide range of subsidised activities some peak s During the year substantial advances were made in focusin g stand out . Britain's international operatic reputation ha s public attention on the two main aspects of the Art Film never stood higher . This was demonstrated by the Roya l Programme : the documentaries and the film work of artis t Opera's acclaimed performance of works by Berlioz, Britten film-makers . and Mozart in Milan, while the company from La Scal a played Rossini and Verdi in Covent Garden. The Englis h 12 National Opera continued its success with Wagner's Ring, While continuing to regard folk music as something and with a new production of Salome by Strauss, and it too k generally to be dealt with at regional level, the Council mad e over for four performances at the London Coliseum the New a grant to assist a folk magazine which, owing to stee p Opera Company's production of Szymanowski's King Roger , increases in printing costs, was facing extinction . which had earlier sold out at Sadler's Wells . Glyndebourn e Touring Opera played Stravinsky's Rake's Progress Dance (designed by David Hockney) to an average of 86 per cen t 1975/76 was a `Dance for the People' year . The transfer o f attendance in the five towns it visited. the Royal Ballet (main) Company's summer season at th e Coliseum to a tent in Battersea Park for four weeks mean t The country's musical life is still handicapped by the that large numbers of people, young and old, saw liv e shortage of suitable buildings, but two were opened whic h classical ballet for the first time . A later tent season in will ease rehearsal problems : the Northern Sinfoni a Newcastle also did exceptional business. Orchestra's new centre in Newcastle, and the Henry Wood Rehearsal Hall (a remodelling of the fine Holy Trinit y Following a very successful five week season at Sadler' s Church in Southwark), which is also to be used fo r Wells, The Contemporary Dance Trust broke new groun d recording. when its company gave the first-ever British Danc e Residencies in Yorkshire, Liverpool and Nottingha m The Council continued its policy of giving direct aid to colleges, linked with local theatre performances . Students composers primarily through providing commission fees fo r who had previously only considered dance academicall y new works, which could be assured of performance ; award s were introduced to the joys and rigours of a performing were offered to 109 composers and a further 30 t o company at work creating a new ballet, as well as takin g choreographers and designers for dance . part in master classes and choreographic workshop sessions . The Council was delighted to seethe subsequent rise i n Twelve contemporary music ensembles were chosen by the attendances at the theatre performances in the relevant British Section of the International Society for Coiitemporary - areas, reaching 97 per cent at the Leeds Playhouse. Music to tour under the Council's Contemporary Musi c Network, now in its fourth year . Over eighty concerts were London Festival Ballet's production of the Nureye v given at a cost of about £65,000 . The wide variety of Sleeping Beauty broke box office records in many place s programmes included electronic and systems music , throughout the regions and enabled the company to carry conventional instrumental music, music-theatre, and jazz . out extremely successful tours to Australia and Paris, an d Distinguished musicians from Italy and the USA too k the consolidation of the Royal Ballet Touring Company' s part, giving performances of works outside the repertoire o f classical repertoire resulted in a dramatic increase in th e British ensembles. Audiences were enthusiastic, and large r number of people attending performances . than in previous years, particularly for the jazz groups . The BBC recorded several of the concerts. It is encouraging to One event assisted by the Council which could have a note that some Regional Arts Associations are considerin g significant effect on the development of creative dance contemporary music schemes which will complement th e talent in this country was the Gulbenkian Foundation's first Council's Network tours . National Choreographic Summer School . This enabled young choreographers, both classical and contemporary, t o The Council continued to provide subsidy for three work together with composers on a highly creative crash contemporary music promoting organisations in London - programme of original pieces under the direction of Gle n London Music Digest, Music Now and the Park Lane Tetley. The Council gave bursaries to the choreographer s Group-in addition to the other subsidies for contemporar y and composers who attended . music made available through the London Orchestra l Concert Board . The Council has continued to assist severa l There were also encouraging signs of creative dance works at worthwhile journals specialising in contemporary Britis h grass roots level with the emergence of several small ad ho c music. dance groups, making programmes of dance with very smal l subsidies . Jazz (appropriately in Bicentennial Year) was strongl y featured in the Camden Music Festival, attracting capacity Trust Funds audiences to the Shaw Theatre . The Bracknell Jazz Festival , The continuing value of the Council's sole trusteeship of a held in the grounds of South Hill Park Arts Centre, made an small number of private funds devoted to the alleviation o f auspicious debut and promises to become a major annua l music students' financial pressures is revealed statisticall y showcase for British jazz talent . each year in the accounts section of this report . An occasional reminder that official sources of financia l The Jazz Centre Society, pursuing its role as a national jaz z assistance (mainly Local Education Authorities) are no t organization, appointed at the end of the year a Northern always able to deal adequately with the many requests for administrator, based in Manchester, with welcome financia l education grants only highlights the importance of such support from four Regional Arts Associations . private sources of help. Normally they stem from public - spirited individuals who are able to endow trusts or provide 13 Secretary--General's Report /cort ;r :rc :?

monies for purposes that reflect their own musical interests, publishing a series of such books, so that they may not b e and which result in a kind of patronage that is o f lost to a whole generation of readers . inestimable value to young musicians requiring basic o r supplementary finance for their further education in the art . In the field of distribution, the Panel has set up a workin g party to examine whether and, if so, how the Council coul d The funds administered by the Council have been i n usefully make subsidy available for the establishment of existence for many years, and the annual leaflet it issues, non-profit distributing community bookshops, and ha s which lists similar sources of help, expands frequently . also taken part in the Department of Education and Nevertheless, there is a steady receipt of applications, an d Science's discussions on the establishment of booksale many of them, after wise and experienced evaluation b y outlets in public libraries . Public libraries have featured i n independent panels of advisors, are successful, thus another scheme, now being implemented, for the providing a financially securer and more confident period o f distribution to interested libraries of free copies of literar y instruction for the successful beneficiary . magazines subsidised by the Council, a scheme which, it i s hoped, will benefit writer and reader alike . Literature The Council has had a long-standing concern to help th e Community arts individual writer, by direct grants to writers to enable the m Following the recommendation of a Working Party in 1974 , to buy time, and by helping the magazines and little presse s the Council set up a Community Arts Committee in Apri l which provide outlets for writers . The Council adds to these 1975 for a two-year experimental period. Many of the outlets by publishing its own anthologies of verse and short projects supported as a result of recommendations by this stories. It also encourages the provision of opportunities fo r committee demonstrate a different approach to the writers to give talks and poetry readings, through the Council's duty to make the arts more widely accessible. The National Poetry Secretariat and the Arvon Foundation, an d Community Arts Committee's emphasis has been on th e through the Council's own Writers in Schools and Writer s support of artists working in and with specific communitie s on Tour schemes, and the recently established scheme fo r to enable those communities to achieve their own form of Creative Writing Fellowships in universities, polytechnic s cultural and artistic expression . and other educational establishments . There have been two major areas of support, the first t o In the past year, whilst continuing its schemes for helping th e touring groups, working in a variety of arts media, visitin g individual writer in this way, the Council has become localities on a short-term basis to stimulate existing increasingly aware of the need to look at ways of helping th e community arts schemes and to enable communities t o dissemination of literature, as much as the creators of work s initiate them . The other major area of support has been to of literature. It is not enough to give a grant to a writer t o locally based projects and to individuals working on a long - enable him to write a book which may not be published term basis with particular communities, setting u p because of economic considerations, or, if published, is no t workshops, helping with festivals, etc ., to enable people to available for sale throughout the country, whilst a perennia l take an active rather than a passive role in the arts an d problem facing non-commercial literary magazines is that of eventually to participate fully in the creative processes . effective distribution . The Committee's recommendations have had the needs o f The Council believes in the value of a variety of magazine s the experiment in mind-to fund a wide variety of project s to provide outlets for writers, but it would like to spread it s whose impact on communities can be evaluated towards the subsidies across as wide a field as possible . In the light of end of the experiment . this policy it was decided to continue its subsidy to The Ne w Review, among other magazines, subject to close scrutiny of It is still too early to say how significant this movement may their finances and performance . become . On a countrywide basis its impact is small bu t growing. Already, in many areas, some people who ha d The Council's Literature Panel, anxious to ascertain how th e rejected what they felt to be `elitist arts' have throug h Council might most effectively assist publishing, sought th e participation come to see that the arts have something t o views of commercial publishers on the economics of fictio n offer them . publishing in 1975, compared with the situation five year s ago . A few voices sounded the death knell of fictio n publishing altogether, but, to the surprise of the Panel, a Festivals rather larger number expressed little, if any, dissatisfactio n Throughout the year under review the growth of interest i n with the present situation . Nevertheless, the Panel was abl e and enthusiasm for festivals continued . Nearly 300 festivals , to identify areas of publishing which need help . One in each with some professional artistic content, took place : a particular is the absence of reprints for which the marke t number that can be matched by few other countries . The would not show the publisher a profit, but which ought o n responsibility for subsidising many of these, particularl y literary grounds to be available. A sub-committee is those of medium and smaller scale, lies with local authorities currently investigating the possibility of the Council itself and Regional Arts Associations : and it is the Council's 14 policy to transfer to these associations, where appropriate, Glyndebourne Touring Opera was also very successful . responsibility for subsidy. The number of Arts and Music festivals helped by the Council during 1975/76 was 26 . The costs of touring have rocketed (fares alone have risen b y These are listed in Schedule 3 of the Accounts . (Drama and 80 per cent in eighteen months) and the problems o f Literature festivals are shown separately under thei r small-scale theatre touring have ironically been increased by respective departmental headings in Schedule 3 .) To this an understandable desire to `unionise the fringe' . Clearly, must be added an unquantifiable amount represented b y people should be paid the rate for the job, but something the contribution made to festivals by organisations already vital and original would disappear if every small art s subsidised by the Council . enterprise were institutionalised too early in its career . Perhaps there is a lesson to be learned from America where It is a noteworthy feature of the artistic scene that in thi s the union exempts from the rules companies playing to field of activity an often modest contribution from the Art s audiences below a certain size. Council can produce a disproportionate amount of mone y from other sources. DALTA seasons are now largely a thing of the past and the need for such seasons has to some extent disappeared as th e Touring establishment of a network of marketing officers around th e country continues . The arcane name DALTA itself has bee n Touring has been re-organised as a separate department , replaced by the more intelligible `Arts Council Touring' . and Mr Jack Phipps has been appointed Director of Touring .

Since the Council undertook responsibility for the provision `Imports' of touring in 1970 it has given constant attention to the Art is, of course, essentially international, and the Council problems involved in trying to provide the best distribution has for long been concerned at the lack of support, both possible through the country of the works of the nationa l financial and advisory, available in this country for oversea s companies . This is, of course, enormously important . Since arts events of all kinds . The British Council operates onl y provincial opera and ballet theatres housing their ow n overseas ; the Arts Council supports only cultural activity companies do not, with the exception of Glasgow, exis t within Great Britain and, while not debarred from offering outside London, the Council must encourage touring by al l subsidy to foreign companies, has never had adequate fund s the major opera ballet and drama companies . Limitations to spare for this purpose . No agency has existed solely t o are imposed by the buildings that are available, and th e encourage, arrange or, where necessary, finance the Royal Ballet has resorted to the ingenious expedient of usin g importing of companies, artists and exhibitions from othe r a circus tent. countries .

During the year the department has been strengthened , There have from time to time been individuals who hav e and its Committee structure re-organised to give more overcome these difficulties, as Sir Peter Daubeny did wit h opportunity for the regional voice to be heard regularly . his famous World Theatre seasons at the Aldwych i n Grants and guarantees (detailed in Schedule 3 of the London. Sadler's Wells Theatre at Rosebery Avenue ha s Accounts) totalling £1,164,000 were made available by the achieved much success in becoming an important centre Council specifically for touring, compared with £802,00 0 especially for visiting overseas dance companies and thi s in 1974/75. In addition, the funds made available to the theatre has received some support from the Arts Council . national companies and the subsidies shown in Schedule 3 The Council has also frequently included shows from abroa d under Music for companies such as Festival Ballet and in its art exhibitions programme . Nevertheless, we see to o Ballet Rambert recognise these companies' tourin g little of the richness and variety of the arts overseas and i n commitments, as do the subsidies detailed in the Drama particular we would like more of these events to take plac e section for the itinerant companies listed there . The throughout the United Kingdom . increased expenditure on opera is largely the result o f inflation, but increases on drama touring reflect a deliberat e It is therefore encouraging to report that there is now hope o f attempt to increase the amount of work available in th e new progress in this direction. Through a joint initiative o f medium and smaller scale buildings and arts centres . the Calouste Gulbenkian Foundation, the British Counci l and the Arts Council, agreement has been reached i n Fears that shortage of money and the necessary increase in principle for each of these organisations to contribut e ticket prices would adversely affect box-office takings hav e £ 15,000 per annum for an experimental period of three year s not been entirely groundless . There is evidence of greater towards a small unit, to be run by the Arts Council, discretion in ticket buying, but there have been some specifically to encourage, co-ordinate, and to a modes t remarkable successes, notably in the constant success of the extent financially support, visits to the UK by oversea s Royal Ballet Touring Company, London Festival Ballet' s artists, companies and exhibitions. The services of the uni t Sleeping Beauty and Prospect Theatre Company's autumn will be available to Scotland and Wales as well as England . tour of A Room ►vith a View and A'Month in the Country. The Foreign and Commonwealth Office has also agreed t o The English National Opera's ambitious tour of The Ring make available a matching sum of £ 15,000 towards the uni t produced large and enthusiastic audiences, and as part of its recognition of the spirit of the Helsinki 15 Secretarv-General's Report (cuntiiZI LLd

agreement on greater international cultural co-operation . ensure that public buildings, largely paid for with public Plans are now being made to set up the proposed unit, which money, should maintain a reasonable architectura l it is hoped will begin to operate in the autumn of 1976 . standard, and to this end it asks promoters to submit their proposals to the Royal Fine Art Commission . In cases where an acceptable technical and aesthetic standard is not Housing the arts reached, the Arts Council will have no hesitation i n Details of the Council's expenditure and commitments o n rejecting an application, or even in recommending a Housing the Arts are given on pages A21 and A55 of the Art s promoter not to proceed, on the grounds that the end resul t Council's accounts . would not justify the proposed expenditure .

The Housing the Arts Fund has now been in operation fo r On the positive side, the Council is anxious to increase the eleven years, and grants totalling £8,214,500 have been pai d amount of information available to would-be builders, by or promised to 291 schemes in England, Scotland an d way of publications and seminars, and it is working on a Wales. The Arts Council's contributions cover only a major survey of buildings to house the arts, which shoul d proportion of the costs involved - about 20 per cent - bu t help it to assess the situation and to pinpoint the areas of the they have proved very successful in stimulating other parties country that are comparatively under-provided . to find the balance needed to ensure that schemes can go ahead. By no means all of this money comes from Loca l Training Authorities. Public appeals and contributions fro m businesses and industry raise far more for arts buildings than The Training Committee was much concerned during th e they do by way of sponsorship for arts events - somethin g year with the Gulbenkian Enquiry into Professional Trainin g over £1,000,000 each year. for Drama, and the Council's evidence to it. The Council i s still concerned about the continuing, and indeed increasing , It is surprising, in view of the economic situation, that ther e plight of many drama schools, and has endorsed the ne w is no shortage of applications, even though the number o f National Council for Drama Training recommended by the Local Authority promoted schemes has droppe d Gulbenkian Report (Going on the Stage) by agreeing to be considerably and projects are tending to be on a more represented at its meetings as an observer. modest scale . Frequently these involve conversions o f buildings for an arts use, or adaptations and improvements The remainder of the Committee's work was concerned wit h to the existing ones . Another development is the increased the courses and schemes which are its responsibility . The number of projects which cater for a dual or mixed use, suc h year saw a considerable and welcome increase i n as sports halls which can also serve as concert auditoria, and applications for Actors' Bursaries under the revised schem e school halls which, given improved facilities, can be used fo r with its extended scope . The same kind of expansion wa s occasional music and theatre. evident in the new Designers' Bursary Scheme and the schemes for directors of some experience. In addition, the The Council thus gives financial aid to a wide range o f new scheme for trainee opera directors was devised, to com e building projects . The design problems inherent in them ar e into operation in 1976/77 . Both these groups also continued considerable, particularly where more than one use i s their trainee schemes for young designers and directors . In envisaged, and the results in technical and aesthetic terms the technical area, where courses and schemes ar e often leave much to be desired . No-one would think to buil d administered on behalf of the Council by the Association o f a hospital or school without seeking specialist advice, but British Theatre Technicians, the existing in-service an d too many people can and do embark on an arts building , day-release courses were maintained, but at the same time a without seeking the advice of a recognised theatre consultant, new one-year full-time course for Theatre Electricians wa s or with an architect who has no previous experience o f being devised at Paddington which is to commence in the buildings for the arts. If a hospital were designed so that the 1976177 academic year . doors of the operating theatre were too narrow to admit a bed, the public would soon hear about it, but it is quit e In the area of arts administration training, the two full-tim e common for plans for concert halls and theatres to b e courses continued : The Council's Practical Training Schem e submitted to the Arts Council which do not allow for scenery is now in its thirteenth year and the one-year full-time or even a grand piano to be brought into the building or onto Diploma Course is now in its ninth year, the third at the Cit y the stage. This often means that the Council, when a n University, where it has run very successfully. Expansion has approach is made for financial aid, has to point out suc h been mainly in the field of short courses ; there were ten elementary mistakes, only to be told that it is too late to courses and seminars during the academic year, as oppose d correct them, or that it would cost too much . The plain to only one last year . They were on such topics a s truth is that, had proper advice been taken at the outset, th e Exhibition Organising, Portable Structures, Art s mistakes would never have been made, and in most case s Book-keeping, and Bar Management . This increase d money and time (which means money) would have been activity reflects an area of great need because it serves arts saved. administrators already in employment and is designed t o encourage employers to assume more responsibility fo r The Council also believes that it has a responsibility to training. 16 The need for the arts world to assume responsibility for establishment of regional marketing officers to provid e training is likely to become acute in the relatively near advice and practical help in the marketing of tours by the future, when Britain brings its training legislation into lin e national opera, dance and drama companies. These officers with that of other EEC countries . Only when the arts worl d are jointly financed by the Council and the regional arts itself assumes its training responsibility can a reall y associations or local authorities . They are now situated i n coherent, relevant and financially viable in-service trainin g Newcastle, Manchester, Liverpool, Leeds, Birmingham , programme for all its employees become a reality . In the Nottingham, Bristol and Winchester . Further surveys o f meantime, the Council sees itself as having a two-fold role audiences were undertaken in touring centres . This research to provide training opportunities where there are gaps in th e programme has formed a valuable basis for the planning o f regular educational or training system, and to provide marketing and publicity activities for the tourin g information, advice or encouragement on any trainin g companies. Efforts are being made to encourage generall y matters to the many organisations and individuals who as k the development of a more professional approach t o for them. marketing and publicity for plays, concerts an d exhibitions.

Research and information Progress was made in encouraging greater cooperation The Council's research staff conducted a second majo r between shops in arts centres, galleries and museums. Shop survey of local authority spending on the arts, covering the fairs, in which a number of organisations showed art financial year 1974-5. The Senior Research and Information reproductions, books, catalogues etc ., were held at the Officer has been engaged in studying the work of four of th e Council and the Birmingham Arts Shop . A joint sale s more heavily subsidised arts centres, and research report s catalogue is being developed to feature new products and have been issued on the effects of inflation on subsidised promote their wholesale distribution between these shops . repertory theatres and orchestras. For the first time the Council has published detailed attendance figures fo r The Arts Council's own shop in Sackville Street, London W 1 , theatres. now three years old, sells a wide range of books, records , prints and other art objects, and performs a useful functio n On the information side, the circulation of the Council's in making available information on the arts and providing bi-monthly Bulletin has been steadily expanded and it is now regular opportunities for the public to meet well-known available to everybody with an interest in the Council' s personalities in the arts. work. This year also saw the publication of the Council' s Guide to Awards and Schemes, and the preparation of A Finance Directory of Arts Centres. Full details of the Council's finances are given in the The Council's reference library is now a valuabl e Annual Accounts, but here is a brief summary. information resource for those interested in the organisatio n and development of the arts and is currently being re-sited i n The 1975/76 grant-in-aid totalled £28,850,000 (22 .56 per more spacious accommodation . cent more than the £21,335,000 provided last year) . It included a basic grant of £26,150,000 and a supplementary grant of £2m, intended primarily to clear deficits incurred by Marketing subsidised companies in recent years as a result of inflation. The special two-year marketing projects, started by th e It also included a further £700,000 to enable the National Council in conjunction with the Regional Arts Association s Theatre Board to move from the Old Vic to the ne w in autumn 1973, ended in Sheffield and Bristol, while the buildings on the South Bank . project in Birmingham is continuing . Their progress was obviously influenced by the economic situation, which may From the total funds available a grant of £3,100,000 an d have affected attendance at theatres and concerts an d £2,340,440 were made for the Scottish and Welsh Art s reduced the ability of local authorities and the arts Council respectively, and a total of £850,000 was spent i n organisations to provide additional finance for projec t England and Wales to meet Housing the Arts commitments . activities. The projects were valuable in helping increas e attendances and in bringing together the organisations The Council's general operating costs in London accounted responsible for presenting the arts in each of the cities ; and for £1,095,336. This represents less than 5 per cent of th e in stimulating thinking about publicity for the arts among total English budget, and is a smaller proportion than in the those working in the arts organisations and in loca l previous year. government. They also formed a focal point for some ver y useful research data and in providing some informativ e Sums totalling £8,104,500 were made available to th e case history data on the publicity and marketing scheme s national companies in England . This includes £3,410,000 t o which were tried, which could have an applicatio n the Royal Opera and the Royal Ballet companies at Covent elsewhere. Garden, the Royal Ballet on tour in the regions an d £1,848,000 for the England National Opera Company at th e During the year further progress was made in the Coliseum and on tour. This total also included a total of 17

Secretary-General's Report (cortiruued Posterfor the Council 's exhibition of French paintingsfrom th e Courtauld Collections . The painting is `The fete d fete supper ', b r Toulouse-Lautrec.

£1,931,500 for the National Theatre Company's programme formulate developments of its policy (which contains the at the Old Vic Theatre, expenditure incurred on the move t o valuable distillation of 30 years' experience). We also hope the new National Theatre buildings, and the opening the Government will respond favourably to the new financia l performance at the Lyttelton Theatre . Provision for the needs, mentioned above, as soon as possible . They represen t Royal Shakespeare Companies at Stratford-on-Avon, th e so tiny a fraction of public expenditure, and are so valuabl e Aldwych Theatre in London and on tour amounted to to public morale, that it would be wise to spend more money £915,000. on them even before the end of the economic crisis . That crisis is in part a crisis of morale, and it cannot too often b e The Regional Arts Associations received £2,078,96 7 recalled that public spending on the arts began in the darkes t compared with £1,746,884 last year. Expenditure on touring days of the last war, precisely because the Government in the regions rose from £862,300 last year to £1,278,514 i n realised the contribution the arts could make to maintainin g 1975/76. public morale . This probably marked the end of the vie w that the arts were an optional extra to the business of living ; After allowing for all the above expenditure, the Counci l they were seen instead as a basic human need . We needed was left with just over £ lflm out of which over £4 .3m was them particularly in war-time, we need them particularly i n spent on Drama, over £3 .1 in on Music and nearly £ 1 .3m on the present economic crisis . the visual arts. Roy Shaw Particular areas of activity were given special increases a s October 1976 the following figures show :

1974/75 1975/76 Awards to artists £200,000 £300,000 Art Films £50,778 £144,792 Photography £28,520 £53,382 Experimental Drama £223,000 £564,000

Finally, the Council ended the year with only £55,943 left ou t of a grant-in-aid of £28,850,000 . This was 0.19 per cent o f the total and illustrates the very fine margins to which the Council worked .

In England the Council considered 3,500 specific application s from organisations and individuals for subsidy out of th e 1975/76 grant-in-aid and agreed to make funds available i n 2,150 cases.

In 1975/76 the Council earned over half a million pounds from directly promoted activities, including for exampl e income from exhibition ticket sales and receipts from the sale of catalogues and other publications which are difficul t to predict at the start of the year . The box office and other earnings of subsidised organisations represent a very hig h proportion of their total income, and are also difficult t o predict. The Council's accumulated surplus of £598,227 a t 1 April 1973 has been reduced to £194,538 at 1 April 1976 , which is 0.67 per cent of its 1976177 grant-in-aid. This is too small an operating margin for an `arts industry' with an annual turnover of over £80m . The future Lord Redcliffe-Maud notes that there is little hope of th e local authorities taking on extensive new commitments at the present time of economic restraint, but he recommend s that they use the next year or two to formulate new policies in order to be ready to implement them when the situatio n improves .

The Arts Council, too, will use the `period of restraint' t o 18

CEZANNE. GAUGUIN, LAUTREC, MONET, RENOIR, SEURAT AND OTHERS FRENCH PAINTINGS from the Courtauld Collections GRAVES ART GALLERY SURREY STREET SHEFFIEL D 10 JANUARY-15 FEBRUARY 1976 MON TO SAT 10-8 SUNDAY 2-5 ADMISSION FREE AN ARTS COUNCIL EXHIBITION

5

9 r Poster feu• the ('oluu•il 's Thurston Hopk ins' a~urin, e,r/rihitiun of phot(+i raphs : •Poodle muf rhaulleur . KniKhtshrit&e, Loudon /9-53'.

THURSTON HOPKINS, PHOTOJOURNALIST . BLUECOAT GALLERY, SCHOOL LANE , LIVERPOO L 21 AUGUST-12 SEPTEMBER 197 6 TUESDAY-FRIDAY 10 .30-5 .00 SATURDAN' 10.00-2.30 CLOSED IN]ONDAY & SUNDA Y AN ARTS COUNCIL EXHIBITION

d Fuller details are given in the Scottish Arts Council's ow n Scotlan Annual Report, published separately. Introduction

It was a year of contrasts and paradox . With inflation at received in income £3,122 more than it spent, and so carrie d times exceeding 25 per cent, most artistic organisation s forward a marginally increased reserve . survived ; amazingly some even throve. While yet anothe r plan for a small theatre was being buried in Dundee, a ne w During the year the Council spent £3,189,754 as follows : bigger theatre opened in smaller Inverness . While Edinburgh £ % wrestled with intractable permutations about improvement s Music 443,191 1 4 and extensions to three or four theatres, Scottish Oper a Opera 725,058 23 bought, modernised and re-opened the Theatre Royal in Dance 310,332 1 0 Glasgow. A serious setback to a decade of planning Drama 680,666 2 1 occurred when the Government withdrew its commitmen t Stage 1 13,768 1 to fund half the cost of an Opera House in Edinburgh . Art 324,853 1 0 Films 12,500 1 Whereas some of the new local authorities quickly adopte d Literature 89,627 3 new ideas and priorities, others embarrassed even their own Festivals 168,974 5 supporters by some severe cuts in grants to the arts. It is Art Centres, Clubs, and Projects 61,740 2 rash to generalise, but it seemed a difficult, unsatisfactor y Operating Costs 257,469 8 year. Nobody could be certain about anything . People Capital (including Third Eye Centre can cope with change, but chop-and-change is more and Fruit Market Gallery) 101,576 3 awkward. The only satisfying result is that, in spite of £3,189,754 100% obvious and even unforeseen difficulties, the arts survived , attendances held up, some new ground was broken, som e exciting work was done. These percentages should be treated with caution . The categories are not mutually exclusive . In the Report that follows, we have not tried to comment on all the usual activities of the Council and its clients . It is Nevertheless the predominance in the Council's budget of a not that they can be taken for granted - simply that nobod y dozen large organisations mainly in the performing arts , can take them all in . But, by isolating some selected project s meant that it had to make a special effort to help the visua l and themes, we hope instead to draw attention to both the arts and literature, the small club or touring group, th e variety of new ideas and the versatility of artists and th e smaller place and the individual . public. During the year the Council received about 800 appli- cations and gave about 600 grants. A total of £93,000 was Finance given in direct help to individual artists . Many more were Inflation has continued to rob the arts of the extra hel p helped through the Council's grants to orchestras, opera s which the Government has tried to give them . and ballet companies, theatres and arts centres .

In 1975/76, the Scottish Arts Council received £3,100,00 0 The Council's grants to organisations are only a partia l for revenue purposes compared with the previous year' s contribution to total costs . For example, its total grants o f £2,414,700 . Of this total £100,000 was given as a supplemen- £2,045,382 (including Arts Council Touring) to 12 majo r tary grant, compared with £216,700 the previous year . organisations in 1975/76 represented only 42% of thei r total cost. They themselves earned £ 1,864,746 or 8 % These supplementary grants were given exceptionally to by selling tickets and catering, and received subsidies of help counter the effects of inflation and in 1974/75 the 17 . 3% from local government and 1 - 3% from business , effect of VAT. Though necessary, and in some case s foundations, and individuals . essential, these supplementaries cause much heartburn. It is hard to avoid the impression that those who overspend ar e For every pound paid by the public attending performance s favoured and those who live within their means are by these organisations, a subsidy of £ 1 - 58 is given, of which penalised . Without extra help, many would have been i n £ 1 .10 is paid by the taxpayer, 45p by the ratepayer and 3 p serious difficulty ; with it, others went empty-handed. While by the private sector. grateful for the money, the Council does not like the prac- tice nor the.inflation that makes it necessary. It makes a Devolution nonsense of normal budgetary control. As foreshadowed in last year's Annual Report, the Scottis h Scotland's slice of the British cake, including supplementar y Arts Council has given much thought to the question of grants, was 11 - 1 Y. . According to population Scotlan d devolution, and has studied in detail the Government' s would be entitled to only 9 . 7%, but the Council argues fo r proposals in its White Paper. While a British view must more because the arts in Scotland need more . The Housing come from the Arts Council of Great Britain, SAC stresse s the Arts Fund is operated on a commitment basis for th e both its willingness to work with the proposed system i n whole of Great Britain and by the end of the year £466,000 Scotland and the value it places on direct links with ACGB . had been committed for Scottish projects . In all, the Council The Council has expressed confidence that the balance o f 21

Scotland (

advantage for the arts in Scotland must in the long run li e to represent and promote Scottish culture internationally. with devolution, but it is most important that initial prob- There is no national agency responsible for importin g lems do not endanger the healthy development of the art s foreign art. This vital relationship between artistic imports, that has taken place in the last three decades . exports, and indigenous, needs more thought, and the national arts agency in Scotland should be enabled to pre - Some important factors which may help to reduce th e sent Scottish culture abroad . problems involved in carrying out devolution in the arts are : SAC stresses the importance of having an independent Arts 1 - SAC, although constituted within the ACGB framework , Council (the `buffer principle'), because freedom o f already enjoys a very high degree of devolution . By far th e expression is involved and the arts need insulating agains t greater part of SAC's decision-making is devolved already , immediate pressures of party politics . It is also a cardina l and SAC has had nearly 30 years' experience of exercisin g principle that members are appointed to the Council a s devolved powers. individuals and not as representatives of any organisation s with whom they may be connected . The Council also stresses 2 - SAC's objects and work are similar to ACGB's, but it s that the SAC is an auxiliary, service-providing agenc y size, structure, and methods are different, and conditions supporting others, and that what the arts need is certaint y in Scotland are different . The opportunity exists in a smalle r and continuity, especially in the present period of economi c country to reap the advantages of closer co-operatio n difficulty. between related functions in the leisure field .

3 - Responsibility for most (but not all) activities in th e Local Government cultural, social, and leisure field, and in education, is devolve d and regional development already. SAC has acquired expertise and experience o f working closely with artistic organisations and individual s Reorganisation in Scotland. The greater part of SAC's work is Scottish, an d On 15 May 1975, Local Government in Scotland underwen t the balance divided equally between British and international. its first major reorganisation this century . On that day 433 authorities were replaced by 9 regions, 53 Districts and 3 On the other hand, there are good reasons for retainin g Islands Councils. The transition was prepared carefully an d British links : carried out comparatively smoothly, but inevitably ther e were some teething pains, some unhappily still with us. The 4 - Many aspects of the arts operate on a British basis an d expected advantages of fewer, larger, more coherent unit s must be administered accordingly. Many companies an d with some sense of corporate management, have begun to orchestras tour throughout Britain and also abroad . There be apparent . But there are three shortcomings whic h is freedom of movement and employment for artists , particularly concern the arts . writers, actors, musicians, etc. Exhibitions are exchanged . Much broadcasting is networked nationally. The market First, the coincidence of inflation, wage restraint, and th e for books, records, works of art, etc. is often British, if not need to economise has produced real problems in decidin g European or international. Many artistic organisations priorities in public expenditure . Secondly, the reluctance o f such as trades union, employers' associations, and cultura l Government to decide a clear demarcation of responsi- organisations are British, often with Scottish branches . bilities between Region and District in areas where func- Foundations, trusts, business and private patronag e tions and responsibilities are concurrent - the `Grey Areas ' usually operate on a British basis . - has produced confusion and often friction. Thirdly, there have been problems about local government's finance fo r 5 - The SAC and the arts in Scotland have received valuable the national orchestras, opera and ballet companies . These benefits from being part of ACGB, not only in expertise , points are explained more fully in the Scottish Arts Council's advice and general services, but also in contact betwee n own Annual Report . common Council members and between the respectiv e staffs ; and in participating fully in the increased level o f The Council's regional development enquir y support for the arts particularly since 1964. Last year's Report explained in detail why and how the Council set up in May 1975 an enquiry `to advise the For these reasons, if responsibility for the arts is devolved , Scottish Arts Council on the policy to be adopted fo r it is essential for SAC to retain strong links and a practica l regional development' . This initiative was timely, for i t working relationship with ACGB or its counterparts in coincided with Lord Redcliffe-Maud's enquiry into simila r England and Wales (and perhaps Northern Ireland) . problems in England and Wales, and valuable discussions were held with him . There are some obvious omissions in the White Paper - crafts and film, for instance . Perhaps most important of al l The Council's enquiry, under the chairmanship of Lord is the unsatisfactory position of a devolved Scottish Arts Balfour, made steady progress throughout the year, but ful l Council or cultural agency, responsible for the arts i n discussion of the enquiry and its Report will have to wai t Scotland, having to rely on a non-devolved British Council for next year's Annual Report . 22 Housing the arts a new, large concert-hall to replace St . Andrew's Hall (burnt down in 1963) is still unsatisfied, and the Citizen s The Council approved commitments for several Scottis h Theatre which, with the Scottish National Orchestra , schemes which are likely to come to fruition in 1976/77 an d was to have had a new home in the complex . must look 1977/78, including rehearsal premises for the Scottish either for a new theatre on a new site or patch its crumblin g National Orchestra and the Scottish Philharmonic Society ; old one and add a studio theatre to it . extensions of the Traverse Theatre, the Edinburgh Theatr e Workshop, and the Cottage Theatre Cumbernauld ; and new Scottish Opera arts centres at St . Andrews and Strathaven. Scottish Opera's conversion of the Theatre Royal i n Glasgow started another chapter in their success story . New theatre in Inverness Having raised £I m from industry, commerce and the In addition the Council agreed to make a grant of £90,00 0 private sector, and with a grant of £ 1 m from th e supplementary to the grant of £160,000 already made fro m Government, the company opened the modernise d the Housing the Arts Fund to Inverness Town Counci l theatre on 14 October 1975 . The advantages were obvious . towards the cost of Eden Court Theatre . The opening of It gave Scottish Opera comparatively cheaply and quickl y this new 800-seat theatre, suitable for visiting opera, ballet , an excellent base . It enabled them to enlarge their and dramaproductions, concerts, films, conferences, an d repertoire, improve standards, and give more performance s exhibitions, was one of the major achievements of 1976 and in Glasgow. It enabled audiences in Glasgow to enjoy a brings live professional entertainment to an expandin g regular weekly diet of opera throughout the winter . Though community for the first time for almost a generation . it clearly stretched their financial resources, the company' s faith, skill and hard work were amply repaid by an average Theatres in Edinburg h attendance of 92% of capacity, largely achieved by sellin g The Council spent much time and effort in trying to hel p season tickets . rationalise this complicated problem, which was made mor e acute last autumn when, against the advice of the Council , first the Government and then Edinburgh District can - celled their commitment to pay half the cost of th e Edinburgh Opera House .

Briefly, the Council's view is that Edinburgh should hav e three theatres, suitable for productions on an intimate , medium, and large-scale . Both the intimate Lyceum an d medium-scale Kings should be substantially improved , and a third - preferably the Playhouse-should be acquired , modernised, and brought into use first .

In view of the economic situation, it was not suggested tha t all these things should, or indeed could, happen at once, but a sensible programme of phased development should take place from now until the early or mid-1980s .

Dundee and Pitlochry Elsewhere similar lack of money has caused simila r problems or worse. In Dundee, the Repertory Theatre's an d the Council's attempts to build a new theatre to replac e their old one burnt down in 1963, is a saga in which the tragic is momentarily relieved by the ridiculous . Much time, effort and money was spent on a project for a modular, system-built theatre which had to be abandoned in Dunde e for reasons too complicated to explain briefly . Other pos- sibilities are being explored .

At Pitlochry, too, there is an urgent need to replace the Festival Theatre which has given 25 years "temporary " service. The Council is firmly committed to this project, fo r which a site has been purchased .

Glasgow In Glasgow, the proposed cultural complex has been post- poned indefinitely. This means that the paramount need for 23 'RoAirr Duhh : A thousand stones roved one step_Jorward along a se're'rrto• frurr• mile wall- in Cvuute• Clar e '. hr Ricfrard Long. A n rurluurred edition 1U ;U irrrir + printed ollset litho, prrhlished by tftc .1r'f.ti Cony il . Wales Fuller details are given in the Welsh Arts Council's own Annual Report, published separately. Introduction

The Welsh Arts Council received increases of 26% in it s promote the .`arts' and `entertainment' . Are the gaps revenue grant for 1975/76 and 18% for 1976/77 . Both were which appear to separate the arts and entertainment (and generous, providing in the latter year £2,750,000 . With a the more recently prescribed `recreation') too wide t o population of 2 . 75 million, this means that the Council ha s allow a meaningful working partnership between the three , £1 .00 available for every man, woman and child in Wales local, regional and national ? as subsidy for the arts . In the White Paper `Our Changing Democracy : How the 1975/76 grant was dispersed is shown in detai l Devolution to Scotland and Wales', under the outline of in the financial index . It would be naive to expect universa l subject fields to be devolved, the Arts are shown unde r satisfaction with the expenditure or to assume that th e `Education and the Arts' (together with national and Council was able to deal equitably with the majority of th e local libraries, museums and galleries) and Recreation applications from an ever increasing range of arts . (with Sport) under `Physical Planning and the Environ- Decisions on grants were taken by a Council of 23 member s ment'. The list, obviously for convenience, is in accordanc e on the recommendations of a number of subject advisor y with `functions as they exist now' . Local government, i n committees composed of people with acute knowledge o f its allocation of responsibilities, reflects in its committe e the various arts and public expectations of the arts in Wales . and departmental structure the pattern of national govern- The advisory committee system, cumbersome in appearanc e ment. It will be for the Assembly, of course, when elected , and, perhaps, even in practice, is vital to any publicly - to determine how it will re-distribute its new responsibili- funded patronage service . The system itself depends o n ties to committees. If it retains the present groupings a s careful selection and rotation of members who see and hol d shown in the White Paper, and perpetuates curren t themselves accountable equally to the artists and th e practices and artificial segregations, the Arts could well b e general public. left operating on a limited, parochial scale, losing all the gains won in recent years . If, however, the Assembly creates The 1965 White Paper `A Policy for the Arts' argued that a different pattern of accountability more relevant to Wale s if a wider and more appreciative public for the arts is to b e than to Whitehall, it may become possible to plan an d won, `a new social as well as artistic climate is essential' . co-ordinate resources throughout Wales and across a This is particularly pertinent to Wales . The Paper broad range of arts activities to the advantage of the artis t admitted that there was no easy or quick way of bringin g and the public. this about because `too many working people had bee n conditioned by their education and environment to con- It is evident from the Departmental reports which follo w sider the best in the arts to be outside their reach', an d that the overwhelming amount of activity we have sup- recognised that if the best in the arts was to be made more ported has been in Wales itself and the reports instanc e widely available, more generous and discriminating hel p significant developments in our long-term policy to make would be urgently required locally, regionally and nationall y the arts available throughout Wales . The opening of Theatr Clwyd and the spread of concerts into remote rural area s That degree of consistent help has not been forthcoming and are examples. On the other hand, we welcome the growin g the present economic climate and the restrictions on loca l acceptance of the fact that, through its artistic enterprise, government expenditure promises little prospect of early , Wales has its own unique contribution to make on the large-scale improvement . The pattern of support and international scene . Cwmni Theatr Cymru took `Under expenditure in the Principality never has been, and pre- Milk Wood' to Scandinavia, the Welsh National Oper a sumably never will be, uniform geographically or across th e went to Barcelona with `Billy Budd', the `Marriage ' arts, but the serious disparities my the provisions for th e exhibition went to Antwerp for a major Council of Europ e various arts and their causes open the Council to seriou s showing, the Welsh Books Council exhibited in New Yor k criticism. The opportunity to redress the balance was not and Frankfurt, and the first International Ceramics taken during the good years of escalating grants from Symposium was held in Cardiff. central government . It may well become now, a priority during the lean years ahead . Art There is a great deal of similarity in the words used to Two major exhibitions were produced and seven smaller describe the objects in the Royal Charter of the Art s touring shows . `Plans and Prospects : Architecture i n Council of Great Britain and the constitutions of the thre e Wales 1780-1914', the Council's contribution to Europea n Welsh Arts Associations . Both are concerned with the Architectural Heritage Year, sought to increase the ap- `arts' . The Local Government Act, 1972, which preciation of hitherto neglected buildings - their architect s gave effect to the reorganisation and restructuring of loca l and their builders - by showing a wealth of origina l government in England and Wales echoed these objects i n drawings, watercolour renderings, plans and models . almost identical phraseology, but introduced the word `Marriage', the fourth and last in the Art and Society `entertainment' . There is already a close working series, was taken to Antwerp by the British Council durin g relationship between the arts associations and the Wels h the Summer of 1975 . There it formed the British con- Arts Council, but as yet little between them and th e tribution to the Council of Europe's major exhibition o n majority of the local government committees established to the popular arts, Love and Marriage . Subsequently 25

N\ales (c ~nrc d

enlarged to contain material from Europe, Asia an d of the Crafts post-cards . Following the Eisteddfod, a n America, it was given its only British showing at the exhibition of selected entries was toured, the winning entries National Museum of Wales, Cardiff, during March an d finally being included in the exhibition Play now and Then April 1976 . held at the Crafts Advisory Committee's Waterloo Gallery in London . Among the smaller exhibitions, `Coalface 1900' wa s rewritten and redesigned and together with `Slate' wa s The 1975 International Ceramics Symposium was held i n shown at the Science Museum, London. `Pride of Cardiff College of Art and was the first ever to be held i n Possession' brought together little known paintings fro m Britain. The Symposium was sponsored by the County o f private and public collections illustrating possessions a s South Glamorgan, Crafts Advisory Committee and the diverse as animals, boats, factories and servants . `Ways of Welsh Arts Council and was attended by potters fro m Making : 5 Systemic artists' showed a variety of work s Japan, Hungary, Czechoslovakia and many other derived from European constructivism . European countries . Works produced during the Symposium were exhibited at the College and subsequently Oriel gallery's policy of fortnightly shows continue d at other centres and will be retained in Wales . throughout the year; twenty-two artists took part in one , two or three man exhibitions. The first, spectacular, sho w Drama of the year, was of work by Allen Jones . This was th e artist's first exhibition in Wales, and later it toured As the circuit of new regional centres neared completion , throughout the country. `Drawings from Welsh the Committee reviewed its work and the activities of its Collections', an historical exhibition unusual in the Oriel clients during the five years since the Drama Departmen t context, had an enthusiastic reception it may never hav e was set up in 1970. In 1970/71 the Council supported tw o had in a more conventional museum setting . theatres, three companies, and there was a Dram a expenditure of £99,000 : in 1975/76 eight theatres and art s Major gallery schemes proposed for the new Dyfe d centres and eight companies received support, and th e College of Art, Carmarthen, The Aberystwyth Art s total expenditure was £593,000 . The Council's dram a Centre and the Newport Museum and Art Gallery wer e policy has been to support independent organisation s supported and on completion will add significantly to the operating at national, regional and local level ; this has number of fully professional facilities available for dis- been a gradual and painstaking process and over five years playing touring exhibitions in Wales . there is a substantial record of local initiative to report .

A grant was made to the recently formed Association o f However, it is a sobering thought that from a total of Artists and Designers in Wales to carry out a survey o f approximately 300 professional people who are no w artists' accommodation needs throughout the country . As employed by the organisations receiving Council's suppor t a result of the survey, two proposals for convertin g there are only some 35 performing artists in full employment buildings into studios in Aberystwyth and Cardiff were as compared with over 250 administrative and technica l implemented. Further schemes, it is hoped, will be staff. In other words, the facilities have outstripped the supported elsewhere in Wales . artistic resources .

Under the first bursary scheme for several years, 6 £1,00 0 For the present, a feeling of artistic impermanence remain s awards (from 68 applicants) and 8 £500 awards (from 62 the hallmark of theatre in Wales and the past year has see n applicants) were offered to artists in Wales . some gains and some losses. For example, Theatr y r Ymylon, a company committed to performing the work o f Welsh and Anglo-Welsh writers, expanded its output to Crafts six productions, so providing a very needful variety o f (with the support of the Crafts Advisory Committee) opportunity for writers, actors and audiences alike . On the other hand, Welsh Dance Theatre, beset from the It was agreed by Council that the Crafts Sub-committee beginning by administrative and financial uncertainties , would no longer be linked to the Art Committee and tha t decided to suspend activities for a while from the end o f it should become the Crafts Committee, reporting direct t o the year. Tribute should be paid to a Company tha t the Welsh Arts Council . The Committee was extended an d endured and learnt much while introducing to Wales a a special Policy Panel was formed to draw up a set of contemporary form of theatre that has rapidly establishe d objectives for the Crafts in Wales . Among these was the enthusiastic audiences elsewhere in Britain, and will un- long term aim to develop an international centre fo r doubtedly do so in Wales given good organisation, a les s Crafts in Wales . restrictive economic situation, and stronger roots in th e community. The Competition Toys organised for the Royal Nationa l Eisteddfod of Wales, Bro Dwyfor, 1975, led to a n Many of the endemic obstacles to artistic development exhibition of all the entries in the Art and Crafts Pavilion derive from the almost continuous business of touring tha t at the National Eisteddfod, Criccieth, and the publication has become the lot of every theatre company in Wale s 26 since state patronage of the arts began ; and the pas t whatever their contents or quality (a record number of 308 year has seen even more to-ing and fro-ing, at home an d Welsh titles appeared in 1975) are eligible for the service s abroad, than usual. These overseas forays, undertaken provided by the Welsh Books Council . The Welsh Arts only after obligations to audiences in Wales have been met , Council's funds are thus made available for the benefi t are a valued feature of each Company's work ; they are of all authors, editors, designers, publishers, book-sellers , also in most cases an economic necessity . However, th e libraries and readers in Wales . more a company tours the greater the strain on it s finances, management and creative energy, resulting fo r The early sucess of Oriel, the Welsh Arts Council's book - example in frequent changes of personnel, fewer productions , shop, opened in May 1974, was consolidated during it s and not enough opportunity for presenting new talent, an d second year. Sales increased steadily and the shop's role a s particularly new writing, for the theatre . a leading stockist of books by Welsh and Anglo-Welsh authors became clearly established . Other popular Film categories were spoken-word records, magazines, book s from other Celtic countries, small press publications an d The Film Committee commenced its first full year o f books on the visual arts . The proposal that the Welsh Art s operation with a grant which was less, in real terms, tha n Council should extend Oriel's activities by means of a that for 1974/75 . It is not surprising then that there was a mobile shop visiting the valleys of Glamorgan and Gwent , growing gap between the needs of those involved in film as well as by opening similar centres in other parts of Wales , activities in Wales and the ability of Council to meet such was considered during the year . needs. The Welsh Arts Council considers that the BFI' s long-standing policies are almost wholly irrelevant to The Welsh Arts Council 's direct grants to publishers Welsh needs and that a very much larger portion of the supplement the Government grant for adults' books i n Institute's total revenue resources should be made availabl e Welsh which is administered by the University of Wale s for reallocation in accordance with priorities determine d Press Board . Publishers choose from which source to seek within Wales . subsidy in the knowledge that the Welsh Arts Council' s grants are normally for books of verse, novels, shor t The work of the Film Department during the year had to b e stories, literary criticism or biography . No other body concerned mainly with the provision of advice and th e regularly gives financial assistance to English book s gathering of information. It is ironic that these activitie s produced in Wales . led to the identification of even more potential recipient s of grant aid and areas of capital expenditure . Film makers The Welsh Arts Council's grant-aid to periodicals reflect s need equipment and film stock ; film societies and other its belief that they are important media for the literary an d non-commercial exhibitors need projection equipment, an d cultural life of Wales . It therefore notes with concern that , almost all activities need a revenue subsidy. All too often, while its subsidies continue to grow from year to year, it s the advice given cannot be acted upon because of Council' s support is not matched by the public's interest in buyin g inability to make a realistic financial contribution . The these magazines regularly . None has shown a significant result is either failure to initiate activity or, at best, a n improvement in its circulation for several years and most unsatisfactory compromise. The development of technica l now sell fewer copies than formerly. facilities continued with the provision of 16mm film and video editing equipment at Chapter Arts Centre. The studio is also providing a permanent base for Cardiff Music Street TV's video work, and they will be taking over More venues were used for orchestral concerts than eve r responsibility for the administration of Council's before, some selected to allow easy access even in the mos t video equipment - formerly housed at Oriel . remote rural areas. Ticket subsidies were provided fo r those under the age of twenty-five, resulting in lowerin g In February, the fourth Regional Film Theatre in Wale s the age of concert-goers as well as ensuring further growt h opened at Theatr Clwyd. in audiences. A good number of these concerts were give n by the BBC Welsh Symphony Orchestra which is gradually Literature attracting large audiences in towns regularly visited . The size of the Orchestra has been increased from 44 to 6 0 With the publishing industry suffering from inflation as players and further expansion is envisaged in the near seriously as any other, the Council chose to maintain th e future. level of grant-aid to its major clients, including the Wels h Books Council, and to continue with its programme o f Thirty-seven concerts were given by the Welsh Philhar- direct provision for writers, periodicals and publishers . monia Orchestra in addition to playing 129 opera perfor- The Welsh Arts Council's grant to the four Departments o f mances. In Cardiff, much attention was focused on th e the Welsh Books Council, by now far exceeding what tha t series given by the Welsh Philharmonia Orchestra at the body receives from the local authorities for its othe r Exchange Hall in Mount Stuart Square. The Orchestra activities, are intended to help publishers to improve their made another tour of Educational concerts, with Anthony resources and standards. All books published in Wales, Hopkins introducing and conducting . Two further 27 Poster for the Council 's Burne-Jones exhibition at Birmingham Museum and Art Gallery showing a detail of the `Departure of th e Knights ', a tapestrY in the Gallery's collection . The exhibition wa s also shown at the HaTsrard Gallery in London and Southampton Art Gallen. recordings of contemporary Welsh music were made, Opera under the Council's sponsorship, in association with BBC Enterprises and EMI Ltd . The BBC Enterprises record wa s The most significant aspect of the year's work by the made by the National Youth Orchestra of Wales unde r Welsh National Opera and Drama Company was the firs t Arthur Davison, consisting of works by Alun Hoddinot t visit of the Company to the new university theatres an d and William Mathias. The EMI disc was of Mathias' s the Clwyd Arts Centre. A production ofAlbert Herring, cantata This Worlde's Joie recorded by the Bach Choir , Britten's comic opera, was specially mounted for thi s New Philharmonia Orchestra, under the direction of Davi d purpose and it was presented at the Sherman Theatre , Willcocks . Cardiff, before visiting other theatres in Aberystwyth , Bangor and Mold . The Council provided funds to enable Harlech Televisio n Company to commission another opera for television b y The year saw the momentum lost the previous year (due t o Alun Hoddinott . The first television opera entitled financial difficulties) regained with six new productions . Of Murder, The Magician was transmitted in February 1976 these, Jenufa (Janacek) was the first joint production wit h and was seen by an estimated audience of four million . The Scottish Opera and marked a very suspicious financial and Welsh National Opera commissioned the young composer, artistic collaboration . Michael Geliot's Autum n John Metcalf, to compose an opera to be played in the ne w production of Otello marked the thirteenth Verdi opera i n smaller theatres. the Company's repertoire, and the Spring productions o f Cosi Fan Tutte, Manon Lescaut and The Grand Duchess of Welsh Music Archive Gerolstein were highly successful . The Council and the University College, Cardiff, are t o establish a Welsh Music Archive which, it is envisaged, will serve as a showroom for twentieth century Welsh music . It Regional Arts Association s will be a reference library which will acquire published an d The Welsh Arts Council's aid to the North Wales, Wes t unpublished scores, tape and disc recordings, with stud y Wales and South East Wales Arts Associations remained and listening facilities provided . at a level determined by a formula first devised some years ago and intended to bring the local authorities ' Welsh Amateur Music Federatio n contribution to the level of the Arts Council's . Sadly, thi s During the year the number of affiliated societies increased did not happen and the work of the Associations did not , from 148 to over 200 . Attempts were made to raise fund s in consequence, develop on the scale and pace intended . from sources other than the Welsh Arts Council so that the Nevertheless, the Associations have initiated valuabl e Federation might establish itself as an independent or- programmes of activities. ganisation. However, approaches to Local Authorities, Trade Unions and commerce failed to provide more tha n During the year, a working party was formed "to revie w token sums. Local Authorities, in particular, doubted th e . . . the structure, funding and administration of the Arts i n validity of setting up another administration for the arts . Wales, where the regional arts associations and the Wels h The Council therefore decided to continue to administer th e Arts Council had related or have common interests o r Federation's business . concern, and other relevant matters in the best interest o f Wales". A preliminary report was prepared and furthe r A significant advance was made in encouraging chora l meetings will now take place to consider the report i n societies to perform works outside the normal repertoire ; the light of the recent Report by Lord Redcliffe-Maud . although many affiliated societies continued to include th e popular oratorios in their programmes, the Federatio n gave financial support towards performances of lesse r known works. As an integral part of this policy, the Federation has concentrated on building up a lendin g library. Choirs are invited to donate or sell little used work s to this library for the benefit of other societies .

Increased interest was shown in the Federation an d further progress was made in helping brass bands, folk music societies and male choirs . Music-making by childre n remained largely within the school but it is intended durin g the coming year to encourage a greater number of school- leavers to link up with choral and instrumental group s outside the schools .

28

Birmingham Museums n-pmi- a ti,e"of SirEdw&M simv,4on"ts3-9e , and Art Gallery Mao-Sat IOW-ZW Sun 14A0-1/30 Admi!mi fine 10 March 11 April 1976 Arta Cour"of Great Britai n

TTT v q ~ '~ p A Yep * Membership of Council and Staff

Council New Year Honours The following retired from the Council o n Ben Smith, member of Scottish Art s 31 December 1975 : Council (OBE ) Alan Bowness, CB E Colin Young, member of Arts Film s Michael Elliot t Committee (OBE) Stuart Hampshire Eric Thompson, Deputy Music Director J. W. Lambert, CBE, DsC (OBE) Dr A . H . Marshall, CB E Peter Williams, OB E Birthday Honours I. M . Robertson, mvo, Assessor from the In addition Lord Feather, CBE, who had Scottish Education Department (CB) been in ill health, resigned during the year Alan Bowness, member of the Art Panel under review, and Dr Jonathan Miller als o and until recently a member of the Council resigned, owing to pressure of other (CBE) commitments. On going to press in Jul y Michael MacOwan, until recently a 1976 we were much saddened to receive member of the Training Committee (CBE) news of Lord Feather's death. Several of Mrs Helen Crummy, a member of th e those retiring remain in the Council's Scottish Arts Council's Regiona l service as members of panels and com- Development Committee (MBE ) mittees . Thus Mr Bowness continues as a Member of the Art Panel and the Art s Obituaries Films Committee ; Mr Elliott as a member The death of Lord Feather has alread y of the Housing the Arts Committee ; been mentioned . We also record, with Dr Marshall as a member of the Trainin g great regret, the deaths in December 197 5 Committee ; and Mr Williams as a membe r of Mr E. L. Horn, the Council's Accounting of the Music Panel . Mr Hampshire had Officer from 1944 until 1951, and of served as Chairman of the Literatur e Mr Frank Price Jones, who at the time o f Panel since 1972, and Mr Lambert, wh o his death was a much valued member of joined the Drama Panel in 1966, became the Welsh Arts Council . its Chairman in 1968 . Good wishes and thanks are extended to retiring members .

The Minister appointed the following new Council members : John Culshaw, OB E Martin Esslin, OB E Roy Fuller, CBE G. Laurence Harbottle Dr Richard Hoggar t John Manduell Miss Annette Page (Mrs Ronald Hynd ) The Lady Vaize y Professor Raymond William s

Staff Mr Neil Duncan, who had held the position of Director of Regional Development sinc e April 1973, resigned from the Council' s service with effect from 31 January 1976 . The Council decided not to fill this vacancy , and to give overall responsibility for regional development to Mr Angus Stirling, the Deputy Secretary-General . At the sam e time, in an accompanying reorganisation of the staff formerly comprising the Regional Department, the Controller of Touring, Mr Jack Phipps, was given th e title Director of Touring, and the Touring section became a separate Department .

Honours Congratulations are extended to the following on whom Honours have bee n conferred in the year 1976 :

30 Council, Committees and Panel s

HOUSING THE ARTS COMMITTE E Ron McCormick Council Sir John Witt (Chairman) Professor Aaron Scharf The Lord Gibson (Chairman) (A and B) The Marchioness of Anglesey Peter Turner Sir John Witt (Vice-Chairman) (A and B) Professor Harold C . Baldry The Lady Vaizey The Marchioness of Anglesey (A) The Lord Balfour of Burleig h Professor Harold C . Baldry (A and B) John Culshaw Serpentine Gallery Committee The Lord Balfour of Burleigh (A ) Michael Elliott Patrick Caulfield (Chairman) Ann Clwyd The Viscount Eshe r Derek Boshier John Culshaw, OBE (A and B) Martin Essli n Judy Marie The Viscount Esher, CBE (A and B) Peter Moro Martin Esslin, OBE (A and B) DRAMA PANEL Roy Fuller, CBE (A and B) ART PANEL Martin Esslin (Chairman) * G. Laurence Harbottle The Viscount Esher (Chairman)* G. Laurence Harbottle (Deputy Chairman) * Dr Richard Hoggart (B) The Lady Vaizey (Deputy Chairman) * Ian Albery Jeremy Hutchinson, Qc (B) Nancy Balfour, OBE* John Ashford * John Manduell Dr Stephen Bann Sue Birtwistle James S. Morris Alan Bowness, CBE John Bury Annette Page Victor Burgi n Roger Chapma n Neil Paterson Bernard Cohe n Peter Cheeseman * Elizabeth Thomas Michael Compton * John Clarke The Lady Vaizey H. F. Constantine Michael Deniso n Professor Raymond William s Hubert Dalwood Jane Edgeworth, MBE Professor Peter de Francia * Anthony Everitt* A - Member of the Estimates Committe e Dennis Farr* Ian Giles B - Member of the Finance and Policy William Feaver Len Graham * Committee (England) Gerald Forty Malcolm Griffiths Bill Gaskins Sheila Hancock, OB E Patrick George* Roy Kift Adrian Henri * Mike Leigh Patrick Heron Charles Lister Anthony Hill Richard M. Mills John Hubbard* Gareth Morgan David Hur n Benedict Nightingale Paul Huxley David Ryme r Ian Jeffrey Donald Sinde n Tristram Powell Clare Venables Jack Smith Hazel Vincent Wallace, OBE David Sylvester Timothy West John Thompson * - Member of Drama Finance Committe e William Varley Professor John White * Standards and Reassessment Committe e * - Member of Art Finance Committee Peter Cheeseman (Chairman) John Ashfor d Exhibitions Sub-Committee Sue Birtwistle Alan Bowness (Chairman) Roger Chapma n David Addiso n John Clarke Dr Stephen Bann Anthony Everit t David Bromfield Ian Giles Bernard Cohe n Len Graha m Michael Compto n Malcolm Griffiths H. F. Constantine Sheila Hancock Peter Davies Roy Kift William Feaver Mike Leigh Gerald Forty Richard M . Mills Carol Hogbe n Gareth Morga n Paul Huxley David Ryme r Ian Jeffrey Clare Venables Tristram Powel l Hazel Vincent Wallace David Sylvester Timothy Wes t John Thompson Projects and New Applications Committe e Photography Committee Anthony Everitt (Chairman) Bill Gaskins (Chairman) John Ashfor d Victor Burgi n Roger Chapma n David Hurn David Farnsworth

31 Council . Committees and Panels I coniozured

Len Graha m Publishing Imprint Sub-Committe e Meredith Davie s Malcolm Griffiths Ronald Harwood (Chairman) David Drew Dusty Hughes Paddy Kitchen John Manduell Naseem Kha n Charles Monteith Nicholas Ma w Roy Kift Christopher Sinclair-Stevenso n Donald Mitchell Roger Lancaster Ion Trewin Daphne Oram Mike Leigh Stephen Plaistow Charles Lister MUSIC PANEL George Rizza Colin Thomas John Culshaw (Chairman) * Alan Rump Clare Venables John Manduell (Deputy Chairman) * Tim Souster Ronald Kinloch Anderso n New Writing Committee Atarah Ben-Tovim Jazz Sub-Committee John Ashfor d Richard Rodney Bennet t Charles Fox (Chairman) Alfred Bradley Harrison Birtwistle Ronald Atkins Anthony Everitt Gordon Crosse Peter Beva n Malcolm Griffiths Meredith Davie s Tony Cas h Roy Kift Professor Basil Deane Walter Drabbl e Benedict Nightingale David Drew Dave Gelly Clare Venables John Drummond Evan Parker B. A. Youn g Gerald English Norman Winstone Professor Peter Evan s LITERATURE PANE L Eric Falk Opera Sub-Committee Roy Fuller (Chairman) * John Field, CBE Ronald Kinloch Anderso n Elizabeth Thomas (Deputy Chairman)* Charles Fox * John Cox Dr Dannie Abse James Gibb Ronald Crichto n Martin Amis Noel Goodwi n Meredith Davie s Patricia Bee r Peter Heyworth Professor Basil Deane Laurence Cotterel l Barrie Iliffe Gerald English C. J. Driver Keith Lester Eric Falk Maureen Duffy Timothy Mason Elizabeth Forbes Martyn Goff Nicholas Maw* Noel Goodwi n Ronald Harwood * Professor Donald Mitchel l Peter Heyworth Paddy Kitchen* Annette Page * Allen Percival Professor L. C. Knight s Allen Percival, CBE Walter Todd s Alexis Lykiard Stephen Plaistow Charles Monteith George Rizza Committee for the British Section of the David Plante Alan Rump * International Society of Contemporary Peter Porter* Tim Souster Music Piers Paul Read * Walter Todds* Stephen Plaistow (Chairman ) Hilary Rubinstein* Peter Williams, OBE* David Cain John Sandoe Caroline Wood Ian Carr Ian S. Scott-Kilvert * - Member of Music Finance Committee John Casken Christopher Sinclair-Stevenson Gordon Crosse Ion Trewin Dance Theatre Sub-Committee Martin Dalby * - Member of Literature Finance Peter Williams (Chairman) David Drew Committee John Allen Professor Peter Evans Louise Browne Charles Fox National Manuscript Collection o f Paul Chandler Anthony Gilber t Contemporary Writers Committe e Peter Curtis Alan Hacker Dr Philip Larkin, CBE (Chairman ) Margaret Dale Barrie Iliffe Nicholas Barke r John Drummon d Oliver Knussen B. C. Bloomfield Fergus Earl y Professor William Mathias Douglas Cleverdo n Jane Edgewort h Nicholas Maw W. H. Kelliher John Field Evan Parker P. E. Tucker Noel Goodwin Anthony Payne Dr D . P. Walley Keith Lester Judith Pearc e Eric W. White, CBE Maude Lloyd Veronica Slater Dame Alicia Markova, DBE Tim Souster Community Bookshops Working Party Timothy Mason Thomas Wilson Maureen Duffy (Chairman) Annette Page Hugh Woo d Martyn Goff Ronald Harwood General Sub-Committee REGIONAL COMMITTEE Paddy Kitchen Richard Rodney Bennett Professor Harold C. Baldry (Chairman) Hilary Rubinstei n Harrison Birtwistle Elizabeth Thomas (Deputy Chairman ) John Sandoe Gordon Crosse Robert Atkins

32 Bill Forster TOURING COMMITTEE Francis Hawcroft Jack Goldberg Sir John Witt (Chairman) Russell Hills Robin Guthrie Professor Harold Baldr y Tim Hulse Denys Hodso n Michael Deniso n Barrie Illiffe Ian McCullum Alwyne Scrase Dicken s W. J. Kitchingham Robert Smith Patrick Dromgool e Gerald McDonald Anthony Wraight Malcolm Griffiths* Tim Mason Les Jobson Chris Parr Arts Centres Sub-Committee John Manduell * Alan Smith John Lan e Timothy Mason * Hazel Vincent Wallace Harold E . S . Marks Annette Page David Pease Stephen Phillips Designers Working Grou p Jeremy Rees Christopher Richards * John Bury (Chairman) Christopher Richard s David Sandford Michael Annal s Michael Tearle Robert Scott * Bill Bryden The Lady Vaizey William Servae s Hayden Griffin Nigel Stannard * John Halle Community Arts Committe e John Toole y Christopher Morle y Elizabeth Thomas (Chairman ) Martin William s John Napie r Dr Gordon Adam * - Member of the Touring Finance an d Timothy O'Brien Robert Atkin s Policy Sub-Committe e Professor Harold C : Baldry Directors Working Grou p Peter Blackma n TRAINING COMMITTEE Stephen Barry Chris Carrell G. Laurence Harbottle (Chairman) John Blatchley Denis Dudley Alan Bowness Michael Bogdanov Chris Elphic k John Bur y Roger Chapman Lord Feversham Lionel Dun n John Copley Jack Goldber g John English Ian Giles Martin Goodrich Martyn Goff John Harriso n Carolyn Gorney Sheila Hancoc k Philip Hedle y Len Graha m Cindy Hargate Stephen Holli s Jenny Harris Francis Hawcroft Peter Jame s Paddy Kitchen Philip Hedley Mike Leig h Nigel Leach Russell Hills Rhys McConnochie Shantu Meher Ian Hunter, MBE Gareth Morgan Maggie Pinhorn Barrie Iliffe Caroline Smith Peter Star k John Manduell Clare Venables Graham Woodruff Dr A. H. Marshall, CB E Timothy O'Brien Technicians Working Group ARTS FILMS COMMITTEE Harry Pegg Harry Pegg (Chairman ) The Lady Vaizey (Chairman ) Allen Percival Brian Ben n Edgar Anstey, OBE Owen Reed William Besant Michael Barret t Caroline Smith William Bund y Alan Bownes s Hazel Vincent Wallace John Clark e Lady Casso n Williams Cousin s Michael Clarke Actors and Drama Schools Working Group David Forder David Curtis Owen Reed (Chairman) Russell Hills Colin Ford Trevor Baxter David Machi n Derek Hill Anna Cartere t David Marchment Professor Stuart Hood, MB E Peter Cheeseman Bob Stanton Terry Measham John Field Michael Williams Norman Swallow Sheila Hancoc k Nancy Thomas Philip Hedley Special Applications Committe e Dr Lisa Tickner Raphael Jago John Ashfor d Anthony Wraigh t Barry Lett s Fergus Earl y Colin Young, OB E Allen Percival Anthony Everit t Prunella Scales Adrian Henr i Artists Films Sub-Committee Janet Suzma n Paddy Kitchen Professor Stuart Hood (Chairman) Clive Swift Tim Souster Ian Christie David Curtis Administration Sub-Committee Simon Field Dr A. H. Marshall (Chairman) Laura Mulvey Grizelda Bear Tony Raynes Stuart Burge, CB E Mark Francis

33 Council . ( c ommittees and Panek i (- 7iiliiw a

Scottish Arts Council

The Lord Balfour of Burleigh (Chairman) * Book Awards/New Writing Awards Reading Neil Paterson (Vice-Chairman) * Panel Tom Alexander Deirdre Chapman Professor James F. Arnott, TD Charles Gormley H. Jefferson Barnes, CBE Hugh Rae Peter Branscombe Eluned Brow n Grants to Publishers Panel Walter Cairns* W. R. Aitke n David Dorwar d Alastair Borthwick Professor T . A. Dunn* Donald Campbell Professor Michael Flinn Douglas Grant Professor Alastair Fowler Ian Murray Joe Gerber Martin Heller Publishing/Bookselling Working Part y Mary Klopper W. R. Aitken John Knox Mary Baxter James S. Morris * Antony Chamber s John B . Rankin Alistair Davidso n Ben Smith, OB E Ross Higgins Ian McKenzie Smith* Writers Bursaries Panel Professor Derick Thomson Harold Wilkinso n J. K. Annand George Bruce * - Member of the Finance and Policy and Dorothy Dunnet t Housing the Arts Committee Douglas Giffor d Art Committe e Donald MacAula y Ian McKenzie Smith (Chairman) Trainee Directors' Panel Tom Alexander Professor James F . Arnott H. Jefferson Barnes Kate Eveling Beth Fisher Hugo Gifford John Knox Martin Heller James S. Morri s Mike Ockrent Colin Thompso n Clive Perry

Drama Committee Third Eye Centre Interim Managemen t Professor T . A. Dunn (Chairman ) Committee Professor James F . Arnott Sir William Gray (Chairman) Eluned Brown Professor James F . Arnott Joe Gerbe r James Cosgrove Martin Helle r Joe Gerber Thomas Laurie Patsy Gibb John Rankin Clifford Hanley Irene Sunters James Hood Ian MacDonal d Literature Committee Norman Macfarlane Neil Paterson (Chairman ) Cordelia Oliver Professor T . A. Dun n John Ross James Allen For d Professor Alastair Fowle r Regional Development Committee Mary Kloppe r The Lord Balfour of Burleigh (Chairman) Hugh Rae Tom Alexander Alexander Scot t Percival Buchana n Professor Derick Thomso n Helen Crummy, MBE Professor Michael Flinn Music Committee Ross Flockhart Walter Cairns (Chairman ) The Earl Haig, OBE Peter Branscombe David Harding Eluned Brown R. D. Hunter, MB E David Dorward Dr Finlay Macleod John Field James Michi e Professor Michael Flinn William Scobbie, J P Peter Mountai n Ben Smith Bryden Thomson Ian McKenzie Smith Ivison Wheatley Harold Wilkinson

34 Welsh Arts Council

The Marchioness of Anglesey (Chairman) * Drama Committee Film Committee Ann Clwyd (Vice-Chairman) * Dr Alun Oldfield-Davies (Chairman) Ann Clwyd (Chairman) Rollo Charles Ewart Alexander William Aaro n Christopher Cory* Geoffrey Axworthy Mik Flood John Fole y Frank Evan s John James Dai Francis Dr Meredydd Evan s Harley Jones His Honour Judge Bruce Griffiths, Qc * Derek Hollins John Ormond Dr Glyn Tegai Hughes* Molly Kenny Charles Roebuc k Robert Hunter Henry Nyman Panel of the Film Committee: Charles Langmaid, FRCS Dr Thomas Parry Film Making Applications Panel Roland Mathia s Neil Rees Professor William Mathias Olwen Rees Rev Moelwyn Merchan t James Roose-Evan s Henry Nyman Wynford Vaughan-Thomas Dr Alun Oldfield-Davies, CBE* Panels of the Drama Committee : The Lord Parry Dance Panel Helen M. Ramage Young People's Theatre Pane l A. N. F. Rees* The following, who are not members of T. M. Haydn Rees, CBE* the main Committee, serve on a Panel : Wynford Vaughan-Thomas, OBE Wallis Evans Professor J. Gwynn Williams Jane Nichola s * - Member of the Finance and Genera l Christopher Nicholls Purposes Committee John Prio r Alan Storey Art Committee Peter Williams His Honour Judge Bruce Griffiths (Chair- man) Literature Committee Robert Hunter (Vice-Chairman ) Dr Glyn Tegai Hughes (Chairman) Lewis Allan Roland Mathias (Vice-Chairman ) Keith Arnatt Graham Allen Evan Charlto n Gillian Clarke Glenys Cour Walford Davie s Roger Cuckse y Professor Richard Griffith s David Nash John Hywyn Henry Nyman Professor Bedwyr Lewis Jones Dr Alun Oldfield-Davies Mairwen Gwynn Jones Maureen Owen Dr Prys Morgan Tony Stevens Helen M. Ramage Alan Taylor Dr Gwyn Thomas David Tinker John Stuart Williams Derrick Turne r Panels of the Literature Committee, the Panels of the Art Committee : members of which all serve on the mai n Artists Panel Committee : Joint Art/Literature Oriel Pane l Awards to Writers Exhibitions Pane l Grants to Publishers Policy Panel New Activities The following, who are not members of the main Committee, serve on a Panel : Music Committee Roger Bettison Christopher Cory (Chairman) Arthur Giardelli Kenneth Loveland (Vice-Chairman) Malcolm Boyd Craft Committe e Mair Carrington-Roberts Derrick Turner (Acting Chairman) John Huw Davies Rollo Charles (Vice-Chairman) John S. Davies Peter Cambridge Dilys Elwyn Edwards Jeff Clements Charles Langmaid Noel Jerman Arnold Lewis Mo Jupp David Mansel Lewis Victor Margrie Professor William Mathias Mel Mars Wynford Vaughan-Thomas Harry Meadow s W. S. Gwynn Williams Henry Nyman Panel of the Music Committee : Owen Roberts Recordings Panel

35 The Arts Council of Great Britai n Annual accounts for the year ended 31 March 1976

page A2 Notes on accounts

A3 Arts Council of Great Britain accounts

A28 The Scottish Arts Council account s

A40 The Welsh Arts Council accounts

Table A A49 Awards

B A55 Housing the Arts

C A57 New Writing in the Theatre

D A64 National Manuscript Collection of Contemporary Writers

E A65 Special Funds Beneficiaries

H. A. Thew Fund

Henry and Lily Davis Fund

Guilhermina Suggia Gift for the'Cello

Dio Fund

F A66 Art exhibition s

G A69 Contemporary Music Network and Small Scale Touring Schemes Notes on the account s

The format of the Council's Income and Expenditure Accoun t and Balance Sheet has been revised to reflect current accountanc y practice.

The grant-in-aid of £28,850,000 for 1975/76 shown in the Incom e and Expenditure Account comprised a basic grant of £26,150,000 , a general supplementary grant of £2 million and an undertakin g to provide up to a further £700,000 to enable the National Theatr e Board to move from the Old Vic to the new National Theatre .

During the year under review the Council agreed to implement arrangements under which a proportion of the grant-in-ai d committed during 1975/76 will be claimed from the Governmen t during 1976/77 as commitments mature . Thus the balance of £1,390,000 due to the Council out of the total grant-in-aid of £28,850,000 is included under current assets.

The Council agreed two fully-secured interest-free loans durin g the year to enable a theatre Company and an orchestral Founda- tion to meet the costs of capital expenditure pending the receipt of covenanted donations. A further interest-free loan was agreed from funds generously made available by IBM (UK) Limited an d when this loan is repaid it is intended that these funds will b e made available to a fund in memory of the late Berm Levy to be established to assist playwrights .

The Balance Sheet records that the Council incurred a deficit o n the management of the freehold property in Covent Garden which was conveyed into the Council's ownership during 1974/7 5 and upon which it is hoped that an extension to the present Roya l Opera House will be built . This deficit is carried forward and it i s hoped that it will be covered out of a future surplus as a result o f the Council's management of this property .

Subsidy for the Welsh National Opera and Drama Compan y Limited is shown in Schedule 3 - Touring (England) and Schedule 3 - Music and Drama (Wales) . This presentation reflects the variety of work undertaken by this Company, a large proportio n of which is presented in England .

A large number of exhibitions of architecture were arranged during the year under review to mark European Architectural Heritage Year. The Council's subsidies made available towards the costs of these exhibitions are shown separately in the Ar t section of Schedule 3 as are the special subsidies provided toward s the costs of two architectural interpretation centres .

The Festivals section of Schedule 3 (England) includes those festivals hitherto listed in the Music section .

The property held by the Mrs O . E. Saunders Fund has now bee n transferred, as originally intended, by the Arts Council to th e Borlase Smart Memorial Fund . This fund is a local charity founded to maintain and provide studios for artists living and working in the area of St Ives, Cornwall .

A2

The Arts Council of Great Britai n Income and expenditure Account for the year ended 31 March 1976

1976

21,335,000Parliamentary Grant inAid 28;$50,000 Covent Garden Property (Supplementar y 3,150,05$ Grant inAid} - 24,485,058 28,850,00 0 Provision for grants and guarantees i n 111,790 previous year not required 87,721- 7S,-50Transfer from capital account - 5,082Transfer from reserve for capital expenditure 5,780

Miscellaneous income 136,398 Bank and investment 130,56 7 1,791 Donations 6,74S- 1,537 Sundry -8-12q3- - 145,605 - 24,814,906 29,089,10 6

Less Expenditure -- -

General expenditure onthe arts (see 161635,572 Schedule 1) 22,337,892 - 914,065 General operating costs see SEhedule 2 1,095,336 Capital expenditure transferred to capital 42,960 account 74-154 3,150,058 Covent Garden Property - 5,780 Reserve for capital expenditure 18,012 20,748,435 23,525,394

21421,700 Grant to Scottish Arrs Council 3,100,000

1,898,650 Grant to WelshArts Council 2,402,940 25,068,785 29-028,334 (253,879) Excess of income over expenditure 60,772

392,473Balance broughtforward at 1April1975 138,594 £138,594 Balance carriedforward toBalance Sheet £199,366

A3

The Arts Council of Great Britai n Balance sheet at 31 March 1976

1975 1976 -- - £ £ £ £ Fixed assets (see Note 1 ) 3,150,058 Freehold property 3,150,058 112,858 Leasehold property improvements 113,066 82,354 Office equipment 89,865 18,271 Art exhibition equipment 23,186 16,454 Concert hall equipment 17,052 10,778 Motor vehicles 10,778 100 Cello - - 100 262,130 Works of art 319,26 1 3,653,003 3,723,366

Current assets

Secured loans 1,500 Balance at 31 March 1975 34,792 33,500 AddLoans made during year 164,000 _ 35,000 198,79 2 208 Less Repaid during year 5,500 34,792 193,292 - Unsecured loan made during year 3,000

Investments 44 % British Electricity guaranteed stoc k 2,419 1974/79 (market value £2,562) 2,41 9 5 % Treasury stock 1986/8 9 647 (market value £409) 647 Equities Investment Fund for Charities 3,082 (market value £7,290) 3,082 6,148 6,148

Stock 114,870 Publications and shops 127,11 6 1,665 Restaurant and bar 2,554 116,535 129,670 Undrawn Grant in Aid for which provisio n has been made in-the Parliamentar y - Estimates for 1976/77 1,390,000

Debtors and prepayment s 1,218,650 Grants and guarantees paid in advance 466,350 Grant paid in advance to Welsh Arts 200,000 Council 75,000 38,465 Expenditure on future exhibitions 137,71 4 237,320 Sundry debtors and prepayments 182,642 1,694,435 - - 861,706 49,178 Cash at bank and in hand 123,748 5,554,091 Total fixed and current assets 6,430,930

Less Current liabilities 1,285,350 Grants and guarantees outstanding 1,951,454 404,420 Sundry creditors and accrued liabilities 512,604 1,689,770 2,464,058 _ 3,864,321 3,966,872 177,251 Special funds net assets (see Schedule 5) 175,85 5 £4,041,572 Total Net Assets £4,142,727

A4

Capital account 535,047 Balance at 31 March 1975 3,653,003 Add Trans ers from income and expenditure account 42,960 Capital expenditure 74,154 3,150,058 Covent Garden property - 3,193,018 74,154 3,728,065 3,727,157 Less Capital items transferred to income an d 73,250 expenditure account - 1,812 Book value of assets sold or written off 3,791

3,653,003 3,723,366 138,594 Income and expenditure account 199,36 6 61,944 Reserve for special art projects 58,229 5,780 Reserve for capital expenditure 18,01 2 5,000 Reserve for indemnity 5,000 Special funds capital and reserves (see 177;251 Schedule 6) 175,85 5 388,569 456,462

Deficit on Covent Garden Property Management 37,10 1 388,569 419,36 1 £4,041,572 Total Capital and reserves £4,142,727

Chairman : Gibson Secretary-General : Roy Shaw

A5

The Arts Council of Great Britain Notes to balance sheet

Book value Book value at 31 March Additions Items sold at 31 March 1975 at cost or written off 1976

Note 1 Fixed Assets

Freehold property at cos t Covent Garden Property 3,150,058 - - 3,150,058

Leasehold property improvements at cos t 105 Piccadilly 41,497 28 - 41,525 Hayward Gallery 44,183 - - 44,183 28 Sackville Street 27,178 180 - 27,358

Office equipment at valuation at 31 March 1956 and at cost 82,354 11,302 3,791 89,865

Art Exhibition equipment at valuatio n at 31 March 1956 and at cost 18,271 4,915 - 23,186

Concert hall equipment at valuation at 31 March 1956 and at cost 16,454 598 - 17,052

Motor vehicles at cost 10,778 - - 10,778

Cello at valuation at 31 March 1960 100 - - 100

Works of art at cost 262,130 57,131 - 319,26 1 £3,653,003 £74,154 73,791 £3,723,366

Note 2 No provision has been made for depreciation of assets : renewals are charged against income .

Note 3 Indemnities entered into by the Arts Council of Great Britain in respect of object s borrowed for exhibition purposes totalled not more than £20,935,000 at 31 March 1976 .

Note 4 Contingent liabilities in respect of Housing the Arts in England, Scotland and Wale s totalled £1,899,500 at 31 March 1976 .

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required an d I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an d fair view of the transactions of the Arts Council of Great Britain and of the state of their affairs .

Signed: D. O. Henley, Comptroller and Auditor Genera l Exchequer and Audit Department, 10 August 197 6

A6

The Arts Council of Great Britain Schedule 1 General expenditure on the arts in Englan d for the year ended 31 March 1976 £ £ £ £ The Royal Opera, English National Opera , The Royal Ballet, National Theatre and Royal Shakespeare Companies (see _ Schedule 3) 8,104,500 Music Grants and guarantees (see Schedule 3) 3,082,222 Contemporary Music Network scheme expenses 2,247

Opera for All :

Less Income 19,868 Less VAT 1,4

Wigmore Hall : Expenditure _ 58,305 Less Income 28,485 Less VAT 242 ------28,243 30,062 Less surplus on Wigmore Hall catering 2,592 -- 27,470

Drama Grants and guarantees (see Schedule 3) 4,370,195 Scheme expenses 1,546 4,371,741

Touring Grants and guarantees (see Schedule 3) 1,164,11 2 Publicity, salaries and sundry expenses 114,402 1,278,514

Art Grants and guarantees (see Schedule 3) 531,95 2 Net cost of exhibitions (see Schedule 4) 415,43 6 _Hayward Gallery_ 166,76 6 Serpentine Gallery 1.4,_9.2.0 1,129,074 Art film tours Expenditure 14,723 _Less Income 7,669 Less VAT 568 7,101 -- 7,622 Art films Expenditure 151,328 _Less Income 12,086 Less VAT 895 _ 11,191 140,13 7 Publications 2,284 Work in Schools 604 1,279,721

Literature _ Grants and guarantees (see Schedule 3) 226,800 Poetry library 3,236 Writers' tours and writers in schools 9,705 Publications and promotions 15,545 255,286 Carried forward £ 18.440.113

A7

Schedule 1 The lrt ,, ( ouncil of Great Britai n (continued)

[Brought forward 18,440,11 3

Festivals Grams and guarantees (see Schedule 3) 170,825

Regional arts associations Grants and guarantees (see Schedule 3) 2,078,967

Arts centres and community projects Grants and guarantees (see Schedule 3) 581,362

Education in the arts Grants and guarantees (see Schedule 3) 243,85 2 City University Diploma Course administration 11,461 Short Courses and Training Schemes expenses - 4,146 259,45 9

Publications Expenditure, including operating costs 127,598 Less Income Arts Council Shop 55,452 105 Piccadilly 33,61 3 Gallery Bookstalls 24,295 _ _ 113,360 Less VAT - 2,809 110,551 17,047

Reports and surveys 2,619

Housing the arts Grants (see Schedule 3) 787,500 Net expenditure as income and expenditure account £22,337,89 2

A8

The Arts Council of Great Britain Schedule 2 General operating costs in England for the year ended 31 March 1976

Salaries and wages 632,59 7

Arts Council of Great Britain Retirement Plan 97,075

Travelling and subsistence 35,565

Rent and rates 123,304

Fuel, light and house expenses 62,184

Publicity and entertainment 28,762

Postage and telephone 42,268

Stationery and printing 26,188

Professional fees 266

Enquiries, investigations and research 22,733

Office and sundry expenses 24,394

Total as income and expenditure account £1,095,336

A9

The Arts Council of Great Britain Schedule 3 Grants and guarantees for the year ended 31 March 197 6 (including subsidies offered but not paid at that date)

National Companies English National Opera 1,848,000 National Theatre Board 1,931,500 Royal Opera House Covent Garden Limited 3,410,000 Royal Shakespeare Theatre 915,000 Total as Schedule 1 £8,104,50 0

MUSIC

Oper a English Music Theatre Company Limited 150,000 Handel Opera Society 17,000 Intimate Opera Society Limited 2,500 London Opera Singers Limited 6,500 New Opera Company Limited 21,000 Opera Players Limited 6,250 Regional Opera Trust Limited (Kent Opera) 119,500 University College London Music Society 1,000 323,750 Dance Another Dance Group 300 Ballet for All 48,000 Ballet Who 90 Contemporary Dance Trust Limited 215,000 Cycles Dance Company 375 Dance for Everyone Limited 12,000 Dancers Anonymous 300 Dance Theatre Commune 61 5 Educational Dance-Drama Theatre Limited 11,500 London Festival Ballet Trust Limited 310,000 London Mime Theatre 1,000 Mercury Theatre Trust Limited (Ballet Rambert) 160,000 Northern Dance Theatre Limited 95,000 Steps 600 Still Life Mime Theatre 220 855,000 Orchestral and other concerts Albion Music 208 Ardleymusic 4,425 Aurora Music Foundation 8,851 Brighton Philharmonic Society Limite d 11,000 Bristol Sinfonia Limited 4,500 Brotherhood of Breat h 3,730 Cheltenham Chamber Orchestra Associatio n 850 City of Birmingham Symphony Orchestra 175,00 0 Contrapuncti 9,845 Eastern Authorities Orchestral Associatio n 51,000 Experimental Arts Production s 300 Halle Concerts Society 185,00 0 Haydn-Mozart Societ y 16,000 Intermodulation 360 Jazz Centre Society Limited 18,000 Kontakte 3,555 London Music Digest Limited 8,900 London Oboe Quartet 1,550 London Orchestral Concert Board Limite d 489,00 0 Macnaghten Concerts 5,000 Midland Sinfonia Concert Society Limited 19,500 Mike Gibbs Ban d 2,400 Mike Westbrook Orchestr a 500 Music Media Arts Society 7,450 Music Now 1,200

Carried forward £1,028,124 £1,178,750

A10

Brought forward 1,028,124 1,178,750

National Federation of Music Societies _161_,500 National Trust Concerts Society Limited _600 _ New Music Formation 173 _ _ Northern Sinfonia Concert Society Limited 7. 3,000 _ Park Lane Group Limited_ _ 8,500 Radcliffe Music Award 584 Red Brass 1,000 _ The Reyntiens Trust --- 1,300 _ Royal Liverpool Philharmonic Society 180,000 -- - - S.O.S. - - 1,727 Sinfonietta Productions Limited 9,365 Spontaneous Music Ensemble 1,177__ _ Summer School of Music Limited 1,500 Thames Concerts Society _ 1,750 Western Orchestral Society Limited 324,090 Workers' Music Association 150 World Centre for Shakespeare Studies Limited 1,000

1,795,540 -- -- - Other activitie s Awards to Artists 48,702 British Council 5,000 _Co_ntact _ _ _ _825 _Contemporary Concerts C_o-ordina_tio n 1,000 _ Folk Review _ 750 _ _Music Information Centre Trus t 2,800 _ _National Music Council of Great Britai n 550 Pianos : _ Farnham Association for the Arts 1,000 _ Kendal Midday Concert Club _ 3,000 Kirklees Metropolitan Council 930 Nottingham County Council 3,750 -- - - - 8,680 Sa_dler's Wells Appeal Fund 12,000 Sadler's Wells Foundation 12,000 _ Talbot Lampson School for Conductors and Accompanists 125 Youth-and Music Limited 15,500 107,93 2 Total as Schedule 1 £3,082,22 2

DRAMiA ------

Basingstoke : Horseshoe Th_eatre_C o_m_p_any Limited 15,000 Billingh_am Forum Theatre 31,000 Birmingham : Alexandra Theatre (Birmingham) Limited 16,500 Birmingham Repertory Theatre Limited _ 172,245 Bishop's Stortford : Spectrum Theatre Trust Limited 14,45 0 Bolton - Octagon Theatre Trust Limited 58,750 Bristol Old Vic Trust Limited 162,000 Bromley: Churchill Theatre Trust Limited _ 7,500 Cambridge Theatre Company Limited 49,500 _Canterbury Theatre Trust Limited _ 31,125 Cheltenham Everyman Theatre Company Limited 57,096 Chester : Gateway Theatre Trust Limited 30,000 Chesterfield Civic Theatre Limited 29,000 Chichester Festival Theatre Productions Company Limited 20,000 Colchester Mercury Theatre Limited 69,000 Coventry : Belgrade Theatre Trust (Coventry) Limited 87,400 C_r_ewe Theatre Trust Limited 29,500 Derby Playhouse Limited 49,000 Exeter : Northcott Devon Theatre and Arts Centre 68,350

Carried forward £997,416

All

Schedule 3 The arts ( ouncil of Great Britai n (continued)

Brought forward 997,41 6

Farnham Repertory Company Limited 48,500 Guildford : Yvonne Arnaud Theatre Management Limited 55,000 Harrogate (White Rose) Theatre Trust Limited 49,000 Hornchurch Theatre Trust Limited 63,000 Ipswich Arts Theatre Trust 45,404 Lancaster : The Duke's Playhouse Limited 48,753 Leatherhead : Thorndike Theatre (Leatherhead) Limited 94,769 Leeds Theatre Trust Limited 85,950 Leicester Theatre Trust Limited 135,94 2 Lincoln Theatre Association Limited 41,500 Liverpool : Merseyside Everyman Theatre Company Limited 66,995 Liverpool Repertory Theatre Limited 97,269 London : Camden Playhouse Productions Limited 39,31 0 Caryl Jenner Productions Limited 70,279 English Stage Company Limited 196,73 8 Greenwich Theatre Limited 77,81 5 Hampstead Theatre Club Limited 33,148 Inter-Action Trust Limited 39,750 Mermaid Theatre Trust Limited 97,750 National Youth Theatre (Dolphin Company) 29,750 New Shakespeare Company Limited 22,000 Pioneer Theatres Limited 80,500 Polka Children's Theatre Limited_ 12,000 Theatre Centre Limited 54,000 Young Vic Company Limited 83,000 Manchester : The Royal Exchange Theatre Company Limited 55,000 Manchester Young People's Theatre Limited 29,752 Newcastle-upon-Tyne : Tyneside Theatre Trust Limited 85,753 Northampton Repertory Players Limited 32,000 Nottingham Theatre Trust Limited 177,303 Oldham Repertory Theatre Club 33,000 Oxford : Anvil Productions Limited 72,175 Plymouth Theatre Trust Limited 30,000 Salisbury Arts Theatre Limited 41,000 Scarborough Theatre Trust Limited 32,550 Sheffield. Crucible Theatre Trust Limited 162,75 0 Southend : Palace Theatre Trust (Southend and Westcliff) Limited 22,500 Stoke-on-Trent and North Staffordshire Theatre Trust Limited 52,055 Watford Civic Theatre Trust Limited 36,000 Worcester Arts Association (S.A.M.A.) Limited 35,000 Worthing and District Connaught Theatre Trust Limited 33,000 York Citizens' Theatre Trust Limited 89,000

Adhoc Theatre Company 325 The Africa Centre 475 Alternative Theatre Company Limited 31,515 The Artaud Company 225 Association of British Theatre Technicians 2,000 Avon Touring Company 20,950 Basement Theatre Limited 177 Belt and Braces Roadshow Company Limited 31,250 Birmingham Arts Laboratory Limited 250 The Bite Theatre Group 150 Black Theatre of Brixton 10,200 Black Theatre Workshop 2,000 British Theatre Association 12,250 British Theatre of the Deaf 7,420 British Theatre Institute 2,200 Broadside Mobile Workers Theatre 11,300

Carried forward £3,817,063

A12

Brought forward 3,817,063

Cecropia Company 250 Clown Cavalcade 4,990 The Combination Limited 44,723 _Common Stock Theatre Company Limited 17,500 _Council of Regional Theatr e 500 Covent Garden Community Theatre Workshop 450 _Dockwalloper Productions 450 Drum Arts Centre 1,000 _Drumbeat Productions 900 Eastend Abbreviated Soapbox Theatre 2,500 _Foco Novo Limite d 17,563 _Forestage Company 500 Friends Roadshow 6,250 _Galactic Smallholdings Limited 35,600 _General Will Limited 9,620 _Grapefruit Productions 200 Grasshopper Theatre Company 250 Greek Arts Theatre Club 985 Half Moon Theatre Limited 38.100 Hull Truck Theatre Company Limited 11,050 Incubus Theatre Company 9,250 Insight Productions 100 International Fringe Limited 14,400 Interplay Trust 5,300 Jean Pritchard Management Limited 8.2T5- The Keskidee Centre 488 King's Head Theatre Productions Limited 20,000 L .T.G. Adventures Limited 7,500 Lumiere and Son 10,750 Major Road Theatre Company 7,200 Maximus Actors' Arena 75 Mikron Theatre Company Limited 1,700 _Monstrous Regiment Limited 200 Moubray Productions 225 National Council of Theatre for Young People 500 Natural Theatre Company 8,500 North West Spanner Theatre 5,050 Oval House 13,250 Overground Theatre Club 5,575 Pentameters 1,800 The People Show 9,000 Pip Simmons Theatre Group Limited 25,000 Polish Social and Cultural Association Limited 600 Procreation 400 Pub Theatre Company 862 Quipu Productions Limited 1,000 Recreation Ground Theatre Company 10,000 Red Ladder Theatre Society 18,95 0 Red Pike Company 175 Richmond Fringe Limited 11,068 Road Gang 350 Roland Jaquarello Productions 250 Salakta Balloon Band 2,800 Sal's Meat Market 2,550 Scorpio Productions 178 Second City Theatre Company 400 7 :84 Theatre Company (England) Limited 29,950 Shared Experience 250 Sidewalk Theatre Company 3,150 Society for Theatre Research (including `Theatre Notebook') 2275

Carried forward £4,247,790

A13

Schedule 3 The -Xrts Council of Great Britai n (continued)

Brought forward 4,247,790

Soho Theatre Company Limited 13,850 Solent Song and Dance Compan y 437 Southtown Theatre Limited 250 Stirabout Theatre Compan y 1,000 Stuart Kerr Production s 150 Temba Theatre Company 9,200 Theatre At New End Limited 2,165 Theatre Despatch 160 Theatre 84 Limite d 150 Theatres Advisory Counci l 2,500 Tim Stockil Productions 150 TQ Publications Limited (`Theatre Quarterly' ) 2,000 Triple Action Theatre Group 5,075 Wakefield Tricycle Company 20,638 West London Theatre Worksho p 21,850 Westway Productions Limited 174 William Roberts and Nicolette Le e 150 Wimbledon Pub Crawler s 176 Women's Theatre Group 7,000 The Wordplay Company 350 Bursaries 34,980 Total as Schedule 1 £4,370,19 5

TOURING

Music Glyndebourne Productions Limited 140,000 Kaleidoscope 177 New London Ballet Company Limited 35,500 Scottish Opera Limited 172,00 0 Scottish Theatre Ballet Limited 20,000 Welsh National Opera and Drama Company Limited 485,00 0 852,67 7

Drama Actors Company Productions Limited 93,000 Gate Theatre 5,463 Gay Sweatshop 1,950 Lancaster Orbit Limited 9,803 Paines Plough 2,675 Prospect Productions Limited 165,000 Scarab Theatre Limited 2,900 Theatre North 10,224 Theatre Roundabout Limited 1,700 Travelling Playhouse Limited 9,500 302,21 5

Theatres Birmingham Arts Laboratory Limited 925 Plymouth Arts Centre 2,040 Richmond Theatre Productions Limited 3,000 University of Newcastle-upon-Tyne 1,145 York Arts Centre 2,110 9,220 Total as Schedule I £1,164,112

A14

Birmingham : Ikon Gallery Limited 16,750 Bristol : Arnolfini Gallery Limited 45,000 Cambridge : Kettle's Yard Gallery _ 4,750 Colchester : Victor Batte-Lay Trust 2,000

The Acme Housing Association Limited : The Acme Gallery 1,500 Action Space 13,000 Art Services Grants Limited 3],000 _ Contemporary Art Society 2,000 _ Greenwich Theatre Art Gallery 1,500 The Half Moon Gallery 2,020 The Morley Gallery 1,800 _ The Photographers' Gallery Limited _ 16,67 0 UK National Committee of the International Association of Art 600 Whitechapel Art Gallery 20,500 Newlyn Orion Galleries 6,000 Nottingham : Midland Group Gallery 26,200 Oxford : Modern Art Oxford Limited _ 31,000 Penwith Society of Arts _ 4,000 York : Impressions Gallery of Photography Limited _ 5,400 Covent Garden Artists' Market Association 520 Gordon Fraser Gallery Limited 1_,404 Nelson and Colne College 440 Nigel Greenwood Inc. Limited _375 One Magazine ___ 200 Wallnaner 250

European Architectural Heritage Year 1975 _ Architectural Interpretation Centres The Faversham Society: Fleur-de-Lis 10,000 York District Council : St Mary's Church, Castlegate 40,000

Grants and guarantees towards exhibition s Bradford City Art Galleries and Museums : Six Bradford Artists 295 Cambridge Association of Architects : Walter Gropius 300 _ Cheltenham Borough Council Art Gallery and Museum Service : Open-Air Sculpture 500 Colchester : University of Essex: Austrian Graphics 162 Coventry District Council : The Cloudwatchers 1,500 _ Dorchester : Dorset Natural History and Archaeological Society : Sir James Thornhill _ 550 Alfred Steven s 355 Ilford : Dr Barnardo's : The Camera and Dr Barnardo 735 Leeds Polytechnic : Walter Gropius 100 Liverpool : Walker Art Gallery : Matters of Life and Death 500

London : ___ _ Angela Flowers Gallery Limited : Coll_age _ _ 500 Art Services Grants Limited : Open-Studio Show 200 Together Again 250 Festival of Expanded Cinema Committee 3,000 _Gallery House Press: John Latham 750 Geffrye Museum : The Excellent Mrs . Beale 1,500 Institute of Contemporary Arts Limited : Greek Exhibition 3,000 _ The London Group at Camden 1,000 New Contemporaries Association 1976 1,700 Polytechnic of Central London : Cross-Reference 100 Society of British Theatre Designers : Stage Designs 1,220 and Educational) Limited : 700

Carried forward £18,917 £284,879

A15

Schedule 3 1 he _krts ( ouncil of Great Britai n (continued)

£ £ Brought forward 18,917 284,87 9 London (continued ) Painting and Sculpture at Stockwell Depot 500 Studio Sho w 250 Space Open-Studios Steering Committe e 2,912 Manchester : Whitworth Art Gallery : 1975 Northern Young Contemporaries 500 Norwich : Norfolk Museums Service : John Sell Cotman-Normandy Tour 1,000 Nottingham : Gallen 359 : Touring Primitive s 850 Sheffield City Art Galleries : Twentieth Century British Paintin g 750 Warwick Gallery : Contemporary British Photograph y 70 Welwyn Garden City : Digswell Arts Trust : Events by Welfare State 300 Wigan Metropolitan Borough : Michael Craig-Martin 700 26,749 Grants and guarantees towards exhibitions organised i n connection with European Architectural Heritage Year 1975 Bath : Holburne of Menstrie Museum : Circle, Square and Crescen t 450 Blackpool : Fylde Arts Association : A Visual Study of Blackpool 200 Brighton Art Galleries and Museum s 5,385 Bristol City Museum and Art Gallery : The Personal Touch - Old Buildings as Artefact s 700 Croydon College of Design and Technology : Croydon Exhibition 197 5 500 Eastbourne : Towner Art Gallery and Museums: This Is Eastbourne 500 Ipswich European Architectural Heritage Year Exhibitio n 2,000 Leeds City Art Galleries : 250 Years of Change in the City of Leed s 1,173 Leeds City Council : An Impression of the Yorkshire City of Leeds 150 London : Royal Town Planning Institute: Problem in the City 1,000 Port of London Authority : Early Dockland Architecture 500 Manchester : Civic Trust for the North-West : A Peaceful Path_ to Real Reform_ 500 Norwich : Norfolk Museums Service : Norwich Inheritanc e 100 Portsmouth City Museum and Art Gallery : Portsmouth and South Hampshire Architectural Heritage 280 Staffordshire County Museum Services : Buildings of Staffordshire 100 Surrey : Domestic Building Research Group : The Vernacular Architecture of Surrey 200 13,738 Works of Art for Public Buildings Birmingham : City of Birmingham Polytechni c 400 University of Asto n 750 Leicestershire Education Department : Shepshed Community College 400 Milton Keynes Development Corporation 350 Portsmouth City Museums and Art Gallery 250 2,150 Provision of studios Acme Housing Association 7,824 Borlase-Smart Trus t 8,000 Space Provision (Artistic, Cultural and Educational) Limited 23,759 39,583 Artists in residence Wendy Brown (Washington New Town ) 1,000 Noel Forster (Balliol College, Oxford) 2,500 Brian Hoey (Washington New Town ) 1,000 Elizabeth Leyh (Milton Keynes) 3,000 7,500 Awards Painters, Sculptors and Printmakers _ 58,750 15,38 1 Film-makers - Photographers 17,643 - 91,774 Grants towards gallery improvement s Cambridge : The Fitzwilliam Museum 5.00 Copeland Borough Council : Whitehaven Museum - 50 Coventry City Council : Herbert Art Gallery 1,000 Guildford Borough Council : Guildford House 115 Kendal : Abbot Hall Art Gallery 350

Carried forward - £2,015 _ £466,373 A16

Brought forward 2,015 466,373

Leeds : Leeds Polytechnic 273 Park Square Gallery 43 London : Angela Flowers Gallery Limited 95 Coracle Press Gallery 500 Milton Keynes : The City Gallery 1,000 Rye Art Gallery 500 Worcester City Art Gallery 500 York City Art Gallery 1,000 5,926 Performance art Amazing Professor Crump 300 COUM 900 Covent Garden Forum of Representatives 10,000 Dance Organisation 270 DDART 395 Electric Theatre Compan y 170 Exploded Eye 1,250 Fine Artistes 900 Forkbeard Fantasy 744 Galactic Theatre 96 Great Openings 300 Handbag 800 Jack 1,600 John Bull Puncture Repair Kit 10,138 Ladies and Gentlemen 370 Landscapes and Living Spaces 3,000 Matchbox Purveyors 1,600

Phantom Captain 5,000 _ Reindeer Werk 175 Situations and Real Lifescapes 2,200 Southampton College of Technology : The Performance Show 3,660 Structured Theatre 1,000 Ting Theatre of Mistakes 1,270 Words, Actions and Situations 1,000 Kevin Atherton 510 Bobby Baker 570 Gary Chitty 275 Rosie Christmas 100

Peter Cunliffe °v Julian Dunn 1,400 Rose English 990 Janet Goddard (and Geraldine Pilgrim) 350 Ron Haselden 500 Keith Henderson 1,400 David Hill 250 Jolyon Laycock 800 Jenny Lowe 625 Paul Richards 295 Trevor Wishart 1,000 Colin Wood 500

Total as Schedule 1 £531,95 2

A17

Schedule 3 The krt,, ( ouncil of Great Britai n (continued)

Apollo Society Limited 1,000 Arvon Foundation Limited 10,000 Cambridge Poetry Festival Societ y 2,000 The Decca Record Company Limited 1,600 International PEN 2,500 London Library 4,000 National Book League 16,500 National Manuscript Collection of Contemporary Writers Fund 2,100 New Fiction Society Limited 26,000 The Poetry Book Society Limited 7,600 - The Poetry Society 28,000 The Society of Authors 500 Society of Barrow Poets 1,000 World Centre for Shakespeare Studies Limited 500 103,300 Literary magazines `Agenda' 4,600 `Ambit' 3,000 `Fireweed' 2,000 `Index' 2,500 `London Magazine' 6,600 `Meridian Poetry Magazine ' 300 - `Modern Poetry in Translatio n' 3,000 `The New Review ' 22,000 `Platform Poets' 350 - `Poetry Nation' 1,200 - 45550 Little presses Albion Village Press 500 Anvil Press Poetry 6,000 Arc Publications 800 Association of Little Presses of Great Britai n 500 Carcanet New Press Limited 8,000 Ceolfrith Press 1,000 Enitharmon Press 1,000 Hippopotamus Pres s 500 Mid Northumberland Arts Group 1,500 Peterloo Poets 2,000 Trigram Press Limited 2,500 Writers and Readers Publishing Co-operative Society Limited 2,000 Writers Forum 300 26,7600 Grants to publishers Andre Deutsch Limited 750 `Eccentric Spaces' by Robert Harbison Calder and Boyars Limited 1,000 `New Writers 12' Grosseteste Review Books - 200 `Residues, by Gael Turnbull `19 New Poems and An Interview' by Roy Fisher Hutchinson Publishing Group Limite d ------`New Poems 1974-1975', a PEN Anthology ol`Contemporary Poetry, edited by Patricia Beer Latimer New Dimensions Limited - `Autotypography ' by Asa Benveniste `Whose Music . Perspectives In lie Sociology ol`I';nowledge;by John Shepherd, Phil Virden, Graham Vu tamy and Trevor -TWishart - `Art and Social Function' by Stephen Wi ats Little Word Machine Publications 1,000 `Melanthika', an anthology ofCaribbean writing, edited by Phili Nanton an Nick Toczek

Carried forward £ ,890 £175,450

A18

Brought forward ,890 75,45U-

Peter Owen Limited 1,0 0 `Quintet ' by Peter Vansittart Robson Books Limited 800 `Poetry Dimension 3' edited by Dannie Abse The Salamander Imprint 500 `The Goldfish Speaks From Beyond The Grave' by Jim Burns

Creative Writing Fellowships University of Leicester (Richard Crane) 3,960 Loughborough University of Technology (Pete Morgan) 3,600

Awards 35--,660 Total as Schedule 1 £226,800

FESTIVALS

Aldeburgh Festival Association 12,060 Bath Festival Society Limited 10.000 Brighton Festival Society Limited 0, 0 Cambridge Festival Association Limited ,1 Cheltenham Arts Festivals Limited 10, Chichester Celebrations Limited 5,2 0 Harrogate Festival of Arts and Sciences Limited ,25T Kings Lynn : St George's Guildhall Limited ,800 Leeds International Pianoforte Competition 1,500 Little Missenden Festival Committee 885- London : Camden Borough Council 7,0 0 World Centre for Shakespeare Studies Limited 3,600 Ludlow Festival Society Limited 1,759- Newcastle-upon-Tyne Festival 8,00T Nottingham Festival 5,500 Oxford : English Bach Festival Trust 34,7 Portsmouth Festival Society Limited ,756- Saddleworth Festival 7W St Albans : International Organ Festival 1,50 St George's Windsor Quincentenary Festival 276- 9alisbury Festival of the Arts ,5 Stroud Festival Limited 3,250 Three Choirs Festival Association 6,000 Wavendon Allmusic Plan -AB Windsor Festival Society Limited 736 Wooburn Festival Society Total as Schedule 1 £170,825

REGIONAL ARTS ASSOCIATIONS

Eastern Arts Association 118,170 East Midlands Arts Association 114,123 Greater London Arts Association 215,998 Lincolnshire and Humberside Arts 101,49 1 Merseyside Arts Association 103,52 5 Northern Arts 395,03 5 North West Arts 213,223 South East Arts Association 85,075 Southern Arts Association 169,73 5 South West Arts 207,08 8 West Midlands Arts 208,92 Yorkshire Arts Association 146,57 8 Total Scheduleas 1 £2,078,967

A19 Schedule 3 The _krts ( ouncil of Great Britai n (continued)

ARTS CENTRES & COMMUNITY PROJECTS

Birmingham : Cannon Hill Trust Limited 147,74 0 Bracknell : South Hill Park Trust Limited 50,875 Folkestone : New Metropole Arts Centre Limited 5,000 Harlow Theatre Trust Limited 18,000 Humberside Theatre Trust Limited 24,440 Liverpool : Great Georges Community Arts Project Limited 15,000 London : Institute ofContemporary Arts Limited 130,360 Round House Trust Limited 48,394 Peterborough Arts Theatre Limited 24,000 Sussex University : Gardner Centre for the Arts 14,465 Swindon : Wyvern Arts Trust Limited 15,000 493,274

Albany Community Video 1,200 Bath Arts Workshop Limited 5,675 Beaford Centre Community Arts Programm e 1,490 Centerprise Trust Limited 4,000 Circle s 500 Community Action Centr e 4,000 Deptford Estates Playscheme 1,000 Event Opera s 1,440 Fine Heart Squad 2,740 Free Form Arts Trust Limite d 14,570 Fun Palace Trust 1,500 Graft On/CATS (Fantasy Factory) 51 5 Harry's Big Balloon z 2,865 Liberation Films 940 Magic Lantern 6,130 Marylands Community Centre 5,512 National Association ofIndian Youth 1,660 North Kensington Neighbourhood Law Centr e 1,500 Peggy Pettit 263 Puppet Tree 3,200 Radical Alliance ofPoets and Players 1,750 Southwark Theatre Arts Factory Limite d 5,500 Steel and Skin 9,270 Street Aid 2,500 Union Place Collective 3,170 Walworth and Aylesbury Community Arts Grou p 2,318 West Indian Carnival Committee 500 Women's Free Arts Alliance 1,955 Worksho p 425 Total as Schedule 1 £581,362

EDUCATION IN THE ARTS

Music Benesh Institute of Choreology Limited 28,000 Central Tutorial School for Young Musicians Limited 21,000 London Opera Centre for Advanced Training and Development Limited 80,000 National Youth Brass Band ofGreat Britain 750 National Youth Orchestra ofGreat Britain 20,000 Rehearsal Orchestra 3,250 153,000 Drama Bristol Old Vic Trust Limite d 2,000 National Youth Theatre 7,500 9,500

Carried forward £162,500

A20

Brought forward 162,50 0

Training schemes _ Actors 4,346 Administrators : Diploma Course 12,845 Practical Course 4,505 In-service bursaries 350

Directors 12,100 Technicians : Bursaries 2,518 Association ofBritish Theatre Technicians 33,000 London Academy of Music & Dramatic Art Limited 4,000 81,352 Total as Schedule 1 £243,85 2

HOiJSI1VG THE ARTS

Music -- - --_ - Cheltenham Borough Council: Holst Birthplace Museum Trust 350 Farnham Maltings Association Limited 15,000 London : Southwark Rehearsal Hall Limited 50,000 Newcastle-upon-Tyne : Northern Sinfonia Conceit Society Limited 5,500 Poole Borough Council - Centre for the Arts 70,000

Dram a Birmingham : Alexandra Theatre Limited 7,000 Bolton : Octagon Theatre Trust Limited 3,000 Burnley : Galactic Smallholdings Limited 3,000 Derby Borough Council - Playhouse 30,000 Liverpool:Merseyside Everyman Theatre Company Limited 10,000 London: English Stage Company Limited 5,000 Havering Borough Council - Queens Theatre 30,000 New Shakespeare Company Limited 23,000 Theatre Centre Limited 1,750 The Woolwich Theatre Limited 1,000 World Centre for Shakespeare Studies Limited 3,500 Manchester : Royal Exchange Theatre Trust 200,000 Oldham Repertory Theatre Club 4,000 Salisbury Arts Theatre Limited 100,00 0 Windsor Theatre Company (Capoco Limited) 25,000 446,25 0 -- - Touring - Bury St . Edmunds Theatre Management Limit 500 Malvern Festival Theatre Trust Limite d 2,000 Manchester : Howard and WyndhamLimited - Opera House 1,500 Norwich : Theatre Royal (Norwich) Trust Limited _ 9,000 Oxford :Howard and WyndhamLimited -New Theatre 6,000 Rank Leisure Services Limited - Southampton Gaumont 6,000 University ofSouthampton - Nuffield Theatre _ 10,000 Wolverhampton: The Grand Theatre~Wolverhampton) Limited 2,500 37,500

Bristol : Arnolfini Gallery Limited 30,000 Colchester : Victor Batte-Lay Trust 15,000 Eastbourne Borough Council - Towner Art Gallery 3,000 London : Action Space 10,000 Nottingham: Midland Group Gallery 12,100

700

A21

Schedule 3 The _krts Council of Great Britai n (continued)

Brought forward 694,70 0

Arts centres Abingdon : Vale of White Horse District Council - Old Gaol-Centre- 12,000 Beaford : Orchard Theatre Company Limited 1,500 Blyth Arts Council - arts centre 15,000 Boston: Blackfriars Theatre Limited 1,000 Bracknell : South Hill Park Trust Limited 7,000 Chipping Norton Theatre Limited 3,500 - - Lichfield and District Arts Association 6,300 5,000 Liverpool : Great Georges Community Arts Project Limited - Skegness : East Lincolnshire Arts Centre Limited 1,500 Tamworth Borough Council - arts centre 5,000 Taunton Theatre Trust - theatre and arts centre 9,000 Tewkesbury Borough Council - The Roses Theatre 7,500 Watford: Pump House Theatre and Arts Trust Limited 1,000 Woodard Schools (Midland Division) Limited - Ellesmere College 12,500 Wyre Forest District Council - Kidderminster Old School 5,000 92,800 Total as Schedule 1 £787,500

A22

The Arts Council of Great Britain Schedule 4 Arts Exhibitions for the year ended 31 March 1976

Expenditure Transport 138,043

Insurance

Publicity 64,800 554,01 0

Less Income Admissions 84,230 Less VAT 6,239 77,991

Catalogue sales 45,744 Exhibition fees 12,646 Less VAT 936 11,710 Donations 3,129 138,574 Net expenditure as Schedule 1 £415,436_

A23

The Arts Council of Great Britai n Schedule 5 Special funds Net assets at 31 March 1976

Nominal Market Book Value Value Value £ £ £ H. A. Thew Fund 3 % British Transport stock 1978/8 8 2,105 1,031 1,937 31 % conversion stock 2,810 745 2,768 Equities investment fund for charitie s 2,922 7,258 3,068 , 7,773 Debtors 58 Cash at Bank 1,040 8,871 Less Creditors 225 8,646

Mrs Thornton Fund 21 % consolidated stock 665 120 489 3 % British Transport stock 197.8/88 355 174 337 51 % funding stock 1982/84 110 87 100 5 % Treasury stock 1986/89 1,825 1,003 1,588 Equities investment fund for charities 2,217 5,506 2,328 4,842 Debtors 71 Cash at Bank 2,098 7,01 1 Less Creditors 303 6,708

National Manuscript Collection o f Contemporary Writers Fund Debtors 2,301 Cash at Bank 10,745 Stock 1,175 14,221

Compton Poetry Fund Albright and Wilson Ltd 234 937 872 British American Tobacco Company Lt d 200 2,840 1,010 Cadbury Schweppes Lt d 500 1,020 862 Commercial Union Assurance Company Ltd 240 1,286 842 County Council of Essex 51 % redeemabl e stock 1975/77 1,000 954 966 Distillers Company Ltd 345 1,021 719 Dowty Group Limited ordinary share s 525 1,733 1,004 7 % convertible unsecured loan stock 1986/9 1 150 170 150 English and Scottish Investors Lt d 800 3,440 1,590 Equities investment fund for charitie s 2,141 5,318 2,561 General Electric Company Ltd : ordinary shares 145 897 136 71 % convertible unsecured loan stock 1987/92 225 343 245 George G. Sandeman Sons and Company Lt d 750 1,350 1,275 Group Investors Ltd ordinary shares_ 1,120 1,568 1,280 deferred share s 186 224 492 Liverpool Corporation 5j % redeemable stock 1976/78 - 1,500 1,305 1,470 London Scottish American Trust Lt d 600 2,640 1,680 Lyon and Lyon Ltd 375 270 1,067 Royal Insurance Company Lt d 131 1,680 958 Shell Transport and Trading Company Ltd 250 4,080 2,079 21,258 Debtors 740 Cash at Bank 9,499 31,497

Carried forward £61,072

A24

Nominal Market Book

Brought forward 61,072

Henry and Lily Davis Fun d London County 51 % stock 1985/87 50,000 27,500 33,500 Equities investment fund for charities 17,464 43,376 34,192 67,692 Debtors 1,026 Cash at Bank 6,643 75,36 1 Less Creditors 450 74,91 1

The Guilhermina Suggia Gift 31 % war stock 6,746 1,787 4,896 3~ % funding stock 1999/2004 4,682 1,381 3,863 Equities investment fund for charities 1,165 2,890 2,000 10,759 Debtors 1 5 Cash at Bank 2,756 13,530 Less Creditors 100 13,430

(Note Messrs . Coutts and Company act as Special Trustees to this fund)

The Miriam Licette Scholarship Equities investment fund for charities 9,019 22,400 18,147 Debtors 64 Cash at Bank 5,008 23,219

Dio Fund Equities investment fund for charities 674 1,674 1,797 Debtor 5 Cash at Bank 604 2,406 Less Creditors 100 2,306

Miss O. E. Saunders Fund Freehold property 7,100 Less Property transferred to the Borlas e Smart Memorial Fund 7,100

Debtor 917 917 Total as Balance Sheet £175,855

A25

The Arts Council of Great Britai n Schedule 6 Special funds capital and reserves at 31 March 1976

H. A. Thew Fund Capital account 7,773 Income accoun t Balance at 31 March 1975 1,397 Add Income during year 77 1 2,168 Less Expenditure during year 1,295 ------873 8,646

Mrs. Thornton Fund ------Capital account 5,120 Income accoun t Balance at 31 March 1975 970 AddIncome during year 618 ------1,588 6,708

National Manuscript Collection of Contemporary Writers Fund Capital account 10,000 Income account - Balance at 31 March 1975 3,476 Add Income during year 2,865 6,341 Less Expenditure during year 2,120 4,221 14,221

Compton Poetry Fun d Capital account 21,205 Income account Balance at 31 March 1975 8,964 Add Income during year 2,528 - 11,492 - Less Expenditure during year - - - 1,200 ------10,292 31,497

Henry and Lily Davis Fund Capital account 60,000 Income account Balance at 31 March 1975 13,188 Add Income during year 6,108 19,296 Less Expenditure during year 4,385 14,911 74,91 1

The Guilhermina Suggia Gift Capital account 11,774 Income account Balance at 31 March 1975 1,945 Add Income during year 61 0 2,555 Less Expenditure during year 899 1,656 13,43 0

Carried forward £149,413

A26 forward

The Miriam Licette Scholarship Capital account 18,647 Income accoun t Balance at 31 March 1975 3,082 Add Income during year 1,81 1 4,893 Less Expenditure during year 321 4,572 23,21 9

Din Fund Capital account 2,000 Income accoun t Balance at 31 March 1975 269 Add Income during year 137 406 Less Expenditure during year 100 306 2,306

Miss O. E. Saunders Fund Income accoun t Balance at 31 March 1975 1,341 Less Adjustments in respect of previous years 424 917 Total as Balance Sheet £175,855

A27 The Scottish Arts Council Income and expenditure account for the year ended 31 March 1976

1975 1976 £ £ £ £ Income 2,421,700 Grant from the Arts Council of Great Britain 3,100,000 Provision for grants and guarantees in 16,599 previous year not required 14,565 4,719 Transfer from reserve for capital expenditure 64,083 Miscellaneous income 16,532 Bank and investment 8,225 1,637 Donations 1,751 1,361 Realisation of assets 1,766 13,261 Sundry 3,541 32,791 15,283 2,475,809 3,193,931

Less Expenditure General expenditure on the arts (see 2,220,100 Schedule 1) 2,830,709 178,220 General operating costs (see Schedule 2) 257,46 9 Capital expenditure transferred to capital 95,240 account 101,57 6 64,083 Reserve for capital expenditure 1,065 2,557,643 3,190,819 (81,834) Excess of income over expenditure 3,112 120,967 AddBalance brought forward at 1 April 1975 39,133 £39,133 Balance carried forward to Balance Sheet £42,245

A28

The Scottish Arts Council Balance sheet at 31 March 197 6

1975 1976

Fixed assets (see Note 1 ) 128,820 Freehold property 191,16 3 145,898 Leasehold property 155,400 27,851 Office equipment 34,41 6 8,117 Motor vehicles 10,283 200 Pianos 409 20,347 Art exhibition equipment 23,589 57,741 Works of art 68,525 672 Reproductions - 389,646 483,78 5

Current assets

Secured loans -- 1,000 Balance at 31 March 1975 1,733 1,000 Add Loans made during year - 2,000 1,733 _ 267 Less Repaid during year 600 1,733 1,133

85 Coffee House, Restaurant and Bar 1,286

Debtors and prepayments 306,575 Grants and guarantees paid in advance 320,000 3,527 Expenditure on future exhibitions 1,558 55,653 Sundry debtors and prepayments 54,982 365,755 376,54 0 50,663 Cash at bank and in hand 4,776 807,882 Total fixed and current assets 868,184

Less Current liabilities 276,466 Grants and guarantees outstanding 279,68 1 38,554 Sundry creditors and accrued liabilities 61,408

Capital account 296,468 Balance at 31 March 1975 389_,_646 AddCapital expenditure transferred from 95,240 income and expenditure account 101,576 391,708 4.91,222 2,062 Less Book value of assets sold or written off 7,437 389,646 _ 483,78 5 39,133 Income and expenditure account 42,245 64,083 Reserve for capital expenditure _ 1,065 £492,862 Total Capital and reserves £527,095

Chairman of the Scottish Arts Council : Balfour of Burleigh Secretary-General : Roy Shaw

A29

The Scottish Arts Council Notes to balance sheet

Book value Items sold Book value Note 1 at 31 March Additions or written off at 31 March Fixed assets 1975 at cost 1976

Freehold property at cost 5 Blythswood Square, Glasgow - acquisition 35,661 - - 35,661 5 Blythswood Square, Glasgow -improvements 14456 - - 12,456 336, 348 & 350 Sauchiehall Street, Glasgo w - acquisition 39,881 - - 39,881 336, 348 & 350 Sauchiehall Street, Glasgo w - improvements 40,822 62,343 - 103,16 5

Leasehold property improvements at cos t 19/20 Charlotte Square, Edinburgh 110,848 - - 110,84 8 29 Market Street, Edinburgh 35,050 9,502 - 44,552

Office equipment at valuation at 31 Marc h 1955 and at cost 27,851 7,287 722 34,E Motor vehicles at cost 8,117 4,535 2,369 1083 Pianos at valuation at 31 March 195 5 and at cost 200 209 - -409 Art Exhibition equipment at cost 20,347 6,916 3,674 28,3 9 Works of art at cost 57,741 10,784 - 68,523 Reproductions at cost 672 - 672 - £389,646 £101,576 £7,437 £483,785

Note 2 - No provision has been made for depreciation of assets : renewals are charged against - - - Income.

Note 3 Indemnities entered into by the Scottish Arts Council in respect of objects borrowed for - -- - - exhibition purposes totalled not more than £718,400 at 31 March 1976 .

Ihaveexamined the foregoing Account and Balance Sheet . I haveobtained all the information and explanations that Ihave required awn I certify, as the resuTtofmy audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an fair view oFthe transactions of the Scottish Arts Council and of the state of their affairs .

gigned.• D. O. Henley, Comptroller and Auditor General _ Exchequer and Audit Department, l0 August 197 6

A30

The Scottish Arts Council Schedule 1 General expenditure on the arts for the year ended 31 March 197 6

Grants and guarantees (see Schedule 3) 1;477;381 Opera for All Expenditure T,5 Less Income 7?392

Dance Tour

Less Income 5,081

Concerts

Less Income 20,974

19-.742

Drama Grants and guarantees (see Schedule 3 679,37 5 Tours Expenditure 1562 Less Income 16,3 Less VAT 9 15330 1 291 - - - 680,-666

Tourin g Grants and guarantees see Schedule 3 27-683 Add Publicity 1,569 29,252 Less Local Authority contribution Aberdeen District Council 15484 - -- 13;768

Art Grants and guarantees see Sc edule 3 1T5-635 Exhibitions Expenditure 187;203 Less Income 2;5 5 Less VAT 41;4$ 145;717

Art Centre, Sauchieha 1 Street, Glasgo w Expenditure, including operating costs 5;137 Less Income 43 ~42~ Less VAT 2,73a $-693 46;

Fruit Market Gale Edin urg --5,166 Gable Ends Project 33 Provision of Studios

Carried forward £319,584 £2,173,015

A31

Schedule 1 The Scottish .-krts Council (continued)

£ £ Brought forward 319,584 2,173,015

Art Film Tour s Expenditure 1,406 Less Income 417 Less VAT 22 395 1,01 1

Lecturers' fees and expenses 5,710 Less Income 1,568 Less VAT 116 1,452 4,258 324,85 3

Films Grants and guarantees (see Schedule 3) 12,500

Literature Grants and guarantees (see Schedule 3 ) 77,921 Poetry readings 1,377 Writers in Schools fees and expense s 6,678 Less Income 2,569 Less VAT 199 2,370 4,308 Writers' accommodation 246 Miscellaneous expenses 5,775 89,627

Festivals Grants and guarantees (see Schedule 3 ) 168,974

Projects, arts centres and clubs Grants and guarantees (see Schedule 3) 61,740 Net expenditure as income and expenditure account £2,830,709

A32

The Scottish Arts Council Schedule 2 General operating costs for the year ended 31 March 1976

Salaries and wages 122,685

Arts Council of Great Britain Retirement Plan 10,468

Travelling and subsistence 16,430

Rent and rates 10,162

Fuel, light and house expenses 15,388

Publicity and entertainment 12,222

Postage and telephone 13,914

Stationery and printing 9,967

Professional fees 2,960

Enquiries, surveys and investigation 35,188

Office and sundry expenses 8,085

Total as income and expenditure account £257,469

A33

The Scottish Arts Council Schedule 3 Grants and guarantees for the year ended 31 March 1976 (including subsidies offered but not paid at that date )

MUSIC

Opera Aberdeen : Haddo House Choral Society 1,000 Ayr : Intimate Opera Group 375 Dundee: Tayside Opera 1,350 Edinburgh : Edinburgh Grand Opera Group 2,000 Edinburgh University Opera Grou p 450 Glasgow : The Cecilian Society 400 Glasgow Grand Opera Societ y 3,300 Haddington : Lamp of Lothian Collegiate Trus t 300 Scottish Opera Limited 715,770 724,945

Dance Scottish Theatre Ballet Limited 310,300

Concerts Aberdeen : Aberdeen Chamber Music Club 800 Aberdeen and District Organists' Associatio n 50 Haddo House Choral Society 1,400 Platform Aberdeen 700 Airdrie Arts Guild 170 Alloa Burgh Ban d 100 Arran Music Society 400 Atholl Arts Guild 150 Ayr Music Clu b 400 Banffshire Arts Guil d 100 Beith Arts Committee 400 Biggar Music Club 750 Black Isle Arts Society 525 Brechin Arts Guild 85 Bridge of Allan and District Music Club 500 Bute Arts Society 25 Carnoustie Music Club 350 Cove and Kilcreggan Literary Society 180 Cowal Music Clu b 700 Cumbernauld Arts Guild 1,000 Cumnock Music Clu b 600 Dalkeith and District Arts Guild 650 Dingwall and District Arts Guil d 750 Dollar Music Societ y 220 Dumfries: Dumfries Music Club 500 Guild of Players 1,000 Dundee : Dundee Chamber Music Clu b 600 Dundee University Musical Societ y 344 Dunfermline : Dunfermline Arts Guild 250 Dunfermline District Council 200 Duns and District Arts Guild 680 East Lothian Arts Associatio n 500 Eastwood Music Society 800 Edinburgh : City of Edinburgh District Council 1,000 Edinburgh Folk Club 100 Edinburgh Organ Recitals Committee 300 Heriot-Watt University Musical Society 190 Martin Chamber Concerts Societ y 750 New Town Concerts Society 1,600 Platform Edinburgh 2,000 Falkirk Arts and Civic Council 100 Fife Education Authority/The Arts in Fife 1,600 Forfar Arts Guild 300 Forres Entertainments Committee 180

Carried forward £23,999 £1,035,24 5

A34

Brought forward 23,999 1,035,245

Gatehouse Musical Society 300 Galashiels Arts Association 450 Girvan and District Arts Council 185 Glasgow : John Currie Singers Limited 4,400 Glasgow Chamber Music Society 500 Masterconcerts Limited 3,250 Platform Glasgow 1 .800 Society of 1-riends of Glasgow Cathedral 110 Glenkens and District Music Club 450 Greenock Chamber Music Club 450 Gruinard Arts 300 Haddington : Lamp of Lothian Collegiate Trust 157 Hamilton Civic Society Arts Circle 400 Hawick Music Club 650 Invergordon Arts Society 500 Inverness Musical Society 176 Irvine : Harbour Arts Centre 800 Irvine Music Club 175 Kelso Music Society 700 Kilmardinny Music Circle 600 Kintyre Music Club 250 Kirkcaldy : Adam Smith Centre 2,700 Kirkcudbright Audience Club 650 Lanark Arts Guild 300 Linlithgow Arts Guild 700 Livingston Sponsorship Committee 250 Lochaber Music Club 300 Melrose Music Society 390 Miingavie Music Club 1,000 Moffat and District Musical Society 175 Moray Arts Club 560 Musselburgh Arts Guild 400 Nairn Music Club 280 Newton Stewart and District Music Club 300 North Avrshire Arts Centre Oban Music Society 575 Ochtertvre Theatre Limited 400 Arts Arts Peebles : Music in Peebles 250 Perth Chamber Music Society 400 Pitlochry Festival Society Limited 780 St. Andrews Music Club 400 Shetland Arts Society 760 Skye Arts Guild 450 Stonehaven Music Club 430 Stranraer Music Association 550 Strathaven Arts Guild 450 Strathearn Arts Guild 780 Strathspey Arts Club 450 Sutherland Arts Committee 600 Tain and District Arts Society 320 Thurso Live Music Association 680 West Linton Musical Society 220 Wick Arts Club 450 National Federation of Music Societies 8,500 New Music Group of Scotland Trust 1,500 Scottish National Orchestra Society Limited 260,500 Scottish Philharmonic Society Limited 83,000

Carried forward £414,132 £1,035,24 5

A35

Schedule 3 (continued)

Brought forward 414,132 1,035,245

Contemporary Music Network : University of Aberdeen 980 University of Edinburg h 630 University of Glasgo w 1,180 University of St Andrews 630 University of Stirling 1,180 4,600 418,73 2

Other activities Award s 14,139 Harpsichord : Strathaven Arts Guil d 100 Pianos : Airdrie Arts Guil d 365 Greenock Arts Guild 600 Kirkcaldy District Counci l 450 Strathaven Arts Guil d 200 1,61 5 Saltire Society (Isobel Dunlop Memorial Fund) 250 Scottish Music Archive 6,000 Scottish National Orchestra Society Limite d 200 Scottish Violin Exhibition 250 Society of Writers to Her Majesty's Signet 850 23,404 Total as Schedule 1 £1,477,38 1

DRAMA

Biggar Theatre Worksho p 470 Crieff: Ochtertyre Theatre Limite d 7,000 Dervaig Arts Limite d 4,500 Dundee Repertory Theatre Limited 78,239 Edinburgh : Edinburgh and Lothian Theatre Trust Limited 187,31 0 Theatre Workshop, Edinburgh 4,246 Traverse Theatre Club 61,38 1 Glasgow : Citizens' Theatre Limited 135,490 Dolphin Arts Centre 2,500 Glasgow 800 Theatre Company 440 Strathclyde Theatre Grou p 200 Raddington : Lamp of Lothian Collegiate Trust 500 Irvine : Borderline 930 Perth Repertory Theatre Limited 61,358 Pitlochry Festival Society Limited 62,132 St Andrews : The Byre Theatre of St. Andrews Limite d 19,219 The Arts Theatre Grou p 500 Belt and Braces Roadshow Company 450 Boomtube Play Workshop 400 Broadside Mobile Workers' Theatr e 375 Council of Regional Theatre 150 Foco Novo 700 Gay Sweatshop 80 John Bull Puncture Repair Kit 500 Joint Stock 800 Peter Kell y 400 The Long Green Theatre Compan y 3,883 Moving Being 300 Ossianic Society, University of Glasgo w 280 Recreation Ground Theatre Company 275 Rel Ladder Theatre Company 900 Scottish Society of Playwrights 12,000

Carried forward £647,908

A36

Brought forward 647,90 8

7 :84 Theatre Company (England) Limited 643 7 :84 Theatre Company 15,980 Shanter Productions 750 Tie-Up Theatre Company 4,959 West London Theatre Workshop 850 Training Schemes Bursaries 5,140 Bursaries 3,145 Total as Schedule 1 £679,375

Stage 1- Touring

Music _ Bridget D'Oyly Carte Limited 3,000 Contemporary Dance Trust Limited 4,947 New London Ballet Company Limited 3,788 Scottish Opera Limited 3,500 Scottish Theatre Ballet Limited 2,000 17,235

Drama _ Edinburgh and Lothian Theatre Trust Limited 2,294 New Shakespeare Company Limited 5,500 Pitlochry Festival Society Limited 2,654 10,448 Total as Schedule 1 £27,683

ART

Aberdeen: Aberdeen Art Gallery 420 Aberdeen Artists' Society 125 Peacock Printmakers 7,500 Berwickshire District Council 50 Cleish Sculpture 1975 200 Dundee : Dundee Art Gallery 300 . Dundee Art Edinburgh : Ci District Counci l Richard Demarco New 57 Gallery Association 3,646 Photographers Gallery, Edinburgh 500 Printmakers_ Workshop Limited 5,171 The Torrance Gallery 100 _University of Edinburgh 500 Glasgow : Compass Gallery Limited 7,750 Glasgow Group 300 Glasgow League of Artists 1,800 _Glasgow Print Studio Limited 8,600 Glenshee : Sculpture 2000 Committee 109 Helensburgh and District Art Clu b 100 Lanark : The Present Gallery 500 Montrose : Kirktower House Printmaking Studio 250 Moray Art Club 20 Oban Art Society 275 Peebles Art Club 74 Stirling : Stirling Gallery 51000 U St Andrews: Arts Committee of St Andrews 121 Art Net Limited 3,000 Alan Bold 2,200 The Cockburn Association 1,13 1 Douglas Cocker

Carried forward £88,23 2

A37

Schedule 3 The Scottish krts Counci l (continuer!)

£ £ Brought forward 88,232

Pat Douthwaite Dance Drama Workshop 3,500 Ian Eadie Commemorative Exhibition Committe e 500 Glasgow League of Artists & New 57 Gallery Joint Exhibitio n 2,500 Malcolm Green 100 Murray Grigor and Robin Spencer 1,250 Kempshell, Harvey, Scott and Brothersto n 2,200 Landscapes and Living Spaces 769 Barbara D. Rae 73 The Ramsay Head Pres s 400 The Saltire Society 510 Scottish Society of Women Artist s 90 City of Sheffield Art Gallerie s 250 Society of Scottish Artists 600 Elsa Stansfield 700 Studio Vista Publishers 2,500 Rolande Thomas 834 The Three Scottish Print Workshops Joint Exhibitio n 2,960 Weproductions 700 West Coast Cinemas 300

Artists in residence Ronald Glassman : Glasgow Print Studio Limited 350 John McColl : Gogarburn Hospital 500 Peter Drahony : University of Sussex 450 1,300

Awards to artists Award s 3,420 Commissions 1,947 5,367 Total as Schedule 1 £115,635

FILMS

Films ofScotland : Norman MacCaig 7,000 Sidhartha Films : 7 :84 Theatre Company in Dunbartonshire 500 Viz Limited: Three Scottish Sculptors 5,000 Total as Schedule 1 £ 12,500

LITERATUR E

An Comunn Gaidhealach 155 Claddagh Records Limited 750 Gaelic Books Counci l 4,000 Ilkley Literature Festival 120 International PEN-Scottish Centre 450 Dr T. Kinninmont (Publishing Research Fellowship) 2,500 Meet the Author 1975 1,500 National Library of Scotlan d 1,500 Reprographi a 350 Scotsoun 600 Scottish Association of Magazine Publisher s 6,150 Scottish General Publishers' Associatio n 500 Scottish Open Poetry Competition 100 18,675 Publications `Al ros ; 3,170 Annual Bibliography of Scottish Literatur- e 25 `Chapman 2,050 `Gahm' 3,000

Carried forward £8,245 £18,675

A38

Brought forward 8,245 18,675

`New Edinburgh Review' 1,600 `Scotia Review' 1,400 `Scottish Literary Journal' 200 `The Scottish Review' 600

15,795

Alan Bold 120 Cambridge Poetry Festival 1975 250 Edinburgh Books for Your Children Group 150 Edinburgh University Student Drama Group 400 Glasgow Writers' Club 50 The Heritage Group 35 `Scotia Review' 240 Scottish Association for .the Speaking of Verse 67 Scottish Association of Writers' Circles 90 University of Dundee 100 1,502 Writers in residence Sorley Maclean : Sabhal Mor Ostaig 2,500 Sam Selvon : University of Dundee 1,250 Alan Spence : University of Glasgow 1,500

Munro Award 100 Neil Gunn International Fellowship 1,000 Book and new writing awards 4,000 Bursaries 10,000 Travel grants 1,500 Grants to publishers 20,099

Total as Schedule 1 £77,92 1

Aberdeen : City ofAberdeen District Council 150 Cumnock and Doon Valley District Arts Federation 460 Edinburgh : Craigmillar Festival Society 1,500 Edinburgh Festival Fringe Society Limited 21000 Edinburgh Festival Society Limited 160,000 Haddington Folk Festival Society 50 Kelso Arts Festival 350 Leith Festival Committee 1,500 Perth Festival of the Arts 2,489 St Andrews Festival 100 Stirling Festival 375 Total as Schedule 1 £168,974

Projects, arts centres and clubs Aberdeen Arts Centre Association 1,320 Greenock Arts Guild 850 Inverness : Eden Court Theatre 10,000 Prestwick Arts Guild 660 I roon Arts Guild 510 University of Stirling : MacRobert Centre 40,000 Association of Arts Centres in Scotland 2,200 Borders Regional Council 1,000 Highland Regional Council 3,500 Scottish Civic Entertainment Association 1,500 Society of British Theatre Designers 200 Total as Schedule 1 £61,740

A39

The Welsh Arts Counci l Income and expenditure account for the year ended 31 March 197 6

1975 1976 _ Income 1,898,650 Grant from the Arts Council of Great Britain 2,402,940 Provision for grants and guarantees in 5,707 previous year not required 2,602 9,204 Transfer from reserve for capital expenditur e 8,874 Miscellaneous income 24,184 Bank interest 17,288 4,555 Realisation of assets 1,587 459 Sundry 2,942 29,198 21,817 1,942,759 2,436,233

Less Expenditure General expenditure on the arts (see 1,814,498 Schedule 1) 2,177,766 154,577 General operating costs (see Schedule 2) 184,957 Capital expenditure transferred to capital 32,826 account 24,226 8,874 Reserve for capital expenditure 1,562 2,010,775 (68,016) Excess of income over expenditure 47,722 Add: Balance brought forward at I April 78,955 1975 10,939 £10,939 - Balance carried forward to Balance Sheet £58,661

The Welsh Arts Council Balance sheet at 31 March 1976

Fixed assets (see Note 1) 14,976 Leasehold property 18,921 17,165 Off-iceequipment 20,65 1 3,908 Art Exhibition equipmen t 6,108 17,058 Motor vehicles 17,542 47,142 Works of Art 56,830 161 Reproductions - 100,410 120,05 2

assets

8,295 Bookshop 17,41 3 Debtors and prepayments 337,000 Grants and guarantees paid in advance 188,600 1,304 Expenditure on future exhibitions 5,489 21,109 Sundry debtors and prepayments 46,098 359,413 240,18 7

current assets 110

133,200 Grants and guarantees outstanding 88,864 46,073 Sundry creditors and accrued liabilities 48,971 200,000 Due to Arts Council of Great Britain 75,000 379,273 212,83 5 £120,223 Total net assets £180,275

Capital account 74,853 Balance at 31 March 1975 100,41 0

Capital expenditure transferred from income 32,826 and expenditure account 24,226 1,837 Gifts 1,310 - Adjustments from previous years 1,132

109,516 127,07 8 Less 9,106 Book value of assets sold or written off 7,026 100,410 120,05 2 10,939 Income and expenditure account 58,661 8,874 Reserve for capital expenditure 1,562 £120,223 Total capital and reserves £180,275

Chairman ofWelsh Arts Council : Shirley Anglesey Secretary-General : Roy Shaw

A41 The Welsh Arts Council Notes to balance sheet

Note 1 Book value Adjustments Book value Fixed Assets at 31 March Additions Gifts at from previous Items sold at 31 March 1975 at cost valuation years or written off 1976

Leasehold property improvements at cos t Holst House, Museum Place, Cardiff 5,590 - - - 886 4,704 53 Charles Street, Cardiff 9,386 4,831 - - - 14,21 7 Office equipment at cost 17,165 5,024 - - 1,538 20,651 Motor vehicles at cost 17,058 4,783 - - 4,299 17,542 Art exhibition equipment at cost o r valuation on acquisition 2,908 2,342 - - 142 6,108 Works of art at cost or valuation on acquisition 47,142 7,246 1,310 1,132 - 56,830 Reproductions at cost 161 - - - 161 - £100,410 £24,226 £1,310 £1,132 £7,026 £120,052

Note 2 No provision has been made for depreciation of assets : renewals are charged against income .

Note 3 Indemnities entered into by the Welsh Arts Council in respect of objects borrowed fo r exhibition purposes totalled not more than £63,600 at 31 March 1976 .

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required an d I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true an d fair view of the transactions of the Welsh Arts Council and of the state of their affairs . Signed : D. O. Henley, Comptroller and Auditor Genera l Exchequer and Audit Department, 10 August 197 6

A42

The Welsh Arts Council Schedule 1 General expenditure on the art s for the year ended 31 March 197 6

Grants and guarantees (see Schedule 3) 782,995

Expenditure 117,82 8 Less: Income 56,838 Less VAT 2,734 54,104 63,724 Recording of Welsh Music 15,764 Awards expenses 418 862,901 Drama Grants and guarantees (see Schedule 3) 580,316 Awards expenses 345 580,661 Art Grants and guarantees (see Schedule 3) 50,283

Expenditure 91,689 LessIncome 5,240

Art Film Tours : Expenditure 1,400 Less Income 1,047

Expenditure 565 Less Income 227

Gallery improvements : Consultancy fees 550 Awards expenses 404 Conference expenses 232 139,00 5

Grants and guarantees (see Schedule 3) 152,780

Expenditure 4,126

Less

Awaras expenses 158,88 8

Grants and guarantees (see Schedule 3) 38,055

Carried forward £1,779,510

A43

Schedule 2 t he A\ ekh \rt, ( ounci i (continued)

Broughtforwar d 1,779,510

Arts associations Grants and guarantees (see Schedule 3 ) 168,500

Arts centres and regional projects Grants and guarantees (see Schedule 3 ) 85,090

Housing the arts Grants (see Schedule 3 ) 62,500

Oriel Expenditure including operating cost s 81,943 Less Income - 24,164 Less VAT 796 23,368 58,575 Art activities 8,931 Literature activities 14,660 82,166 Net expenditure as income and expenditure account £2,177,766

A44

The Welsh Arts Council Schedule 2 General operating costs for the year ended 31 March 1976

f

Salaries and wages 116,43 7

Arts Council of Great Britain Retirement Plan 9,641

Travelling and subsistence 19,953

Rent and rates 8,703

Fuel, light and house expenses 3,621

Publicity and entertainment 3,928

Postage and telephone 10,899

Professional fees 2,685

Office and sundry expenses 4,686

Total as income and expenditure account £184,957

A45

The `'Welsh Arts Council of Great Britai n Schedule 3 Grants and guarantees for the year ended 31 March 197 6 (including subsidies offered but not paid at that date )

MUSIC

Oper a Welsh National Opera Company 660,000

Other activities BBC Welsh Symphony Orchestra 64,000 Merlin Music Society 1,400 Welsh Amateur Music Federation 35,000 Youth and Music Wales 2,850 103,25 0

Publications Guild for the Promotion of Welsh Music 1,950 University College Cardiff : `Soundings ' 650 University of Wales Press: `Composers of Wales' 5,000 7,600

Grant for the purchase of instrument s National Museum of Wales 1,500 Bursaries for advanced study 3,865 Commissions 6,780 10,645

Total as Schedule 1 £782,995

DRAMA

Production units Cardiff Open Air Theatre 14,900 Caricature Theatre Trust 32,000 Cwmni Theatr Cymru 116,500 Cymdeithas Theatr Cymru 60 Drama Association of Wales 3,000 Milford Haven Further Education Centre 731 Moving Being 47,300 Open Cast Theatre 9,000 Mike Pearson 2,000 Theatr yr Ymylon 30,800 Welsh Dance Theatre 35,000 Welsh Drama Company 153,000 Keith Wood 2,000 446,291 Mixed programme theatre s Bangor : Theatr Gwynedd 45,000 Cardiff : New Theatre Trust 20,100 Sherman Theatre 45,000 Mold : Theatr Clwyd 10,000 Swansea : Grand Theatre 10,000 130,10 0 Bursaries and travel grants 3,625 Commission aid 300 Total as Schedule 1 £580,316

A46

ART

Association of Artists and Designers in Wales 4U U Contemporary Art Society for Wales 1,000 _Dave Rushton 200 St. Athan Boys' Village 18 South Glamorgan Health Authority 143 Welsh Books Council 5,000

Grants and guarantees towards exhibition s Bangor : Oriel Gallery 1,500 _Chapter (Cardiff) Limited 250 56 Group Wales 930 Services Llanover Hall Arts Centre 72 _Royal Cambrian Academy ofArt 110 Roval National Eisteddfod : Criccieth 2,500 Photographic Federatio n

_Provision ofstudios Association ofArtists and Designers in Wales 5,000

_Grants towards gallery improvements Aberystwyth Arts Centre 3,000

Dyfed County Council : College of Art 3,SUU Newport Museum and Art Gallery 2,000 10,300

_Art film tours North Wales Arts Association 600 Awards 6,930 Bursaries 10,000 Commissions 4,980

Total as Schedule 1 £50,28 3

LITERATURE

Cymdeithas Emrys ap Iwan 130 Eisteddfod Genedlaethol Bro Dwyfor 1,025 Gregynog Press Exhibition 3,500 Pryderi and his Pigs 500 Sain (Recordiau) Cyf 300 Welsh Books Council 32,410 _ Welsh Youth Libraries Group _ 500 Yr Academi Gymreig 6,150 44,51 5

`The Anglo-Welsh Review' 5,400 `Barn' 9,600 `Planet' 5,400 `Poetry Wales' 5,400 `Taliesin' 2,100 `Y Genhinen' 2,400 `Y Traethodydd' 1,200 31,500

Carried forward

A47

Schedule 3 he 1\ d,b lrth ( nunci I (continued)

Brought forward 76,015

Children's magazines `Antur' 500 `Hebog ' 3,000 Urdd Gobaith Cymru : four magazines 6,500 10,000

Little magazines 545 Grants to Publisher s 34,625

Writers in Schools North Wales Arts Associatio n 600 South East Wales Arts Association 600 West Wales Arts Associatio n 600 1,800 Bursaries and travel grants 18,575 Honours 2,000 International Writers Fellowship : Friedrich Durrenmat t 1,000 Prizes 3,000 Grants to translators 970 Harri Web b 250 Writers Fellowship : University College of Wales, Aberystwyt h 4,000 29,795 Total as Schedule 1 £152,780

FESTIVALS

Cardiff Festival of 20th Century Music 5,450 Criccieth : Royal National Eisteddfod 3,000 Fishguard Festival 605 Llandaff Festival 7,500 Llangollen International Music Eisteddfo d 12,500 Swansea Festival 7,000 Vale of Glamorgan Festival 2,000 Total as Schedule 1 £38,055

ARTS ASSOCIATIONS

North Wales Arts Associatio n 43,000 South East Wales Arts Associatio n 75,000 West Wales Arts Associatio n 50,500 Total as Schedule 1 £168,500

ARTS CENTRES AND REGIONAL PROJECTS

Aberystwyth: Aberystwyth Arts Centre 26,500 University College Bilingual Typography Studentship 1,000 Bangor : University College, Fellowship in Creative Writin g 4,000 Cardiff : Chapter (Cardiff) Limited 37,440 Gregynog Arts Fellowshi p 1,750 Harlech: Coleg Harlech Arts Centre 14,400 Total as Schedule 1 £85,090

HOUSING THE ARTS

Caernarvon : Seilo Hall 10,000 Cardiff : Chapter (Cardiff) Limited 4,500 Cwmbran : Borough of Torfaen 4,000 Harlech : Coleg Harlech Limited 10,000 Milford Haven : Further Education Centre 25,000 Swansea : Glyn Vivian Galler y 2,000 Wrexham : Grove Park Amateur Dramatic Societ y 7,000 Total as Schedule 1 f,62,500

A48

Table A Awards 1975/76

Composers Paul Drayton England Buckingham and District Festival o f MUSIC Barry Anderso n Music and Dram a West Square Electronic Musi c Three Choirs Festiva l Choreographers Association (2 ) Malcolm Drummon d Hans-Peter Arnese n Portishead Choral Societ y M icha Bergese Heathfield String Orchestra and Danc e Judith Earl y Cycles Dance Company Six Another Dance Group Julia Blaikie Peter Aston Barry Ferguso n Ballet Ramber t Royal School of Church Musi c Forest Hill Midsummer Festiva l Blake Brown Don Bank s Michael Finniss y Ballet Rambert London Sinfoniett a Baccholian Singer s Nicholas Carroll William Bardwel l John Gardner Ballet Ramber t Redcliffe Concerts of British Music Louis Halsey Singers Kai Tai Cha n David Bedford West Riding Cathedrals Festiva l Another Dance Group Capricorn Michael Garrick Dance Theatre Commune Harrogate Festiva l University of Lancaster Nikki Cole Richard Rodney Bennet t Edward Gregso n Sephiroth Dance Theatr e English Chamber Orchestra and Music Besses o' th' Barn Ban d Wendy Coo k Society York Festiva l Dance Theatre Commune Lennox Berkeley Barry Guy Susan Coope r The Organ Club Dreamtige r Dance for Everyone Judith Bingham Ensemble 20 . Jahrhundert, Vienn a Maedee Dupres Juniper Arts Music Richard David Hames Cycles Dance Company David Roblou James Fulkerson and Stephen Montague Zoltan Imre Christopher Bochman n Donald Har t Ballet Ramber t Sheba Sound Westminster Cathedral String Orchestra John Lansdow n Derek Bourgeoi s Jonathan Harve y Another Dance Group Norfolk and Norwich Triennial Festival Experimental Arts Productions Sue Little Redbridge Brass Ensemble Matrix Another Dance Group (2) Christopher Bowers-Broadbent Meriel and Peter Dickinson Royston Maldoom Linda Hirs t Jim Hawkins Dance Theatre Commune Rory Boyle Lincolnshire and Humberside Arts Northern Dance Theatre IAPS Orchestra Stanley Hayne s Judith Marcuse Dave Brown Irvine Arditt i Ballet Rambert Foco Novo Productions Anthony Hedges Ross McKim Alan Bullar d Lincolnshire and Humberside Arts Another Dance Group Ars Nov a Nicholas Hoope r Henry Metcalfe Newstead Singers Ballet Ramber t Educational Dance-Drama Theatre Geoffrey Burgo n Vic Hoyland Sally Owen Richard Hickox Singers and Orchestra Bertram Turetzky Ballet Rambert Three Choirs Festiva l Francis Jackso n Andre Prokovsky Cornelius Cardew West Riding Cathedrals Festiva l Nash Concert Societ y Southwark Theatre Arts Factory Gordon Jaco b New London Balle t Timothy Coleman Essex Youth Orchestra Belinda Quirey New London Ensemble John Joubert Dance for Everyon e Graham Collier Birmingham Chamber Music Societ y Joseph Scogli o Park Lane Group Oliver Knussen Ballet Rambert Justin Connolly Fires of London Richard Sikes Europa Canta t Jane Manning and Howard Shelley Nash Concert Societ y Yehudi Menuhin School London Oboe Quarte t Jonathan Thorpe Arnold Cooke John Lambert Northern Dance Theatre Royal Philharmonic Society Ensemble for New Music Leigh Warren David Cox Omega Guitar Quarte t Ballet Rambert University of Manchester Philip Lane Lenny Westerdij k Peter Maxwell Davie s Charlton Kings Choral Society Ballet Rambert London Sinfonietta Gordon Langfor d Robin Winbow John Dankworth National Brass Band Championships Educational Dance-Drama Theatre Nash Ensemble of Great Britai n Patrick Wood Stephen Dodgso n Kenneth Leighto n Nash Concert Society Harrow Philharmonic Choir The Organ Clu b Luton Music Club John Lewis Richard Drakefor d John Silver Little Missenden Festival

A49 Table A .awards 1975 76 (continued)

David Lumsdaine Gregory Ros e Mike Westbrook Arnolfini Gallery London Contemporary Dance Theatre South Hill Park Trust Northern Sinfonia Concert Society David Rowland Peter Wiegold Elisabeth Lutyens Camerata Lysy English Chamber Choi r Bath Festival Howard Shelle y Malcolm Williamso n New Music Forum Daryl Runswic k London Mozart Players York Festival Nash Concert Societ y Arthur Wills Elizabeth Maconchy Paul Rutherford Royal School of Church Music Croydon Philharmonic Society Barry Guy Thomas Wilson Essex Youth Orchestr a John Rutter Baccholian Singers John Marcangelo Ernest Read Music Association Unity Records Co-operative Nicholas Sackma n Designers Roger Marsh Leeds Musical Festival The Macnaghten Concert s Peter Sander Richard Caswel l William Mathias Paula Okell and Colin Downs New London Ballet Abbotsholme Arts Society Rupert Scott Paul Dart David Matthew s St Mary's Music Societ y Another Dance Grou p Stroud Festiva l Laurie Scott Baker Peter Farmer John Mayer Unity Records Co-operative New London Ballet John McCaw Colin Seamarks Steve Whitson Will Mente r Helicon Ensemble Another Dance Grou p Arnolfini Gallery Ilona Sekac z Anthony Milne r Cycles Dance Company Bursaries Leeds Musical Festival Christopher Sha w Carlos Miranda St Christopher's Hospice Amanda Brodie Ballet Rambert (2 ) Francis Shaw Peter Cusack Mercury Ensemble Another Dance Group Bob Downe s Dominic Muldowney Robert Sherlaw Johnson Bridget Kelly Espinosa London Sinfonietta Dreamtiger (2 ) Michael Finnissy New Philharmonia Orchestra Norfolk and Norwich Triennial Festiva l Kate Flatt The Fires of Londo n Oxford University Opera Club Andrew Greenwoo d Stephen Oliver Howard Skempton Patrick Hurde Cory Band Dreamtiger Gordon Jone s Electric Candle Roger Smalley Francoise Mariau Greenwich Festiva l James Fulkerson Alan Nisbet (2 ) Liverpool Mozart Orchestr a Park Lane Group Buxton Orr Purcell Consort of Voice s Tim Souster Ruth Posner Buxton Orr James Fulkerson Joseph Scoglio Redbridge Brass Ensembl e Frank Speddin g Denis Smalley Nigel Osborne Henley Symphony Orchestra Janet Smith Ensemble 20 . Jahrhundert, Vienn a Robert Spearing Mike Westbrook Andrzej Panufni k Westminster Choral Society Janet Wilks Meriel and Peter Dickinson Richard Steinit z Douglas Young Wilma Paterso n National Youth Brass Band Rohan de Saram Richard Stoker DRAMA Paul Patterson Huddersfield Arts Council Arthur Davison Concerts for Childre n Giles Swayne John Dowie London Mozart Player s Christopher Rowland (See also Table C) Anthony Payn e Wissema Quarte t Cheltenham Festival Phyllis Tate ART York Festiva l Barnet and District Choral Societ y John Paynter John Tavener Bursaries Birmingham Festival Choral Society Bath Festiva l Anne Poole Little Missenden Festiva l Craigie Aitchiso n Helicon Ensemble Wyndham Thomas Gillian Ayres Bernard Rand s Bristol Bach Choir Bill Jacklin Athena Ensembl e Julia Usher Bruce McLean Ensemble 20 . Jahrhundert, Vienna Lambeth Orchestra Paul Neagu Fitzwilliam String Quartet Robert Walker Stephen Reeve Greenwich Festival Omega Guitar Quarte t Lincolnshire and Humberside Arts Howard Riley Three Choirs Festival Cockpit Ensemble Michael Blake Watkins Greenwich Festival Carlos Bonell Merlot Tri o

A50

Discretionary awards Graham Greenfield David Saunders Michael Grimshaw Peter Schmidt Christine Adams P. J. Hale David Seaton Will Adams Roger Hall Michael Simpso n Michael Allard Trevor Halliday John Smalle y Edward Allen William Henderson David Spurring Richard Allen John Hilliard Trevor Sutton Douglas Allsop Malcom Hitchcock David Sweet Stephen Amor Colin Hitchmough Franciska Themerson Mark Balakjian Peter Hoida Lee Tribe Michael Baldwin David Holt William Tucker Richard Barr Pamela Holt Nigel van Wieck Basil Beattie Harvey Hood Margaret Walke r Gavin Bennett Harold Hurrell Peter Watso n David Berry-Hart Stephen Hurst Christopher Watt s John Blake Albert Irvin Povl Webb Sandra Blow Anthony Jackson Dick Whal l Derek Boshier Stephen James David Whittake r Ronald Boyd Robert Janz Edward Whittaker Ian Breakwell Tess Jaray Stephen Willat s Norman Brown Chris Jennings Glynn William s Elizabeth Butterworth Peter Kennard Gerard Wilson Kit Callahan Michael Kenny Tony Wilson Anthony Carter Dave King Gillian Wise John Carter Jim Latter John Wonnacott Brian Catling Edwina Leapman Gary Wrag g Peter Challis Scarlet Nikolska Leigh Bob Chaplin Helen Lessore Photography John Clark Kim Li m Gerry Clarke Andrew Logan Mike Abraham s Judith Clute Jeffrey Lowe Ken Baird Brian Collier Peter Lowe Michael Bennet t Ithell Colquhoun Joe Lyons John Benton-Harris Richard Cox John Maine Michael Blake Richard Crabbe Mak Kum Siew Chris Chapman Michael Craig-Martin Robert Mason John Davies Dennis Creffield Sarah McCarthy Ian Dobbie Graham Crowley Robert McNab Trevor Ford Colin Crumplin Jonathan Miles Richard Greenhil l Michael Cundy John Morley Conrad Hafenrichter Rosalind Cuthbert Mali Morris Larry Herman Jeremy Danziger Anthony Mott Sirrka-Liisa Kontinnen Natalie d'Arbeloff Henry Mundy Peter Lavery Jules de Goede Nicholas Munro Simon Marsden Kirti de Kauwe Martin Naylor Neil McDowall Barry Dodd Peter Neal Ian McMillan Andrea Duncan Barry Newis Martin Parr Christopher Dunseath Gerald Newman Bruce Rae Jennifer Durrant Victor Newsome John Rasmussen David Dye Laurie Newton Martin Robert s Maxwell Eastley Colin Nicholas Graham Smith Jonathan Effemey Graham Nickson Laurence Sparham Garth Evans Michael North Sean Sprague Tom Evans Anthony O'Malley Leo Stable Bernard Farmer Richard Parrington Chris Steele-Perkin s Rachel Fenner George Percy Homer Syke s Donald Fenton Michael Perton John Walmsley Chris Fisher Deanna Petherbridge Valerie Wilmer John E. Fisher Terence Pope Barry Flanagan Michael Porter Films Trevor Frankland Bruce Robbins Barbara Freeman Richard Rome Roger Arguil e Clive Garland Bruce Russell Stephen Brockbank Patrick Goff - Robert Russell Shirley Cameron John Gray Meilin Sancho Timothy Cawkwell

A51

Table A %"ards 1975 76 (continued)

David Critchley TRAININ G Ian Mullins Renny Croft Nikolas Simmond s Ian Emes Actors Mel Smit h Peter Greenaway Tim Barlo w David Tucker Marilyn Halford Tom Cotcher Anthony Tuckey Ron Haselden Jonathan Evan s Martin Hearne John Grillo Technicians and lighting designers Marie Hoy Richard Howard Nicholas Firt h Jeff Keen Lyndon Hughes Michael Reese Derek Jarman Linda Janiec Del Trew David Larcher David Johnston Paul Martin Nicolette Lee Roland Miller Penelope Lee Phillip Mulloy David Miller Bridget Murgatroyd Jeremy Nicholas Liz Rhodes Gavin Richard s Guy Sherwin Elsa Stansfield Administrators Clive Watson Diploma course Chris Welsby Judith Cheston Gary Woods Jane Edwardes Richard Woolley Mark Franci s Donald Keller Video bursary Erika King Helen Priday John Lansdown Philip Ridley Fleur Selby LITERATURE Teresa Stut z

Derek Bailey Practical course Paul Bailey Marilyn Atherton George Barker Charles Bishop Mary Barnes Diana Bruce George Bird Anne Gregory Alan Bleasdale Timothy Hulse J. Maxwell Brownjohn Vivienne Moore Charles Causley Maggie Southam David Caute Jim Crace In-service bursaries Ronald Duncan Timothy Mason Duncan Forbes Karen Gershon Designers W. S. Graham Polly Barlow Robin Hamilton Angela Brock Michael Hastings Richard Brown Peter Hoida Robin Don Ursula Holden Sally Gardner G. M. Hyde James Help s Jennifer Johnston Nicola Howard-Jones Trevor Kneale Anthony Jones Susan Knight Graham Marsden Derek Mahon Jane Ripley Harold Massingham Di Seymour Richard Murphy Alizabeth Verghese Jon Pepper Patricia de Villier s Peter Redgrove Alison Walker Frederica Rose Mark Wheeler Elisabeth Pasternak Slater Irene Whilton Angus Stewart Miki van Zwanenberg Richard Stokes D. M. Thomas Directors Lorna Tracy Michael Attenborough Hugo Williams Warren Hoope r David Wright Anna Lawrence Kenny McBain

A52 Frank Speddin g LITERATURE Scotland Opera for Youth * MUSIC Ronald Stevenson Bursaries Lothian Regional Council (Schools Special grants Orchestra)* Janet Caulfiel d William Wordsworth Dominic Coope r Stephen Arnol d Eden Court Theatre * Valerie Gillies James Douglas Duncan Glen Edward Harper Bursaries Daniel Green David Johnso n Andrew Grie g Kenneth Leighto n Enid Bannatyn e David Muirso n Edward McGuire Michael Chibbet t Fred Urquhart George MacIlwham Claire Livingstone Kenneth Whit e Robin Or r Joyce McCrindle John Week s Irene McGrath Munro Award Margaret Lucy Wilkin s Norman Mo y Wilfred Taylor Thomas Wilson James MacDonald Rei d William Wordswort h Christine Shepherd Travel grants Norman White Commissions Janet Dunbar DRAMA Forsyth Hard y Stephen Arnol d Hamish Henderso n Scottish Contemporary Music Network * Trainee designers John Bulle r Gillian Pag e Book and new writing awards Miles Baster* Peter Maxwell Davies Trainee directors Elizabeth Byrd The Hope Scott Trust * David Gothard Dorothy Dunnet t Shaun Dillon Traverse Theatre Club * Alexander Fento n The Loreburn Ensemble * Andrew Kyle Robert Garioc h Peter Docherty Perth Repertory Theatre Limited * Flora Garry Scottish Theatre Ballet Limited * Peter Lichtenfel s Giles Gordon Anton Doli n Traverse Theatre Club * William McIlvanney Scottish Theatre Ballet Limited * Edwin Morga n David Dorwar d Busaries Ian Crichton Smith James Durrant * George Malcolm Thomson James Douglas Neil Camero n Andrew Armstrong * Ian and Jill Purves Grants to publishers John Maxwell Geddes AIisdair Skinner James Durrant * Fiona Smith Arkos Edward Harper Calder & Boyars Limited The Edinburgh Camerata Society* ART Cannongate Publishers Limited Scottish Philharmonic Society Limited * Carcanet Press Limited Wilfred Josephs Bursaries Claddagh Records (R) Keith Pearson* Michael Davey Club Leabhar Kenneth Leighto n David Ewles William Collins Sons & Company Limited John Currie Singers Limited * John Kirkwood John Donald Publishers Limited Alistair Livingston e Catherine Matheso n Edinburgh University Pres s Scottish Theatre Ballet Limited * John Mooney Faber & Faber Limited John McCabe Barbara D. Rae Hamish Hamilton Scottish Theatre Ballet Limited * Irene Vliegenthar t Paul Harri s Norman MacDowel l Arthur Watso n M. Macdonald Printers (Edinburgh) Ltd Scottish Theatre Ballet Limited * Martin Brian & O'Keefe Limite d Edward McGuire Commission s Molendinar Press James Durrant * Rainbow Press Wilfred Mellers Hugh Graham The Ramsay Head Press Scottish Philharmonic Society Limited * Greendykes Schoo l Reprographia (R) Mushe Mussma n William Tucker Scottish Academic Pres s Scottish Theatre Ballet Limited * Livingston Development Corporation* Scottish Educational Journa l Richard Orton Dennis Westwoo d Scotsoun (R) Hill Square Consort* University of Strathclyde * (R) Recording Philip Prowse Francis Pell y Scottish Theatre Ballet Limited * Forestry Commission* TRAINING John B. Read Bill Gillon Scottish Theatre Ballet Limited* Heriot-Watt University Students Arts administratio n Association* Christine M. Hamilton

A53

Table A swards 1975 7 6 (continued)

Shelagh Hourahane & Stephen Honours Wales Collingboume MUSIC Tom Hudson T. J. Morgan (Yr Athro) Tony Jackson Gwyn Thoma s Bursaries for advanced study Wil Lorrime r Peter Markey Prizes Jane Butler Alan McPherson Malcolm Davies Christopher Orr Ruth Bidgoo d R. H. Joyce David W . Osborne J. M. Edwards Kenneth Lewis Mansel Owen Gwilym R . Jones Enid Luff Will Roberts Alan Lloyd Doreen O'Neill Jeffrey Stride Alun Llywelyn-William s Kelvin Thomas Wales Police Training Centre Kenneth O. Morgan Gwyn Watkins Margaret Pritchard Commissions Bernice Revbence Bursaries R. S. Thomas Mervyn Burtch Michael Geliot Paul Beauchamp Translations David Harries John Gingell Alun Hoddinott Richard Humphry Dafydd Ifans Arwell Hughes Gareth Jones Robert G . Powell Daniel Jones Glyn Jones Joan Bowen Ree s Richard Elfyn Jones Robert Mitchell H. M. Waidso n Richard Roderick Jones Beverley Napp John Metcalf David Nash John Morgan Peter Prendergast Patrick Piggott Keith Richardson-Jones Trevor Roberts John Selway David Shepherd DRAMA Brian Thomas Sue Wells Bursaries and travel grants Bookplate commission John Anzani George Auchterlonie M. Baldwin Gruffudd Jones A. Crawfor d Peter Mumford J. Davies E. Grainger Commission aid S. Hevero n G. Jones Cwmni Theatr Cymru A. McPherso n Huw Lloyd Edwards - `Lefiathan' R. Mills P. Mousdale ART T. Setch M. White Awards P. William s E. Zabole R. Alcorn, S. Taylor, R. L. Wooten (Tiger Studio) LITERATURE Mervyn Baldwi n Paul Bowen Bursaries and travel grants Stephen Brak e Paul Brewer Edith Courtney Charles Byrd Pennar Davie s Robert Con Tom Earley Barri Cook Emyr Hywel Richard Cox Harri Pritchard Jones Jack Crabtree Nesta Wyn Jones Alistair Crawford Richard Jones Michael Crowther W. S. Jones Peter Ellis Tom MacDonal d Bob Evans Roland Mathia s Ian Grainger Mair Owen Vernon Scanell * In these cases payment is made to the Nicholas Walker organisation shown .

A54

Table B Housing the arts 1975/7 6

In 1975/76 the Arts Council's grant in aid of£28,850,000 included £850,000 for Housing the Arts. The details of the £850,000 can be found at the end of Schedule 3, where £787,500 is accounted for in England and £62,500 in Wales. The Arts Council was also empowered to enter into commitments during 1975/76 to make provision for Housing the Arts up to a total of £2,360,000 above the cash grants of £850,000 . As at 31st March 1976 a total of£1,899,500 had been committed out of the total of £2,360,000 authorised and the details of this are set out below :

ENGLAND

London : Inter-Action Trust-Limited 194,000 London : Festival Ballet Trust Limited 125,000 Ipswich and Suffolk New Theatre Trust 95,000 Liverpool : Merseyside Everyman Theatre Company Limited 90,000 Salisbury Arts Theatre Limited 70,000 City of Stoke-on-Trent - Museum and Art Gallery 50,000 Manchester : Royal Exchange Theatre Trust 50,000 Snape Maltings Foundation 50,000 Liverpool : Great Georges Community Arts Project Limited 40,000 Salop County Council - Joint Use Centre 37,500 Isle of Wight County Council - Newport High School 35,000 Wyre Forest District Council - Old Schools 32,500 Nottineham: Midland GrouD Gallerv 31,900 Ashford Borough Council - Stour Centre 30,000 London : The Keskidee Centre 30,000 Washington Development Corporation - Biddick Farm Arts Centre 30,000 Howard and Wyndham Limited - New Theatre, Oxford 25,000 Rtamfnrd Art, Centre 25,000 Taunton Theatre Trust 21,000 Tyne and Wear County Council - Laing Art Gallery 17,000 Woodard Schools (Midland Division) Limited - Ellesmere College 12,500 Hastings : The Stables Trust Limited 10,000 London : New Shakespeare Company Limited 10,000 Universitv of Bath - Holburne of Menstrie Museum 10,000 10,000 York London : The Industrial Buildings Preservation Trust Limited - Rotherhithe Workshops 8,500 Meaulvn Orinn rallerie, 8,500 Hatfield Rural District Council - Leisure Centre 8,000 London : The Bedford Institute Association 8,000 Manchester Young People's Theatre Trust Limited 8,000 Newcastle: Amber Associates 8,000 Plymouth Theatre Trust 8,000 Hebden Bridge: Arvon Foundation 6,000 Blyth Arts Council 5,000 Canterbury : Marlowe Theatre 5,000 Hyndburn District Council - Oswaldtwistle Town Hall 5,000 London : Merton Civic Theatre Trust Limited 5,000 St Ives : Penwith Galleries Limited 5,000 Windsor Theatre Company (Capoco Limited) _ 5,000 Bridport and District Arts Society 4,000 Huddersfield : Red Ladder Theatre Society _41000 Lacock : Fox Talbot Museum 4,000 Ross Operatic and Dramatic Society 4,000 Sheffield District Council - Hurlfield Campus 4,000

Burnley : Mid Pennine Association for the Arts /,SU U Leeds : Interplay Trust 2,200 Covent Garden : Acme Housing Association 1,500 Chipping Norton Theatre Limited 1,450 Kirklees Metropolitan Council - Parish Rooms 1,350 Bath Arts Workshop 800

Carried forward £1,269,000 A55 Table B Housing the arts 197 -; 76 (continued)

Brought forward 1,269,000

SCOTLAN D

Dundee Repertory Theatre Limite d 200,000 Inverness : Eden Court Theatre 90,000 Glasgow : Scottish National Orchestra 54,000 Edinburgh : Scottish Philharmonic Societ y 35,000 Cumbernauld Cottage Theatre 25,000 University of St Andrews - Arts Centre 25,000 Edinburgh Traverse Theatre 15,000 Edinburgh Theatre Worksho p 12,000 Strathaven Arts Guild 10,000 466,00 0

WALES

Cardiff New Theatre 70,000 City of Swansea - Grand Theatre 40,000 Borough of Rhuddlan - Promenade Theatre, Rhy l 30,000 Milford Haven Theatre 18,000 Caernarvon : Seilo Hall 3,500 Wrexham : Grove Park Little Theatre 3,000 164,500 £1,899,500

A56

Table C New writing in the theatr e

Contract writers awards Writer

Birmingham : Cannon Hill Trust Limite d Joe Tibbetts Birmingham Repertory Theatre Limite d David Edgar Bishops Stortford : Spectrum Theatre Trust Limited Victoria Irelan d Bracknell : South Hill Park Trust Limite d Roger Savage Brighton : Gardner Centre for the Art s Rosemary Davie s Bristol : Avon Touring Company David Illingwort h Canterbury Theatre Trust Limited John Bowen Coventry : Belgrade Theatre Trust (Coventry) Limite d Lynda Marchal East Midlands Arts Associatio n David Campton Michael Payne Exeter: Northcott Devon Theatre and Arts Centre Mike Stott Havant : Solent Song and Dance Compan y Chris Bailey Lancaster : The Duke's Playhouse Limited David Pownall Liverpool : Merseyside Everyman Theatre Company Limite d Chris Bond Liverpool Repertory Theatre Limited Alan Bleasdale London : The Africa Centre Buchi Emechet a Alternative Theatre Company Limited Alan Drury Andy Smith British Theatre of the Dea f John Abulafia Camden Playhouse Productions Limite d David Edgar Caryl Jenner Productions Limited David Pinner Clown Cavalcade Carol Crowthe r The Combination Limited John Turne r English Stage Company Limite d Caryl Churchil l Foco Novo Limited John Hoyland Greenwich Theatre Limited John Hale Half Moon Theatre Limite d Heathcote William s Phil Woods Hampstead Theatre Club Limite d C. P. Taylor Major Road Theatre Company John Spurling Monstrous Regimen t Chris Bond National Youth Theatr e John Duncan Barrie Keeffe 7 : 84 Theatre Company (England) Limite d Shane Connaughto n Steve Gooch Sidewalk Theatre Company John Burrows Soho Theatre Company Limited George Byatt Temba Theatre Company Richard Drai n Wakefield Tricycle Company Shirley Barrie and Eric Twiname Shirley Barrie, Christopher Langham and Derek Smit h Manchester Young People's Theatre Limited Peter Flannery Newcastle: Tyneside Theatre Trust Limited Barrie Keeffe David Rudkin Nottingham Theatre Trust Limited Henry Livings Adrian Mitchel l George Moore John Taylor Brian Thompso n Oxford : Anvil Productions Limited Kerry Crabbe Steve Gooch and Paul Thompso n Frank Marcu s Dennis Potte r York Citizens' Theatre Trust Limited Alan Drury

A57

Table C New AritinI- in the theatre (continued)

Bursaries Jamal Ali Chris Bailey Trevor Baxter Bruce Birchall John Burrows Andrew Carr David Cregan Andrew Dallmeyer Alfred Fagon David Halliwel l John Harding Robert Holma n Roger Howard Roy Kendall Jonathan Lynn Stephen Mallatratt Tom Mallin Lynda Marcha l Mustapha Matur a Bill Morrison David Mowa t John Norma n Mary O'Malley Alan Passes Jennifer Phillip s David Pinner Cherry Potter Peter Ransley James Robso n N. F. Simpson Derek Smith Mike Stott Ian Taylor Paul Thompson Michelene Wandor Brian Wrigh t Olwen Wymark

A58

Guaranteed royalty payments PlaylAuthor

Birmingham : Adhoc Theatre Company Mandog / Gareth Owen Confessions of Jon-Jak Crusoe / Gareth Owen Birmingham Arts Laboratory Limited Foul play / David Edgar and Gareth Owen Birmingham : Pub Theatre Company Sell - a new play with added G.P.I. / Gev Pringl e Wedding breakfast / Gareth Owe n Traveller / Gareth Owe n A look at reality / Gareth Owen Preggin and Liss / Robert Patrick Birmingham Repertory Theatre Limited O fair Jerusalem / David Edgar Birmingham : 2nd City Theatre Company Home leave / Bob Stevens Brighton : Gardner Centre for the Arts Raven / Rosemary Davie s Cheltenham Everyman Theatre Company Limited The friendship of Mrs Eckley / Ronald Go w Hornchurch Theatre Trust Limited Laying it on the line / John Hope Maso n Hull : Humberside Theatre Trust Limited Promises are free / Jim Hawkins Our Albert / Alan Plater Lancaster : Paines Plough Ladybird, ladybird / David Pownal l Crates on barrels / David Pownall Leicester Theatre Trust Limited Speak now / Olwen Wymar k Don't worry about getting old dad you'll always have me to loo k after you / Dinah Brook Little lamb / Liane Auki n The antique baby / Jennifer Phillip s Bully Bigg / Phil Woods Liverpool Repertory Theatre Limited Fat Harold and the last 26 / Alan Bleasdale The swineherd and the princess / Dick Tuckey London : The Africa Centre The soldiers / Robin White Alternative Theatre Company Limited Winter visitors / Andy Smit h City sugar / Stephen Poliakoff Nobody knew they were there / Terence Gree r The Artaud Company Masoch / Michael Alma z Basement Theatre Limited Hands off my war memorial / Peter Hawkins The Bite Theatre Group The bite / Alfio Bernabei Camden Playhouse Productions Limited Artaud at Rodez / Charles Marowit z Sense of loss / Alan Drury Caryl Jenner Productions Limited Venus and Superkid / Richard Cran e School for clowns / Friedrich Karl Waechter, translated an d adapted by Ken Campbel l The Combination Limited Peyton space / Andy Smit h Common Stock Theatre Company Limited Miss / Martin Stellman Covent Garden Community Theatre Workshop Scrooge and the magic lamp / Richard Robinso n Mud salad / Richard Robinso n Drumbeat Productions Matrimony Limited / Tudor Gate s The dream of Geronimous Bosch / Tudor Gates Never so good / Kevin Laffan English Stage Company Limited Paradise / David La n Black slaves, white chains / Mustapha Matura Sex and kinship in a savage society / Michael O'Neill and Jeremy Seabrook Mean time / Richard Crane Forestage Company Accommodation / Melville Lovat t Gate Theatre Company Love story / Colin Bennett Gay Sweatshop Every woman can / Jill Posene r Mister X / Roger Baker and Drew Griffith s Grasshopper Theatre Company Wha happen? / Pauline Yanso n Greek Arts Theatre Club The vandals are coming / George Eugenio u Maria's dowry / George Eugeniou Greenwich Theatre Limited Camelot pie / Brian Wright A journey to London / Vanbrugh, adapted by James Saunder s Half Moon Theatre Limited George Davis is innocent O .K. / Shane Connaughton Hampstead Theatre Club Limited' Death of a black man / Alfred Fagon Institute of Contemporary Arts Limited Talkshop / Thomas Baptist e Sweet talk / Michael Abbensetts

A59 Table C \e« «ritine in the theatre (continued)

Guaranteed royalty payments (continued) Play/Autho r

Inter-Action Trust Limited Tsafendas / William Tanner Charley's baby / Helen De Wynte r L1 and L2 / Fred Willets Steer clear of Kafka / Henry Wool f Jean Pritchard Management Limited The reformer / Alan O'Kell y On the game / Glenn Chandler Who'd be a vampire / David Soames The shallow depth / Michael Sharp Marble / Chris Coles Fragments / Vanessa Drucke r Isabel and the matador / Ian Buckley Jason / Joseph Pram l The Keskidee Centre Jumbie Street march / T-Bone Wilso n Major Road Theatre Company Assassinations / Steve Gran t Maximus Actors' Arena The 22nd day / Olwen Wymark Mermaid Theatre Trust Limited Poles apart / Clive Kin g Moubray Production s Morecambe / Franz Xavier Kroetz, translated by Jane Brento n Overground Theatre Clu b Tambourine man / Tony Heywood and Leigh Jackso n Theory / Steven Mackrel l The trouble with ants / Alan Bryce Pentameter s It's a very common complaint / Nigel Bellair s Not dead easy / Nigel Bellair s Do it yourself / William Humbl e Go on, jump/ Brian Compor t The other side of the swamp / Royce Ryto n Quartet / Paul Schoolman The last real thing / Ronald Hayma n Polish Social and Cultural Association Limited Interrupted act / Tadeusz Rosewicz, translated by Christophe r Speyer and Katherine Ukleja Pro-Creatio n Smile for Jesus and the Cameraman / Roy Kift Red Pike Company The best we've ever had / Harry O'Donova n Scorpio Productions Tie-up / Lesley Johnson 7 : 84 Theatre Company (England) Limited Lay-off / John McGrat h Soho Theatre Company Limited The rivers and forests / Marguerite Duras, translated by Barbar a Bray Free chicken dinners / Andy Smit h The soul of the white ant / Snoo Wilson Cocks and hens / Ian Taylo r Saliva milkshake / Howard Brento n The late wife / Christopher Wilkins Hello sailor / Eric Sutto n Gem / Barrie Keeffe B movie / Robert Walker The wedding / Derek Smit h One white day / Jehane Markham The cornet lesson / Roy Kendall My girl / Barrie Keeffe Temba Theatre Compan y Sherry and wine / Jimi Ran d Theatre at New End Limited The hard stool / Anthony Haygart h Clownmaker / Richard Crane Wakefield Tricycle Company Family spear / Elvania Zirim u Company pot / Patience Add o The transistor radio / Ken Tsaro-Wiw a Kitty Hawk / Leonard Jenki n Westway Productions Limite d The end / Roger Lloyd-Pack Wimbledon Pub Crawlers Bill / Jon Croft The Wordplay Company Wordplay / Roger McGough Newcastle : Tyneside Theatre Trust Limited Woyzeck / Buchner, adapted by Keith Hack

A60 Guaranteed royalty payments (continued) Play/Author

Richmond Fringe Limited The ladies / Edna O'Brien Female friends / Fay Weldon Mr Smith / John Norma n The land of palms / David Crega n Filthy fryer / Andrew Davies What are little girls made of? / Andrew Davies Can you smell gas? / Andrew Davie s Tina / David Crega n David going out / Jeremy Pau l Play for yesterday / James Saunder s Scarborough Theatre Trust Limited The chimes / Stephen Mallatrat t Just between ourselves / Alan Ayckbourn Sheffield : Crucible Theatre Trust Limite d The Jack the Ripper show (and how they wrote it) / Frank Hatherle y Theatre North Man on a donkey / Mike Haywood Stoke-on-Trent and North Staffordshire Theatre Trust Limite d Western coyney cowboy / Shane Connaughto n West Midlands Arts The Charlie Chaplin show / Sue Dunderdale and Jonathan Cross

Guarantees against loss Birmingham : Pub Theatre Compan y Sell - a new play with added G.P.I. / Gev Pringle Traveller / Gareth Owe n A look at reality / Gareth Owen Wedding breakfast / Gareth Owen Bolton : Octagon Theatre Trust Limite d The invasion from the polar planet / David Holman Coventry : Belgrade Theatre Trust (Coventry) Limited Skidaddle / Rony Robinso n Lancaster: The Duke's Playhouse Limite d Summer hot pot / devised by the Compan y Leatherhead : Thorndike Theatre (Leatherhead) Limited The Domesday rag / Joan MacAlpine Leeds Theatre Trust Limite d Charlie's Underground adventure / Anthony Richards Leicester Theatre Trust Limite d Bully Bigg / Phil Wood s Liverpool Repertory Theatre Limited The swineherd and the princess / Dick Tuckey London : Basement Theatre Limited Hands off my war memorial / Peter Hawkins Caryl Jenner Productions Limite d Venus and superkid / Richard Crane The golden samurai / Geoffrey Case Clown Cavalcade The three bears / Carol Crowther Charivari / Carol Crowther Gate Theatre Compan y Love story / Colin Bennet t Grapefruit Productions The careless husband / Colley Cibber Greek Arts Theatre Club The vandals are coming / George Eugenio u Maria's dowry / George Eugenio u Institute of Contemporary Arts Limite d Sweet talk / Michael Abbensett s Talkshop / Thomas Baptiste The Keskidee Centr e Jumbie Street March / T-Bone Wilso n Pentameters It's a very common complaint / Nigel Bellairs Not dead easy / Nigel Bellairs Do it yourself / William Humbl e Go on, jump / Brian Compor t Red Pike Company The best we've ever had / Harry O'Donovan Scorpio Productions Tie-up / Lesley Johnso n Westway Productions Limite d The end / Roger Lloyd-Pac k Wimbledon Pub Crawler s Bill / Jon Croft

Production grant s Birmingham : Adhoc Theatre Company Mandog / Gareth Owen Confessions of Jon-Jak Crusoe / Gareth Owen Birmingham Arts Laboratory Limite d Foul play / David Edgar and Gareth Owe n Birmingham : Pub Theatre Company Preggin and Liss / Robert Patric k Birmingham : 2nd City Theatre Company Home leave / Bob Steven s Brighton : Gardner Centre for the Art s Raven / Rosemary Davies Lancaster : Paines Ploug h Crates on barrels / David Pownall London : The Africa Centre The trick / Erisa Kirond e The soldiers / Robin Whit e Alternative Theatre Company Limited Winter visitors / Andy Smith The Artaud Company Masoch / Michael Almaz

A61 Table C New Ariting in the theatre (continued)

Production grants (continued) Play/Author

Cecropia Company Magic afternoon / Wolfgang Bauer, translated by Herb Gree r Covent Garden Community Theatre Workshop Scrooge and the magic lamp / Richard Robinso n Mud salad / Richard Robinso n Drumbeat Productions Matrimony Limited / Tudor Gate s The dream of Geronimous Bosch / Tudor Gates Never so good / Kevin Laffan Forestage Company Accommodation / Melville Lovat t Gay Sweatshop Every woman can / Jill Posener Grasshopper Theatre Company Wha happen? / Pauline Yanson Insight Productions Wood painting / Ingmar Bergman, translated by Anna Christina Meurling and Frederick Prou d Jean Pritchard Management Limited The reformer /Alan O'Kell y On the game / Glenn Chandler Who'd be a Vampire / David Soames The shallow depth / Michael Sharp Marble / Chris Coles Welcome to Buckhill / Chris Allen Fragments / Vanessa Drucker Isabel and the matador / Ian Buckle y Jason / Joseph Praml Mermaid Theatre Trust Limited Poles apart / Clive Kin g Moubray Productions Morecambe / Franz Xavier Kroetz, translated by Jane Brenton Overground Theatre Club Tambourine man / Tony Heywood and Leigh Jackso n Theory / Steven Mackrel l The trouble with ants / Alan Bryc e Pentameters The other side of the swamp / Royce Ryto n Quartet / Paul Schoolman The last real thing / Ronald Hayman The poetry reading / Stanley Nelso n Polish Social and Cultural Association Limited Interrupted act / Tadeusz Rosewicz, translated by Christopher Speyer and Katherine Uklej a Pro-Creation Smile for Jesus and the cameraman / Roy Kift Roland Jaquarello Productions Hatchet / Heno Magee Stuart Kerr Productions Purity / David Mowat Temba Theatre Company Sherry and wine / Jimi Rand Theatre at New End Limited The hard stool / Anthony Haygarth Death Story / David Edgar Clownmaker / Richard Crane Fat Harold and the last 26 / Alan Bleasdal e Theatre 84 Limited The fanlights / Ren6 Marques, translated by Richard Jogn Wiezell Tim Stockil Productions Sing to me through open windows / Arthur Kopi t The Wordplay Company Wordplay / Roger McGoug h Richmond Fringe Limited The land of palms / David Crega n Filthy Fryer / Andrew Davies Tina / David Crega n David going out / Jeremy Paul

Writing project grants Project

Bradford : Roadgang The Party's Over Canterbury: William Roberts and Nicolette Lee A tale of the jazz age London : Dockwalloper Productions Familiar strains Smile please you're on holiday Eastend Abbreviated Soapbox Theatre The adventures of strongman and sleepyma n Hampstead Theatre Club Limited Cake walk Mikron Theatre Company Limited Keep yer'ands off andUp the Cut Polish Social and Cultural Association Limited Turn on your telly Scarab Theatre Company Everest hotel Shared Experience An Arabian night - recitals of mystery violence and desire

A62 Writing project grants Project

Sidewalk Theatre Compan y Daphne sits it out The nose play Soho Theatre Company Limite d A series of writers workshops Southtown Theatre Limited The black shop Theatre at New End Limited A writers workshop Women's Theatre Group Work to role

A63

Table D National 'Manuscript Collection of Contemporary Writers Fun d

The following manuscript material was acquired by the Fund during the year ended 31 March 1976 :

Ted Hughes Manuscripts of Care Birds (Bought from the author for Exeter University Library )

Peter Redgrove Seven American notebook s (Bought from the author for the Brotherton Library, Leeds University )

The following manuscript material was acquired by the institution named with assistanc e from the Fund :

Douglas Young Collection of manuscripts and letter s (Bought from the author's family by the National Library of Scotland)

A64

Table E Special funds Beneficiaries during the year ended 31 March 1976

H. A. Thew Fund £ Susan Moffat 100 Mary Morley 150 Stephen Pratt 70 D. Saint 75 Abbots Lea School 100 Bluecoat Society of Arts 100 Liverpool Youth Music Committee 300 Merseyside Youth and Music 100 Rodewald Concert Societv 300

Henry and Lily Davis Fun d Jean Copland 400 Timothy Crawford 400 Martin Hughes 300 Nigel North 600 David Powell 300 Penelope Price-Jones 300 Glenda Simpson 75 Heather Slade 80 Anthony C. Smith 600 Donald Stephenson 400 Christopher Underwood 450 London Opera Centre for Advanced Training and Development Limited 300

Guilhermina Suggia Gift for the 'Cell o Faye Clinton 225 Edward Lester 200 Ruth Phillips 100 Jeremy Thorne 75 Lucy Wilding 100 Amelia Young 100

Dio Fund Richard Blackford 100

A65

Table F Arts Council exhibitions held in Great Britain during 1975 7 6

Note England L Exhibited in Londo n NI Exhibited in Northern Ireland R Exhibited in the Region s s Exhibited in Scotlan d w Exhibited in Wales

Paintings, drawings, sculpture, et c LR African Shelter (documentary architectural exhibition ) R Architecture without Architects (documentary exhibition ) LR John Armstrong ARA 1893-1973 (in conjunction with the Royal Academy ) NI Rs Art into Landscape Rsw Bernd and Hilla Becher : industrial structures Ls Mark Boyle: Journey to the Surface of the Earth R British Sporting Painting 1650-185 0 LR Burne-Jones LR Treasures from the Burrell Collection L Chinese Jade Throughout the Ages (Oriental Ceramic Society exhibition ) L The Condition of Sculpture Rs Cut Folded and Tied : drawings and prints by Richard Smit h LRs English Cottages and Small Farmhouses (documentary exhibition ) Rs English Influences on Vincent van Gog h LRs Max Ernst : prints, collages and drawings R French Paintings from the Courtauld Collection Rs George Fullard 1923-73 L The Georgian Playhouse R Arshile Gorky : paintings and drawings LRs Richard Hamilton : paintings, pastels, print s R Howard Hodgki n L The Idea of the Village (documentary exhibition) Rs Patterns of Islam (documentary architectural exhibition ) L Jasper Johns Drawing s Rs Sculptures by Phillip Kin g L Jean-Frangois Millet R Paul Nash (a selection from the retrospective exhibition organised by the Tate Gallery) R The Photography of Paul Nas h L New Work I L New Work II L Andrea Palladio 1508-80 L John Panting L Tom Phillips L Previous Exhibitors at the Serpentin e L Serpentine Summer Show I L Serpentine Summer Show 1 1 L Serpentine Summer Show II I Rs De Stijl (documentary exhibition) L Five Swedish Artists L The Video Sho w R Young America : a selection of paintings from the collection of the Pennsylvania Academy of the Fine Arts

The Arts Council Collection Rw Art as Thought Process (selected by Michael Compton ) R Beyond Painting and Sculpture (selected by Richard Cork ) LR Drawings of People (selected by Patrick George ) R Drawing towards Painting R An Element of Landscape (selected by Jeremy Rees) R Sculpture for the Collection (selected by Bryan Kneale )

Original prints R Patrick Caulfield Prints LRs Order and Experience : an exhibition of American Minimalist Print s Rsw Pages and Fuses and other prints by Robert Rauschenberg LRs Edward Ruscha : prints and publications LRs John Walker Prints

A66

The Arts Council Collection R Developments R Image, Reality, Superreality (selected by Edward Lucie-Smith ) • New Prints '72

Exhibitions of photograph y R Bill Brandt LR The Camera Goes to War (Scottish Arts Council exhibition ) Rsw Coalface 1900 (Welsh Arts Council exhibition ) LR Bert Hardy, photojournalist for Picture Pos t LR Thurston Hopkins, photojournalis t L Sylvester Jacobs : Portraint of England LR Tony Ray-Jones 1941-72 : The English Seen LR The Real Thing: an anthology of British Photographs 1840-195 0 R George Rodger, photojournalist Rs Sir Benjamin Stone L Paul Strand (in association with the National Portrait Gallery ) LRw Frank Meadow Sutcliffe 1853-1941

Sixty-six exhibitions were held in 167 separate galleries in 114 different places (29 0 showings, including 39 held in London at the Arts Council's Hayward Gallery and Serpentin e Gallery; and other galleries and museums, including the Horniman Museum, ICA, Nationa l Portrait Gallery, Royal Academy and Victoria and Albert Museum .

Note Scotland ED Exhibited in Edinburgh E Also exhibited in Englan d T Tour in Scotlan d w Also exhibited in Wales

ED Craigie Aitchiso n ED Arts Council Miscellany ED Aspects of Yugoslav Art 1975 (organised by the Richard Demarco Gallery ) ED Bellamy, Brown, Gillon, Moffat (organised by Alan Bold and the artists) ED Mark Boyle : Journey to the Surface of the Earth (Arts Council of Great Britain exhibition ) E The Camera Goes to War (photography) ED Patrick Caulfield : paintings and prints T Patrick Caulfield Print s T Ceramics and Prints from the Royal College of Ar t ED Contemporary Scottish Printmaking (organised by three printmakers' workshops, Scotland ) w Edinburgh Ten.30 (Scottish Arts Council and Welsh Arts Council exhibition) T Edinburgh Photographs by Richard Houg h ED Eight from Berli n T Fact and Fantasy E Fashion 1900-39 (with the support of the Victoria and Albert Museum ) T Gallery Choice (Annely Juda Fine Art) ED Glasgow League of Artists/New 57 Gallery (organised by the artists ) ED Richard Hamilton : paintings, pastels, prints (Arts Council of Great Britain exhibition) ED Josef Herman (organised by Glasgow Art Gallery and Museum ) TE Jewellery in Europe (with the Crafts Advisory Committee) E Allen Jones (with the Welsh Arts Council) ED A Kind of Gentle Painting (Elizabethan Minatiures) ED Bruce Lacey Retrospective T The Last Wild Land (photographs by Michael Edwards ) T The Need to Draw (20th century Scottish drawings) ED Net Works (organised by Art Net, London ) T Saltmarsh (work by Glen Onwin) T Eric Schilsky : sculptures and drawings T Scots Abroa d T Scottish Landscape Painting T From Sowerby, Bauer, Hooker and Fitch - Botanical Illustrations Video Symposium and Exhibition (in Glasgow) T A Word on Prints

Thirty-three exhibitions were held in 23 buildings in 18 centres ; 67 showings in all.

A67

Table F krts ( ouncil exhibition s (continued) held in Great Britain during,, 1975 6

Note Wales E Also shown in England Ni Also shown in Northern Ireland o Oriel Gallery exhibition only (Welsh Arts Council/Bookshop gallery, Cardiff ) oT Oriel exhibition and tour A Also shown abroad

African Shelter (Arts Council of Great Britain exhibition ) A Art and Society 4 - Marriage o Ronald Carlson E Coalface (photography) o Stephen Collingbourne o Michael Crowther and Stephen Youn g Drawings from Welsh Collections Earth, Air and Wate r Edinburgh Ten .30 (Scottish Arts Council/Welsh Arts Council exhibition ) E Etchings by Augustus John o Garth Evans OT Arthur Giardelli o Ian Grainger o Paul Gree n o David Gould and Peter Ellis Here Today . . .? (photography) o Harry Holland, Paul Beauchamp and David Haste E Japanese Woodcut Print s o Alan Jones OT Allen Jones o Gareth Jones o Selwyn Jones-Hughes and Peter Prendergas t The Mediaeval Face (National Portrait Gallery exhibition ) E NI John Piper : Photographs of Wales Plans and Prospect s Pride of Possession o Terry Setch E Slate (photography ) o David Tinker Toys (with the support of the Crafts Advisory Committee ) Wales Black and White (photographs by David Hurn ) Ways of Making

Thirty-seven exhibitions (including the Oriel programme and four from the Arts Counci l of Great Britain) were shown in Wales at 20 centres in 27 different buildings - 70 showing s in all. In addition, Welsh Arts Council exhibitions had nine showings in England , Northern Ireland and abroad .

A68 Table G Contemporary Music Network and Small Scale Touring Schemes

Contemporary Music Network The Contemporary Music Network exists to increase the number of performances o f important contemporary works throughout Britain . The Arts Council of Great Britain, with advice from the British Section of the Internationa l Society for Contemporary Music, co-ordinates and subsidises tours by distinguished British and foreign ensembles, providing valuable opportunities for the repetition of well - rehearsed programmes . Programmes include not only `classics' of the twentieth century, but also jazz, improvise d and electronic music .

Contemporary music network 1975/76 tour s Ardleymusic (New Jazz Orchestra) Blackburn, Exeter, Leeds, Leicester, Manchester, Plymout h

Bournemouth Sinfonietta Cambridge, London, Southampton, York

Brotherhood of Breat h Blackburn, Bridgwater, Farnham, Horsham, Leicester, Milton Keynes, Plymout h

Bruno Canino and Antonio Ballist a Cambridge, Lancaster, Liverpool, London, Manchester, Yor k

Contrapuncti Carlisle, Godalming, Horsham, Huddersfield, Hull, Keele, Lincoln, Liverpool, Luto n

Fires of London Abbotsholme, Aberystwyth, Bangor, Blackburn, Cambridge, Exeter, Huddersfield, Keele , Lancaster, Liverpool, Manchester, Plymouth

Kontakte Bridgwater, Bristol, Horsham, Hull, Middlesbrough, Nottingham, Southampton, Yor k

London Oboe Quartet Blackpool, Carlisle, Grimsby, Rawtenstall, Sheffield, Sunderland, York

London Sinfonietta Brighton, Dartington, Madeley, Shrewsbury, Swansea, Warwic k

Philip Glass Ensembl e Birmingham, Bristol, Carlisle, Keele, Liverpool, London, Newcastle, Oxford, Yor k

S.O.S. Bridgwater, Bristol, Hull, Leeds, Leicester, Newcastle, Plymouth, Southport

Spontaneous Music Ensemble Birmingham, Brighton, Leed s Small Scale Touring Schemes The schemes exist for the purpose of encouraging companies to play in unconventiona l venues throughout the country and encouraging venues to develop a full and varied programme of theatre work by visiting companies. The schemes involved are the Regional Touring Circuit, which operates in conjunctio n with the Regional Arts Associations, for groups working for a week of one-night stands i n a specific region and the Arts Centres Grid scheme, a network of eight venues around the country where subsidy is made available for seasons of theatre work by touring companies .

Groups participating in small scale touring schemes during 1975/76

Belt and Brace s Interplay Structure s Recreation Groun d Birmingham Performance Group Interplay Trus t Red Bras s Broadside Mobile Workers' Theatre John Bull Red Ladder Brum Studio Joint Stock Roadgang Bush Theatre Keith Wood Sal's Meat Market Call it Theatre Company Ken Campbell's Roadshow Salakta Combination Long Green 7 :84 Common Stock Lumiere and Son 7: 84 (Scotland) EAST Major Road Shared Experience EMM A Mikron Steel and Ski n Foco-Nov o Overground Temba Theatre Gate Theatre Paines Plough Theatre of Puppet s General Wil l People Show Wakefield Tricycle Hull Truck Pip Simmons Welfare State Incubu s Playground Theatre Company West London Theatre Workshop Inter-Action Quipu Productions Womens Theatre Group

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