The Arts Plan The Arts Council/An Chomhairle Ealaíon

The Arts Council/An Chomhairle Eala’on is an autonomous body established in 1951 to stimulate public interest in and promote the knowledge, appreciation and practice of the arts. We are the Irish State's principal instrument of arts funding and an advisory body to Government on arts matters, operating under the Arts Acts 1951 and 1973. As an advocate for the arts, we commission and publish research and information and undertake a range of development projects, often jointly with other public sector or non- governmental agencies.

The Arts Council is a voluntary body of 16 members and a chairman, appointed by the Minister for Arts, Heritage, Gaeltacht and the Islands for a term of five years. The eleventh Arts Council was appointed in 1998. It has an executive staff of 32.

The Arts Council supports all aspects of the arts, in Irish and in English - architecture, dance, drama, film, literature, music, opera, and visual arts. We support individual professional artists through direct awards and bursaries and through Aosd‡na, the affiliation of creative artists. We also support multi- disciplinary arts through activities and facilities such as arts centres, festivals and community arts. We provide annual grants or project funding to hundreds of organisations involved in the arts throughout Ireland.

In partnership with local authorities and with òdar‡s na Gaeltachta, we part- fund 31 county, city and gaeltacht arts officer posts and their year-round programmes. We co-operate closely on a wide range of programmes and projects with our counterpart, the Arts Council of Northern Ireland. The Arts Plan 1999-2001

A plan for Government, a strategic framework for the arts Contents

Page 2 Chairman's Preface

Rationale 6 Background to the Plan 11 Planning for the arts: a continuous process

15 Strategies for the arts

Implementation 26 Management 28 Budget

Perspectives 32 Artforms 46 Combined arts

Appendices 54 Succeeding better: a review of the first Arts Plan 1995-1998: summary of conclusions 57 Arts organisations and activities supported by the Arts Council during the term of the first Arts Plan

The members of the Arts Council 1998-2003

Companion volumes (i) The Arts Plan: executive summary (ii) The Arts Plan: consultative review (including list of submissions received and list of consultative meetings) (iii) Local Authority Expenditure on the arts - A four year perspective Chairman's Preface

Ireland is poised, as never before, to create, to seize and to they have added a particular lustre, unexpected depth and benefit from the emerging opportunities now on offer. outstanding artistic reputation to our country's more Confident, more developed economically, more socially obvious and much vaunted economic success of the Celtic critical and aware, Ireland is ready for new policy Tiger. departures in all areas of life. Irish art has shown itself to possess an extraordinarily rich A combination of political, economic and social seam of outstanding talent. Yet, despite significant developments have bred a new sense of capability and an increases in State funding, compared to our neighbours in enhanced level of expectation in a society conscious of a the EU, or in the developed nations of the world, it is still long and distinguished heritage. This is an entirely very low. The vast majority of professional artists (including opportune time to re-evaluate, re-organise and radically re- some with established reputations) find it difficult to survive invigorate the place of the arts at the heart of Irish society solely from their creative or artistic earnings. Some, by a and the larger world. Indeed that task is long overdue. range of shifts and compromises, manage to survive. Others, from sheer economic necessity, are excluded The value which we place on the realisation of the creative altogether. The full potential of Irish imaginative and potential of all of our citizens is what will ensure that our creative talent is not harnessed, and we are all the poorer. sense of ourselves, and our distinctive voice in the world, is sustained into the future. The richness and Similar restrictions limit the efforts of many citizens distinctiveness of our culture rests on our recognition of the pursuing their imaginative and creative lives as amateurs. intrinsic and irreplaceable role of the arts in our lives, and They deserve recognition as practitioners in pursuit of ever- we see ourselves, in the Arts Council, as central to the developing and ever-higher standards. They, too, deserve communication of this message. recognition and support in achieving their full creative potential. The arts are central to our definition of ourselves as a society. This is a message to the world, as well as to The reality is that there is an unresolved contradiction at the ourselves. The record of prestigious international heart of contemporary Ireland's creative and artistic life. recognition of Irish artists across the artforms is ample There is a tension between a national pride in what has testimony to the rich vibrancy of artistic endeavours been achieved and a continuing unwillingness to provide generally and to the extraordinary talents and commitment the necessary resources to nurture, develop and expand of many individual artists and groups - both professional the whole community's creative and innovative potential in and amateur. We have basked vicariously in our artists' all its variety and quality. This reluctance is itself a product reflected glory. In exploring their own creative impulses and of generations of neglect, manifest most obviously in the inspirations they have given the world many new and low priority accorded to artistic cultivation, development enriching perspectives on the human experience; in the and appreciation in much of the educational system. It is process they have helped to create a richer, deeper, far less a function of opposition to adequate public funding more rounded view of Ireland. In theatre and music, than a reflection of the widespread inadequate awareness literature and the visual arts, film and increasingly in dance, of the issue. It is time to make a new start; time to raise the level of public audiences for, and appreciation of, the arts; but it aims to go support for the arts to a new, effective plateau; time to beyond a merely passive or purely market-driven concept of provide the resources required to recognise and develop the "arts consumers". The Arts Council is determined to work to central, intrinsic, invaluable role of the arts in society. The reduce the barriers to active experience of and direct Arts Council believes that this second Arts Plan is a carefully participation in the arts. Imagination and creativity are not crafted, costed and co-ordinated programme designed to the preserve of the few; the Plan is designed to encourage develop to the fullest the Irish community's creative impulses the greatest number to explore, develop and express their and talents. artistic potential.

The Plan rejects any lingering illusion that the arts in a At the same time, the Arts Council is committed to fostering mature society are an optional extra, a discretionary and celebrating, in a particular and focused way, the pursuit extravagance on behalf of the few, to be catered for only of excellence in art, and to providing the human, after other social and economic priorities are organisational and physical infrastructures required to accommodated. It demands a recognition of the centrality achieve that aim. This demands special concern for those of the arts to the health, well-being and maturity of a nation. with talent for artistic work of the highest order - at all stages It proposes a developmental approach whose purpose is to of their careers - to give them the freedom and support to create a new environment in which the arts, in the broadest fulfil their capacities in an international as well as a national sense, can flourish and be appreciated at home and gain environment. In releasing their full potential, we believe, greater international recognition and prestige abroad. Ireland will maximise its own return from an overdue and immensely valuable long term investment in the arts. Built on the pioneering efforts of the first Plan, it offers a coherent developmental strategy designed to nourish and develop the world-class potential of the arts sector in Brian Farrell Ireland. It is grounded in a specific vision of the central, Chairman integral role of the creative imagination in society, that can May 1999 be summarised in the twin goals of access and quality.

This, in turn, is married to a significant proposed shift in the functioning of the Arts Council itself. It is a radical proposal for a new era, harnessing the techniques of strategic management initiatives in the service of the arts. It is designed to provide a more stable base for long term development and, above all, a persuasive case for additional public funding.

The proposed strategy is informed by a definition of the arts which is inclusive. This certainly involves increasing Rationale Background to the Plan The moment for radical change Ð Increased resources Ð Resourcing the arts: some international comparisons Ð The arts planning environment Ð External inputs to the Plan

This document sets out the Arts Council's second strategic worthy demand: in 1999, demand outstripped available plan for the arts. It has been prepared for submission to the funds by a factor of more than 2:1. Minister for Arts, Heritage, Gaeltacht and the Islands and in turn to Government, following a wide-ranging process of In recent years the amount of arts activity has increased consultation, reflection and review. more quickly even than the growth in funds. While this is a most welcome development, it has had the effect of The plan takes full account of the Government's Strategic spreading public support ever more thinly. When combined Management Initiative and will be used to guide the work with short-term year-to-year funding, this has meant that the and decisions of the Council over the next three years. The arts are still, despite the growth of recent years, funded on 3-year time horizon of the plan reflects the planning cycles an annual, hand to mouth basis. The immediate needs of of the arts sector and the multi-annual financial planning individuals or individual organisations may be supported, cycles of Government. but often inadequately.

Longer-term needs, or problems that are common to The moment for radical change significant numbers of organisations, can be addressed This plan builds on the first strategic plan for the Arts only in part, or not at all. This is despite the fact that more Council, The Arts Plan 1995-1998, but in no sense is it and more leading practitioners in the sector are articulating merely a continuation. The first plan led to a dramatic these needs very clearly. expansion of contemporary arts activity, unprecedented in Ireland this century, reflecting a doubling in annual The Arts Council has in recent years begun to try to Government spending on the arts (from £13m to £26m). respond to these needs by undertaking a developmental approach, in particular in relation to local arts. We need to Largely because of the success of the first plan, the arts in take this approach much further. We believe that if the Arts Ireland today are at a very different starting-point, with Council were to continue to be simply a funding agency, emerging needs and new opportunities. As a result, the however responsive, we would be failing the arts at a need for radical change in the way the Arts Council fundamental level: supporting more and more people but supports the arts has now become clear. We have reached increasingly inadequately, and with no eye to the wider and the point where the Arts Council must change its role, longer-term developmental needs of the arts. The features moving away from being largely a funding body, towards of a developmental approach to the needs of the arts are using it resources in a more developmental way. detailed in the next chapter.

For many years, the agenda of the Arts Council has been The extent to which the arts in Ireland realise their full driven mainly by demand. The approach has been to potential in the future will be a reflection of how well the support a high proportion of the people and organisations sector and the Arts Council can work together. If emerging working in the arts in Ireland who sought assistance and to opportunities are promptly identified and properly fostered, distribute available funds as widely as possible. The level of it is possible to envisage considerable positive change in a funds available has always been much less than the level of relatively short period of time. For this to happen, the Arts Council must accelerate the Ireland from the bottom of that league table - and this process of its own transformation into the State's despite only modest growth in arts funding elsewhere. development agency for the arts: an agency focused on creating the conditions and supplying the support to ensure The table below shows public funding for the arts (including that the arts in Ireland continue to grow in potential, in stature museums and galleries) in nine countries or regions. and achievement. This transformation will be carried out through projects aimed specifically at refining or replacing Direct Public Spending on the Arts and Museums (1997) existing programmes, systems and structures so they reflect Country or region Per capita As % of GDP better the development needs of the arts. This plan describes Sweden IR£62.14 0.35% the programmes already in place and the projects or Finland IR£38.51 0.27% processes that will define the transition from current to new Quebec IR£36.13 0.27% ways of working. They are set out in the next two sections of Scotland IR£27.84 0.21% this document and a further chapter sets out the broad Australia IR£25.89 0.19% management implications for the Council itself. England IR£24.23 0.19% N. Ireland IR£17.32* 0.19% Increased resources Ireland IR£12.36 0.09% More than an ambitious process of developmental change is USA IR£3.73 0.019% needed. Also essential is increased State funding, to bring Ireland to a level comparable with other similar countries. In A Comparative Survey of Public Spending on the Arts, commissioned from the International Arts Bureau, published by the Arts Council, 1999. addition, now that great local interest and activity in the arts * IR£21.98 including lottery funding. have been stimulated, it is surely time to move towards a greater contribution to the arts from the local rather than the The Arts Council would like to see substantial further growth national level. This is desirable for reasons not alone of local in funding, which in our view is essential if the opportunities democracy, but also of expanding the range of resources now open to the arts are to be realised. available to the arts. In other countries, it is common for local funding to be around half of the overall public sector The arts planning environment support for the arts; in Ireland, by sharp contrast, only about The environment in which the Arts Council plans is a 15% of public support comes from the local level. The desire complex one. The range of driving forces includes: to increase local involvement is reflected in the strategies of this plan. Sustained economic growth The Irish economy is likely to go on growing, albeit more slowly. Resourcing the arts: some international comparisons This creates opportunities for arts organisations and individual In developed countries, the need for State subsidy of the artists to broaden their audience in Ireland and overseas, and arts at some level is universally recognised. In Ireland this to strengthen their finances. Other fruits of economic growth funding has always lagged well behind that in comparable will include changes in the way people use their leisure, in countries. Because of the historically low funding, even the corporate arts sponsorship and public-private partnerships, recent welcome increases in funding have failed to lift and in how Ireland's image is promoted overseas. Arts organisations will need greater management and The Anglo-Irish political agenda marketing skills to exploit those opportunities. They will also Since the Belfast Agreement, there has been the promise of find themselves competing harder to attract skilled personnel a new political and civic climate in Ireland. It would be to take on senior artistic and managerial roles. premature to interpret the effect of this agreement on the environment of the arts in the long term, but it is surely the Technology case that greater recognition and support will be given to the New technologies affect the arts. New media, both for range of cultural experience in these two islands and the artistic expression and dissemination, have become ways in which the arts explore and express these. available, and new channels of access for audiences. Technology also offers opportunities for improving The two Arts Councils on the island, in Dublin and in Belfast, management in arts organisations and for facilitating have worked together ever more closely for more than 20 communication and co-operation between them, nationally years. The opportunities for co-operation have informed a and internationally. However, few Irish arts organisations or significant part of the thinking in the preparation both of this individual artists have the resources to stay abreast of these plan and the strategic plan of the Arts Council of Northern developments and to respond appropriately. Ireland 1999-2001.

The Arts Council must ensure that it understands the Public sector reform contribution emerging technologies can make to the arts. It Recent trends in public governance in Ireland are placing must help artists and arts organisations to exploit them, in demands for strategic planning on public sector bodies such terms of innovation in the arts and as a tool for greater as the Arts Council. It is important for us to monitor the organisational effectiveness. impact and effectiveness of what we spend so we can report meaningfully and increase transparency in our European agenda decision-making. Since Maastricht, arts and culture are within the scope of the European Union and there is a legal basis for cultural co- The challenge for the Arts Council is to do this in a way that operation between Member States. Culture has been respects the particular characteristics of the arts and which identified as a driving force in society and an integrated enjoys the confidence of artists and arts organisations. In element of any response to the challenges facing the particular, we must find ways of evaluating our impact and European Union Member States. Agenda 2000 will measuring success that are appropriate to the particular accelerate the EU's cultural agenda in other key policy areas nature of artistic activity. and the new single framework of EU support for culture will stimulate transnational cultural innovation and co-operation. This trend in public accountability also serves the needs of the arts, not least in helping to provide a better basis for The main developments will include: justifying State spending on the arts. It also offers us a way of continuously evaluating the Arts Plan during the three • Funding to support co-operation across Member States years of its life, so as to adjust it, as necessary, in response between artists, cultural operators and cultural to changing circumstances. institutions where this can demonstrate lasting structural impact. Local arts development Funding the arts is now part of the agenda of local • Stimulating co-operative support between Member government, thanks largely to the strategy of partnership States for transnational co-production and networking adopted by the Arts Council in the past. Considerable in the field of arts and culture. capital spending has taken place recently, funded by a • Removing barriers to a single market for the arts, variety of sources, and this has created a fast-growing including copyright issues. network of arts venues which will continue to expand in the immediate future. • Removing barriers to artists being free to work in any Member State. Every instance of capital funding of this kind creates a • Promoting the work of European artists globally. permanent need for ongoing funding, a fact which has very wide-ranging implications for the arts at local level. Ongoing The Arts Council will monitor those developments and help in support for these arts venues is shared between the Council developing the capacity to exploit the opportunities and local authorities. Demand at local level is also likely to presented. increase as an effect of greater prosperity, as well as from the devolution of power resulting from the Government's arts and cultural activities (currently estimated at about programme of local authority restructuring. £8.75m) will fall by more than 25%.

These factors will inevitably increase demand for funding The education and training of people who work in the arts - from the Arts Council for local arts development and as artists, technical specialists or managers, is inadequate to infrastructure, for more touring exhibitions and performing the needs even of the existing infrastructure; this deficit will arts to supplement local artistic activity, and for more local become more acute as new venues open and as companies control over arts policy and funding. During the period of the and artists operate in an increasingly competitive new plan, the Arts Council will promote a wider recognition environment. of the mutually-supporting roles that a central arts organisation and a local or regional authority each can play. Reflecting this overall environment, the Arts Council will give higher priority to supporting the building of capacity within The Arts Council, as a central body, is well-positioned to the sector. By capacity we mean the ability to think and ensure that national development needs are met and that behave strategically, and to secure resources from a plurality overall support is geographically balanced, as well as to of earned and unearned sources. focus on such matters as encouraging excellence and increasing access. Local or regional needs are best External inputs to the Plan identified and serviced at that level, with part of the financial The Arts Council's development of this plan has taken full support coming from the centre. This does not mean that account of an unprecedented level of public consultation arts events of national or international significance will not and also of a review by independent consultants of the first continue to receive support from the Arts Council. Arts Plan.

Development in the arts themselves Public consultation The expansion of arts activity under the first Arts Plan has A priority for the Arts Council in drawing up this plan was to created a new sense of confidence among people working take the fullest account possible of the views of those in the arts in Ireland, causing many to broaden their view of engaged in the arts in Ireland, as well as the views of the what is possible and to raise the level of the challenges they general public. set themselves. We decided to widen the consultative process beyond But such confidence for the future must be set against the simply inviting written submissions, to provide an opportunity background of quite a bleak reality. Aside from individual not just for direct communication with the Arts Council but artists, the arts in Ireland are characterised by a large also for debate. During 1998 the Arts Council held a series number of very small, private organisations, constituted on a of public meetings throughout the country for practitioners in not-for-profit basis, which almost invariably lack the staff, the arts and interested members of the public. money and physical infrastructure which would allow them to achieve fully their goals and objectives. Pay is poor, work These meetings, together with the process of voluntary opportunities often short-term and sporadic, and submissions on the arts plan, elicited the views of the key opportunities for training and professional development very organisations and individuals on the development needs of limited. Few arts organisations have the skills or resources to the sector as a whole, as well as for each particular artform. compete in an international market or context. Most lack the They also were successful to some extent in stimulating resources for significant audience development, even within debate, but this is an aspect that clearly needs further their own local area. Market information is negligible and development. The main findings of the consultation process, there hardly exists even a common or shared vocabulary including a list of submissions received, and a list of the with which the players in the sector can discuss the consultative meetings held are published as a companion challenges which face them in a complex public/private volume to this plan. The question of a new approach to funding environment. consultation is discussed in the chapter relating to the plan's implementation. Arts workers currently suffer poor working conditions relative to other occupational groups drawing from the same skills pool. Careers in the arts will need to become more attractive. Moreover, with falling unemployment, FÁS schemes will inevitably shrink as a source of subsidy to arts organisations. It is projected that during the term of this plan, FÁS grants to Among the general themes of the consultative One of the most important conclusions drawn by the Arts process were: Council from the consultative process is that there is a major need for continuous consultation. To be fully reflective of The place of the artist: There is a high level of recognition what people think, and how they are reacting to policy by arts professionals of the centrality development, consultation cannot be a once-off affair every of the individual artist and of the three years. Purposeful dialogue and communication must need to make provision in all aspects characterise the way we work in such a way as to keep the of Arts Planning for the individual, as Arts Council informed of people's views, and to share with well as the institutional needs. arts practitioners the process of policy-making for the arts. Resources: In the view of most participants, Independent Review what the arts in Ireland need above In 1998, the Department of Arts, Heritage, Gaeltacht and the all is more resources. Islands commissioned Indecon International Economic National/local balance: Many people feel there is need for Consultants, in association with PriceWaterhouseCoopers, to less centralisation in arts support, in review the first Arts Plan. Their findings were intended to the context of better provision for the provide a key input into this second Arts Plan, and they have arts at local level. done so.

Education: Key issues were the right to arts A summary of the conclusions and recommendations are to education for all, the importance of be found in the first Appendix. proper educational facilities for artists themselves, and the need for A central conclusion of the consultants' report was that a more active engagement with the Department of Education and "Significant investment has been made in the sector and Science. there has been a transformation in aspects of regional From "subsidy" to The view emerged that this infrastructure. There is therefore much for individual "investment": was the right moment for a major artists and for the sector and the Arts Council to conceptual shift in arts support, celebrate." moving away from a passive notion of subsidy to the more dynamic and Another important conclusion was to reject the notion that forward-looking notion of investment State funding on the arts should be justified in purely in people's creative potential and economic terms. Though the arts do have a worthwhile achievement. economic impact, the report concluded that this should not be the basis for State support. The value of the arts to the Access: Access to arts that are publicly nation should be measured by cultural, rather than economic funded, and encouraging wider benchmarks. The Arts Council has a key role in establishing participation in artistic activity, are such benchmarks. issues that are always hotly debated, with much difference of opinion both as to fundamental aims and to the appropriate methods for realising them. Nonetheless, the view is widely shared that there is no necessary incompatibility between high artistic standards and access, in the widest and deepest sense. Technology: The opportunities presented by technology in the creation of art, as well as in its dissemination and administration, are a matter of particular interest and excitement to many. Planning for the arts: a continuous process

The Arts Council as a development agency We intend to build capacity in the arts sector, reflecting the Any plan created by the Arts Council must flow from the fact that there are massive barriers which now stand in the Council's role and how we meet our statutory responsibilities. way of the arts in Ireland reaching their full potential. This is incorporated in the following statement of purpose: These three central objectives will be implemented through the following twelve specific strategies and supported by an The Arts Council is an autonomous statutory body, implementation programme which will be aimed at appointed by Government and funded by the Oireachtas increasing the Arts Council's capacity to be a development to promote and assist the arts and to develop public agency for the arts:- appreciation for the arts. To promote artistic excellence and innovation, the Arts Our role is to enhance the quality of people's experience Council will of the arts, to advocate the unique value of the arts in 1 Improve the professional formation, practice and career society, and to recognise both promise and achievement development of artists. in the making of art. We acknowledge both the bilingual 2 Direct funding towards excellence and innovation in the and the international context of the arts in Ireland. promotion of the arts. 3 Support artists working through Irish and in indigenous We value excellence, innovation and diversity. We support arts to achieve their full potential and increase the expression of these values through policies and audiences. programmes for the development of the arts, alone or in 4 Foster more recognition, acknowledgement, critical partnership with others. assessment and documentation of the arts.

In the context of that role, the Council has identified three To develop participation in and audiences for the arts, inter-related objectives for this next plan: the Arts Council will 5 Support more public participation in the arts. ¥ to promote excellence and innovation in the arts 6 Increase children's and young people's engagement with the arts. ¥ to develop participation in, and audiences for the arts 7 Encourage arts organisations and promoters to develop ¥ to build capacity in the arts sector. audiences. 8 Develop international audiences for Irish arts and bring We intend to put more focus on excellence and innovation, international arts to Irish audiences. although these have always been a constant element in Arts Council policy. To build capacity in the arts sector, the Arts Council will 9 Improve dialogue with Government. We intend to concentrate more on drawing more people into 10 Improve local structures for the arts. the arts, either as participants or as audiences - both in 11 Help arts organisations to plan and manage better. response to the democratic and egalitarian imperative and 12 Rationalise financial supports and improve the also to increase the independence and viability of the arts. application process. In applying these overall strategies, we will be conscious of Some of the important characteristics of a development the unique nature of each individual artform or arts discipline. agency for the arts are set out below. What we call "the arts" is by its nature a collection of extremely diverse activities, and this diversity is a strength which the Action-oriented The Arts Council will develop its implementation of the plan will seek to reflect and to deepen. research: understanding of the development Equally, in putting these strategies into effect we will be fully needs of the arts by means of conscious of the Arts Council's responsibility to address the research and dialogue. Externally, local, national and international agendas of the arts in Ireland. research outcomes will be disseminated as a means of The strategies are, therefore, guidelines rather than rigid developing debate and stimulating prescriptions and they will find different expression as they planning. Internally, they will inform are applied to varying circumstances. As research or decision-making and advocacy of development projects produce their results in each artform, the needs of the arts. or area of concern, existing funding programmes will be Dialogue: The Arts Council will develop a more maintained, modified or replaced over the life of the plan. articulate relationship with arts practitioners. The Arts Council will put in place measures to strengthen its internal systems and structure, to assess the impact of its Targeted funding: The Arts Council will move support, and to improve dialogue with people working in the progressively to earmark funding in arts. In attending to these administrative needs, however, we support of the development needs of will not lose sight of a central priority - which is to give the the arts, as defined in this plan, and best possible public service in the development of the arts. as refined by research and dialogue. Multi-annual agreements will support It is important also to put this plan into context. Just as it longer planning horizons. The builds on a first plan that laid foundations for a new era in application process will be clarified arts support, it is also part of a longer process that will and streamlined. continue beyond 2001 and evolve, as the needs of the arts in Ireland develop. Capacity building: Many artistic enterprises lack the organisational capacity to achieve The Arts Council as a development agency their aims. Cross-sectoral support Much of the money the Arts Council spends is likely to programmes to strengthen continue to be received by the artists and organisations organisational capacity (including supported at present, albeit differently articulated. This marketing, concentration of reflects the long-term nature of our relationships with key resources, and the generation of arts organisations. However, we recognise the need to non-grant sources of revenue) will be change fundamentally the way we work, in response to a feature of the Arts Council's changing needs and circumstances. We will refine existing approach to developing the arts. programmes or create new ones by processes of research Building the It is no longer realistic to address the and development, some of which, like the audience international needs of the Irish arts on an development initiative, or the research in visual art collecting dimension: exclusively domestic basis. The Arts policies, are already in progress. Council will increase the resources it provides to help Irish artists and arts We will also adapt our approach to communication with the organisations to benefit from sector, making it more open, and more purposeful. The basis international experience and of communication will be the development agenda set by exchange, and to build international this plan. The success of the plan will depend upon the audiences for their work. response of practitioners - including those not funded at present - and the nature of the plans they make.

For that reason this plan, unlike the first Arts Plan, does not specify implications for individual arts organisations. A full list of the organisations funded in the term of the first Arts Plan can be found in the second Appendix. Local arts The Arts Council has been The range and the scope of potential development: instrumental in developing a partnerships is large. Among those recognition of the local agendas of with whom we will work during the the arts, and a capacity at local level term of this plan are: to respond to these. The next phase in this process is agreeing shared Aer Lingus priorities with local authorities about Aosdána common development priorities for Artists' representative and resource the arts in local areas, based on organisations. specific forward planning statements. Arts Council of Northern Ireland These will provide, inter alia, for the Arts education bodies consolidation of the professional Bórd Fáilte Éireann network of local authority arts Bórd na Gaeilge officers and the promotion of high British Council standards of artistic programming CIRCLE and artistic innovation locally. City and County Managers' Association Measuring The Arts Council will develop Cothú performance: performance indicators and impact Council of Europe measures for its funding Department of Arts, Heritage, programmes, in consultation with Gaeltacht and the Islands funding recipients. These will help us Department of Education and and others to evaluate our Science effectiveness, to guide future Department of the Environment and decisions, and ensure that scarce Local Government. resources are put to best use. Department of Foreign Affairs Department of Health Partnership: The Arts Council is one - albeit the Enterprise Ireland largest - of a number of sources of FÁS public and private funding for the Health Boards arts in Ireland. In the interests of Irish Council of People with policy coherence, the Arts Council Disabilities will work in partnership with others, Local and regional authorities under a framework of clearly National Council of Cultural articulated goals and values. Institutions Office of Public Works Parents' organisations Publishers, broadcasters and the media Radio na Gaeltachta RTÉ Science Council Sectoral representative groups and networks (including amateur bodies) Teachers' Unions Telefís na Gaeilge Údarás na Gaeltachta Strategies for the arts To promote artistic Improve the professional excellence and innovation, formation, practice and career 1 development of artists the Arts Council will: The Arts Council's goals are to support individual artists to achieve their full artistic potential, and to improve the viability of the arts as a career, in Ireland and abroad.

For artists to achieve their full potential, most need, in varying degrees, specialist education and training, access to the work of other artists and to critical opinion, access to equipment and materials, and opportunities to make work, or to see or hear their work in production.

Many artists work alone, and they benefit from representative bodies or resource organisations which give them professional support. In Ireland, only a small minority of artists generate a living wage from their artistic earnings alone, and more than 100 artists rely on the stipend provided by Aosdána, and funded by the Arts Council (the cnuas, worth about £9,000 per annum), to subsidise their professional practice.

The Arts Council is required to take an informed overview of the development needs of artists and ensure that supports are in place for both emerging and mature artists. The Council is, however, not responsible for addressing all these needs, particularly in basic education and training, which is the responsibility of the Department of Education and Science.

The Council will maintain existing awards for the training and career development of individual artists, will provide administrative, promotional and funding support to Aosdána, and will continue to fund artists' resource organisations. During the term of the plan, we will also

• Complete research into the impact and effectiveness of existing Arts Council programmes in direct support of artists, and develop a new implementation strategy in relation to architecture, dance, drama, film, literature, music, opera and visual arts, in relation to artists with disabilities, and in relation to the programmes of local authorities, for adoption in the course of the plan; • Submit proposals to the Departments of Arts, Heritage, Gaeltacht and the Islands, and of Education and Science, with a view to improving the range of certified education and training provision for performing artists; • Create financial incentives for arts organisations to promote career development opportunities for Irish artists; • Examine the feasibility of creating a foundation for supporting individual artists of high achievement or promise in their professional development; • Support education and training for the professional formation of artists and arts workers in collaborative or community contexts. Direct funding towards Support artists working through Irish excellence and innovation in the and in indigenous arts to achieve their 23promotion of the arts full potential and increase audiences

The goal of the Arts Council is to achieve a more accurate The goals of the Council are to provide for the contemporary alignment between our actual spending on arts expression to high artistic standards of traditional arts organisations and projects and the high priority we assign to (chiefly music and dance) and for artists writing or artistic excellence and innovation. performing in Irish or bilingually.

Artistic excellence may be evident both in the process and The Arts Council recognises that language is both a cultural the outcome of the making of artistic work and in the quality artifact and a means of artistic expression, and that the of artistic planning and production. A recognition of support of the arts in Irish requires a particularly focused innovation involves embracing the need for experiment, for developmental strategy, because of the limited size and cross-disciplinary work, and also for some measure of range of the audience and consequent dis-economies of failure, as an essential part of the artistic process. scale.

We will maintain funding programmes in support of artists, This will involve working in partnership with those agencies projects and organisations (including inter-disciplinary work), with primary responsibility for the Irish language, which have under criteria which have been defined more effectively, to a commitment to the arts as a dimension of language policy, give priority to excellence and innovation. In the term of this and in consultation with practitioners who have expressed plan, we will also strong concerns both about their particular artistic development needs and about their desire to be supported • Research and develop more appropriate methods of as part of a larger community of artistic practitioners (in evaluating funding proposals, to address the issues of either language). – appropriate methodologies for appraising artistic excellence and innovation; The Arts Council will maintain funding to arts resource – better methods and clearer criteria for funding organisations, production companies and local arts excellence and innovation. programmes for education and training in traditional performing arts, and those working bilingually or through • Develop and implement a programme to showcase Irish and to bilingual and Irish-language artistic projects. It excellent role models, and encourage successful will continue to publish information materials bilingually and organisations to give support to others, with a potential to promote greater use of Irish within the Arts Council. for artistic excellence or innovation. During the term of this plan, we will also

* Undertake focused consultation with relevant language policy agencies, and examine best practice elsewhere, with a view to achieving a more coherent approach to State policy and support for the arts in Irish;

* Analyse the particular development needs of artists working through Irish, specifically those working in creative and critical writing, and theatre production, with a view to developing improved systems of support. Foster more recognition, acknowl- To develop participation in edgement, critical assessment and audiences for the arts, 4 and documentation of the arts the Arts Council will: Art and artists thrive in a climate of critical appraisal and discussion. Good criticism develops the artist, educates the public, and defines the cultural framework in which art is made and understood. Good criticism is also a record of achievement, and a means of marking change within the work of an artist or an artistic community.

In a wider sense, public celebration and discussion of art contributes to the recognition of artists and the conditions in which they make work and find audiences. The documentation of art serves to create resources for analysis and research and for wider dissemination.

The goals of the Arts Council are to stimulate and acknowledge higher standards in the arts, to place the arts in their wider cultural, social and economic contexts so as to make the arts integral to all aspects of society, thereby increasing access to the arts, and increasing the market for artists' work.

We will maintain funding for critical publications and activities, contemporary arts archives and resource centres, and for awards for critical writing in all artforms. During the term of this plan, we will also

• Research and implement proposals for a more focused approach to supporting critical writing;

• Plan and implement a communication programme (including arts documentary film) designed to give a voice to the artist in society and to contribute to public education about the arts;

• Initiate a seminar and publish a series of arts research findings involving researchers, artists, people working in arts organisations, commentators and policy makers;

• Plan and implement a major programme of recognition and celebration of the arts and their contribution to Irish life, marking the 50th anniversary of the first Arts Act (1951). Support more public Increase opportunities for participation in the arts children and young people to 5 6 engage with the arts

The goals of the Arts Council are to enable people to explore, The goals of the Arts Council are to enrich the lives of develop and express their own artistic creativity to the maximum children and young people artistically and aesthetically and of their talent and aspirations and to increase the range of to win recognition for children and young people as artists people who participate in the arts. We wish to enhance the and audiences in their own right. quality and extent of participation and the achievement of high artistic standards among non-professionals and to We will maintain funding to artists in schools, children's and improve the quality of interaction between artists and public. young people's arts organisations, and high-quality education work by artists and arts organisations in The Arts Council has a role in acknowledging the value of architecture, dance, drama, film, literature, music, opera and voluntary and amateur practice, both in terms of visual arts. We will also continue to support high-quality participation and providing access to the arts, and in youth arts activities, in particular in the performing arts, while supporting national support or umbrella bodies who set high advocating the use of arts activities in mainstream youth artistic standards. We recognise that amateur arts have a work. During the term of this plan, we will also value in themselves for practitioners, provide access to the arts for others, and also can be a first introduction to the arts • Support the establishment, jointly with the Department of for yet others who go on to specialise professionally. Arts, Heritage, Gaeltacht and the Islands and the Department of Education and Science, of a committee to The wide range of artistic activity in communities is supported by undertake developmental work in arts education, to local authorities and by other specialist national and locally based include agencies, and the Arts Council recognises that many non-arts – the promotion of higher standards of arts education agencies have embraced the arts as part of their development practice agenda. In this context, the strategic contribution of the Arts – a more effective integration of the arts into the formal Council is to encourage best practice in arts participation school curricula which is self-sustaining, or is supported by other agencies. – action research into out-of-school educational provision for children's and young people's aesthetic We will continue to provide a range of supports for high- development; quality artistic interventions in diverse communities, where to do this is of national importance or significance, where it • Undertake a special developmental project, with contributes to definitions of best practice in the arts, or additional specialist staff, on a medium-term basis, to where it achieves effective co-funding relationships. During develop and implement the arts education agenda jointly the term of this plan, we will also with others;

• Undertake an initiative specifically intended to support • Establish a pilot project with certain local authorities to and encourage local authorities in the development of promote effective models of arts education development local arts strategies; based on existing prototypes.

• Develop an evaluative framework to support the Arts Council and other funders in assessing the impact of participative arts work, both in amateur and professional arts organisations, and in non-arts organisations or situations;

• Prepare and publish a guidance manual in relation to the arts and disability and a code of good practice for the arts in healthcare environments;

• Complete a development project designed to support higher standards of arts participation practice, including guidelines for outreach posts in arts organisations, and qualification standards for artists who work with communities;

• Research and develop a policy for the support of amateur arts, in dance, drama, film, literature, music, opera and the visual arts. Encourage arts organisations Develop international audiences and promoters to develop for Irish arts and bring international 7 audiences 8 arts to Irish audiences

Many feel excluded from the arts, for a variety of reasons. The goals of the Arts Council are to support Irish arts Building audiences means eroding this sense of exclusion, through exposure to international audiences and influences, raising awareness of the arts, building points of access to creating wider international opportunities for them, and the arts and deepening the relationship between artists and enabling them to function effectively in a world environment. audiences. There are three reasons for supporting Irish arts in an The task of communicating the values of the arts to the international context: for artistic development reasons, for public rests above all with the promoters of artistic events market development reasons, and for the promotion of and activities who are funded for this purpose. The goal of cultural relations with other countries. The Arts Council has the Council is to increase commitment within the sector for an interest in the first two, and sees them as fully compatible building audiences, thereby extending the range and extent with the third, which is mainly the responsibility of the of audiences for the arts. Department of Foreign Affairs.

We will maintain funding to arts production companies in We will explore partnerships and joint initiatives to develop dance, drama, film, literature, music, opera and the visual support for the Irish arts internationally. We will also promote arts; to venues, local arts programmes and festivals, and will transnational co-operation, including co-production, as a continue to provide financial incentives to touring arts. means of integrating the international dimension into the During the term of this plan, we will also work of Irish arts practitioners.

• Integrate the action research outcomes of the Audience We will maintain award programmes designed to enable Development initiative into incentive funding artistic personnel to travel overseas, to develop their careers programmes, including and/or promote their work; we will continue to fund – the transfer of good practice by case study or information services to Irish and non-Irish artists, arts otherwise, organisations and others; to fund literary translation and – the establishment of an arts marketing forum in artists' resource organisations which provide international Ireland, information/advisory services; to fund international arts – the creation of financial incentives to undertake festivals and arts venues which programme internationally. audience development, During the term of this plan, we will also – support for good consortium-based or co-operative initiatives; • Produce proposals for promoting greater co-operation between the Arts Council and the Department of Foreign • Establish a special task-force, jointly with the Arts Affairs in giving effect to our respective goals and Council of Northern Ireland and promoters in local strategies; communities, to develop more effective island-wide touring networks, in the performing and the visual arts; • Research international best practice on market and audience development in the arts, and on policy • Conduct research, national and international, and mechanisms in support of international arts; disseminate recommendations on effective marketing strategies for audience development. The research will • Research and develop, in co-operation with relevant State analyse relevant best practice and address the selection agencies, appropriate programmes of support for of a number of key audience performance indicators, developing overseas markets, both for individuals and appropriate information systems and the marketing skills companies, and provide new resources to implement the and structures required by arts organisations. resulting programme(s);

• Design and implement a programme to support – inward visits by critics, curators, festival and other artistic programmers and other potential influencers and buyers; – outbound participation in international artfairs, bookfairs, festivals, seminars and other markets; – appropriate sectoral supports for influencing key international arts decision-makers; – the creation of materials in all media to promote Irish art overseas. To build capacity in the Improve dialogue with arts sector, the Arts 9 Government Council will: The goal of the Arts Council is to ensure that national and local government are well-informed about arts policy needs, so that the arts in Ireland can achieve their full potential.

The Arts Council, as a key protagonist for the arts, needs to harness both arguments and allies in making a case for the arts, to ensure more secure levels of funding, to help build audiences for the arts, and to build recognition for the value of the arts in society.

The Arts Council also has an important role in making policy- makers aware of the contribution the arts can make to education, to tourism and economic development, and to our reputation overseas.

We will maintain a programme of briefings and publications aimed at decision-makers/influencers and their constituents to demonstrate the value of State support for the arts. During the term of this plan, we will also

• Research and publish relevant benchmark data on local, national and international levels of public expenditure on the arts;

• Implement a project aimed at streamlining and improving the information and advice provided to local and national Government on arts-related policy;

• Commission expert advice and opinion about the effects on artists and arts organisations of direct and indirect taxation;

• Develop, in co-operation with others, proposals in relation to additional sources of funding for the arts and make proposals to Government accordingly. Improve local structures 10 for the arts

The goal of the Arts Council is to build on the foundation of • Undertake an initiative with key local government partnership that has already been laid with local authorities partners to create an agreed common evaluative and others. framework between the Arts Council and local authorities for assessing arts development locally, and to develop The local context is central to the development needs of the appropriate categories and structures for the further arts - both in terms of the role of communities in determining development of relationships between the Arts Council the quality of their environment, and in terms of providing for and relevant local or regional government structures, artists to engage with the community in which they work. such as

Other than the Department of Arts, Heritage, Gaeltacht and – local planning for the arts, the Islands, local authorities are the only public bodies – infrastructures for the arts, besides the Arts Council specifically empowered to commit – the enhancement of arts touring networks, resources to the arts. The Council has worked with every – the documentation of models of good practice; local authority in the country to promote arts policy development and to develop capacity for local arts - as a • Research the potential for new local sources of revenue means of supporting artists locally, as well as of fostering for arts development; participation in and building audiences for the arts. • Undertake an audit of the physical infrastructure for the There now exists a national fabric of arts planning, arts nationally, to inform capital policy and make promotion and programming, resourced from local recommendations on how and where key gaps might be government or from Arts Council, national Exchequer or EU overcome. sources. In many cases this is capital rather than operational funding.

During the first Arts Plan, much was done to clarify the partnership relationships between the Arts Council and local authorities. The opportunity now exists to work closely with local authorities which have developed a commitment to the arts in their area, on projects which reflect their particular needs and policy objectives.

At the same time, the Council will work to achieve greater coherence between its existing investment in venues, festivals and resource organisations, to secure local provision for what are both local and national artistic assets.

The Council is committed to increasing access to the arts and further strengthening local government provision for the human and physical infrastructures of the arts.

We will maintain funding for local arts programmes, arts centres, theatres and galleries, arts promoters and production companies, which form part of the local infrastructure for the arts, and maintain existing incentive funding to visual and performing arts production companies to tour in Ireland. During the term of this plan, we will also Help arts organisations Rationalise financial to plan and manage supports and improve the 11 better 12 application process

The goal of the Arts Council is to remove a major barrier to It is in the interests both of the Council and of its clients that the realisation of the full potential of the arts in Ireland. funding decisions are better understood. Additional financial resources are undoubtedly required by many organisations and the Council has an important role in By their nature, decisions in the arts are complex, because providing funding. However, in some cases there is a deficit no two proposals for funding are the same and because the in organisational capacity which limits the best use of Arts Council seeks to fund both promise and achievement. resources; in other cases, greater concentration or sharing of resources between organisations might achieve better The goal of the Arts Council is to make it easier for arts effects. organisations and individual artists in architecture, dance, drama, film, literature, music, opera and visual arts to The Council will encourage arts organisations to achieve a understand and operate funding criteria, and in turn to free greater degree of self reliance and financial autonomy and the Arts Council to focus more on developmental work. will support them directly and indirectly in planning to meet During the term of this plan, we will the challenges facing them. • Design and implement an alternative grants structure, We will maintain revenue, capital and project funding to arts which takes account of organisations, and continue to produce publications, and – the need for multi-annual funding, promote consultative exercises intended to contribute to – the development needs of the Council's client base, building capacity in the arts sector. During the term of this – the funding priorities of the Council's strategy plan, plan, we will – the need to eliminate unnecessary bureaucracy while maximising accountability and ensuring effective • Devise and implement a new funding programme for arts internal controls, organisations in dance, drama, film, literature, music, – relevant best practice in other organisations; opera and visual arts, aimed at capacity-building, which, inter alia, will address: • Design and implement a communications strategy aimed – incentive funding to promote co-operation between arts at assisting arts organisations and individual artists to organisations, so as to maximise scarce resources, operate with the new approaches and structures. – agreed bases and monitoring arrangements for multi- annual core funding, in dialogue with the sector, – organisational and business planning models customised to the arts sector, including mentoring programmes, in co-operation with others, – a human resources management capacity initiative, in cooperation with others as appropriate, – the need to develop networks, including, inter alia,an association of arts managers;

• Create financial incentives to support mature arts organisations in sharing responsibility for the development of emerging companies;

• Develop and promote, in co-operation with others, a programme aimed at supporting arts organisations to maximise non-grant-sources of income;

• Develop systems for assessing managerial and organisational development competencies of arts organisations in receipt of funding, aimed at assisting them to make most effective and efficient use of resources;

• Undertake research to explore the potential impact of IT as a tool for exhibiting, disseminating or promoting the arts in Ireland and overseas. Implementation Management Systems and structures Assessing impacts Improving dialogue

A more developmental approach will involve the Arts Council Considerable strengths in analysing and responding to the in responding to the needs of the arts not only in terms of needs of the arts have been developed over many years by present demand but also in terms of future trends, and the Arts Council. The dynamic nature of the arts requires the taking into account broad, cross-sectoral developmental Arts Council to improve its systems and structures on a issues. continuous basis. This will involve a review of the existing structure of the organisation, followed by the introduction of It will involve moving away from a system where the Arts an improved management information system, and an Council's financial interventions are driven largely by enhanced programme of staff training and development, to demand, to one where strategic objectives direct the ensure that the competencies and skills required for allocation of resources. Much of the financial assistance, of implementing the plan are in place. course, is likely to be made to the same artists and arts organisations as hitherto, although articulated in a new way. Assessing impacts Despite the difficulty and complexity of the task, it is The transition to a new approach will take time and will important for the Arts Council to establish better involve modifying or enhancing the Council's existing performance indicators for arts development support; a structures and systems, assessing the impact of our national arts development plan must provide for performance support, and improving dialogue with the sector. appraisal at various levels.

Systems and structures Such a system of performance appraisal and evaluation The Arts Council works within the framework of Government must be sensitive both to the needs of artists and arts guidelines limiting increases in staff. The exponential growth organisations to grow and change, and sometimes to fail, in in activity in the arts in recent years has already placed pursuing their artistic goals, and to the need for the Council extraordinary demands upon a slender organisation, to assess and explain the effects of its financial contribution however well dedicated to its task. Moving to a and the impacts of its activities. developmental agenda will place even greater demands on a body with 32 staff posts; in the Arts Council of Northern During the term of this plan, we will research, design and Ireland, by contrast, 40 staff administer a budget of implement a range of appropriate performance indicators, to stg£14.5m in 1998/99. The capacity of the Arts Council itself be reviewed annually, for assessing the impact of the to discharge its functions effectively will be a matter for Council's contribution to the arts. We will also work with the discussion with our parent Department. arts organisations we fund, to ensure that performance appraisal within the Council is consistent with the self- The Council also needs to undertake further work on the evaluation used by the organisations themselves. systems used to ensure the fair assessment of funding applications under the new structures, to streamline grant Improving dialogue approvals to appropriate staff members in accordance with The preparation of this plan has been informed by an Council's policy guidelines, and to develop further a fair and exceptional process of dialogue with the sector and with equitable appeals procedure. other policy-makers, and many of the elements in this plan reflect the inputs from this process. We recognise that dialogue needs to be incorporated more continuously and effectively into the way we work.

We will devise more effective communication channels both with individual arts organisations and artists, and with sectoral groups, to ensure better mutual understanding, to assist the Arts Council in policy formulation, and to disseminate best national and international intelligence on good practice in arts management and artform development. Budget The Arts Plan: 1999 - 2001 budget summary

In moving towards a more developmental approach, the Arts The Arts Plan: 1999 - 2001 budget summary Council will adopt a different style of budgeting, committing resources towards the strategic priorities, and measuring the 1: DIRECT ARTS EXPENDITURE impact of this expenditure against targets agreed with A Promote excellence & innovation funding recipients. 1. Formation, practice... of artists 2. Artistic excellence and innovation The budgetary priorities are not analysed according to 3. The arts in Irish artform categories, as they have been in the past, because 4. Recognition, acknowledgement, documentation expenditure within individual artform areas will vary sub-total: A according to financial need, competitive circumstances, and B Develop audiences and participation the extent to which arts practitioners respond to the 5. Public participation Council's strategic priorities. However, for internal 6. Children and young people management and also for historical comparison purposes, 7. Develop audiences an analysis of expenditure according to artforms will still to 8. Develop international audiences be maintained internally. sub-total: B C Build capacity in the sector The funding target of the plan is £100m over three years or 9. Improve dialogue with Government an increase of 23% over the total funding provided to the 10. Improve local structures first Arts Plan. 11. Help arts organisations in planning 12. Rationalise financial supports The funding target of £100m over the three years of the plan sub-total: C is modest relative to the ambitions of the plan; it is put forward not as a plateau, but rather as a further interim 2: INDIRECT ARTS EXPENDITURE target for growth in public support for the arts in Ireland. Implementation and development Total: arts expenditure The basis on which each line is costed can be seen by comparing strategies with the description of how these are 3: ADMINISTRATION & ESTABLISHMENT expressed in general (in the Strategies section), and in Total Expenditure particular (in the Perspectives section). Funded by The chief area where new funds have been targeted is that Grant in aid of developing audiences for, and participation in, the arts Revenue nationally and internationally. This takes account of the Capital increased number of venues for the arts throughout the Total Income country, and the consequent need for more touring product; and of the new international focus of the Council's work. 1999 2000 2001

3,544,325 4,300,000 4,521,000 3,507,755 4,356,000 4,544,000 700,751 835,000 850,000 1,126,885 1,355,000 1,500,000 8,879,716 10,846,000 11,415,000

1,177,450 1,425,000 1,650,000 2,483,449 2,750,000 3,220,000 5,196,790 7,457,000 7,750,000 1,162,575 1,505,000 2,075,000 10,020,264 13,137,000 14,695,000

167,500 80,000 65,000 5,540,310 6,600,000 7,250,000 443,420 570,000 500,000 69,000 92,000 85,000 6,220,230 7,342,000 7,900,000

679,790 725,000 810,000 25,800,000 32,050,000 34,820,000

2,200,000 2,450,000 2,680,000 28,000,000 34,500,000 37,500,000

24,500,000 30,500,000 33,000,000 3,500,000 4,000,000 4,500,000 28,000,000 34,500,000 37,500,000 Perspectives Artforms Architecture Dance Drama Literature Film Music

While the arts are often thought of as involving discrete Architecture definitions of activity (dance, poetry, film), it is a fact that any Architecture physically defines both the public and the structure of support for the arts as a whole must involve a private domain. We all live, work and move within the space view of the entire sector as a multi-faceted spectrum of of architecture and thus it has the power to shape the entire activity. environment of our experience and, consequently, to influence our lives - for good or ill. Due to its all-pervasive The Arts Council has an overview of the sector which nature, architecture is arguably the most evident physical involves a concern with registration of our culture and its values. It forms a critical part of how we and others understand our identity and, at ¥ the aesthetic and artistic formation of everyone the same time, it constitutes a kind of collective memory - a set of landmarks providing a means of mapping both our ¥ the needs of the individual creative and interpretative physical and psychic geography. Ireland's tradition of artist, in formation or in practice architecture and urban design is both particular and of a high calibre, yet there has been, in the latter part of the ¥ the production and exhibition of art century, a recognised decline in the general quality of architectural design, due to international trends of short- ¥ the physical and professional infrastructures of the sighted commercialism, and a deficit in public arts understanding of the value of architecture, among other factors. ¥ the development of audiences for, and participation in, the arts There has been in recent years a small but welcome renaissance in the discipline here. By means of publications, ¥ a critical and documentary framework for the arts. exhibitions, award schemes etc. (many funded by the Arts Council), a number of organisations have participated in an The planning agenda of the Arts Council involves this entire effort to change the climate of indifference and to advance spectrum, and the outline of development challenges and the culture of architecture in Ireland; these include the objectives within individual artforms which follows should be schools of architecture - one in Belfast and two in Dublin - read within this wider context. that offer professional education; the 1,700-member architects' institute that awards professional qualifications; The section that follows sets out in broad terms the resource organisations that promote outstanding relationship between the high-level strategies of the Council contemporary work; an architectural archive; an independent and practice of the arts in individual disciplines or contexts. publishing house that specialises in art and architecture; and It should not be read as an exhaustive or explicit statement the Office of Public Works that designs, commissions and of Arts Council policy on each individual artform. maintains State buildings. In addition, there has been increased media coverage of architecture and a far greater availability of good literature. Despite these improvements only a small percentage of contemporary architecture in Ireland is distinguished by high levels of artistic excellence To promote artistic excellence and innovation in and innovation. Furthermore, public understanding and architecture, the Arts Council will appreciation of architecture still remains very limited - a crucial problem, as public understanding is a fundamental Support the besides initiatives listed under element in the creation of excellence in architectural design professional strategy 1, in Ireland. formation, practice by introducing a major biennial and career award, internationally adjudicated, to The Arts Council is, therefore, committed to supporting the development of 1support a young Irish architect of existing organisations in their endeavours, to building public architects: exceptional promise to be employed appreciation of contemporary architecture and to enhancing for a time in a major international the critical climate for architecture in Ireland. The Council is architectural practice, with a further committed to fostering and supporting the pursuit of subsequent commission in Ireland. creative integrity and architectural excellence within the discipline. This involves participation in the architecture Foster greater besides initiatives listed under policy initiative of the Department of Arts, Heritage, recognition, strategy 4, Gaeltacht and the Islands; direct action and initiatives; acknowledgement, by funding exhibitions and support for imaginative and effective projects and critical assessment publications promoting artistic programmes in architecture; and consultation with the sector and documentation of 4excellence in contemporary Irish through its representative bodies. We recognise that the architecture: architecture nationally and culture of architecture in Ireland will be slow to mature, internationally, because of the long lead time in professional development and the scale of the task of educating public understanding. and by promoting a public lecture series by prominent architects and The discussion of specific actions below should be read in writers about contemporary conjunction with the high-level strategies set out earlier in architecture. this plan, in pages 16-23. To foster public understanding and appreciation of architecture, the Arts Council will

Increase young besides initiatives listed under people's engagement strategy 6, with architecture: by funding exhibitions and publications directed at young 6people. To build capacity in the architecture sector, the Arts Dance Council will Improve dialogue with Government: Dance is an important part of our cultural inheritance. As an artform it has considerable potency as a means of social besides initiatives listed under and popular, as well as of artistic, expression, and this is strategy 9, reflected in wide popular participation. Dance is an by preparing a submission to the important part of a developed arts scene. In Ireland, despite Department of the Environment considerable obstacles, it has great potential for 9proposing amendments to development, both in terms of practice and of audiences. contemporary planning legislation, and aesthetic guidelines for The Arts Council would like to see dance artists accorded the planning, with the aims of including same status and opportunities as artists in other disciplines, issues of architectural integrity in the with adequate education and training opportunities at all planning process and advocating the levels, working in a environment which values their work, highest standards of architectural recognises their needs and offers them opportunities to expression; achieve their full artistic potential, in Ireland and abroad. There is a thriving traditional dance community in this country by undertaking a review of the Arts involving all age groups, for which a range of umbrella Council's exercise of its function as a organisations provide important focal points; the recent nominated body under the Planning commercial successes of traditional dance have transformed Acts, with a view to formulating a the employment climate for dancers working in this genre. more coherent approach in line with the Council's goals. There are no dancers professionally employed full-time as creative or performing artists in Ireland. Some dancers seek Improve local by producing information and advice work in the commercial sector, mainly pantomime and cabaret, structures for about best practice in making and most dancers supplement their income through teaching. architecture: buildings for the arts, designed to There are particular welfare requirements attaching to life as a guide the arts sector, and the dancer, including issues of health, safety, early retirement architectural profession, in support of and/or re-training options. Despite the creative nature of their brief development and specification work, choreographers do not benefit from the tax exemptions of building for arts purposes. applying to writers, visual artists and composers.

Dance also requires venues both for rehearsal and for performance whose specifications provide safe rehearsal and performance conditions; the number of such venues around the country is limited.

There is little access to dance education in schools and the lack of a developed framework at primary or graduate levels for vocational training is a serious obstacle to the development of professional dance in Ireland. Most professional dancers leave Ireland to train overseas and many do not return, because of the lack of career development opportunities.

Teaching Societies and Associations exist in the traditional, ballroom and classical ballet traditions which organise events, offer syllabus classes, examinations and teaching qualifications in their fields. Youth interest in dance activity of all kinds is extremely high; this interest spans the established genre, world dance traditions and popular forms. But access to non-syllabus, non-competitive activities in youth dance, like the ensemble opportunities which exist in youth music and youth theatre, is minimal. Despite these considerable difficulties, dance in Ireland is a Foster more besides initiatives listed under vibrant and growing artform. A small number of recognition, strategy 3, choreographer-companies create new work, and perform it acknowledgement, by funding dance resource in Dublin, Limerick and Cork, on tour in major urban centres critical assessment organisations. around the country and, to a lesser extent, on tour overseas. and documentation of 3 dance: The level of Arts Council funding for dance increased significantly over the life of the first plan, though the To develop participation in and audiences for dance, the proportion of total funding has remained unchanged, and Arts Council will the sector's reliance on Arts Council funding remains high - averaging more than 70% of turnover in the sector. Most of Support more public besides initiatives listed under the first plan's objectives in dance were realised or initiated: participation in dance: strategy 5, support for three of the existing Dublin-based theatre dance by funding dancers-in-residence in companies was consolidated and a dance touring scheme the community and community established; a dance commission scheme was put in place 5dance. and a dance festival reinstated. Three new bursaries in dance were created and additional support was given to Increase childrenÕs besides initiatives listed under youth dance. A dedicated centre for dance was brought and young people's strategy 6, onstream in Cork and an extensive, independent enquiry into engagement with by introducing support for youth dance education and training was commissioned and dance: dance and dance-in-education published jointly with the Arts Council of Northern Ireland. 6initiatives.

The Arts Council is committed to supporting the practice of Encourage dance besides initiatives listed under dance artists in Ireland and to building audiences for dance organisations and strategy 7, in Ireland. The discussion of specific actions below should promoters to develop by funding dance production be read in conjunction with the high-level strategies set out audiences: companies and resources for dance. earlier in this plan, in pages 16-23. 7 Develop international besides initiatives listed under To promote artistic excellence and innovation in dance, audiences for Irish strategy 8, the Arts Council will dance and bring by funding international travel by Irish international dance to dance artists and by continuing Improve the besides initiatives listed under Irish audiences: 8research into the feasibility of an professional strategy 1, international Dance Festival in formation, practice by funding awards and bursaries to Ireland. and career individuals, dance facilities and development of dance 1resource organisations; To build capacity in the dance sector, the artists: Arts Council will by working to enhance recognition of choreographers as creative artists. Improve dialogue with besides initiatives listed under Government about the strategy 9, Direct funding towards besides initiatives listed under needs of dance: by promoting recognition of the excellence and strategy 2, special needs of dance training and innovation in by funding projects in dance 9education at all levels. choreography and development, and dance production performance: 2companies, which aspire to or achieve high standards of artistic excellence and/or innovation;

by introducing a scheme to fund experimental dance which develops new and innovative ways of creating and presenting dance. Drama A great deal was achieved in meeting the objectives in Drama is a very well established and popular artform in drama of the first Arts Plan. An extensive review of theatre in Ireland, with a wide variety of professional and voluntary Ireland was undertaken by the Council in 1995, which led to practices and a strong reputation overseas. While the strong the publication of a new policy statement in December 1996. tradition of literary drama is continuously renewing itself, there is now also an style of drama activity exploring the As a result of this, the Council's theatre touring scheme was visual and physical theatre. Festivals provide concentrated de-regulated to facilitate co-production; multi-annual contract periods of high activity and attention, including opportunities funding was introduced with certain companies (including for experiencing international work and building international the National Theatre Society) and there was a concomitant contacts. increase in production and touring. Irish theatre achieved extraordinary critical success internationally and cross- Drama has been one of the few arts sectors to undergo a border touring was facilitated with the introduction of a joint- comprehensive review, involving extensive consultation and funded scheme by the Arts Council and the Arts Council of dialogue with practitioners and participants throughout the Northern Ireland. country. This has led both to a degree of sectoral consolidation not found elsewhere, and to a maturing of the The national network of new and refurbished theatres and Arts Council's approach to policy for the sector. performance spaces was significantly improved with two important new theatre spaces coming onstream in Galway The Arts Council currently supports some 23 active and in Longford. Support for theatre in education companies professional companies in Ireland, involving a wide diversity and for innovative programmes and projects focused on of creative and interpretative professional artists, some children and children and young people increased working bilingually. They produce about 120 productions significantly. This growth is welcome, but it presents a range annually, performing in a growing network of professionally- of new development challenges. run venues of varying scales throughout the country. Audience numbers have risen significantly in recent years The Arts Council is committed to fostering the wider theatre and there is strong demand for new writing, in both languages. culture, enhancing the sustainability of theatre organisations, There are thriving youth drama and amateur movements. encouraging excellence and innovation in theatre, especially as regards repertoire, and to building audiences, including There is an effective umbrella organisation for the active young audiences for drama in Ireland. The discussion of youth drama sector, and another for building international specific actions below should be read in conjunction with the and all-island touring links and informational support. high-level strategies set out earlier in this plan, in pages 16-23. Notwithstanding the fact that the sector is a well-established one, it still lacks a broadly representative body. Limited To promote artistic excellence and innovation, the Arts provision for the training and education in Ireland of artistic, Council will technical and managerial personnel means that many theatre artists complete their training abroad. Improve the besides initiatives listed under professional strategy 1, Most theatre production in Ireland is reliant on Arts Council formation, practice by funding: funding, to varying extents, ranging from the National Theatre and career cnuais (to members of Aosdána), Society to emerging or experimental companies. There is a development of 1bursaries and awards to theatre competitive commercial employment climate created by theatre artists: professionals; television and film, and theatre artists in general are poorly remunerated relative to other employment opportunities. The informational and developmental limited provision for training of artistic, technical and resource organisations; managerial personnel and the small size of most companies also inhibits artistic and business development. and by encouraging theatre companies to take greater A history of minimal capital investment or refurbishment has responsibility for artistic career created a relatively fragile physical infrastructure for theatre development. and the small size and resource constraints of most companies inhibits optimum levels of artistic and business development, including marketing, audience development and exploiting opportunities for overseas touring. Direct funding towards besides initiatives listed under Encourage theatre besides initiatives listed under excellence and strategy 2, organisations to strategy 7, innovation: by funding : develop audiences: by funding venues, festival promoters schemes to commission new and theatre production companies; 2dramatic work in both languages; 7 by commissioning benchmark workshops and project awards to analysis of theatre audience support experiment and innovation in behaviour, in cooperation with the theatre; sector.

venues, festival promoters and Develop Irish besides initiatives listed under theatre production companies which audiences for strategy 8, aspire to or achieve high standards international theatre, by funding festival promoters, of artistic excellence and/or and support Irish international travel by Irish theatre innovation. theatre internationally: 8artists, and informational resources for theatre companies. Support theatre artists besides initiatives listed under and companies strategy 3, To build capacity in the theatre sector, the working through Irish by funding theatre in Irish. Arts Council will to achieve their full potential and increase 3 Improve local besides initiatives listed under audiences: structures for drama: strategy 10, by funding theatre venues; Foster more besides initiatives listed under recognition, critical strategy 4, 10by seeking joint or collective assessment and by means of a feasibility study, proposals from venues and touring documentation of followed by a call to tender for a well- companies, with a view to increasing theatre: 4formulated and resourced the financial yield of box-office publication of record, critical analysis receipts, and maximising the value and debate about theatre. (in terms of artistic opportunity and audience numbers) of funding to To develop audiences for and participation in drama, the theatre touring and co-productions. Arts Council will

Support more public besides initiatives listed under participation in strategy 5, theatre: by funding : 5theatre venues, specific aspects of the work of national resource organisations for drama;

theatre artists in residence in the community.

Increase children and besides initiatives listed under young people's strategy 6 engagement with by funding theatre in education, and theatre: 6youth theatre ensembles. Literature The Arts Council is committed to fostering a climate of Literature is one of the most critically acclaimed of all the critical appreciation for contemporary writing, and to artforms in Ireland. A centuries-old tradition of storytelling supporting Irish writers of significant merit in both languages and creative writing in both Irish and English has given rise in developing their careers in an international context. The to a rich literary heritage which enriches contemporary Irish discussion of specific actions below should be read in writing and contributes to its high international profile. conjunction with the high-level strategies set out earlier in this plan, in pages 16-23. Despite this success, few Irish writers make a living from their work. Most writers spend much of their time in other To promote artistic excellence and innovation, the Arts activities (such as journalism, arts administration, teaching), Council will and more than 42 rely on the cnuas to subsidise their professional practice. This is particularly true in relation to Improve the besides initiatives listed under writing which is of a specialist or minority interest, to work professional strategy 1, which is experimental in nature, and to writing in Irish. formation, practice by funding cnuais (to members of and career Aosdána), bursaries and awards to Writing in Ireland is heavily influenced by our proximity to development of 1writers, literary resource London, one of the major publishing centres in the world. writers: organisations and writers' Publishing is currently undergoing extensive rationalisation, residencies. with a small number of multi-national corporations now owning the majority of London publishing houses. This trend Direct funding to besides initiatives listed under has significantly affected domestic Irish publishing, making it writers and publishers strategy 2, difficult for Irish publishers to achieve economies of scale in towards literary and by funding literary publishing which terms of production and marketing spend. It has also editorial excellence aspires to or achieves high diminished the capacity of Irish publishers to offer and innovation: 2standards of artistic excellence competitive advance payments to secure contracts with Irish and/or innovation. writers. This, in turn, has led to increased competition in the domestic market from books by Irish writers which have Support writers and besides initiatives listed under been internationally published. organisations working strategy 3, through Irish to by funding cnuais (to members of Indigenous Irish publishers are responding to these achieve their full Aosdána), bursaries and awards to challenges by developing niche strategies (e.g. non-fiction, potential and increase 3writers, literary resource poetry or children's titles), by establishing strategic alliances audiences: organisations, residencies, and Irish- to achieve economies of scale, and by organisational co- language publishers. operation or concentration, in what has traditionally been an extremely fragmented sector. Foster more besides initiatives listed under recognition, critical strategy 4, A number of other State agencies share responsibility with assessment and by funding literary publications the Arts Council for the promotion of literature, including documentation of (books and journals), literary Bórd na Leabhar Gaeilge, An Chomhairle Leabharlanna/The literature: 4projects, events and festivals. Library Council and An Gúm. Some language development organisations such as Bórd na Gaeilge also support writing To develop audiences for and participation in literature, in Irish. the Arts Council will

In accordance with the first Arts Plan, the Arts Council Support more public besides initiatives listed under undertook a major international promotion of contemporary participation in strategy 5, Irish writing and publishing at the Frankfurt Book Fair, and literature: by supporting residencies, and has supported Irish publishers in consolidating this writers in the community, international market development opportunity. Other features 5 of the first plan were enhanced support for children's by working jointly with An Chomhairle literature and for the promotion of writing among children, Leabharlanna/the Library Council to and significantly increased provision for the writer, in the form develop readership in both of residencies and awards. languages. Increase children and besides initiatives listed under young people's strategy 6, engagement with by funding writers in schools, literature: and publishers or resource 6organisations in children's literature.

Encourage literature besides initiatives listed under organisations and strategy 7, publishers to develop by funding literary publishing, audiences: literature events and promotional 7organisations in literature;

by co-operating in audience research, to develop or to influence policies for promoting reading in both languages.

Develop Irish besides initiatives listed under audiences for strategy 8, international literature, by funding international travel by Irish and support Irish writers and by supporting literary literature 8translation in both languages. internationally:

To build capacity in the literature sector, the Arts Council will

Help literature besides initiatives listed under organisations and strategy 11, publishers to plan and by supporting research by manage better: publishers and others into better use 11of new technologies in literature and by literature organisations. Film To promote artistic excellence and innovation, the The Irish film industry, in its broadest manifestation, now has Arts Council will a high profile internationally and has a number of agencies and bodies domestically with responsibility for its support Direct funding towards besides initiatives listed under and development in artistic, professional and industrial excellence and strategy 1, terms. Ireland has the highest cinema-going public in innovation: by funding cnuais (to members of Europe and an increasingly well-developed commercial film Aosdána) and awards to film-makers, production sector. 1and by supporting informational, educational and facility resources for Ireland's rise in prominence as a film location in recent years film artists. has helped create an infrastructure for the growth of an indigenous film industry. There is a growing pool of trained Support film artists besides initiatives listed under film makers and technical personnel. Their work is given working through Irish strategy 3, added impetus by the development and increased and in indigenous arts by providing joint support for Irish- accessibility of new technologies. to achieve their full language documentaries. potential and increase 3 Inasmuch as it involves high production costs, complex audiences: professional inputs and commercial investment, film is an area where the individual artist finds it extremely difficult to Foster more besides initiatives listed under develop his or her artistic voice. Opportunities for practical recognition, strategy 4, engagement with the medium from the point of view of acknowledgement, by funding film archive and production or exhibition of film with a high artistic content critical assessment & promotion. are limited, as are opportunities for amateur participation by documentation of film: 4 both adults and children and young people. The film environment is also a highly competitive international one, To develop audiences for and participation in film, the with an English-language culture which is dominated by Arts Council will Hollywood. There is limited provision for film education in formal education. Foster more besides initiatives listed under recognition, strategy 6, Changes in the public policy environment, particularly with acknowledgement, by funding film exhibition targeting regard to tax incentives for film finance, are likely to impact critical assessment & children and young people, and film significantly on the Irish film production infrastructure, and documentation of film: 6education or outreach activities. the management of shared responsibility between funding agencies presents a challenge for the Arts Council. Encourage film besides initiatives listed under organisations to strategy 7, Funding for film has, in the main, been directed at the develop audiences: by funding film festivals and film support of film resource organisations and film exhibition, promotion. with 20% approximately directed at production. In the first 7 Arts Plan, awards to assist young and innovative film makers Develop international besides initiatives listed under were doubled; increased funding was provided for film audiences for Irish film strategy 8, festivals and for activities directed at children and young . and bring international by funding film festivals, and inter- film to Irish audiences: national travel by Irish film-makers. The Arts Council is committed to cultivating an Irish 8 audience for Irish and international film of high artistic value To build capacity in the film sector, the Arts Council will or ambition, to providing support for innovation and experimentation by Irish film-makers of artistic vision and Improve local besides initiatives listed under ability in visual arts, film video and multi-media, and to structures for the arts: strategy 10, supporting the development of a critical environment for film by funding film exhibition & film touring, in Ireland. The discussion of specific actions below should be read in conjunction with the high-level strategies set out 10by undertaking research, in co- earlier in this plan, in pages 16-23. operation with others, into more effective means of providing for film exhibition locally. Music of education and training provision relative to demand at Music in Ireland encompasses a diverse range of activity both undergraduate and post-graduate levels seriously across virtually all recognised genres and includes a lively constrains the development of music in Ireland. The high amateur scene with a high level of participation in music costs of commissioning and performing music make it a societies, bands and choral groups. sector which relies largely on the provision of public subsidy, in all but the most commercial genres. This diversity can disguise the fact that education provision and infrastructural support for music in Ireland remains fragmented and under-resourced - despite the evident The Council's underlying objective in music in the first Arts international and commercial success of artists, particularly Plan was to re-define and broaden its involvement in music in traditional and popular genres. of all kinds. Most of the targets established in the plan were achieved, with significantly increased resources being Although there is a number of professional bodies and provided to performance in all genres, in particular including resource organisations serving a variety of specialist musical jazz. interests, relationships among the various public and private policy interests in music are complex and not well The Arts Council is committed to enhancing opportunities for developed. The professional infrastructure is constrained by professional artists to pursue excellence, in an international the fact that outside of RTÉ there is little full-time or long- context, and to promoting a rich and dynamic culture of term employment in music and the working conditions of participation in music. The discussion of specific actions artists in traditional and classical genres tend to be below should be read in conjunction with the high-level uncertain. This inhibits the development of specialist strategies set out earlier in this plan, in pages 16-23. performance ensembles in early, contemporary or jazz music and limits traditional and popular or rock music performance To promote artistic excellence and innovation, the Arts to those areas which have a potential for commercial Council will exploitation. Improve the besides initiatives listed under Royalty collection and payment is better regulated and professional strategy 1, organised than for artists in some other disciplines and the formation, practice by maintaining existing cnuais (to music industry has been successful in securing a measure and career members of Aosdána), bursaries of Government support in the form of tax incentives for development of 1and awards to individuals, support commercial investment in the industry. However, copyright composers and for commissions of new work, legislation has yet to be brought fully into line with other EU performers: funding for masterclasses, festivals countries. A large number of composers and writers in and summer schools. popular, rock and other commercial areas in music can earn a regular income from their work. While the availability of tax besides initiatives listed under exemption on their artistic earnings has been helpful to Direct funding towards strategy 2, some, many do not, in fact, earn enough to fall into the tax excellence and by supporting informational and net at all. To a lesser extent, this is also true in traditional innovation in the developmental resource music which is less susceptible to regulation, and jazz which promotion of music: organisations, performing ensembles remains a minority genre despite expansion in the last five 2and concert promoters which aspire years. In contemporary classical composition there are few to or achieve high standards of regular earning opportunities and Aosdána plays a vital role artistic excellence and/or innovation; in stabilising the income of 9 composers through the cnuas. by introducing funding to a Successful international promotion of Irish classical music is professional specialist ensemble made more difficult by the limited published materials (in the which can demonstrate an form of scores and, in particular, of recordings) of the international contemporary standard repertoire by Irish artists and of new music by Irish repertoire. composers. Live performance of contemporary art music is limited.

Most Irish musicians travel abroad to complete their professional training as performing artists. The inadequacy Support artists besides initiatives listed under Opera working through Irish strategy 3, Opera is a labour-intensive artform requiring inputs from a and in indigenous arts by funding workshops, archive and wide range of skilled and creative people - including to achieve their full resource organisations in traditional composers, librettists, musicians, singers, conductors, potential and increase 3music. directors, designers, administrators, choreographers and audiences: dancers.

To develop audiences for and participation in music, the Opera in Ireland is concentrated in the work of three major Arts Council will companies in Dublin and Wexford, one company in Cork, and the emergence of a new approach to funding opera in Support more public besides initiatives listed under Northern Ireland by the Arts Council of Northern Ireland. participation in music: strategy 5, Outside of the activities of these funded companies, by funding specific activities of opportunities to experience opera are supplemented by national resource organisations and visiting companies and events staged by commercial 5schemes in support of the artist in promoters, venues and impresarios. the community. The Council supports three production companies currently, Increase children's besides initiatives listed under as well as groups undertaking work on a project basis, and and young people's strategy 6, individual artists who work in opera. engagement with by funding youth ensembles and music: music in education. Training opportunities within Ireland for singers and others 6 who wish to work in opera are limited to basic vocal training Encourage arts besides initiatives listed under and minimal opportunities to develop skills as repetiteur, organisations and strategy 7, director, producer or designer. Most singers pursue promoters to develop by increasing funding for residencies professional courses or work placement abroad. Financial audiences for music: for individuals and ensembles and assistance is usually limited to Arts Council grants to 7continuing to fund venues and supplement scholarships and bursaries provided by the concert promoters. colleges or companies.

Develop international besides initiatives listed under Public access to opera is constrained by physical factors audiences for Irish strategy 8, such as the availability of suitable venues for medium to music and bring by funding festivals, resource large scale productions; high production costs; and the international music to organisations, and the creation of limited public awareness, perception and appreciation of Irish audiences: 8promotional materials, and opera. international travel by Irish musicians and ensembles. Within Ireland, there are relatively few opportunities for the development of new repertoire, although this situation is To build capacity in the music sector, the improving. Heavy reliance on audience familiarity with Arts Council will repertoire in Ireland, and a conservative approach to programming (often because of limited capacity to take Improve local besides initiatives listed under artistic and financial risks) mean that the repertory of structures for music: strategy 10, significant operatic works of this century is rarely heard, and by undertaking discussions with local large scale productions of modern and contemporary opera authorities and others, leading to the are unknown. 10mainstreaming of successful pilots in music education, performance During the term of the first Arts Plan, the Council established (through residencies) and audience an internal sectoral review group, to review provision for development. companies already receiving funding, and to explore means of promoting the Council's development objectives of supporting creative and interpretative artists in opera, expanding audiences for opera (including children and young people) and improving cross-border co-operation in opera. Following on the recommendations that emerged from this group, the Council created a fund for Develop the besides initiatives listed under commissioning new opera, provided project funding to international strategy 8, broaden the range of opera practitioners and to expand the dimension of opera by funding opera production audience for opera, and provided bursaries and awards to in Ireland: companies which tour overseas, and assist in the career development of Irish singers and other 8international travel by Irish opera artists in opera. artists.

In supporting opera in Ireland, the Council is committed to To build capacity in the opera sector, the the promotion of high artistic standards, including the Arts Council will development of repertoire, and to the development of new audiences for opera. The discussion of specific actions Help opera besides initiatives listed under below should be read in conjunction with the high-level organisations to plan strategy 11, strategies set out earlier in this plan, in pages 16-23. and manage better: by working jointly with the Arts Council of Northern Ireland to To promote artistic excellence and innovation, the Arts 11develop a more integrated approach Council will to the policy development needs of opera in Ireland. Improve the Besides initiatives listed under professional strategy 1, formation, practice by providing bursaries and awards to and career opera artists, and by encouraging development of opera 1production companies to share artists : responsibility for the career development of Irish opera artists.

Direct funding towards Besides initiatives listed under excellence and strategy 2, innovation: by funding opera companies which aspire to or achieve high standards 2of artistic excellence and/or innovation;

by funding commissions of new opera and opera initiatives.

To develop audiences for and participation in opera, the Arts Council will

Increase young Besides initiatives listed under people's engagement strategy 6, with opera: by supporting education and 6outreach work by opera companies. Encourage opera Besides initiatives listed under organisations and strategy 7, promoters to develop by funding opera production audiences: 7companies. Visual Arts The process of research and analysis leading to the review of The visual arts have a higher profile nationally than ever Government policy on public art was actively supported by the before, with growing exhibition and commission Arts Council and the value of commissions has increased opportunities at home and abroad. The significant growth very significantly; further steps, including the implementation which occurred during the term of the first Arts Plan now of the final report from the review group, are essential if this needs to be followed by a consciously developmental burgeoning area is to be appropriately regulated and developed approach, in an international environment. and issues of varying levels of artistic quality tackled.

There are an estimated 1,500 visual artists in Ireland working Opportunities for artists to make work are affected by many in painting, sculpture, installation and new media. The sector factors, including studio and fabrication costs and access to has a number of representative organisations, studios and galleries, curators, critical writers and other mediators. In galleries in most parts of Ireland, including a number of some cases the nature and scale of an artist's work can resource organisations. A small number of visual artists earn make it difficult to find space and resources for exhibition or a living from their work, many helped by the cnuas from presentation; this happens with installations, performance Aosdána, which is currently drawn down by 48 visual artists. art, temporary work, or art created using new technologies While the availability of tax exemption on their artistic or media. The regulatory and commercial environments are earnings has been helpful to some, many do not in fact earn also critical in determining the livelihood of the artist. There enough to fall into the tax net at all. is no provision as yet for exhibition or artists' re-sale rights and the scale of the domestic market, and limited investment An infrastructure of facilities, studios and galleries has grown in developing it, are constraints on artists' earnings. in recent years. The Irish Museum of Modern Art and Municipal Galleries in Dublin, Cork, Limerick, Waterford and The Arts Council is committed to ensuring that artists making Sligo all provide enhanced exhibition and educational excellent work will have opportunities to exhibit and sell, in opportunities, and there has been a marked growth in the Ireland and abroad, and to providing enhanced number and value of commissions under the "percent for art" opportunities for the public to engage with the visual arts - scheme, which is funded in the main by local authorities and working with both public and private commissioners of art, by the Office of Public Works. exhibition promoters and galleries. The discussion of specific actions below should be read in conjunction with the This growth needs to be consolidated to enable the artist to high-level strategies set out earlier in this plan, in pages 16-23. work and exhibit in a more informed environment, to develop the visual arts market and to develop public appreciation of To promote artistic excellence and innovation, the Arts visual arts in all forms. The artist needs a range of supports Council will to make work and to develop opportunities in the public and Improve the besides initiatives listed under private domain for commissions, collaborations (including professional strategy 1, work in communities), exhibitions and sales in Ireland and formation, practice by continuing to provide cnuais (to abroad. and career members of Aosdána), bursaries development of visual 1and awards to individuals; The Arts Council funds artists, support and resource artists: organisations, galleries, group studio and residency facilities, by funding informational resources visual arts publishers and major open exhibitions. Smaller and physical facilities for artists; exhibitions and individual publications are helped through various schemes. The Council also funds arts centres by means of research, in throughout the country, which play an important role by consultation with others, leading to initiating new exhibitions or by hosting touring shows. policy recommendations to Government about the introduction of Under the first Arts Plan awards to individual visual artists a system for artists' re-sale rights; increased significantly, to encourage the creation of new work, and bursaries focused on increasing standards in by completing a review of the visual arts criticism and curation were established. collecting policies and practices of the Increased revenue and capital funding was provided Arts Council (undertaken jointly with towards studio space and greater support for professional the Arts Council of Northern Ireland), training and information was provided through grant-aid to leading to new policies for the Arthouse and other programmes. purchase and deployment of artworks. Direct funding towards besides initiatives listed under Develop international besides initiatives listed under excellence and strategy 2, audiences for Irish strategy 8, innovation in the by funding galleries and other visual visual arts and bring by funding international travel by Irish promotion of the arts events or activities which aspire international visual artists; visual arts: 2to or achieve high standards of arts to Irish 8 artistic excellence and/or innovation; audiences: by undertaking research into the potential for an exhibition of by means of a developmental project international scale and scope within in co-operation with the Department Ireland so as to create a major focus of Arts, Heritage, Gaeltacht and the on contemporary art; Islands, local authorities and others to improve the regulatory by completing and submitting to environment for public art. Government a feasibility study into the potential for a major show of 20th Foster more besides initiatives listed under century Irish art to tour prominent recognition, strategy 4, international venues. acknowledgement, by supporting criticism and critical assessment education, through publications, and documentation of 4events and activities, in the To build capacity in the visual arts sector, the the arts: commercial and non-commercial Arts Council will sectors. Improve dialogue with besides initiatives listed under Government: strategy 9, To develop participation in and audiences for the visual by undertaking an initiative in public arts, the Arts Council will 9art. Encourage visual arts besides initiatives listed under organisations and strategy 7, promoters to develop by funding exhibitions, and other audiences: 7visual arts activities and events; by implementing the findings of the collection review to deploy the Arts Council's collection, and other public collections, more effectively, for maximum use in suitably- equipped venues throughout the island;

by means of a joint project with public galleries and arts centres, to promote best practice guidelines in exhibition promotion, and to create a touring circuit for visual arts. Combined Arts Arts Centres Festivals and Public Spectacle Community Arts

Combined arts expansion of arts centres, but there is too much reliance on The emergence of many cross-disciplinary organisations and these temporary employment schemes to fill core staff positions. projects illustrates how the various artforms depend on each This has led to a shortage of professional staff skilled and other in terms of development and growth. To make the most trained to operate within this environment of mixed artforms. effective use of resources, as well as to encourage diversity and innovation, the Arts Council augments its support for single Because of these resource constraints, the level of artforms by addressing the development needs of combined or commissioned work by arts centres has been low. However, multi-disciplinary arts organisations and of artists who work arts centres have become centrally important to the across art forms. development of audiences as well as opportunities for participation and education in the arts. This is particularly true Arts Centres of the provision of facilities for amateur arts and for out-of- The Council currently supports a network of 19 arts centres. This school education. A number of centres have also established provides an infrastructural framework of critical importance for a strategic arts development role through mentoring and the arts. Arts centres provide a year-round stimulus to the local supporting the development of local artists and emergent arts arts economy, commissioning new work, producing their own organisations. Arising from projects funded under the Cultural shows, and acting as venues for work created by others. They Development Incentive Scheme (CDIS) alone, at least eleven are a resource for locally-based arts activity, including arts new facilities for the arts are in development - many of them festivals, for out-of-school arts education, for amateur arts and for arts centres. These centres will open during the life of this Arts local arts development generally. Many produce artistic work of Plan and have indicated that they will require support from the national or international importance and increasingly operate in Arts Council to be viable - both in terms of their core partnership with one another and with overseas partners on operations and of their need for subsidised touring arts transnational projects. product. The cost of providing initially for the needs of some of these centres is provided for in this plan, but on the assumption The Arts Council (£2.18m in 1998), FÁS (£1.16m), and local that these costs will be shared with local authorities. authorities (£0.16m) are the main sources of funding for arts centres. All centres rely on public funding for more than half their There is also a network of smaller arts centres and multi- operating costs. This funding profile is just one of a number of purpose venues that focus on the needs of local arts groups constraints on the growth of arts centres. or local development. These organisations too have indicated a need for support from the Arts Council, particularly in As building-based organisations, they have high overheads and respect of professional programming. need considerable grant assistance just to maintain core operations. The contribution of local authorities to the costs of The Arts Council's purpose in funding arts centres is to running arts centres in their local areas is uneven, but at less support a permanent, building-based resource for the arts at than 10% on average of the Arts Council's contribution, it local level, for the benefit of everyone in their served creates an exceptionally high dependence on central funding for community. The discussion of specific actions below should what are usually important resources in the local community. FÁS be read in conjunction with the high-level strategies set out Community Employment programmes have helped the earlier in this plan, in pages 16-23. To promote artistic excellence and innovation, the Arts Encourage arts besides initiatives listed under Council will centres to develop strategy 7, audiences: by funding arts centres, and by Improve the besides initiatives listed under supporting them collectively, inter professional strategy 1, 7alia, through their representative formation, practice by funding those arts centres which organisation, in marketing and and career provide resources to artists, and by audience development initiatives. development of 1promoting a greater level of shared artists: responsibility for the career Develop international besides initiatives listed under development of artists. audiences for Irish strategy 8, arts and bring by funding international travel by arts Direct funding towards besides initiatives listed under international arts to managers, with a view to increasing excellence and strategy 2, Irish audiences: 8international programming by arts innovation in the by funding arts centres who achieve centres. promotion of the arts: or aspire to high standards of artistic 2excellence and innovation. To build capacity in the sector, the Arts Council will

Support artists besides initiatives listed under Improve dialogue with besides initiatives listed under working through Irish strategy 3, Government: strategy 9, and in indigenous arts by funding arts centres which offer by providing advice on local to achieve their full bilingual and/or traditional arts infrastructural needs; potential and increase 3programmes and facilities. 9 audiences: and by completing an audit of buildings for the arts in Ireland, to To develop audiences for and participation in the arts, support local and national the Arts Council will Government, as well as the Council itself, in policy-making for the arts. Support more public besides initiatives listed under participation in the strategy 5, Improve local besides initiatives listed under arts: by funding arts centres which play a structures for the arts: strategy 10, 5role in providing services and by funding arts centres; facilities to local arts groups of all kinds; 10and, in particular, by completing an analysis of current levels of by promoting greater recognition of infrastructural and touring provision the value of arts centres locally, as in music, dance, opera, theatre, film resources which serve a wide and visual arts, jointly with the Arts community of interests. Council of Northern Ireland, to produce benchmark information and Increase children's besides initiatives listed under support the development of more and young people's strategy 6, rational funding arrangements for engagement with the by funding the education and both venues and production arts: 6outreach programmes of arts companies or promoters; centres; by undertaking specific research and by developing financial and other consultation designed to document supports for education programmes existing capacity and produce integrated with the centre's overall augmented artistic expertise and activities in a small number of higher standards of promotion in the centres, with a view to developing areas of dance and visual arts. guidelines for best practice in arts education and outreach. Festivals and Public Spectacle The Arts Council's purpose in funding arts festivals and Festivals reflect the diversity of the arts. Multi-disciplinary public spectacle is to foster a wider and deeper appreciation arts festivals in particular represent a major and growing of the arts, to stimulate greater involvement in the arts element of the arts infrastructure in Ireland. The interaction among local communities, and to provide for the celebration of amateur, voluntary, community and professional artists in Ireland of the highest international standards in the arts. contributes to the dynamism of the sector. The discussion of specific actions below should be read in conjunction with the high-level strategies set out earlier in The Arts Council funds more than 45 festivals. Some 17 of these this plan, in pages 16-23. focus on one artform, the remaining 28 are multi-disciplinary. To promote artistic excellence and innovation, the Arts Arts Council funding to festivals fulfills core arts development Council will objectives - the impact of a festival is apparent both in the development of audiences and on the professional Improve the besides initiatives listed under development of artists. Likewise, festivals and street professional strategy 1, spectacle embrace development opportunities for formation, practice by funding single artform and multi- participation by programming, fringe, workshops and and career disciplinary festivals, which can offer education-based activities. Festivals and public spectacle development of 1a major career platform to artists. can augment the existing physical infrastructure for the arts artists: by imaginative use of temporary space or of public space and often serve as advocates and case-makers for Direct funding towards besides initiatives listed under permanent venues or other resources for the arts. excellence and strategy 2, innovation in the by funding single artform and multi- Festivals broaden the base of arts funding by linking promotion of the arts: disciplinary festivals which aspire to tourism, social and commercial interests to those of the arts. 2or achieve high standards of artistic The Arts Council's contribution to multi-disciplinary arts excellence and/or innovation. festivals ranges from 14% to 35%. This plurality of funding sources presents a challenge for the Arts Council to Support artists besides initiatives listed under articulate its artistic objectives clearly. working through Irish strategy 3, and in indigenous arts by funding festivals which offer The Arts Council is committed to the development of a core to achieve their full bilingual and/or traditional arts network of high-quality festivals, which offer new artistic potential and increase 3events and activities. work and develop local and specialist audiences. The Arts audiences: Council also works with other agencies to promote high standards among a wider network of smaller festivals. Foster more besides initiatives listed under recognition and strategy 4, The shortage of full-time, year-round professional art acknowledgement of by funding festivals, as a means of management posts, combined with the lack of training the arts: concentrating critical attention and opportunities for volunteers, makes it difficult for festivals to 4recognition of the arts. maintain quality, share information with their counterparts, and develop strategies for marketing and audience To develop audiences for and participation in the arts, development. In particular, the potential for festivals to the Arts Council will deepen public appreciation of the arts through the presentation of new work often remains unfulfilled due to Support more public besides initiatives listed under lack of resources and skilled arts personnel. participation in the strategy 5, arts: by funding festivals as a means of Special funding from Government represents an bringing the arts to a wider acknowledgement, and has sparked a new awareness, of 5community of participants. festival activity in other public policy spending programmes. The potential investment of major resources into a number of arts festivals over the life of the plan is significant. The Arts Council will work to ensure that short term developmental funding of this nature is sensitively managed, with a focus on sustainability and long term impact. Increase children's besides initiatives listed under and young people's strategy 6, engagement with the by funding, in particular, arts festivals arts: 6programmed for young audiences. Encourage arts besides initiatives listed under organisations to strategy 7, develop audiences: by funding arts festivals, in particular as a means of introducing the arts to 7new audiences. Develop international besides initiatives listed under audiences for Irish strategy 8, arts and bring by funding arts festivals as a major international arts to opportunity for international Irish audiences: 8exchange.

To build capacity in the sector, the Arts Council will

Improve local besides initiatives listed under structures for the arts: strategy 10, by funding arts festivals and local authority programmes, in particular 10because of the role of festivals as a catalyst for year-round arts development locally.

Rationalise financial besides initiatives listed under supports: strategy 12, by undertaking discussions with local authorities, with a view to agreeing 12an appropriate framework for devolving funding of local festivals in the course of the plan. Community Arts The interest of other agencies has been important in the Community arts covers a growing area of interest which development of community arts, leading to a situation where includes widespread and eclectic activity. The definition of the social or personal development outcomes of community what it involves is still evolving and the motives and arts work are well supported, documented and evaluated. ambitions of participants can vary widely. The Arts Council is committed to ensuring the artistic quality It has been characterised by rapid growth, funded in many and status of the artistic contribution to community arts cases through substantial investments of EU money in social practice. We are also concerned that community arts development and community capacity-building projects. practice informs and is informed by artform practice Community arts has attracted the support and attention of generally. The discussion of specific actions below should many Government Departments and agencies, including the be read in conjunction with the high-level strategies set out Department of Arts, Heritage, Gaeltacht and the Islands, but earlier in this plan, in pages 16-23. also the Combat Poverty Agency, the Department of Social, Community and Family Affairs, Area Partnerships, FÁS, the To promote artistic excellence and innovation, the Arts Department of Education and Science, VECs, Special Council will Support Programme for Peace and Reconciliation, as well as many local authorities. Improve the besides initiatives listed under professional strategy 1, Despite the availability of other funding sources, formation, practice by supporting resource organisations dependence on Arts Council grant aid is still high. and career and other mechanisms (including Organisations and schemes which have received funding development of 1training) for developing the capacity under the first Arts Plan include those which provide artists: of artists who choose to work in resources and support for community arts activity; street community contexts. spectacle and participation-based production companies; local groups which organise professional arts events for Direct funding towards besides initiatives listed under remote or socially disadvantaged communities; and excellence and strategy 2, community arts residencies. In practice, there are questions innovation in the by funding schemes to support about how best to provide for "community art" as a promotion of the arts: artists and communities to work dimension of policy for the arts. 2together, on projects whose process or outcome involve high standards of The work of the individual community artist has been largely excellence and/or innovation. unsupported through this period of rapid growth in activity. The formal professional education of most artists does not Support artists besides initiatives listed under include the development of specific skills in group work, working through Irish strategy 3, facilitation and collaborative process. The opportunities for and in indigenous arts by funding schemes to support artists to work in community arts are considerable, but a to achieve their full artists and communities to work limited pool of artists with requisite skills and experience has potential and increase 3together, including bilingual or Irish- meant an unsustainable level of demand. This in turn has audiences: speaking artists and communities. meant that artists, unsupported and with little experience of this work have become involved, leading to some variable Foster more besides initiatives listed under quality arts outcomes for the artists, and some recognition, strategy 4, disillusionment with community arts practice. acknowledgement, by supporting the dissemination of critical assessment information about good practice in In the term of the first Arts Plan, a number of specific and documentation of 4community arts. training initiatives for artists have been piloted with some the arts: success and models of good practice have been identified. The preparation of an expert report (Mapping Community Arts) has informed the Arts Council's understanding of the issues involved. Where overall aims and objectives of community arts work are clear, well managed and resourced, and where artists of experience and skill have been engaged, participative artistic work of great potential and high quality has emerged over the life of the last Arts Plan. To develop audiences for and participation in the arts, the Arts Council will

Support more public besides initiatives listed under participation in the strategy 5, arts: by funding schemes assisting artists to work with communities, resource 5organisations and facilities for community arts.

Increase children and besides initiatives listed under young people's strategy 6, engagement with the by funding artists to work in schools, arts: and with children and young people 6in out-of-school contexts.

To build capacity in the sector, the Arts Council will

Improve dialogue with besides initiatives listed under Government: strategy 9, by promoting an inter-departmental and cross-agency approach to the 9support of community arts.

Improve local besides initiatives listed under structures for strategy 10, community arts: by encouraging local authorities and other local development agencies to 10support community arts locally.

Rationalise financial besides initiatives listed under supports and improve strategy 12, the application by reviewing the full range of process: activities funded in this area of 12policy, in light of recent consultative and analytical studies, and restructuring supports as appropriate. Appendices Appendix 1 • Well resourced arts organisations with specialist Succeeding better: a review of the first Arts Plan 1995-1998, management and marketing skills as well as international by Indecon with PriceWaterhouse/Coopers quality standards are rare.

The following excerpt is taken from the final report of the • The arts sector in general provides low paid employment consultants. and in most cases there is no formal career progression path available to artists. There is also a significant Summary recommendations and conclusions. dependence on FAS placements. In this section we summarise the main conclusions of our review of the Arts Plan and our recommendations for • There is a unique degree of project workers with multiple consideration in the context of developing the next Arts Plan. employers in the sector.

Summary of Conclusions • There is relatively limited formal co-operation between The conclusions are classified under three headings as arts organisations which determine standards and other follows: arts organisations.

Structure, Characteristics and Impact of the Arts. • Overhead costs represent a significant percentage of available resources in many arts organisations. Arts Council Expenditure and Progress Compared to Objectives in the Plan. • The Arts Sector provides economic benefits but these are not of a scale to justify the level of public Development Challenges facing the Arts in Ireland. expenditure, which must be defended on basis of artistic and cultural objectives. Summary of Conclusions Re Structure, Characteristics and Impact • Ireland is fortunate to have a number of individual artists Arts Council Expenditure and Progress Compared to of outstanding talent as well as a small number of arts Objectives in the Plan organisations which have an international reputation. A summary of our conclusions on Arts Council expenditure and progress compared to the objectives in the Plan is set • Most arts organisations in Ireland are, however, very out below. In considering these conclusions it should be small in scale, have been established for less than 10 stressed that the Arts Plan represented an important years and have limited financial resources. They are also development in the introduction of policy planning for the restricted in geographic scope apart from Arts Council sector. The focus of the conclusions is to further enhance assisted tours. planning for the sector and thereby build on the success achieved to date by the arts community. • Arts organisations are heavily dependent on grants which account for a significant percentage of their total Summary of Conclusions on Arts Council Expenditure income. • Main categories of objectives in Arts Plan concerning quality, creation and access are common to the key • Prices for many artforms appear relatively low and there objectives in nearly all government supported Arts Plans. is modest price discrimination. • Main difficulty with the objectives is that they are • There is significant variance in the paid percentage take specified in a manner which is open to different up of seats in the performing arts sector. interpretations and the issue of how to resolve potential conflicts in objectives was not addressed. • The potential for substantial improvement in standards in most arts organisations is not promising unless there is • Further difficulty is that the specification of the objectives an increase in their resources. in most cases makes assessment of progress in achieving the objectives very difficult and in some cases impossible. • There may have been insufficient concern about the scale and resources necessary to enable some arts • There has been some notable successes by individual organisations to achieve quality and other objectives. artists and by arts organisations both at home and internationally over the period of the Plan. There also appears to have been some achievements in standards • There was not sufficient evaluation of the feasibility of a in arts organisations due to a number of factors, number of measures proposed in the Arts Plan and in although much work remains to be done in this area. some cases there was inadequate prior consultation with potential partner organisations. • There has been an increase in the volume of activity in the arts sector. • The resource requirements (funding and people) to deliver on many of the measures were not costed out, • In terms of access it is believed that real participation in nor considered within the context of the overall budget - the arts is still largely limited to certain socio-economic bottom-up costing not done. groups although progress has been made in terms of regional access. Development Challenges Facing the Arts in Ireland Our conclusions on some of the barriers to development • Over the period of the plan Drama remained the art form facing the sector are presented below. These are presented which obtained the highest share of Arts Council funding in terms of the challenges which should be addressed. although this showed some decline compared to 1994 share. Summary of Conclusions On Barriers To The Development Of The Arts And Arts Organisations In • The second largest category of expenditure was Ireland allocated to multi-disciplinary arts which also showed a • Facilitation of exceptional individual artists of talent to significant increase over the period of the plan. realise their potential.

• Expenditure on nine priority zones showed a mixed • Attraction and retention of highly skilled and talented pattern. artists and other employees and training in and development of specialist skills. • Very low levels of assistance was provided to individual artists and there was no integrated development • Provision of adequate resources to sustain investment in programme for artists of outstanding potential. quality, marketing and staff development.

• Average grant levels to arts organisations were in general • Development of sufficient organisation scale and fairly low when a handful of larger organisations were resources to achieve and maintain standards. excluded. • Implementation of strategies to address diseconomies of • A small but significant percentage of Arts Council scale and high overhead element in very small expenditure in 1997 was accounted for by organisations organisations. not funded prior to the Arts Plan. • Achievement of a significant increase in appreciation of • Arts Council funding is based primarily on an Arts Form the arts in Ireland. categorisation which has a logical basis but which does not take account of the fact that artists frequently work in • Development of marketing skills and resources as well as different art forms. scale and consistency needed to build and maintain audiences and to increase revenue. • With a small number of exceptions most Arts Council funding to Arts organisations is provided as a general • Provision of sufficient financial resources to engage in organisational subsidy rather than targeted to achieve a product development and effective long term planning. specific task. • Implementation of cost effective initiatives to achieve a • The potential impact of assistance to one organisation on meaningful change in access to the arts. other organisations does not appear to be recognised in the Plan. • Improvement of specification of measures and means for evaluation of performance. • Identification of a number of priority zones in areas where the arts sector is underdeveloped may have resulted in • Expansion of potential geographic markets. the creation of expectations which cannot be met. Summary of Recommendations 9 Financial assistance should be withdrawn or significantly Our recommendations for consideration in the context of reduced for consistently underperforming arts preparing the next Arts Plan are summarised below. Design organisations. of the detail for specific objectives and measures for the next Arts Plan is the responsibility of the Arts Council and is 10 It is essential that decisions for capital grants should be outside the scope of this review. However, the integrated with revenue funding decisions. recommendations proposed for changes in direction and emphasis based on our review are designed to assist the 11 Given the need to target scarce resources, revenue development of the sector and to ensure that scarce funding for new arts organisations should be significantly resources are applied in the most effective manner. We restricted until existing organisations are adequately believe that a vigorous implementation of specific measures resourced. Some funds should, however, be allocated to to give effect to the recommended strategic direction would encourage innovation. significantly alter the landscape for Irish art. It could also result in assisting the sector to build on achievements made 12 Developing international markets for Irish art should be to date and to start the process of overcoming some of the given a greater priority. long standing barriers to the development of the arts in Ireland. 13 Objectives for the next Arts Plan should be specified in a manner which are more amenable to quantification and Recommendations measurement. 1 Greater resources should be targeted at assisting established individual artists (whether working in Irish or 14 Much better performance indicators should be English) who are capable of creating world class work, developed by the Arts Council. to realise their potential. 15 Careful evaluation of the feasibility of measures and 2 The Arts Council should play a much more consultation with potential partner organisations is developmental role in assisting the creation and required prior to finalising the next Arts Plan. development of arts organisations of sufficient scale and resources which would be able to produce work of the highest standards achievable.

3 Initiatives should be implemented to encourage mergers or shared support services for arts organisations.

4 The leading arts organisations should have a greater formal responsibility for assisting other organisations of potential to improve standards.

5 A significant percentage of funding to Arts organisations should be diverted from general operating subsidies to targeted assistance to achieve specific objectives.

6 New initiatives are required to meet the objective of improving access and a greater focus placed on ensuring that this is achieved in the most cost effective manner.

7 A radical programme to foster non-grant sources of income should be introduced.

8 A higher priority should be introduced in the education system to arts appreciation. Appendix 2 A Recipients of funding under the first Arts Plan 1995-1998 Abbey Centre Trust Donegal Achill Heinrich Böll Committee Mayo Organisations which received revenue, capital or project Achill North West Community Development Mayo grants from the Arts Council in the term of the first Arts Plan Africa Calls Gallery Dublin are listed alphabetically below. These include arts African Cultural Project Dublin organisations, and schools or other communities which Age and Opportunity Dublin received funding under project schemes, for example for an Agenda Magazine England AISTI Wicklow artist-in-residence. Altarus Records England Alternative Entertainments Dublin In addition to the organisations listed below, 1,060 Amharclann de híde Dublin individuals received awards - bursaries, scholarships, travel Aonach Paddy O'Brien Tipperary grants, and 2,700 individuals received ARTFLIGHT air travel APIC Cooperative Centre Dublin Aran Book Publishers Dublin vouchers. Architectural Association of Ireland Dublin Archway Studios Dublin Ardscoil na Bráithre Tipperary The Ark / Children's Cultural Centre Dublin Arklow Visual Arts / Community Arts Wicklow ARLIS/UK & Ireland Art Libraries Assoc. England Armagh Pipers Club Northern Ireland Art Trail Cork ArtHive Gallery Cork Arthouse Dublin Artists' Association of Ireland Dublin Artlink, Buncrana Donegal Artquake Monaghan Arts Council of Northern Ireland Northern Ireland Artslab Ireland Dublin Artsource Dublin Artspace Studios Galway Artworking Dublin Aspects Literature Festival Northern Ireland Association of Irish Composers Dublin Assoc. of Local Authority Arts Officers Kildare Assoc. of Professional Dancers in Ireland Dublin Association of Visual Arts in Ireland Dublin Asylum Arts Review Kerry Athenry Festival Galway Athlone Festival Westmeath Athlone Youth Project Westmeath Attic Community Drama Galway Attic Press Cork Audio Art Radio Transmissions Dublin

B B.C. Productions Dublin Baboró International Children's Festival Galway Backstage Theatre Longford Backwater Artists Cork Ballina Arts Events Mayo Ballina Street Festival Mayo Ballinglen Arts Foundation Mayo Ballymun Partnership Dublin Ballyshannon Youth Centre Donegal Bannow Folk & Traditional Society Wexford Bantry Community Arts Cork Barabbas ... The Company Dublin Bare Bodkin Theatre Company Meath Barnardos Dublin Barnstorm Theatre Company Kilkenny Beara Community Arts Society Cork Beat Initiative Northern Ireland Beaufort National School Meath Clare Music Education Centre Clare Beautiful Noise Band Limerick County Clare Youth Service Clare Samuel Beckett Theatre Dublin Claremorris Arts Association Mayo Bedrock Productions Dublin Claremorris Arts Committee Mayo Beg Borrow & Steal Theatre Company Dublin Claremorris Arts Foundation Mayo Belltable Arts Centre Limerick CLÉ /Irish Book Publishers Association Dublin Beyond Borders Inishowen Donegal Cleeres Theatre Kilkenny Bickerstaffe Kilkenny Clifden Arts Society Galway Bishop Birch Place Community Project Kilkenny Clifden Community Arts Week Galway Black Box Music England Cló Ceardlann na gCnoc Northern Ireland Black Church Print Studio Dublin Cló Íar-Chonnachta Galway Blood Stone Theatre Company Galway Clonaghadoo National School, Geashill Offaly Blue Funk Dublin Clondalkin Arts Festival Dublin Blue Raincoat Theatre Company Sligo Clondalkin Youth Theatre Dublin Bluebell Women's Group Dublin Clonmel Christmas Carnival Tipperary Boann Louth Cois Life Dún Laoghaire/Rathdown Bog Lane Theatre Company Longford Coiscéim / Cosanic Dublin Book Worms, Ballinasloe Galway Coiscéim Dance Theatre Dublin Books Ireland Dublin Coiste Árainn Mhór Beo Donegal Boyle Arts Festival Roscommon Coiste Forbartha Ceantar Mhín an Aoire Donegal Brandon Book Publishers Kerry Coláiste Raithín Wicklow Bray International Organ Festival Wicklow Coleman Heritage Centre Sligo Bray School Project National School Wicklow College of Dance Dublin Brechtfest Dublin Collins Bookshop Cork Bridewell Theatre Carlow Collins Press Cork Bridge Press Dublin Collooney 1798 Commemoration Committee Sligo Bridge Street Studios Louth Comhaltas Ceoltóirí Eireann / Craobh Naithi Dublin Broadstone Studios Dublin Comhaltas Ceoltóirí Eireann / Lixnaw Kerry Buí Bolg Wexford Comhaltas Ceoltóirí Eireann / J.O'Dowd Sligo Butler Gallery Kilkenny Comhaltas Ceoltóirí Eireann / Riverstown Sligo Comhar Dublin C Comharchumann Rath Cairn Meath C.A.F.E. Dublin Comharchumann Thoraí Donegal Cairde na Cruite Dún Laoghaire/Rathdown Community After School Project Dublin Cairdeas na bhFidléirí Donegal Community Arts Forum Drogheda Louth Calypso Productions Dublin Community Video Productions Cork Camac Sculpture Exhibition Kildare Co-Motion Theatre Company Dublin Campus Publishing Galway Composers Ink Dublin Cape Clear International Story Cork Concorde Galway Carndonagh Community School Donegal Connacht Rural Women's Group Roscommon Carrick-on-Suir Amateur Operatic Society Tipperary Contemporary Irish Art Society Dublin Cashel Heritage & Development Trust Tipperary Contemporary Music Centre Dublin Castlecomer Tidy Towns Kilkenny Convoy Joint National School Donegal Castlegar National School Galway Cootehill Arts Festival Cavan Castlerea Art Group Roscommon Corcadorca Theatre Company Cork Castlerea Community School Roscommon Cork Aids Alliance Cork Catholic Youth Council Dublin Cork Artists' Collective Cork Cavan County Council Cavan Cork Arts Development Committee Cork CBS Synge Street Dublin Cork Arts Festival Cork Celtic International Pipers Festival Committee Monaghan Cork Arts Society Cork Centre for Independent Living Dublin Cork Bronze Company Cork Ceol-Scoil Chiarraí Kerry Cork City Ballet Cork Children's Books Ireland Dublin Cork Community Artlink Cork An Chrannóg Donegal Cork Corporation Cork Christ Church Baroque Dublin Cork County Council Cork Cill Rialaigh Project Kerry Cork County VEC Youthreach Cork Circa Publications Dublin Cork Film Centre Cork Ciste Cholmcille Dublin Cork Film Festival Cork City Arts Centre Dublin Cork Folk Festival Cork City of Dublin VEC Dublin Cork Institute of Technology Cork City Quay National School Dublin Cork International Choral Festival Cork Clann Machua Street Theatre Company Mayo Cork Music Resource Centre Cork Clare County Council Clare Cork Opera House Cork Clare Festival of Traditional Singing Clare Cork Orchestral Society Cork Cork Printmakers Cork Dublin Film Festival Dublin Cork School Project N S Cork Dublin Fringe Festival Dublin Cork Spastic Clinic/Lavanagh Centre Cork Dublin In Depth Dublin Cork Unemployed Musicians' Committee Cork Dublin Institute of Technology Dublin Cork Writers Project/Munster Literature Centre Cork Dublin International Organ & Choral Festival Dublin Cork YMCA Cork Dublin Jazz Society Dublin Cork Children & Young People's Theatre Co Cork Dublin Lesbian & Gay Film Festival Dublin Corn Exchange Dublin Dublin Master Classes Dublin Cornmill Theatre & Arts Centre, Carrigallen Leitrim Dublin Theatre Company Dublin COTHÚ/Business Council for the Arts Dublin Dublin Theatre Festival Dublin Courthouse Studios , Ennistymon Clare Dublin Tourism Dublin Craftcrews Dublin Dublin Youth Orchestras Association Dublin Craic na Coillte Cork Dublin Youth Theatre Dublin Crash Ensemble Dublin Dún Laoghaire Youth Service Dun Laoghaire/Rathdown Crawford Municipal Art Gallery Cork Dún Laoghaire Rathdown County Council Dún Laoghaire/Rathdown Critical Access Dublin Dundalk Urban District Council Louth Crossabeg National School Wexford Dunlavin Arts Festival Wicklow Crossroad Productions Dublin Dunne, Felim and Associates Dublin Crossroads Symposium '95 Roscommon Crucible Arts / C.A.S.T. Dublin E Cuisle '97 Limerick County Ealaíon Cois Farraige Wicklow Cumann Ceol Tíre Éireann Dublin Eastern Washington University USA Cumann Náisiúnta na gCór Cork Edenderry Boys National School Offaly Cyphers Magazine Dublin Edgeworthstown Co-op Society Longford Éigse Carlow Carlow D Éigse na Laoi Cork Daghdha Dance Company Limerick County Element / Mermaid Turbulence Dublin Dalkey School Project Dublin Elphin Vocational School Roscommon Dalkey Sound Arts Dublin The Energizer Tipperary Dance Council of Ireland Dublin Ennis Arts Festival Clare Dance Theatre of Ireland Dún Laoghaire/Rathdown Ennis IMRO Composition Summer School Dublin An Danlann, Teach an Léinn Tipperary Esperanza Productions Dublin Daonscoil na Mumhan Limerick Co European Piano Teachers Association Dublin Davitt College Castlebar Mayo Everyman Palace Cork De Facto Film & Video Production Northern Ireland Exiles Theatre Cork De Valois Centre for Dance Dublin Deansrath Community College Dublin F Dedalus Press Dublin Family Resource Centre Dublin DELTA / Traditional Music Seminars Dublin A & A Farmar Dublin Design Yard Dublin Feakle Traditional Singing Weekend Galway Dingle Writing Courses Kerry Feasta Cork Disabled People of Clare Clare Federation of Irish Film Societies Dublin Dominican College Wicklow Federation of Musicians Collectives Dublin Donegal Arts Festival Donegal Féile Caomhan, Inis Oírr Galway Donegal County Council Donegal Féile Chois Cuain Mayo Donegal School of Music Donegal Féile Chomortha Joe Einiú Galway Donegal Workshop Theatre Donegal Féile na Bealtaine, An Daingean Kerry Chris Doswell Gallery Limerick Co Féile Reidhlean Cork Double Band Films Northern Ireland Feilte Dhuibh Linn Dublin Douglas Hyde Gallery Dublin Fermanagh District Council Northern Ireland Drake Music Project Northern Ireland Fiddler of Oriel Monaghan Drama League of Ireland Dublin Film Base Dublin Draoicht/West Offaly Street Theatre Offaly Film Institute of Ireland Dublin Drogheda Samba School Louth Fingal County Council Dublin Drogheda Youth Arts Project Louth Finglas Partnership Dublin Drogheda Youth Development Louth Fire Station Artists' Studios Dublin Droichead Arts Centre Louth Firkin Crane Development Company Cork Droichead Youth Theatre Louth Fish Publishing Cork Druid Theatre Company Galway Fishamble Theatre Company Dublin Dry Rain Performing Arts Wicklow Flagmount Festival Clare Dublin 15 Community Arts Festival Fingal County Council Fluxus Kildare Dublin Art Foundry Dublin Focus Point Project Dublin Dublin City University Dublin Focus Theatre Dublin Dublin Committee for Travelling People Dublin Fondúireacht an Bhlascaoid Kerry Force 10 Magazine Sligo I Foróige / Tramore Waterford County I Love You Exhibition Dublin Fortnight Publications Northern Ireland Igloo Productions Dublin Four Courts Press Dublin Improvised Music Company Dublin Fourth International Womens Inchicronan Central School Clare Playwrights' Festival Galway Indi Films Dublin Foxford Resources Mayo Iniscealtra Festival of Arts Clare Foyle Music Association Northern Ireland Inishbofin National School Galway Foynes Art Committee Limerick County Inishowen Traditional Singers' Circle Donegal Friars Gate Theatre Limerick County Inniskeen Enterprise Development Group Monaghan Full Moon-Gealach Lán Donegal Insights '97 Dublin International Cartoon Festival Wicklow G International Amateur Theatre Association Dublin Gaiety School of Acting Dublin Íomha Ildánach Theatre Company Dublin Gallery of Photography Dublin University of Limerick / Ionad na nAmhrán Limerick Co Gallery Press Meath IRD Kiltimagh Mayo The Gallery Cork Ireland Literature Exchange Dublin Galloglass Theatre Company Tipperary South Co Ireland-America Arts Exchange USA Galloping Cat Theatre Company Dublin Irish Academic Press Dublin Galway Arts Centre Galway Irish American Cultural Institute USA Galway Arts Festival Galway Irish Animation Festival Dublin Galway City VEC Galway Irish Arts Review Dublin Galway County Council Galway Irish Association of Brass & Concert Bands Louth Galway Early Music Galway Irish Association of Youth Orchestras Cork Galway Film Fleadh Galway Irish Chamber Orchestra Limerick County Galway Film Resource Centre Galway Irish Contemporary Ceramics Dublin Galway Steinway Trust Galway Irish Deaf Society Dublin Galway Traveller Support Group Galway Irish Junior Ballet Dublin Galway Youth Federation Galway Irish Modern Dance Theatre Dublin Galway Youth Theatre Galway Irish Museum of Modern Art Dublin Gandon / John O'Regan Cork Irish Photographic Federation Louth Garage Theatre, Monaghan Monaghan Irish Pipe Band Association Wexford Garter Lane Arts Centre Waterford Irish Review Cork Corporation Irish Stage & Screen Dublin Gate Theatre Dublin Irish Traditional Music Archive Dublin Gate Theatre Trust Dublin Irish Wheelchair Association, Clane Kildare Giant Productions Dublin Irish Writers' Centre Dublin Gibson-Madden School of Dance Cork Irish Youth Wind Ensemble Dublin Gill and Macmillan Dublin Island Theatre Company Limerick Ginnell & Gray, Architects Westmeath Island Trust - Ireland Dublin Glasshouse Productions Dublin Italics Press Dublin Glencolmcille Folk Village Donegal Mainie Jellett Project Dublin Good Counsel School Waterford County Gorey Little Theatre Group Wexford J Graffiti Theatre Company Cork Jeunesses Musicales Ireland Dún Laoghaire Grange Community College Dublin Rathdown Graph Film Productions Dublin Joint Productions Dublin Graph Magazine Dublin Junior Dublin Film Festival Dublin Graphic Studio, Dublin Dublin Junior Galway Film Fleadh Galway Greater Blanchardstown Arts Centre Dublin Larry Kelly Cultural Centre Longford Gudok and David Farrell Dublin Douglas Gunn Ensemble Laois K Gyre and Gimble Theatre Company Dublin Kentstown National School Meath Kerlin Gallery Dublin H Kerry County Council Kerry Hammerschlag Trust, Alice Berger Northern Ireland Kerry International Summer School Kerry Hard Pressed Poetry Dublin Kerry Music County Limited Kerry Hartstown Community School Dublin Kerry Network of People with Disabilities Kerry The Hatters Galway Kestervale Dublin Hawk's Well Theatre Sligo Kids' Own Publishing Partnership Dún Laoghaire Gerard Manley Hopkins Society Kildare Rathdown Hospice October Project Kildare Kilbride Books Wicklow Kilbride Community & Resource Centre Roscommon Kildare County Council Kildare Kilkeevan Art Group, Company Roscommon Manorhamilton Arts Group Leitrim Kilkenny Arts Week Kilkenny Marino Books Dublin Kilkenny Colourists Kilkenny Marino Institute of Education Dublin Kilkenny Community Action Network Kilkenny Marino Vocational School Dublin Kilkenny County Council Kilkenny Marketown Music Collective Dublin Kilkenny Music Museum Kilkenny Mater Dei Primary School Dublin Kilkenny Technical School Kilkenny Maugherow Dramatic Society Sligo Killarney Easter Folk Festival Kerry Mayo County Council Mayo Kilmainham Gaol Dublin Meath County Council Meath Kilmallock Drama Society Limerick Co Merchants Quay Project Dublin Kilnaboy National School Clare Mercier Press Cork Kiltimagh Town Theatre Group Mayo Mercy Secondary School Longford King's Hospital School Dublin Meridian Theatre Company Cork Kinvara Community Council Galway Mermaid Turbulence Dublin Knockanrawley Resource Centre Tipperary Metre Magazine Wicklow Knocknaheeny/Hollyhill CommArt Cork Midlands Arts Resource Centre Westmeath Krino: The Review Dublin Minc Theatre Dublin Mise Freisin Mayo L Moate Community Development Assoc. Westmeath Lake Pride Galway Model Arts Centre Sligo Lamberts Puppet Theatre Dublin Monageer National School Wexford Laois County Council Laois Monaghan County Council Monaghan Largo Records Germany Monaghan County Museum Monaghan Leinster Printmaking Studio Kildare Monaghan VEC Monaghan Leitrim County Council Leitrim Monaghan Youth Theatre Monaghan Leitrim County VEC Leitrim Mooncoin Primary School Parents' Assoc. Waterford County Leitrim Observer Publications Leitrim George Moore Society Mayo Leitrim Sculpture Centre Leitrim Mosaic Galway Leitrim County Partnership Leitrim Mostly Modern Dublin Letterfrack National School Galway Mount Eagle Publications Kerry Lilliput Press Dublin Mount Mercy Day Centre Limerick County Limerick City Gallery of Art Limerick Mountwood Fitzgerald Community Dev. Dublin Limerick City Youth Theatre Limerick County Music Association of Ireland Dublin Limerick Corporation Limerick County Music for Galway Galway Limerick County Council Limerick County Music for Wexford Wexford Limerick Exhibition of Visual Limerick Music Instrument Fund for Ireland Dublin Limerick Irish Film Festival Limerick County Music Network Dublin Limerick Jazz Society Limerick County MusicBase Dublin Limerick Music Association Wicklow Limerick School Project Limerick County N Limerick Travellers Development Group Limerick County Nano Nagle National School Tipperary Linenhall Arts Centre Mayo Nano Nagle Special Classes Cork Linn Oírr Dublin National Association of Travellers Lismullen National School Meath Touring Company Galway Lisnagry National School Limerick County National Association for Youth Drama Dublin Living Art Projects Dublin National Chamber Choir Dublin London Contemporary Dance School England National College of Art & Design Dublin Longford County Council Longford National Maternity Hospital Dublin Loose Canon Theatre Company Dublin National Sculpture Factory Cork Loreto Convent Milford Donegal National Theatre Society / Abbey Theatre Dublin Loreto National School Wexford National Writers' Workshop Galway Lourdes Youth & Community Service Dublin National Youth Council of Ireland Dublin Lucan Community College Dublin National Youth Orchestra of Ireland Dublin Lucena Clinic Dublin Neighbourhood Youth Project Galway New Art Studios Dublin M New Balance Dance Company Dublin Mac Eolas/ Macnas Training Galway New Island Books Dún Laoghaire/Rathdown The Machine / Scott Foundation for the Arts Dublin New Ross Community Video Group Wexford Macnas Galway New Writers' Press Dublin Macra na Feirme Dublin Newbury House Family Centre Cork Magad Dublin Newcastlewest & Area Arts Committee Limerick County Mall Theatre & Cinema Galway Newpark Music Centre Dún Laoghaire/Rathdown Mallow Arts Alliance Cork North Dublin School Project Dublin Mandance / Paul Johnson Dublin North East Traditional Arts Louth North Eastern Health Board Meath R North Leitrim Glens Development Leitrim Ranelagh Multi-Denominational School Dublin North Leitrim Residential Arts Leitrim Rathangan National School Wexford North Wall Women's Centre Dublin Read Company Dublin N.Ireland Symphony Summer School Northern Ireland Real Art Project Limerick NUI - Galway Galway Red Kettle Theatre Company Waterford Corp NUI - Cork Cork Red Lemon Youth Theatre Dún Laoghaire/Rathdown NUI-Dublin Dublin Red Mountain Media Dublin NUI-Dublin, Arts Administration Studies Dublin Rehab Group, Dun Laoghaire Dublin NUI-Dublin, Drama Studies Centre Dublin Relay Publications Tipperary Response Art Dublin O RHA Gallagher Gallery Dublin Oat Gallery Galway Rialto Youth Project Dublin O'Brien Press Dublin Róisín Rua Films Dublin O'Carolan Harp & Cultural Festival Meath Roscommon Active Age Groups Roscommon O'Carolan Harp Festival Comm., Keadue Roscommon Roscommon County Council Roscommon Offaly County Council Offaly Roscommon County Library Roscommon Office of Public Works Dublin Rough Magic Theatre Company Dublin Ógra Chorcaí Cork Rowlagh Women's Group Dublin Oideas Gael Donegal Royal Academy of Dancing / Irish branch Dublin An t-Oireachtas Dublin Royal Hospital Donnybrook Dublin Pádraig O'Keeffe, Traditional Music Festival Kerry Royal Institute of the Architects of Ireland Dublin Olivian Players Dublin Royal Irish Academy of Music Dublin Opera Ireland Dublin RTÉ Dublin Opera South Cork Rubato Ballet Dublin Opera Theatre Company Dublin Operating Theatre Wicklow S OPP-ART Cork Sacred Heart Convent, Ballymahon Longford Ormond MultiMedia Gallery Dublin Salem Willows Theatre Company Dublin Oscar Wilde Summer School Wicklow Salmon Publishing Clare Ossory Youth Services, Kilkenny Kilkenny Samhlaíocht Chiarraí Kerry Our Lady's Hospice Dublin Saol Beo Community Pageantry Donegal Out Art Dublin Schizophrenia Association of Ireland Dublin Schoolyard Theatre & Arts Club Cork P Scoil Acla Mayo Pan Pan Theatre Company Dún Laoghaire/Rathdown Scoil Aonghusa Special School Tipperary Paradox Pictures Dublin Scoil Caitriona Senior Galway Parents Alone Resource Centre Dublin Scoil Ceoil Geimhridh F. Kennedy Donegal Parnell Square Studios Dublin Scoil Ceoil Inis Meáin Galway Parzival Productions Galway Scoil Cholmcille Lifford Donegal Passion Machine Theatre Company Dublin Scoil Léacht Uí Chonchúir Clare Passport Exchange Dublin Scoil Lorcain Boys NS Waterford County Percussion Discussion Dublin Scoil Mhuire Coolcotts Wexford Photo Works North Northern Ireland Scoil Mhuire gan Smál Carlow Photographic Society of Ireland Dublin Scoil Mhuire, Rosslare Wexford Picture House Dublin Scoil Mochua Clondalkin Dublin Pimlico Opera England Scoil Náithi Dublin Na Piobairí Uilleann Dublin Scoil Naomh Lorcan O’Tuathail, Roundwood Wicklow Playcircle Dublin Scoil Samhna Séamus Ennis Dublin Pléaráca Teoranta Galway Scoil Samhraidh Liatroma Leitrim Poetry Ireland Dublin Scoil Samhraidh Willie Clancy Clare Poolbeg Group Services / Poolbeg Press Dublin Scoil Triest, Glanmire Cork Power Pictures Galway Scoil Uí Chonaill Cahirciveen Kerry Presentation College Tuam Galway Sculptors Society of Ireland Dublin Presentation Secondary School Tipperary Sculpture in Context Committee Dublin Production Company / Belfast Northern Ireland Sculpture in Woodland Wicklow Project Arts Centre Dublin Seanchas Annie Bhán Publishing Dublin Public Art Steering Committee Dublin Sean-Nós Cois Life Dún Laoghaire/Rathdown Púca Puppets Dublin Second Age Theatre Company Dublin Punchbag Theatre Company Galway A Sense of Cork Cork Pushkin Prizes Trust Northern Ireland Sensory Perception Art Dublin Shannon Development (SFADCO) Clare Shannon Heritage & Castles Clare Shawbrook / L.D. 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School, Enniscorthy Wexford W St Vincent's School, Lisnagry Limerick County Waterford Corporation Waterford Starchild Festival Wicklow Waterford County Council Waterford County State of Mime Theatre Dublin Waterford Music Club Waterford Corporation Stewart Parker Trust Northern Ireland Waterford Regional Hospital Waterford Corporation Stone Leaf Gallery Dublin Waterford Spraoi Waterford Corporation Storytellers Theatre Company Dublin Waterford Theatre Royal Society Waterford Corporation Sutton Park School Dublin Waterford V.E.C. Waterford County Waterford Youth Drama Waterford Corporation Watergate Theatre Company Kilkenny West Cork Arts Centre Cork West Cork Music Cork West Waterford Early Music Festival Waterford County Western Health Board Galway Westmeath Community Development Westmeath Westmeath County Council Westmeath Westmeath VEC Westmeath Westport Arts Festival Mayo Westside Resource Centre Galway Wet Paint Arts Dublin Wexford Arts Centre Wexford Wexford County Council Wexford Wexford Festival Opera Wexford Wexford Sculpture Workshops Wexford Wexford Youth Theatre Wexford Wicklow County Council Wicklow Wicklow Uilleann Pipes Festival Wicklow Wilderness Sanctuary, Allhies Cork Windows Publications Monaghan Wolfhound Press Dublin Women's Aid Dublin Working Artists Roscommon Roscommon World's End Dublin WP Journal / Simion D. Cavan Writers' Week Listowel Kerry

Y Yellow Asylum Films Dublin Yew Theatre Productions Mayo Young European Strings Dublin Young Irish Film Makers Kilkenny Members of the Arts Council 1998 - 2003

Brian Farrell, Chairman Mary Brady Carlo Gebler Maud Cotter Noel Crowley Brendan Flynn Jane Gogan TV Honan Proinsias Mac Aonghusa Paul McGuinness Siobhán NíÉanaigh Máire Ní Riain Séamus Ó Cinnéide Emer O'Kelly Jane O'Leary Una O'Murchú Patrick Sutton The Arts Council Telephone 353 1 618 0200 70 Merrion Square Callsaver 1850 392 492 Dublin 2 Facsimile 353 1 661 0349 Ireland 353 1 676 1302