An Chomhairle Ealaíon

An Ceathrú Tuarascáil Bhliantiúl is Tríocha maille le cuntais don bhliain dár chrioch 31ú Nollag 1985. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951.

Thirty-fourth Annual Report and Accounts for the year ended 31st December 1985. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951.

ISBN 0 906627 12 5 ISSN 0790-1593

Members Máirtín McCullough, Chairman John Banville Vivienne Bogan Breandán Breathnach (died November 1985) David Byers Patrick Dawson Máire de Paor Bríd Dukes Vincent Ferguson Mairéad Furlong Garry Hynes Barry McGovern Rosemarie Mulcahy (from August 1986) Tom Munnelly (from February 1986) Patrick J. Murphy Eilís O'Connell (until June 1986) Seán Ó Mordha Michael Smith Michael Taylor

(December 1986)

Staff Director Adrian Munnelly

Officers: Literature, Arts Centres and Festivals, Community Arts Laurence Cassidy Visual Arts Medb Ruane Visual Arts/Exhibitions and Film John Hunt Drama and Personnel Phelim Donlon (from March 1985) Drama and Dance Arthur Lappin (until March 1985) Music and Opera Patricia Quinn Traditional Arts and Administration Dermot McLaughlin (from July 1986) Regions, Research, Information Marian Fitzgibbon (from June 1985) Education and Dance Martin Drury Finance David McConnell

Executive Assistants Nuala Donnelly Kevin Healy Nuala O'Byrne Bernadette O'Leary Secretarial Assistants Suzanne Quinn Patricia Moore Jennifer Traynor Mary Cloake Mary Hickey Paula Harold Receptionist Kathryn Cahille

70 Merrion Square, Dublin 2. Telephone: (01) 611840

(December 1986)

An Chomhairle Ealaíon

An Chomhairle Ealaíon/The Arts Council is an independent body set up under the Arts Acts 1951 and 1973 to promote and assist the arts. It operates through a wide-ranging programme of financial assistance and special services, offered to individuals and organisations. The Council also acts as an adviser on artistic matters to Government, and is one of four bodies having a statutory right to make representations to planning authorities in connection with applications for planning permission in areas of special amenity throughout the country, and in cases where proposed developments might detract from the artistic or architectural appearance of buildings of interest. The Council consists of a board of not more than seventeen members appointed by An Taoiseach. The present Council was appointed in January 1984 and its term of office expires in 1988. The Council meets ten times a year to set Council policies and make decisions within the terms of the Arts Acts. These policies and decisions are implemented by a staff headed by a Director, appointed by the Council. The Council reports to the Oireachtas through An Taoiseach and its accounts are audited by the Comptroller and Auditor General. Annual grants from the Oireachtas are the Council's principal source of income. These grants are supplemented by income from local authorities and private organisations. The Council also administers a number of trust funds, set up privately for specific purposes. The Arts are defined in the Arts Acts and include: painting, sculpture, architecture, photography, film, print- making, design, theatre, dance, music, opera, literature, and the fine arts and applied arts generally.

Contents

Page

Chairman's Introduction 7

Review of the Year 8

Aosdána 10

Literature 12

Visual Arts 14

Drama 18

Dance 22

Traditional Arts 23

Opera 24

Music 25

European Music Year 1985 27

Film 29

Arts Centres and Festivals 31

Community Arts 33

ACE (Arts Community Education) 34

Education 35

Regional Arts 37

Regional Arts Committees 40

Capital/Sundry 41

Analysis of 1984 Grant Aid 42

Accounts 45

Chairman's Introduction

Funding (or lack of it) was the single most important problem facing Council during 1985. It is our belief that the case for substantially increased funding has been made but is unlikely to be satisfactorily addressed in current economic circumstances. The general underfunding of the arts is acknowledged by our Minister and I am hopeful that he will respond positively to our proposals for a phased programme of increasing the Council's income with particular emphasis on a share of the proceeds from the National Lottery. We should record that our Minister, Mr. Nealon, has played a vital role in maintaining the central position of the arts among many conflicting demands on the proceeds from the National Lottery. If the ultimate target of £13m Arts Council funding is achieved before the end of this decade, I believe that the Government and the Arts Council will have given a much needed stimulus to the spirit of our people. The benefits that would accrue from such a level of grant-aid are immense — a view we have been pressing on Government since this Council was appointed. In the world of the arts, all activity is the outcome of vision, imagination, planning, organisation, administration. This activity cannot be put in place overnight — it needs to be thought out, one, two, sometimes three years in advance: for example, can a major art exhibition be coordinated and mounted successfully without at least two years' advance preparation? This being so, the Arts Council must be in a position to react more readily to the planning requirements of its many clients. It must be ready to recognise the financial commitments of each grant-aided body not just on a year- to-year basis but for longer terms, even if the response has to be on an 'in principle' basis. Ideally, the Council would prefer to collaborate with its clients in longer-term planning of activity — assuming always that standards of excellence are maintained. The Council aspires to a close working relationship with its clients on the one hand and the Minister of State for the Arts and Culture on the other, with a view to achieving this necessary security of long-term funding. In a brief overview of the past year, the Council can point to some good news and some not so good. In literature, for example, there has been the healthy initiative in support of works written in the Irish language, as well as in English. Also, there has been a marked upsurge in regional arts affairs. Some extremely important publications have been promoted by the Council which highlight certain deficiencies, including 'The Dancer and the Dance', and 'Deaf Ears?', which draws urgent attention to the treatment of music in our schools. There was the regrettable (for the first time ever) contraction of theatre touring and the reduction or elimination of grant-aid in some areas. The present Council is now in its third year of office, still intact save for the sad loss of one of its most astute, experienced and knowledgeable colleagues: Breandán Breathnach — rath Dé ar a anam dílis. Following Matthew Arnold, we continue to seek out 'the study of perfection which is the true aim of culture'. Within this aim, we endeavour to widen our horizons in order that we may bring the arts to every citizen. Of course, there are obstacles and inhibitions but these need not, and must not, deter Council from doing its utmost to fulfil its mandate.

Máirtín McCullough Chairman

Review of the Year

The year under review was primarily one of reassessment, rationalisation and streamlining. As a positive reaction to the dire shortage of funds which inhibited developments in the arts, the Arts Council undertook in order to achieve a review of its support for many of the arts disciplines, a firmer and clearer articulation of policy. The Minister of State for Arts and Culture Mr. Ted Nealon, T.D., announced that he wished to publish a White Paper on the arts. The Council responded by preparing a submission outlining a programme of support and development for the arts to the end of the century. As part of the preparation of its submission, the Council arranged 17 public meetings throughout the country to which the public had an opportunity to make their views on the arts known to the Council. These were very well attended and showed a high level of support for the arts and concern about their development. The report was drawn up by John Banville, member of the Arts Council and of Aosdána, with the assistance of John O'Mahony, Regional Arts Officer, Cork/Kerry. It emphasised the central role of the arts in our society, and proposed continued support for the individual artist with a concentration on greater access to and participation in the arts for the population as a whole. During the year, the Council devoted a great deal of time to assessing the amount which it required to discharge fully its function to assist and promote the arts. A figure of £13,000,000 was identified, and communicated to the Minister and to the Department of the Taoiseach. The Arts Council hopes that it will be possible to achieve this target figure within a reasonable time-scale. In keeping with the Council's concern to widen access to the arts the Council's regional arts policy moved into a new phase with the appointment of an Arts Officer jointly with Clare Co. Council. Support for the arts by the local authorities around the country continued to grow in 1985. The partnership between local authorities and the Arts Council is one which the Council will continue to promote in 1986, and the years beyond. As part of its internal review of policy the Council changed the emphasis in its education policy from 'arts in schools' to a more educationally integrated approach. The Council hopes that this change coupled with the dialogue which the Council has had with the Curriculum and Examinations Board, will have a significant impact on the role of the arts in Irish education. During the year the Council had discussions with the Calouste Gulbenkian Foundation (Lisbon) which led to the establishment of ACE-Arts Community Education — an experimental three-year project, funded jointly by the Council and Gulbenkian. The project is aimed at developing model work from exemplary projects in community arts and arts education throughout the country. Towards the end of the year the Council and Gulbenkian appointed a specialist committee to oversee the project. Other developments such as the opening of Triskel Arts Centre in Cork, the announcement of a major new arts facility in Dublin, the City Centre, and the Garter Lane Arts Centre, Waterford, show the Arts Council's commitment to housing the arts and providing a meeting point between the artist and the public. The Council published the results of its policy review in literature which emphasises the Council's commitment to support creative writing in Ireland in Irish and English. Two major reports on the state of the arts in Ireland were published in 1985. 'The Dancer and the Dance' by Peter Brinson was commissioned by the Arts Council to investigate and make recommendations on the state of theatre dance in Ireland. The findings of that report will serve as a guideline to the Council in its policy on contemporary dance. 'Deaf Ears?' by Donald Herron, which was commissioned by the European Music Year committee and the Arts Council, gives the disturbing facts and figures on the state of music in Irish education. Six years after the Benson Report on the Arts in Education (1979) these publications reinforce the argument for change. The Council reviewed the state of music provision in areas outside Dublin at a seminar organised during the year. The developing policy of the Council is being informed by the views expressed at that seminar. The Council also initiated the establishment of the Contemporary Music Centre which the Council hopes will begin the necessary professionalisation of services in music. There has been a general lack of appreciation of the financial return which the arts make to the community. In Annual Reports for the past three years the Council has published the results of a survey of the economic returns given by the arts. In order to examine this area further, and present a more detailed picture, the Council has commissioned a report on the economic impact of the arts in Ireland from Professor John O'Hagan of Trinity College Dublin. It is expected this report will be available early in 1987. The survey of returns from clients undertaken in 1985 shows that for every £1 contributed by the Arts Council, an additional £1.25 was generated. A breakdown of these figures is given later in this report. Again, in keeping with its desire for the widest possible access to the arts, the Council published a voluntary code of practice for arts access for the disabled. The Council was honoured to have Uachtarán na hÉireann, Dr. Hillery, launch the booklet in December 1985. It is the intention of the Council to encourage client organisations to apply the code in the years ahead.

The following pages give details of the Council's activity under the various discipline headings.

FINANCE The grant-in-aid notified to the Council in January 1985 was £5.500 million, and in December a supplementary allocation of £195,000 was received to meet part of the cost of pay increases. The total Oireachtas grant for 1985 was therefore £5.695 million, an increase of 9.7% on the previous year's £5.193 million. Other income (£174,000) in 1985, included a further allocation of £35,000 from the European Community Special Border Areas Programme fund for the Tyrone Guthrie Centre, Co. Monaghan, and three grants from the Calouste Gulbenkian Foundation, Lisbon; £48,800 towards the joint Arts Council/Gulbenkian Foundation ACE programme, £20,400 towards research costs in connection with the Council's submission to the Government White Paper on Cultural Policy (published January 1987) and £5,800 for a traditional music research project. Direct support programmes for individual artists during the year under review amounted to £546,000, over 9% of total expenditure, including a provision of £289,000 for Aosdána. Many more individuals received indirect support and employment through the Council's grants to organisations. Awards to individuals are in some cases paid over two or more years. The amount charged in the accounts relates to amounts paid during 1985 and includes balances of previous years' awards.

Summary of Expenditure (to nearest £'000) Literature 343,000 5.8% Visual Arts 553,000 9.4% Film 105,000 1.8% Drama 2,580,000 43.6% Dance 392.000 6.6% Traditional Arts 124,000 2.1% Music 285,000 4.8% Opera 222,000 3.8% Arts Centres and Festivals 286,000 4.8% Regions 151,000 2.6% Community Arts 98,000 1.7% Arts in Education 47,000 0.8% Capital 165,000 2.8% Sundry 67,000 1.1% Administration 491,000 8.3% £5,909,000 100.0%

MEMBERSHIP OF COUNCIL AND STAFF

Council We record with great sorrow the death in November of Council Member Breandán Breathnach, and, in October, of former Council Member Dr. C. S. (Todd) Andrews. Breandán Breathnach, who was a member of the Council from 1984 until his death, was an acknowledged expert on Irish traditional music and folklore. A well-known uilleann piper, he wrote the leading work on Irish dance music 'Ceol Rince na hÉireann', and edited the music magazine 'Ceol'. He was Chairman of Na Píobairí Uilleann. During 1985 Arthur Lappin, Drama Officer, took a career break to pursue a career in film, and Paddy Glackin, Traditional Music Officer, resigned to take up a position with RTE. Patricia Callally, Antoinette Dawson and Sheilah Harris also resigned from Council's staff. In June, Marian Fitzgibbon, formerly Executive Secretary of European Music Year, joined the staff as Regions Officer.

Aosdána

Report by the Toscairí for 1985 Early in the year, the Toscairí considered the need for standing orders for Aosdána. These were drafted and examined at a number of meetings and were presented to the general assembly where they were adopted. The question was considered of barring reapplication for a number of years by candidates who had sought unsuccessfully to be elected to Aosdána, but it was felt that the existing arrangements were adequate. The Toscairí were most unhappy that the Irish National Commission for UNESCO had fallen into abeyance. Representations were made on a number of occasions to the Minister for Education asking that the Minister reappoint the National Commission and include members of Aosdána in its membership. The Minister in reply said that it was open to member states of UNESCO to take appropriate measures to have UNESCO representation in their own states. The Toscairí were most unhappy that the Arts Council had decided to suspend grant-aid to the Irish National Opera. Representations were made to the Arts Council on this matter. On a number of occasions there was discussion on the establishment of a pension scheme as provided for in Aosdána regulations. Towards the end of the year the Toscairí were pleased to note that the pension scheme had been established and was operating satisfactorily. In August the Toscairí met to consider the then controversial matter of the Joyce Mask. It was decided that in everybody's interest Aosdána should take steps to help resolve the matter but should not add to the controversy by making public statements. The Toscairí made representations to the Minister of State for Arts and Culture, Mr. Ted Nealon T.D., and to Stephen Joyce, grandson of James Joyce. They were also in contact with Bord Fáilte and the Eastern Regional Tourism Organisation. Mr. Joyce's grandson wrote to say that he greatly appreciated the interest which Aosdána was showing in the matter. To everybody's relief and satisfaction the matter was eventually resolved. The Toscairí considered the publications of the Curriculum and Examinations Board and in particular the publication on the Arts in the Education System. There was detailed discussion on this paper and it was endorsed by the Toscairí with a number of reservations in relation to the visual arts and music. The Toscairí were particularly concerned that this report should be implemented. The question of the arts in the education system was raised a number of times during the year and it was agreed that the importance of the arts in education could not be overestimated and that the present neglect of the arts in the system was scandalous. It was agreed to seek a meeting with the Minister for Education early in the New Year (1986). Towards the end of the year it was announced that the Minister of State for Arts and Culture was preparing a White Paper on Arts. The Toscairí decided that they should make a submission and this was duly prepared and submitted to the Minister before Christmas. It dealt with the visual arts, music and literature. A matter of concern to the Toscairí was the status of the Cnuas vis-à-vis taxation. This was examined on a number of occasions and representations were made to the Revenue Commissioners. The Toscairí were pleased to note that their representations were successful in that the Cnuas was regarded by the Commissioners as being subject to Section 2 of the 1969 Finance Act. The Toscairí commissioned the preparation of a miniature tore and identity card which would be available to all members of Aosdána and might be used as an insignia of membership. The Toscairí considered the question of the presentation of the symbol of Saoi to Mr. Samuel Beckett who had been elected to the honour of Saoi in 1984. There was one other nomination for Saoi which was not successful. The Toscairí considered a letter from the Chairperson of the Employment Equality Agency regarding allegations that a male bias applied in Aosdána appointments. In the response it was stated that Aosdána did not discriminate on grounds of sex with regard to membership. The principal criterion for membership was excellence in an art discipline, and Aosdána was established for those artists who had made significant contribution to the arts in Ireland regardless of their gender. During the year the Toscairí elected by the membership to oversee the administration of Aosdána were as follows: Brian Boydell, Anthony Cronin, Aloys Fleischmann, Michael Kane, Theo McNab, James Plunkett, Noel Sheridan, Francis Stuart, Imogen Stuart, Gerard Victory. Their term of office ends in December 1986 when elections will be held for a new toscaireacht. The Toscairí met on nine occasions — 27th February, 14th March, 18th April, 3rd May, 7th August, 29th August, 17th October, 22nd November and 10th December.

Literature

The publication in July 1985 of 'Services in Literature: Seirbhísí don Litríocht' marked the completion of the Arts Council's review of policy in literature begun in early 1984. Irish literature today is thriving in both Irish and English, and the Arts Council pursues a policy of bilingual interaction between the two languages. The Council encourages all of the literary organisations which it assists to make their services available in Irish and English. The Council believes that the approach operated in Canada offers a useful model of how a two-language literature can develop in a dynamic way. In accordance with this policy, the Arts Council makes available assistance for translations from Irish and from non-domestic languages. Among the titles published in 1985 with Council assistance were Schnitzer O'Shea written and translated by Donall Mac Amhlaigh and published by Brandon; 65 poems by Paul Celan, translated by Lynch/Jankowski from German, and the poems of Ó Bruadair translated by Michael Hartnett from Irish — both published by Raven Arts, and The Wild Market Place by Tomás Transtromer, translated by John F. Deane from Swedish and published by Dedalus Press. Recent years have seen the formation of many community-based writers' groups such as Ballymun Women's Writing Group in Dublin. These groups are assisted by the Women's Community Press, whose publication 'Write Up Your Street' was grant-aided by the Arts Council. In 1985 the Writers in Schools scheme was extended to libraries and was widely used, especially during Children's Book Week. Four Irish writers — Liam Lynch, Nuala Ní Dhómhnaill, Julie O'Callaghan and Lucile Redmond were invited to give readings from their works in Austria. The promotion of poetry was further strengthened by the acquisition by Poetry Ireland of the Austin Clarke Library at 44 Upper Mount Street. The library consists of 6,500 volumes, mostly 20th century collections of poetry in first editions, and is a resource of national significance. AWARDS TO INDIVIDUALS Aosdána: Cnuais 130,250 Bursaries and Scholarships Eavan Boland 4,000 Rita Kelly 2,000 Mary Leland 2,500 Séamus Mac Annaidh 2,000 Daniel McGee 3,000 Seán Mac Mathúna 4,000 Aidan Murphy 2,000 Julie O'Callaghan 2,500 Dara O Conaola 2,000 Denis O'Driscoll 2,500 Antoine Ó Flatharta 3,000 Peter Sirr 2,500 Ronan Sheehan 3,000 Iowa Writing Programme Harry Clifton 2,000 Dublin Corporation Scholarship Niall Quinn 500 Travel Grants Dermot Bolger 250 Tony Cafferky 600 Philip Casey 175 John Deane 150 Liam Lynch 313 Hugh Maxton 300 Nuala Ní Dhómhnaill 313 Julie O'Callaghan 313 Lucille Redmond 313 £170,477

GRANTS (ACNI = Arts Council of Northern Ireland grant)

Arlen House 4,000 Association of Irish Composers/Society of Irish Playwrights: Joint Administrative Centre 9,400 Beau Press 500 Beaver Row Press 2,000 Bluett & Company 1,500 "Books Ireland" 2,500 "Books Ireland" (ACNI) 3,705 Brandon Press 7,500 Children's Book Week 500 Children's Press 4,750 CLE/Irish Bookpublishers' Association 7,100 CLE/Irish Bookpublishers' Association (ACNI) 3,085 "Cyphers" 2,000 "Cyphers" (ACNI) 865 Dedalus Press 4,500 Dolmen Press 10,300 Gallery Press 15,400 Gallery Press (ACNI) 1,480 Goldsmith Press 1,500 Kilkenny Writers Group 500 Krino Magazine 2,000 Melmoth Press 2,700 National Writers Workshop, Galway 4,000 O'Brien Press 2,000 Poetry Ireland 13,400 Poetry Ireland (ACNI) 3,085 Poolbeg Press (ACNI) 1,235 Small Presses Group 2,000 Raven Arts Press 12,100 "The Crane Bag" 1,000 "The Salmon" 1,950 "Tracks" 750 Wolfhound Press 8,900 Women's Community Press 2,000 Yeats Society, Sligo 1,500

Less: previous year's grants not required (2,310) £139,395

DIRECTLY PROMOTED ACTIVITIES

Writers-in-Schools 7,240 Authors' Royalty Scheme 3,492 Writers' Workshops for Prisoners 1,385 Sundry 20,586 32,703

Total Expenditure per Note 5 to the Accounts £342,575

LOANS

Anvil Books 5,000 Brandon Press 5,000 Dolmen Press 10,000 0'Brien Press 5,000 Wolfhound Press 10,000 £35,000

Visual Arts

The financial constraints within which the Arts Council operates have been keenly felt in the visual arts; development has been arrested and it was possible to respond to only 45% of requests for funds in 1985. That organisations such as the Sculptors' Society ran a sculpture symposium in Hazelwood Forest in Sligo is a tribute to their energy and commitment. In association with Co. Sligo VEC, and with the encouragement of the Minister of State for Arts and Culture, Mr. Ted Nealon, a permanent sculpture trail was created. In association with Conor Holdings, the Sculptors' Society also erected a number of large and colourful pieces at the East Link Bridge and organised an Art in Context exhibition at Fernhill Gardens, Sandyford. The Arts Council shares the objectives of the Sculptors' Society to install more public sculpture in association with the relevant local authorities around the country. In 1985 the Council commissioned for Trim, Co. Meath, the national winner of Bord Fáilte Tidy Towns Competition a large bronze by James McKenna. Kilkenny Arts Week also installed an important piece by sculptor Michael Warren in the grounds of Kilkenny Castle. The Council's strong commitment to art in public places led to grants to Cork Corporation for six major public works around Cork City, made at the AnCO workshops, and for Cork Sculpture Park. An estimated 400,000 people visited exhibitions at galleries and art centres during the year. Excellent programmes at the Douglas Hyde Gallery (Dublin), Gallery of Photography (Dublin), the Butler Gallery (Kilkenny), the Belltable (Limerick), Project (Dublin), Garter Lane (Waterford), Wexford Arts Centre, and on a lesser scale the Sligo Arts Gallery, were well received by critics and by the public. Sligo Art Gallery which operates entirely through the efforts of a voluntary committee, mounted a major retrospective of the works of Sligo-born artist Patrick Collins, the first time that his work has been exhibited in his native town. Limerick Corporation appointed the first Director, Paul O'Reilly, to its new gallery in Pery Square early in 1985. In Cork, through its exhibition assistance schemes, the Council assisted the programme of the Cork VEC-funded Crawford Gallery, directed by Peter Murray. Successful exhibitions were held at the Guinness Hop Store, Dublin by the Independent Artists, celebrating their 25th anniversary and by the Irish Exhibition of Living Art. Independent Artists developed their sculpture show at Marlay Park, Rathfarnham, which ran through the summer months. In Mayo, the Claremorris Art Exhibition attracted national attention, while An tOireachtas toured its annual exhibition to Cork for the Cork 800 celebrations. Direct support to the individual artist was provided through bursaries and travel grants. Policy changes by Guinness Peat Aviation meant that the Council's awards were the main source of direct support to artists in 1986: the awards were complemented by the cnuais paid to some Aosdána members. However, the Council responded to applications with less than 10% of total funds requested. Although exempt from income tax on their earnings from sales of art, artists are liable for V.A.T. at a number of points in their working process: 23% V.A.T. is levied on materials while the artists must also pay V.A.T. on commission to their galleries and agents. The Council made representations to Government about the scale of V.A.T. charges, pointing out that such charges also militated against the teaching of art in schools. This point was also made forcibly in Crisis in the Arts, a major and valuable document issued by the Association of Artists in Ireland. The document endorsed Council's reports to Government on a percentage scheme for art in public places and resale rights for artists, and provided a rigorous critique of the practice of art in the Irish education system. Arts Council Exhibitions While no major retrospective exhibition took place in 1985, the Arts Council was pleased to be associated with 'David Hendriks — Living with Art', which marked the important contribution made to the visual arts in Ireland by David Hendriks, through his gallery in St. Stephen's Green. This exhibition toured to venues in Dublin, Limerick, Cork, Belfast and Derry. Arts Council touring exhibitions had a busy year in 1985. 'John Kelly — An Artist's Notebook' continued its nationwide tour, as did 'Brian Bourke — Out of the Head', which opened during Galway Arts Week. A new dimension to the touring exhibitions piloted in association with the Brian Bourke show and entitled 'Young Heads' proved very popular in its attempt to stimulate school children in Limerick, Castlebar and Waterford to make their own images. This area is one in which the Arts Council hopes to become more involved in future years, as it encourages an active response to the visual arts. 'The Bursary Show', which featured the work of seven of the 140 artists who have received Arts Council bursaries in recent years, opened in the Belltable Arts Centre, Limerick, before touring to other venues. This exhibition, which featured the work of Felim Egan, Kathy Prendergast, Paul O'Keefe, Samuel Walsh, Jackie Cooney, John Burke and Cecily Brennan, was designed not only to bring the works of these artists to a wider public but also to reaffirm the Council's support for the individual creative artist. Both the Bursary Show and 'Brian Bourke — Out of the Head' will continue to tour in 1986. The Arts Council's hire subsidy and transport schemes encouraged the touring of exhibitions to many venues around the country in 1985. Previous schemes were supplemented by a once-off Exhibition Scheme, and a frame loan service was also initiated. On the international front, the Six Artists from Ireland exhibition, jointly organised by the Arts Council and the Cultural Relations Committee of the Department of the Foreign Affairs, continued its successful tour, bringing the work of Irish artists to new audiences outside this country in Stuttgart, Warsaw, Aachen, and Luxembourg in 1985. In addition to providing some of our most important artists with a platform for their work among a large, non-Irish public,

the exhibition also provided us with access to a number of European galleries where, in future, we can continue to promote the work of our artists abroad. At its September policy meeting, the Council examined the area of promoting Irish Art and artists outside Ireland. During the year, Council funds had enabled the Ireland America Arts Exchange to mount a touring exhibition in the United States, while in association with the Arts Council of Northern Ireland, the works of Mary Fitzgerald, Eilís O'Connell, Felim Egan and Anne Carlisle were brought to the Sao Paulo Biennale. Council decided to concentrate on programmes of individual exchange and to encourage exhibition exchange between Irish galleries and arts centres and their European and American counterparts. It is hoped to begin exchange programmes with Wales and Sweden in the near future. AWARDS TO INDIVIDUALS Aosdána: Cnuais to painters and sculptors 138,500 Bursaries Jim Buckley 1,500 Dorothy Cross 1,000 Mary Fitzgerald 2,000 Andrew Folan 3,000 Marie Foley 3,500 Mary Greaney 1,600 Eithne Jordan 2,000 Ann McCormick 1,000 Anna MacLeod 1,000 Paul Mooney 1,000 Patrick Pye 1,000 Vivienne Roche 1,500 James Scanlon 1,000 Apprenticeship for a Young Artist Martin Wedge 3,000 Macaulay Fellowship Mary P. O'Connor 3,000 Dublin Corporation Scholarship Rossa Nolan 1,000 Travel Grants Karl Grimes 230 Pat Hall 600 Michael Kane 600 James McCreary 500 Maurice Quillinan 600 £169,130 GRANTS All-Plus-Ten Sorts Studio, Limerick 3,500 Association of Artists in Ireland 11,300 Black Church Print Studio/Graphic Studio 51,900 Butler Gallery, Kilkenny 21,300 'CIRCA' 3,488 Claremorris Art Committee 3,000 Cork Art Now 5,000 Cork Sculpture Symposium 1,000 Co. Sligo V.E.C. Arts Education Programme 1,000 Douglas Hyde Gallery 101,500 Exhibition of Living Art, Limerick 7,000 Gallery of Photography 18,100 Patrick Graham and Brian Maguire/Exhibition 1,200 Independent Artists 10,000 Irish Exhibition of Living Art 8,000 New Art Studio 4,000 An tOireachtas 2,500 ROSC 1983 (Balance) 10,000 Sculptors Society of Ireland 8,600 Sligo Art Gallery Society 1,600 'Tidy Towns' Sculpture Commission, Trim (Sculpture by James McKenna) 15,000 Visual Arts Centre, Dublin 5,000 293,988

b/fwd 293,988 Exhibition Assistance Schemes Arts Alliance, Mallow 75 Belltable Arts Centre 250 Anne Wilson, Rachel Boydell, Antje Pia Gottschalk, Val Bogan/Group Show 120 Marie-Claire Boothman 40 Sculpture in Context 300 Butler Gallery/Kilkenny 150 Castlebar Education Centre 100 Creative Impulse Exhibition, T.C.D. 450 Contemporary Irish Arts Society 600 Douglas Hyde Gallery 2,750 Galway Arts Festival 323 Garter Lane Arts Centre 1,000 Patrick Hall 450 Molly McAnailly-Burke 35 Eilish McCarrick 1,210 Mary Murphy 3,000 O'Flynn's Gallery, Mallow 20 Sligo Art Gallery Society 700 Ten Dutch Artists 1,500 Ronan Walsh 200 688 Group 4,500 Joint Purchase Scheme Bord na Gaeilge 300 Butler Gallery 1,564 Contemporary Irish Arts Society 1,522 Cork Corporation 6,000 Co. Dublin VEC 125 Irish Farm Centre 1,500 Irish Management Institute 275 Limerick Contemporary Irish Art Society 352 Lucan National School 175 Mount Temple Comprehensive School, Dublin 300 National Institute for Higher Education, Dublin 1,324 National Institute for Higher Education, Limerick 350 Presentation/de la Salle College, Limerick 75 St Patrick's Community School, Shannon 140 Telecom Eireann 200 A Tipperary (N.R.) Co. Council 100 Trinity College, Dublin 150 University College, Dublin 1,700 Wesley College, Dublin 412 Awards to Individuals: Amount paid 173,417 Less: previous year's grants not required (2,579) £499,163 DIRECTLY PROMOTED ACTIVITIES Exhibitions Brian Bourke/Out of the Head 13,675 Tony O'Malley Retrospective 3,437 Artist's Response Series: John Kelly 2,875 David Crone 1,096 David Hendriks Memorial 3,730 The Bursary Collection 10,155 £34,968

Other Frame Loan Scheme 695 Slide Bank 504 Storage and maintenance of Collection 1,069 Sundry 1,649 £3,917 Total expenditure per note 5 to the Accounts £538,048

LOANS Dublin Art Foundry 10,000 ROSC 20,000 £30,000

Drama

The inadequate base of funding for the Arts is reflected most particularly in the area of drama, which is highly labour- intensive, structured and organised. Although drama absorbs almost half of the total annual expenditure of the Arts Council, there are a number of areas in drama policy where the Council has been unable to provide any funding. Many client organisations continue to experience severe financial difficulties despite the level of grant-aid provided by Council, while others only continue to function by incurring very significant deficits in their operations. It was impossible for the Council in 1985 to advance in any way its long-held aspiration to initiate a properly structured theatre-training centre. Neither was the Council able to provide any form of support in the form of bursaries, scholarships or travel grants for people working in theatre. This very serious situation continues to be a matter of great concern to the Council. The new talent available was shown to great effect during the year in the work of the National Youth Theatre and the Dublin Youth Theatre; the work of emerging young playwrights and theatre practitioners was seen at the SFX Centre. Another new company which emerged in 1985, based in Kilkenny, was Studio Theatre Ltd. This company, established by Daire Brehan and Maciek Resczynski, presented 'The Glass Menagerie' by Tennessee Williams, 'Arms and The Man' by George Bernard Shaw, and 'The Island' by Athol Fugard. The company's work is innovative and exciting, and has been extremely well received by audiences and critics alike. In 1984 the Arts Council initiated a comprehensive review of theatre in Cork, to examine how its limited resources could be applied for the greatest benefit of the various theatre organisations in Cork and Munster. The Council's immediate priority had to be to sustain and secure the existing position, while laying down the structures and plans for future development when the necessary funding is available. The Council also wished to fund adequately an indigenous Cork-based professional theatre production company and it invited submissions from a number of interested parties. Throughout the year the Council was concerned most particularly about the very serious difficulties being experienced by the Cork Opera House, and at year-end the Council was hopeful that these difficulties would be resolved and the management of the venue would be on a firmer footing. Severe difficulties were also experienced during the year by the Abbey Theatre (National Theatre Society). Despite the creative work of Joe Dowling as Artistic Director of the Abbey, and the comprehensive expenditure controls which the company operated, it emerged that the Abbey was heading for a very substantial accumulated deficit by the end of the year unless some far-reaching decisions were made by the company. Following the implementation of a programme of cost-cutting which involved staff reductions and a limitation on the hiring of freelance personnel, the Board appointed consultants to examine the operations of the company and to prepare a report. The Council was pleased to note at year-end that the finances of the Abbey had been stabilised and that a small surplus had been generated. Mr. Christopher Fitz-Simon was appointed as Artistic Director from 1986. The Council noted with satisfaction that 27 plays were presented in the Abbey and Peacock Theatres during 1985, of which 13 were new works by Irish writers. Amongst the highlights of the year were Frank McGuinness's 'Observe the Sons of Ulster Marching Towards the Somme', Tom McIntyre's new experimental play, 'Rise Up Lovely Sweeney', the revival of John B. Keane's 'Sive', and Ulick O'Connor's 'Executions'. A very successful tour of the McGuinness play to Cork, Belfast, Coleraine, Sligo and Limerick was undertaken by the Abbey, and there was an equally successful tour of the Beckett double bill 'Endgame' and 'Rockaby' to Athens and Agrinion. Unfortunately, because of the pressures on the Council's budget in 1985, the Council through its Theatre Touring Scheme was unable to respond positively to many excellent applications, and only nine tours — giving rise to 38 weeks of touring — could be funded. It is particularly regrettable that a reduction in the number of tours has been experienced in 1985 for the first time since the scheme was established in 1982. Despite all the problems it is pleasing to be able to record a number of outstanding successes. Amongst these is the Galway-based Druid Theatre Company, which on its 10th anniversary was nominated for an

award by the Society of West End Theatre Managements, and whose production of 'Conversations on a Homecoming' won two of the Harvey Theatre Awards for 1985. During the year the company produced some outstanding work, including a production of John Ford's ''Tis a Pity She's a Whore' and Tom Murphy's 'Bailegangaire'. An exceptionally successful tour of their production of 'The Playboy of the Western World' visited London and many venues throughout Ireland. It is pleasing also to report on the achievements of the Gate Theatre which has been splendidly revitalised under the direction of Michael Colgan and an enthusiastic staff. The promise of 1984 was fully sustained in 1985, with a series of exciting and successful productons which included 'The Recruiting Officer' by George Farquhar, 'The Mask of Moriarity' by Hugh Leonard, 'Decadence' by Stephen Berkoff and the memorable one-man show based on the works of Beckett, 'I'll Go On', with Barry McGovern. The Dublin Theatre Festival returned in 1985 and every credit must go to the Executive Director, Lewis Clohessy, the Programme Manager, Michael Scott, and the staff of the Festival, for the excellent programme which was assembled for the event. Over forty separate productions were put on during the two weeks, and the programme included many new works by Irish authors. An outstanding feature of the Festival was an international theatre conference on the topic 'The Creative Impulse in Modern Theatre'. The Festival's achievement in raising substantial sums by sponsorship and donations deserves praise. TEAM Theatre Company continued their invaluable theatre-in-education work during the year. Highlights of their programme included a Goethe Institute-assisted co-production with Grips Theatre from Berlin of Bernard Farrell's adaptation 'One, Two, Three O'Leary', and their production of a new play by Frank McGuinness entitled 'Gatherers'. Frank McGuinness worked with the company as writer-in-residence throughout 1985. This year TEAM celebrated its tenth anniversary; during the years of its operation the company has produced some 30 major TIE programmes for primary and second-level schools, as well as numerous other performances in the area of street theatre and community theatre. The Council regrets that TEAM is still the only full-time professional TIE company in Ireland in receipt of grant-aid. The valuable contribution of the Focus Theatre continued during 1985 with a number of outstanding productions, including 'Ghosts' by Henrik Ibsen, and a very fine 'Waiting for Godot' by Oscar Theatre Productions. A particularly successful programme was achieved during the year by the Cork Theatre Company and its associated theatre-in-education company. Graffiti. The summer season, which included 'I do not like Thee, Dr Fell' by Bernard Farrell, a lunchtime production of 'Village Wooing' by George Bernard Shaw, and Graffiti's production of 'Strong as Horses', was well received by critics and audiences, and was made possible through the hard work of the company in achieving high levels of commercial sponsorship. The funding for the Council's Theatre Projects Awards was increased significantly in 1985 in order to allow one major grant of £18,500 to be made to Moving Theatre for their 'O'Casey Project'; £5,000 was awarded to the Wet Paint Theatre Company for their experimental project based on the story of Theseus; £5,000 to Operating Theatre for their proposed production of 'The Pentagonal Dream Under Snow' by Sebastian Barry; and £5,000 to Garvan McGrath for his proposed productions of 'Woczeck' by George Buchner, and 'The Commissioner' by Georges Courteline. The assessors of the applications for these special theatre awards were somewhat disappointed by the overall standards in 1985 and also by the lack of exciting and original proposals. In view of the report of the assessors the Council is considering the advisability of making the awards biennially rather than annually. Amongst the more spectacular theatrical events of the year were the productions given during the Galway Arts Week by the Spanish Theatre Group, Els Comediants. Their open-air presentation. 'The Devils', and their brilliant work 'Alé' at the Leisureland Centre in Salthill, featured an exciting mixture of circus, fireworks, puppets, song, mime and dance. The Council is very encouraged by the number of companies which have come into being in order to operate within the Council's Touring Scheme. Amongst these are Smock Alley, Playwrights and Actors Company, Rough Magic, and Deilt Productions. Smock Alley's productions of 'Love for Love' by William Congreve and 'Frocks', based on the comedies of Aristophanes, characterised the innovative work of this company. Playwrights and Actors Company toured their very fine productions of 'Upstarts' by Neil Donnelly and 'Remembrance' by Graham Reid during the year; the company also presented a summer season of lunch-time one-act plays in the Gaiety Theatre. Rough Magic, a new group of actors and directors, presented a season of plays by Howard Barker, a production of 'Midnite at the Starlite' by Michael Hastings, and a splendid new production of 'The Caucasian Chalk Circle' by Bertholt Brecht Deilt Productions toured yet again most successfully with plays in Irish for young people, Padraig Ó Siochrú's 'Liam Leisciúil' and 'Cén Chaoí a bhfuil tú a Stráinséir?' by Gabriel Rosenstock, These tours of new plays in Irish for young people are co-funded by Bord na Gaeilge and have been extremely well received throughout the country. The details of productions undertaken by various companies assisted by the Council under the Theatre Touring Scheme in 1985 are as follows:

ARTS COUNCIL THEATRE TOURING SCHEME 1985

Production Production Company Weeks Council on Tour Subsidy £ 'Love for Love'; Smock Alley 4 44,482 Liam Leisciúil' agus 'Cé'n Chaoi a bhfuil tú a Stráinséir' Deilt Productions 6 28,005 'Upstarts' Playwrights & Actors Company 4 28,783 'Playboy of the Western World' Druid Theatre Company 4 32,900 'Death Trap' Kite Productions 4 35,527 'Remembrance' Playwrights & Actors Company 4 36,344 'One-Two-Three-O'Leary' Team Theatre Company 4 17,431 'Frocks' Smock Alley 4 32,160 'Observe the Sons of Ulster Marching Towards Abbey Theatre Company 3 29,010 The Somme' 37 £284,642

GRANTS

Abbey and Peacock Theatres 1,466,000 Gate Theatre 296,000 Cork Opera House 33,000 Cork Theatre Company 15,500 Druid Theatre Company 147,000 Dublin Theatre Festival 85,200 Everyman Playhouse, Cork 25,450 Focus Theatre, Dublin 21,000 Hawk's Well Theatre, Sligo 19,500 Pooka Theatre for Children 12,000 Rough Magic 2,900 TEAM Educational Theatre 78,000 'Theatre Ireland' 3,488 Fossetts' Circus 12,000 Aidan Gallagher 250

Special Theatre Projects Garvan McGrath 5,000 Moving Theatre 18,500 Operating Theatre 5,000 Wet Paint Theatre Company 5,000

Theatre Touring Scheme National Touring Agency: Administration 33,950 National Touring Agency: Tours (see list on page 20) 284,642

Venue Rentals Belltable Arts Centre 2,520 Cork Theatre Company 850 Hawk's Well Theatre, Sligo 1,200

Travel Grants Susie Kennedy 600 Michael Scott 600

Minimum Income Guarantee 4,875

Sundry 1,185

Less: previous year's grant not required (706) £2,580,504

Dance

In May 1985 the Arts Council published The Dancer and The Dance, a report on the development of theatre dance in Ireland. This report was commissioned by the Arts Council in 1984 and was prepared by Mr. Peter Brinson, Head of Post-Graduate Studies at the Laban Centre for Movement and Dance, London. This major survey of dance in Ireland concerns itself with the main dance companies, dance in the regions, community dance, vocational training in dance, and dance and the education system. The report concludes with 53 recommendations. During the year the Arts Council began the process of implementing those recommendations directly within its responsibility and of reminding other agencies of their duty to address seriously the recommendations which concerned them. The Dancer and The Dance drew particular attention to the 'primary need to develop a balanced dance profession in place of the present focus on the Irish National Ballet'. Accordingly, and with great difficulty, given the general financial constraints upon it, the Arts Council began a process of significant redistribution of available resources. An element of that decision was the substantial increase in grant-aid awarded to Dublin Contemporary Dance Theatre. The much more difficult decisions were to discontinue funding of Dublin City Ballet, and to reduce the level of grant-aid offered to Irish National Ballet. The fact that Irish National Ballet had requested from Council a sum greater than the entire 1985 dance budget of the Arts Council threw into sharp focus Peter Brinson's first general conclusion about 'the responsibility of Government for many of the present problems, and therefore for resolving them'. In addition to Government funding, and the need for a more balanced dance profession, the report drew attention to 'the need for the dance and education professions to work together as allies'. Accordingly, the Arts Council organised a one-day conference attended by nearly 100 people from the worlds of dance and education, which was formally opened by Mr. Ted Nealon T.D., Minister of State for Arts and Culture. In December 1985 the proceedings of that conference were published and presented to all relevant authorities. The Arts Council welcomed the continued development of the Dance Council of Ireland, identified in The Dancer and The Dance as a key agency in the future of dance in this country. The Arts Council sought to give it the funds necessary for the fulfilment of its function as the umbrella organisation for dance in Ireland. The Arts Council awarded £9,000 in bursaries and scholarships, mostly to young people continuing their training as dancers both at home and in England. AWARDS TO INDIVIDUALS Scholarships Muirne Bloomer 750 Anne Courtney 500 Marguerite Donlon 2,000 Penny Dormer 750 Tina Gallagher 1,500 Aideen Gahery 750 Chia-Lan O'Grady 750 Fiona Quilligan 250 Zelda Quilligan 750 Dublin Corporation Scholarship Anne Heery 1,000 £9,000 GRANTS Irish National Ballet 309,000 Dublin Contemporary Dance 52,000 Dance Council of Ireland 7,778 Liberation Dance Workshop 300 Awards to Individuals: Amount paid 13,650 £382,728 Directly Promoted Activities Dance Report 'The Dancer and the Dance' 8,100 Dance Seminar 1,182 Sundry (202) £9,080

Total Expenditure per Note 5 to The Accounts £391,808

Traditional Arts

Arising from lengthy consideration of its support for traditional music the Council published a policy early in 1985. The policy emphasised the need for the highest standards in traditional music and song and laid great emphasis on education. The Council recognises that there is a wealth of traditional music, song and dance in Ireland and that the greater part is performed without any official financial support. Traditional music unquestionably is extremely popular and its very popularity has meant that by and large official financial support for its performance has been unnecessary. The Council decided, therefore, that its primary role in traditional music is in relation to standards. The Council believes that the highest standards can only be maintained through a process of education, hence the emphasis on this aspect of the Council's traditional music policy. The Council is gratified by the continuing growth in the activities of Carmanaigh na Cruite. The Wexford-based organisation provides courses and workshops in harp-playing. Coláiste Chonnacht (An Gaelacadamh) continued its courses in promoting high standards in sean nós singing throughout Conamara. The Irish Pipe Band Association also continued its good work in promoting high standards amongst pipers throughout the country. In order to encourage uilleann piping, the Council made available grant-aid to Na Píobairí Uilleann for the purchase of sets of uilleann pipes which are lent to interested individuals. The Scoil Samhraidh Willie Clancy continued to contribute to the better understanding of traditional Irish music and to the maintenance of high standards through its workshops and courses. Siamsa Tíre Tralee under its energetic board continued to review its work, and the Council looks forward to significant additions to the repertoire in 1986 and the years beyond. The lifelong work of Breandán Breathnach in creating a thematic index to sources of Irish traditional music continued up to his death in November; the Council established a special committee to prepare the work for publication. The Council offered a number of bursaries and scholarships as part of its policy of promoting scholarship and research in traditional music. The Council, however, is disappointed in the number of applications being received for these awards.

AWARDS TO INDIVIDUALS Bursaries Máire Breathnach 750 Willy Fogarty 1,000 Dave Rickard 1,250 Eddie Stack 500 £3,500 GRANTS Ballyshannon Folk Festival 500 Cairdeas na bhFidiléirí 600 Carmanaigh na Cruite 2,500 Ceithearn na Píoba Móra 250 Coláiste Chonnacht — An Gaelacadamh 1,000 Comhaltas Ceoltóirí Eireann 51,650 An Cumann Bhealoideas 500 Cumann Ceol Tire Éireann 3,000 Cumann Ceol Tire Inis Oirr 500 Dublin Irish Music Festival 1,000 Eigse Uí Mhuirí 2,000 An Fhéile Pan Cheilteach 2,000 International Folk Epic Conference 500 Irish Academic Press 750 Irish Pipe Band Association 1,785 Orcheilteach 3,500 Na Píobairí Uilleann/Pipes-on-Loan Scheme 1,500 Na Píobairí Uilleann/Cumann Ceol Tire Éireann: Joint Administrative Centre 10,300 O'Carolan Festival 500

Scoil Acla/Doagh Music School 750 Scoil Ceoil Inis Meáin 500 Scoil Rince agus Ceoil, Inis Mór 500 Scoil Samhraidh Willie Clancy 5,000 Siamsa Tíre, Trá Lí 20,500 Thematic Index to Sources of Irish Traditional Music 1,000 An Tóstal, Droim Sean Bhó 600 Awards to individuals: Amount paid 5,500 Goodman Manuscript Project: Provision 5,824 Less: previous year's grants not required (430)

Total Expenditure per Note 5 to The Accounts £124,079

Opera

A sub-committee of the Council continued through the first half of 1985 a process of review of opera policy which began in mid-1984. This review was conducted in the context of the relatively small proportion of the Council's budgets which is applied to opera, which is, after all, among the most costly of the performing arts disciplines. The Council noted the considerable voluntary input to the work of the various companies, both in artistic and administrative terms, and also their heavy reliance upon high box-office returns and commerical sponsorship. These factors are reflected in the fact that Irish opera companies, to maintain their current level of operation, must generate further income in the order of four times the level of their Arts Council grant. Despite the major obstacles, chiefly financial, to the establishment of a fully professional Irish opera company, the Council decided that it wished to give continued support to the practice and development of opera in Ireland. As a first step, the Council identified a series of professional appointments by the major opera client, the Dublin Grand Opera Society. The first two of these, a chorus master and an administrator, were made before the end of 1985, with the appointments of Philip Gilbert and David Collopy respectively; the Council regards the appointment of an artistic director by the Society as an urgent priority in 1986. In recognition of its significant commitment to Irish artists in the areas of singing, production and design, the Council grant-aided Cork City Opera to present a season of opera in spring, although concern was expressed about the absence of a consolidated plan for the professionalisation of the company's establishment. The Irish National Opera Company was grant-aided for the first half of 1985, when it gave a 16-venue tour of its 1984 production of La Traviata. While the Council acknowledged the excellent work of this small company in bringing scaled-down productions of grand opera with piano accompaniment to small regional venues in all parts of the country, it decided not to continue to fund, at this time, opera accompanied by piano. Wexford Festival Opera presented a well-received season of works by Cattalani (La Wally), Handel (Ariodante) and Weill (Mahagonny). Despite a relatively small budget, by international standards, Wexford continues to achieve impressive levels of production under its current artistic director, Elaine Padmore. In an attempt to address the need for training in a range of opera-related activities, the Council introduced an Opera Training Bursary. This was awarded to Denis O'Sullivan, a pianist who is taking a four-year course of training as a repetiteur in Vienna. The Council also assisted a workshop for potential opera singers, given by David Parry, musical director of Opera 80, and Declan Donnellan, the Irish-born director of the British theatre touring company, Cheek-by- jowl.

GRANTS

Dublin Grand Opera Society 84,700 Wexford Opera Festival 77,700 Cork City Opera 40,000 Irish National Opera 14,000 Denis O'Sullivan: Scholarship 2,000 £218,400

Directly Promoted Activities Opera Workshop 3,320 Sundry 42 £3,362

Total Expenditure per Note 5 to The Accounts £221,762

Music

In budgetary terms, contemporary music is the major area of support in the Arts Council's provision for music. The Council directly assists in the creation of new works by means of its Commission Scheme, and indirectly by means of grant-aid to performing ensembles and concert promoters. The Association of Irish Composers, which is the body representing the artistic and professional interests of Irish composers, continued to receive assistance towards administration. The Irish Composers Centre organised a successful exchange with Swedish composers to mark European Music Year. A new organisation, the Contemporary Music Centre, was established before the end of the year to expand the audience for contemporary music and to act as a music information centre. The 20th Century Festival planned for January 1987 was cancelled by the MAI around the middle of the year, when it became clear that, despite the significant level of Arts Council assistance offered, the shortfall on the proposed series of concerts could not be met by commercial sponsorship. In addition to the series of concerts which it gave with Arts Council assistance in Dublin throughout the year, the New Irish Chamber Orchestra toured to Derry, Monaghan and Limerick prior to a major 22-venue tour of North America. The Arts Council funds the cost of administration, in addition to providing some subvention towards the cost of promoting concerts, to the New Irish Chamber Orchestra. Severely limited funds in 1985 led the Council to restrict its funding in the area of choral music to the national association of choirs, Cumann Náisiúnta na gCór, and to the Choral and Folkdance Festival, both of which are based in Cork. Cumann na gCór, which grew out of the Choral Festival organisation, has gone from strength to strength since it was established in 1982, and provides a range of training, information and publishing services to its many members around the country. Established voluntary concert promoters continued to receive Arts Council assistance to organise events in Galway, Cork, Limerick, Waterford and Dublin, with some smaller regional venues serviced by the Music Association of Ireland's country concert scheme. The general problems of concert promotion outside Dublin were extensively discussed at a seminar held in Dublin in October. Regional music promoters and arts administrators identified inadequate resources (financial and material), and the poverty of the education system, particularly the inadequacy of specialist training outside Dublin, as the major problems. The seminar also identified possible means of addressing common problems: adequate and regularly updated information about venues and artists, greater co-ordination and co- operation between promoters, specialist assistance and advice to non-specialist promoters, possibly from a centralised source. Due to its accumulating financial and administrative problems, the MAI ceased to publish Soundpost at the beginning of 1985. The Minister for Arts and Culture, Mr Ted Nealon, T.D., was present at the launch of a new independent magazine. Music Ireland, in November. This will appear ten times a year, and in common with the three other cultural magazines in the fields of poetry, theatre and the visual arts, is jointly funded by An Chomhairle Ealaíon/The Arts Council and the Arts Council of Northern Ireland.

AWARDS TO INDIVIDUALS Aosdána: Cnuais to composers 15,000 Scholarships Pauline Bourke 1,000 Daire Fitzgerald 6,000 Andreja Malirsch 2,500 Emma-Jane Murphy 800 Ann O Briain 1,200 Miriam O'Callaghan 500 Kathleen Tynan 500 Marten Toonder Award Raymond Deane, composer 3,000 Dublin Corporation Scholarship Kenneth Edge 1,000 Travel Grants Jerry Creedon 250 Paul Deegan 350 John Feely 600 Paul Hayes 250 Michael Houlihan 60 Benny O'Carroll 250 Jane O'Leary 300 Roland Purcell 250 £33,810

Composers' Commission Scheme Composer/Commissioned by Gerald Barry/Cork Art Now 875 Gerald Barry/New Irish Chamber Orchestra 1,100 Seoirse Bodley/Concorde 1,300 John Buckley/Newpark Music Centre 375 John Buckley/Ballina Arts Week 375 Séamus de Barra/Cork Orchestral Society 675 Jerome de Bromhead/Canzona Ensemble 675 Roger Doyle/Douglas Hyde Gallery 500 Bernard Geary/St Mary's College, Arklow 265 Fergus Johnston/Prelude Brass Ensemble 475 Charles Lennon/Dé Danainn 1,500 Eric Sweeney/Dublin Baroque Players 850 Gerard Victory/RTE Brass Ensemble 675 £9,640 GRANTS (ACNI = Arts Council of Northern Ireland grant) Association of Irish Composers 900 Bernadette Greevy Master Classes 1,347 Concorde 1,500 Contemporary Music Centre 15,600 Cork Choral Festival 29,300, Cork Orchestral Society 3,900' Cork School of Music 87 Co. Monaghan Arts Co-ordination Committee 750 Cumann Náisiúnta na gCór 19,000 Dublin Sinfonia 4,530 Eric Sweeney Singers 500 European Music Year 1985 17,000 Irish Composers Centre 24,000 Irish Youth Jazz Orchestra 2,000 Irish Youth Orchestra 4,568 Limerick Music Association 4,500 Midland Arts (piano grant) 1,200 Music Association of Ireland 36,500 Music for Galway 3,000 Music for Limerick 550' 'Music Ireland' 600 'Music Ireland' (ACNI) 1,900 New Irish Chamber Orchestra 42,600 Indian Music and Dance Promotion/Pandit Nikhil Banorjee 500 RTE Brass Ensemble 800 Serenata 3,800 Ulster Orchestra 14,627 Waterford Music Club 1,454 £237,013 Composers' Commission Scheme 9,640 Awards to individuals: Amount paid 38,160

Less: previous year's grants not required (890) £283,923 Directly Promoted Activities Regional Music Seminar 342 Equipment 348 Sundry 15 705 Total Expenditure per Note 5 to The Accounts £284,628

European Music Year 1985

On the 4th November, 1982, the Taoiseach requested the Arts Council to form a Committee to organise European Music Year in Ireland. The Committee was set up under the patronage of the President, Dr. Hillery, and chaired by Frank Casey with Vice Chairmen, Brian Boydell and Richard Stokes. The 30 members were representative of music of all kinds, of business interests and of music in education. In addition to funding received from Europe (360,000 French Francs), the Minister for Finance on budget day in 1985 announced a grant of £100,000 to EMY for the year's activity. In accordance with the objectives set by the Irish EMY Committee; (a) The promotion of works by living Irish composers, (b) The creation of new opportunities for young Irish musicians, (c) The dissemination of Irish folk music throughout Europe, (d) Assisting in the development of music through the Irish education system, the major projects undertaken by EMY were as follows:

1. Recording Project The EMY Committee organised the production of three cassette recordings of contemporary Irish music. Each of these recordings represents number one of a series: (a) The work of a contemporary Irish composer, (b) A recording representing a particular genre, (c) A recording of composers of contemporary music. In 1985 the recordings produced were: (a) The music of John Buckley, (b) Works by Brian Boydell, performed by the Academica String Quartet, (c) Works by Kinsella, Wilson, Gibson and Deane performed by young Irish pianists. Jimmy Vaughan, Kevin O'Regan, Anthony Byrne and Nicholas O'Halloran.

2. Deaf Ears In association with the Arts Council, the EMY Committee commissioned and published a report from Donald Herron on the subject of music in Irish education, taking account of the situation in other European countries. The steering committee for this publication was chaired by Ciarán Benson.

3. Piano Grants EMY grant-aided the purchase of seven pianos in Counties Louth, Mayo, Limerick, Kerry (2), Tipperary and Roscommon.

4. EMY News To promulgate the views and activities of the EMY Committee, and in order to provide a diary service to the music community, a newsletter, 'EMY News', was produced once every two months; 15,000 copies of each issue were widely distributed through the schools and library network.

5. European Music Day In concordance with the remarkable flowering of community arts and in response to the adoption by the European Organising Committee of a proposal that the 21st June 1985 should be celebrated as European Music Day, the EMY Committee encouraged events in all 26 Counties on that day to celebrate the place of music in our lives. The Committee hopes that, as happened in France, European Music Day can now continue as an annual event.

6. 'Music for Fun' Tour A grant to RTE from the EMY Committee enabled the highly popular 'Music for Fun', which introduces the orchestra to children, to tour venues around the country for the first time. Though a once-off venture, this tour was extremely well received by audiences in Wexford, Clonmel, Tralee, Limerick, Mullingar, Galway, Westport and Sligo. The EMY Committee was also closely associated with the formation of the National Children's Choir which involved participation by 4,000 children in four centres. An exchange between Ireland and Sweden initiated by the Committee introduced contemporary Swedish music to Irish audiences and vice versa. In association with the National Federation of Youth Clubs, a very popular series of workshops in electronic music was organised in various centres round the country. The Committee was pleased at the formation of the Irish Youth Jazz Orchestra, funded by the Bank of Ireland in European Music Year, and assisted the launch of the Irish Youth Symphonic Wind Ensemble. For the first time, thanks to the

generous sponsorship of Irish Shell, the Irish Youth Choir toured a memorable performance of Handel's Messiah to Dublin, Mullingar and Derry with NICO. The happy coincidence of International Youth Year and European Music Year made these developments all the more welcome and appropriate. It is impossible and would be invidious to attempt to include all the organisations which became involved in European Music Year or to list those which included Bach, Handel, Scarlatti, Berg and Schutz in their programming for 1985. The EMY Committee received 110 applications for assistance for special music projects during the year and, in addition, 97 applicants put forward ideas for European Music Day. EMY provided the incentive and the opportunity for a variety of musical events and initiatives. It was also a major concern of the Committee to undertake projects which would have some impact on future developments in music in Ireland. A full report on EMY is available from the Arts Council. Marian Fitzgibbon acted as Executive Secretary to the European Music Year Committee in 1985, and was ably assisted by Denis Mortell, and at different times by Jennifer Traynor and Dolores Lavin. The staffing of assistants was made possible by the Teamwork Scheme of the Department of Labour.

Film

Given the overall financial difficulties which faced the Arts Council, 1985 was very much a holding year. This was particularly true in the case of the two largest film organisations supported by the Council: both the Irish Film Institute and the Federation of Irish Film Societies experienced a difficult year in which there was little room for them to expand. The Federation of Irish Film Societies, through hard work and enthusiasm, continued to provide some 40 affiliated film societies with access to a programme of films selected on an artistic rather than on a purely commercial basis. The Federation's national viewing sessions, held in 1985 in Limerick, attracted a large number of delegates and also provided a forum for discussion. Similarly, for the Irish Film Institute, 1985 was a year of consolidation rather than expansion. However, the Institute continued its valuable work of distributing a wide range of films and videos to public and private institutions. The IFI's stock of educational and training films continues to play a central role in the Institute's activities. The Institute also continued its highly successful summer school in association with RTE, in addition to holding a conference in media studies at the Senior College in Ballymun. The Institute continued to work towards establishing a national film archive with the financial assistance of Bord Scannán na hEireann, and it is hoped next year we will see them nearer their goal. In the wake of its experience in managing the IFT, and the 'Green on the Screen' for Contemporeire '84, the IFI undertook the promotion and distribution of Pat Murphy's film 'Anne Devlin' throughout the country. The film was a success and attracted large audiences. A small grant was made available to the Ha'penny Film Club in order to help it improve its presentation and build up its membership. The Council also provided in-kind support by making a 16mm projector available to the club on loan. Council is confident that the Ha'penny Film Club will continue its success in making available to the public in the Dublin area a wide range of cinema in all of its forms. The Arts Council's film script awards have proved singularly successful, as the majority of the award-winning projects have gone into production. Indeed this success is best illustrated by Pat Murphy's 'Anne Devlin', which received both critical and public acclaim: Pat Murphy received a grant towards developing the script in 1983. In 1984 the Arts Council broadened the scope of its film awards to include not only scripts but also production treatments, experimental scenarios and non-fiction subjects such as documentaries — particularly proposals with an emphasis on the concept of film as a visual art. Council was pleased that 44 applications were received by the assessment panel for the awards which were announced in March of 1985. This points to a considerable level of film activity 'on the ground'. Council hopes to fulfil its role in fostering this talent in future years so that these young film-makers may improve their technical and artistic ability and take their places in this country's emerging film industry. In 1985, a grant for £15,000 was awarded to Bob Quinn towards his project 'End as a Gander', a feature-length silent film in black and white based on a screenplay by Bob Quinn, adapted from the novel by Padraig Standúin, with music by Roger Doyle. A further £15,000 was awarded to Fergus Tighe towards his project 'Clash of the Ash', a 70- min. feature film in colour which is currently being shot on location in Fermoy, Co. Cork. The screenplay is based on the experience of two young men growing up in a small country town. £7,000 was awarded to City Vision Productions, of which £5,000 was earmarked for the pre-production costs of 'The King is Brown Bread', a 30-min. colour video film, and a further £2,000 towards the production of an experimental 30-min. colour film entitled 'A Fasting Showman', based on a short story by Franz Kafka. A grant of £5,000 was awarded to Carlo Gebler to complete his project 'Francis Stuart — a Film Autobiography'. £4,000 was given to Alastair Herron to complete his project 'Aisling', a 20-min. experimental 16mm film which contrasts the older social order with the new consumer society. The remaining £4,000 was allocated to Irony Productions towards their project 'Uprise in Proximity'. The Arts Council eagerly awaits the completion of these film projects.

GRANTS

Irish Film Institute 30,000 Federation of Irish Film Societies 22,600 Apple and Eve Video Photographic Studio 350 Ha'penny Film Club 500

Film Project Awards City Vision Productions 7,000 Carlo Gebler 5,000 Alastair Herron 4,000 Irony Productions 4,000 Bob Quinn 15,000 Fergus Tighe 15,000

Travel Grants Ha'penny Film Club 270 Mark Kilroy 270 Unlimited Vision 500 Total Expenditure per Note 5 to the Accounts £104,490

Arts Centres and Festivals

On 6th September 1985, Triskel Arts Centre opened Phase 1 of its new major premises in Cork. The ceremony was attended by the Lord Mayor of the City, Ald. Dan Wallace, and the Chairman of the Arts Council, Máirtín McCullough. Phase 1 comprises the extensive ground floor of the new Tobin Street premises, and Phase 2 comprises a lounge- gallery on the first floor opened in November 1985. This area contains striking stained glass installations by Maud Cotter and James Scanlon. Triskel has since exhibited these two artists' stained glass works, 'Glass in the Environment', in London to a warm critical reception as part of the recent International Glass Exhibition. Since September 6th, Triskel has been providing an increased programme of events for Cork. With Mick Hannigan as Film Officer, the cinema aspect of the Tobin Street premises has gained a small but important audience in Cork. Kevin Power's contribution as Music Officer has centred upon the programming of classical music for the adjacent Christ Church, which has been generously made available to Triskel by Cork Corporation for concerts. In the church (in an earlier building) it is thought the poet Spenser was married, and it is thus thought to be the setting of the greatest marriage poem of the English language, 'Epithalamion'. On 27th November, aboard the M.V. Arran on the Liffey, the acquisition of The City Centre premises by Grapevine Arts Centre was announced. The premises consist of three floors over a basement, with 21,388 square feet of floor space. The City Centre will be a major community arts centre for Dublin. The Arts Council contributed a substantial capital grant and the rock band U2 contributed the largest sum from the private sector to the arts in the 1980s. The City Centre will specialise in community arts with an emphasis on participation in the artistic process. It is hoped that Phase 1 will open in early 1987. The work of Administrator Sandy Fitzgerald and Chairman Ciarán Benson has been pivotal in bringing about this innovative arts centre. The Chairman of The Arts Council stated on that occasion: 'As we move into a post-industrial society, the old concepts of work and leisure are visibly breaking down. There are many distressing consequences of such breakdown but there is good too, and in that quarter the community arts movement is a beacon of inspiration. Central to its philosophy is the notion of people taking responsibility for their own lives, and realising their own creative potential. One thinks of the marvellous slogan of Ballyfermot Arts Week, "We're all artists in Ballyer", as an example of the joy and confidence represented by community arts'. In Waterford, Garter Lane Arts Centre has achieved popular acceptance under the guidance of Finola O'Doherty. The Brian Bourke exhibition, 'Out of the Head', also had as a parallel the 'Young Heads' exhibition, when over 200 children worked on art of their own under teachers and artists appointed by the Centre. The artist-in-studio scheme at the centre produced two graduates: Michael Ben Hennessey went to the U.S. to study at the Art Institute, San Francisco, while Martin Wedge became apprenticed to the eminent Italian painter, Sandro Chia. The Bahamutsi Theatre, a company of black South African actors, made a successful appearance for the Centre. There has been significant expansion of the work of Temple Bar Studios, Dublin. Besides being a successful studio complex. Temple Bar has housed the active art movie house, the Ha'penny Film Club, run by Jane Gogan and Trish McAdam. One of the useful features of the studios is Temple Bar Gallery which may be hired by artists and which thus provides a means of access to public attention: notably, the exhibition of 10 Dutch Artists, opened by the Dutch Ambassador, drew much attention. The Belltable Arts Centre in Limerick continued its very active programme of arts events, and the Project Arts Centre in Dublin provided an essential venue for the emerging young theatre companies and exciting visual artists.

GRANTS

Belltable Arts Centre, Limerick 16,000 Garter Lane Centre, Waterford 37,000 Project Art Centre, Dublin 101,400 Temple Bar Studios, Dublin 9,000 Triskel Arts Centre, Cork 37,000 Wexford Arts Centre 54,500

Galway Arts Festival 7,000 Kilkenny Arts Week 15,000 Westport Arts Festival 600 Writers' Week Listowel 9,000

Total Expenditure per Note 5 to the Accounts £286,500

Community Arts

During 1985, the Arts Council formulated a policy in community arts. In its policy, the Council accepts that there are at least two views of the nature of art. In what may be termed the Renaissance view, which is still the most prevalent, the finished art object is of paramount importance, its value and significance detached from the means and methods of its production; community arts, on the other hand, concerns itself specifically with the historic moment, with the circumstances — political, economic and spiritual — of the society out of which, and for which, art is made. These two views need not be naturally exclusive. There is room in art for a 'complementarity principle', to borrow a term from modern physics, which has had to reconcile the many seemingly contradictory implications of relativity on one side and quantum mechanics on the other. In 1985, Moving Theatre created a work called 'The Remedy Show' with elderly people in Drimnagh, Dublin. It was a work of drama based upon remedies for physical ills, which are part of urban folklore. The elderly people recalled these old remedies themselves. The participants made up rhymes which were acted out in full-dress dramatic presentation. Alternative Entertainments is located in Tallaght, and it presented many evenings of theatre, traditional music and visual arts workshops. Festivals were promoted by Cibeal Cincise, Kenmare over the June holiday weekend and by the new Sligo Community Arts Festival in November. Both festivals were very successful and encouraged a lot of local involvement. The work of Dublin Youth Theatre, directed by Gaye Tanham and Paddy O'Dwyer, continued to provide excellent drama by young people. An extraordinary recreation of New Year's Eve 1889, was enacted in DYT's premises, a Georgian House in Gardiner Street, Dublin.

GRANTS

Alternative Entertainments, Tallaght 1,500 Ballyfermot Arts Group 1,000 CAFE/Creative Activity for Everyone 2,000 Cibeal Cincíse, An Neidín 3,500 Clifden Community Arts Week 900 Clonmel Arts Week 1,000 Dance for the West 1,000 Dublin Video Makers 400 Dublin Youth Theatre 2,000 Feis Ceoil, Dublin 2,500 Feis Maitiú, Corcaigh 500 Galway Arts Group/Nun's Island Arts Centre 7,200 Galway Theatre Workshop 800 Grapevine Arts Centre 31,200 Moving Theatre 21,500 Roscrea Music Association 120 Sandymount Arts Festival 200 Sligo Community Arts Festival 1,000 Tuam Theatre and Arts Centre 3,000 Waterford Arts for All 1,500 Workplace Arts 200

Less: previous year's grants not required (150)

Total Expenditure per Note 5 to the Accounts £82,870

ACE (Arts Community Education)

In 1985 the Arts Council joined with the Calouste Gulbenkian Foundation to establish ACE, a three-year community arts and arts education project. Launched in September 1985, the project is scheduled to conclude and report in 1988, at which time its findings, both theoretical and empirical, will be assessed with a view to informing arts education and community arts policy and practice in Ireland. The project has a budget of approximately £300,000 subscribed equally by the Arts Council and the Calouste Gulbenkian Foundation. ACE was established to foster the experience of the arts as 'part of everyday life' at work, in school, or on the street. The ACE project will consist of a small number of community arts and arts education projects funded by the ACE committee which has been established to manage and monitor the project. The committee consists of people experienced in arts education and community arts. The members are: Ciarán Benson (Chairman), Helen Bygrove, Lar Cassidy, Martin Drury, Robbie McDonald, Gráinne O'Flynn, Iain Reid, and Peter Sheridan. ACE was fortunate to secure the services of Mary Cloake as its secretary with responsibility for the day-to-day administration of the project. ACE projects will either be initiated or solicited by ACE and designed in collaboration with others, or they will be projects proposed to ACE by any individual, organisation or community arts group. In 1985 ACE received over 120 initial applications ('declarations of intent'), and these were considered by the ACE committee as the first phase of the overall project. Consideration of projects proposed is governed by the nine guiding principles of ACE which were included in the brochure giving details of the project which was published in September. Some of the key guiding principles are: * ACE seeks to develop exemplary role models of practice in community arts and arts education. Accordingly much attention will be paid to the preparatory work and to the evaluation procedures proposed for each project. * ACE will not merely have a funding relationship with projects it adopts and supports. From the beginning ACE will enter active dialogue with those who propose projects of interest in order to clarify, extend, or develop the scope of the initial proposal. Such discussions will be without prejudice to the final choices made by ACE. * ACE is a project with financial and other resources. It is not merely a fund. It seeks to intervene creatively in the development of practice and attitudes in community arts and arts education. ACE is a forum for debate and practice, and an opportunity to develop the arts in Ireland. As such it welcomes not only the proposal of projects, but also submissions on the theory and practice of community arts and arts education in Ireland, declarations of interest, constructive criticism and expressions of support for the values expressed and demonstrated in the work of ACE.

Dublin Youth Theatre 8,600 TEAM Theatre Company 4,000 Administration 2,875

Total Expenditure per Note 5 to the Accounts £15,475

Education

The Arts Council undertook a major review of its policies and practices in education during 1985. There were two main reasons for this review. The first was the Council's concern to ensure that, six years after the publication of its report The Place of The Arts in Irish Education, its policies and interventions in the world of education were still meaningful and effective. The second reason for the review was the general debate in Ireland about the curricula of our shcools, a debate engendered by the Curriculum and Examinations Board to which the Arts Council is a designated body. In September the Arts Council adopted a new education policy which seeks to intensify the work of the Council in education since 1979. The policy distinguishes between arts-in-schools activities and arts education. While remaining committed to the former, the Council also recognises that no intervention by professional artists, however high its quality, can remove the need for all young people to have a thoroughgoing arts education as a central part of their school experience. In such a situation it is the work of the teacher and not of the artist that emerges as a priority, and the new education policy of the Arts Council takes account of this fact. Arts education is and will remain the responsibility of the Education authorities, both local and national. Accordingly, the Council continued to take its role as a designated body of the Curriculum and Examinations Board very seriously. A third submission was made to the Board in response to its Discussion Paper The Arts in Education. The Council's Education Officer completed his work as a member of the Board's Working Party on the Arts and later in the year was appointed to the Board of Studies on the Arts, which reported to the Curriculum and Examinations Board. In May 1985 the Arts Council published The Dancer and the Dance, a major report on theatre dance in Ireland. The report contains a long chapter on dance and education and makes 18 recommendations to the Department of Education. In October 1985 the Council organised a one-day conference on dance and education which was attended by dancers, teachers, educationalists, inspectors and arts administrators. The conference was addressed by Mr Ted Nealon, Minister of State for Arts and Culture. The Minister noted the felicitous similarity of the recommendations in both The Dancer and the Dance and the Curriculum Board's The Arts in Education. He announced his intention of meeting with the Minister for Education on this matter. In December 1985 the Arts Council published Deaf Ears? a report on the provision for music education in Irish schools. This report, which was commissioned by the Irish Committee for European Music Year, provided detailed statistical evidence of the scandalous neglect of music in our schools. In a Foreword to the report the Chairman of the Arts Council wrote: 'We cannot profess the educational centrality of music and then betray that profession in our provision and practice. We must either change our practice or concede that music is not an educational priority and then justify that stance'. At the end of the school year 1984/85 the Arts Council concluded the highly successful Murals-in-Schools scheme Paint on the Wall. After four years the scheme had achieved its objective and rather than allowing it become stale by repetition, the Council decided to change its practices in the visual arts for primary schools in the light of the fundamental review of its education policy. 1985 was also the final year of the Leaving Certificate Arts Scholarships. There are now five people taking third- level courses in art and music with financial assistance from the Arts Council. The reallocation of resources arising out of the policy review referred to earlier will mean greater emphasis on bursaries and awards to teachers of the arts. Two teachers were awarded scholarships in 1985. Mary Cross will follow a post-graduate course in dance education at the Laban Centre, London, and Patricia Gray will study art education in Birmingham Polytechnic. Both women are recent graduates of teacher-training colleges in this country. ACE, an experimental project in Community Arts and Arts Education, was established by the Arts Council and the Calouste Gulbenkian Foundation in 1985. A fuller description of ACE can be read elsewhere in this report.

AWARDS TO INDIVIDUALS

Diane Schomp 1,266 Brona Smith 500 Deirdre Smith 1,534 John Carroll 1,034 Anne Maria Sheehan 1,146 Kevin O'Regan 1,550 Elaine Kelly 919

GRANTS

Ceol Chumann na nOg 7,400 Music Association of Ireland — School Recitals 7,000 National Association of Youth Drama 2,000 People's College 600 Theatre Omnibus 5,000 Wolfhound Press 2,000

Less: Previous year's grants not required (500) £31,449

Directly Promoted Activities Murals in Schools 14,359 Slide Packs (145) 'Deaf Ears?' Report 1,484 £15,698 Total Expenditure per Note 5 to the Accounts £47,147

Regional Arts

In 1985, the Arts Council embarked on the second phase of its regional policy with the appointment of the first County Arts Officer in Co. Clare in September. Since 1978 the Arts Council in conjunction with the Regional Development Organisation grant-aided the appointment of Regional Officers in the Mid West, the South East, the South West, Galway/Mayo and Donegal. The Arts Council has now moved into a further phase in arts development in the regions. This will entail a deeper and a more productive involvement by local authorities in arts activities in their areas. A rationale for this new approach is underpinned by the historic development of the public library system which, at the end of the last century, was in a position analogous to the current position of the arts. Libraries are a public service which is now taken for granted, a position which was won with difficulty. The arts are involved in a similar struggle for recognition and acceptance by the public and by the funding authorities. It is a realistic aspiration, given certain conditions, that the arts will enjoy a similarly integrated position within the local authority structure by the end of this century. In addition to encouraging the appointment of County Arts Officers, the Arts Council has embarked on a more direct relationship with the local authorities. The role of the local authorities is important in the funding and the housing of the arts. Because of the local authorities' central role in planning, they are best fitted to decide on the provision of cultural amenities to allow for participation in the arts within their administrative areas. The Arts Council will continue to act as an advisory and funding body. The following describes the work of the regional arts committees in 1985.

South-East Regional Arts Committee (SERAC) As part of the implementation and development of SERAC's Five Year Development Programme, 1985 saw the introduction of a pilot scheme aimed at the raising of standards within the amateur drama movement. The Professional Director Scheme allows amateur drama groups to avail of the services of a professional director thus introducing a strong element of professionalism and learning into the activities of the group. Three groups benefited in 1985: Waterford Dramatic Society, who staged 'Juno and the Paycock' by Sean O'Casey, directed by Anna Managhan; The New Theatre Group, Kilkenny, with their production of 'The Crucible' by Arthur Miller, directed by John Bradley; Carrick-on-Suir Drama Group, who chose 'Translations' by Brian Friel, directed by Barry Cassin. 1985 was the third successful year of Tionól Tommy Keamey, an uilleann piping seminar held in Dunmore East, County Waterford. The seminar aims to raise standards and to expand appreciation and practice of uilleann piping within the South East region. From a humble beginning in 1983 the event has expanded dramatically and in 1985 included reed-making and pipe repair classes. It was with deep regret that SERAC learned of the death of Breandán Breathnach, who contributed so much to the success of this annual event. SERAC was delighted to assist and advise in the first traditional fiddle seminar to be held in Ring, Dungarvan, County Waterford. It was a weekend event and pupils were given intensive tuition by some of the country's leading exponents of the art. The Committee hopes to continue the event in 1986. Confluence '85, a conference extending over a week, was based in Waterford in June. The aim of the conference was to bring together Canadians of Irish descent and the people of the South East. The programme for the week included films, lectures, art exhibitions, music and field trips. SERAC was pleased to co-ordinate this important cultural event and fortunate to have leading experts on cultural afffairs from Canada and Ireland in attendance. Through this event SERAC has now formed important links with Canada, which it is hoped will have artistic and cultural benefits for the South East region. The Committee and Arts Officer continued to advise local authorities and other bodies in regard to the development of the arts in the region, and the Committee is pleased to note the increase in arts activities.

Galway/Mayo Regional Arts Committee The Regional Arts Committee started an arts-in-education scheme, 'Ceol an Iarthair', which brings traditional Irish musicians into schools in Co. Galway and aims to increase the appreciation and practice of music in schools. The scheme has been an enormous success with many of the country's foremost musicians taking part. In 1985, John Buckley, as composer-in-residence, worked with groups from many towns in the region. His piece for the Westport Band was performed in Westport and Castlebar. An organ piece performed in St. Murdach's Cathedral, Ballina, by Gerard Gillen, was a highlight of the Ballina Community Festival. Galway/Mayo has benefited from the services of Hugh McCormack in the Artists in Schools programme. Mr. McCormack, head of Galway RTC Arts Department, gave highly successful workshops and illustrated lectures in numerous schools and communities. The Regional Arts Committee initiated the first Galway Festival of International Poetry, which took place in November with the assistance of the Poetry Co-op. The weekend festival was devoted to the theme of 'Humorous and

Satirical Poetry', and brought together British and Irish poets of the calibre of Gavin Ewart, Michael Hartnett, Roger Woddis and Sydney Bernard Smith. A further example of the growing stature of the events occurring in the region was James Coleman's 'Guaire: an Allegory'. This multi-media production brought one of the country's leading visual artists into a rural community, where he worked with the local people to produce an art work which was internationally reviewed. The work revolved around the legend of King Guaire and was performed in Dunguaire Castle, Kinvara, in May. The Regional Arts Committee provided the production team, staff and administration. In an extension of last year's successful co- operation with the Department of Labour, a YEA Teamwork scheme provided money for the Guaire workforce, many of whom were local people. There was similar close co-operation with the Department of Labour in major community arts projects in Charlestown, Ballina and Tuam. The Charlestown projects involved young people in the construction of a creative playground, under the direction of sculptor Tom Conroy, and an older group in an exhibition of photographs and other images of their town, under the direction of the artist Tom Nevin. In Ballina the Community Arts Festival brought together a wide variety of community groups including guides, residents' associations and the elderly with local and national artists. The Tuam project has brought young people from the town together in the Annex Community Theatre Company to script and produce their own play with the guidance of writer Michael German and Artistic Director Carmel O'Beirne. The Regional Arts Committee worked closely with Workplace Arts, a Department of Labour-assisted project, which brought artists such as Mary Coughlan, Liam Wheldon and Michael Gorman into Galway City factories to perform during lunch breaks. 'Arts Events', the Regional Arts Committee's newsletter, continues in its brighter, more attractive form, giving details of events, and articles on the arts. The rapid increase in Arts activities in the region has been noted by local authorities in both counties, which have provided increased grant aid both at County Council and Urban District level.

Mid-West Arts Appropriately in European Music Year, music was the central activity throughout the Mid-West region during 1985. Mid-West Arts' major project for the year was Music in North Tipperary (MINT) '85, a project to promote music of all kinds in the area. A local administrator, Orla Kennedy, organised a wide variety of activities and events, working from a base at the Courthouse, Nenagh, with assistance from the County Council, Shannonside Tourism, the Arts Council, the Irish EMY Committee and commercial sponsorship. The events included jazz sessions, traditional music workshops in schools, classical and pop music concerts, composition nights, exhibitions, céilís and dance classes. Local authorities in Nenagh, Thurles and Roscrea worked closely with Orla Kennedy to encourage community involvement and to ensure that European Music Year left its mark. European Music Day was a highlight of the year both in North Tipperary and throughout the region. One element in the Nenagh programme for the day was the return of the Penny Ballad sheet, sold on the town's streets by local singers. In Limerick City Mid-West Arts organised 'Midsummer Music', a night-long extravaganza involving five different open-air venues and some 650 local performers, all for free. Music was a feature elsewhere in 1985. The Mid-West Arts' third summer school for young composers was held in Ennis, Co. Clare, under the direction of John Buckley and James Wilson. For the first time, the school was residential. Participants heard talks by visiting composers and joined workshops with leading instrumentalists. Another innovation was a weekend refresher course for the summer school's participants in December. This invaluable contribution to the musical future of the country was made possible by funding from Co. Clare Vocational Education Committee, Clare County Council, the Arts Council and the Performing Rights Society. In Newcastle West, Co. Limerick, a new school of music was established, while in Abbeyfeale, the Youth Orchestra held its first music weekend in April. Shannon Development Company with Mid-West Arts organised three traditional music weekends in Bunratty Folk Park, Co. Clare, during the year. The other art forms, despite all its musical activity, were not neglected by Mid West Arts. A regional touring exhibition, the work of nine recent graduates from the Limerick School of Art and Design, selected by Dorothy Walker, visited ten venues. For International Youth Year, there was also a number of school art competitions and exhibitions. In November, Mid-West Arts organised two weekend seminars called 'Professional Help' which were designed to give local arts groups advice and expertise in the area of organisation, financial assistance and successful marketing. Also in November, Mid-West Arts held the first Kate O'Brien Weekend in Limerick, named after the city's most famous author. This annual event will focus attention on a different aspect of contemporary Irish literature each year. The theme for 1985 was 'Women Write Now'. In September, the Mid-West received the country's first County Arts Officer in Clare, Kay Sheehy. Following the local elections in June, a new Mid-West Arts Committee was formed.

County Arts: Clare The newly appointed arts officer for Co. Clare prepared a policy document stating the aims and objectives for her three- year term of employment. In October a public meeting was held in Ennis to allow Clare arts groups to express their views to inform the Council's submission on the White Paper on the Arts, and to give these groups an opportunity to

discuss their common aims and problems. The Arts Officer sought to integrate her role with that of locally based committees such as the Youth Club Executive, the I.C.A., Travellers West, Shannon and Clare Archaeological and Historical Society. Ceol an Chláir, the scheme for traditional musicians in schools, was extended to include libraries. A very successful session was given by Matt Molloy and Tommy Peoples in the Ennis Library, and most of the other library branches have followed this lead. Links have also been formed with Comhaltas Ceoltóirí Éireann, in particular with the Ennistymon branch which is in the process of renovating the disused Protestant Church there as a traditional music centre. The Committee is very willing to have non-Comhaltas arts activity taking place in the centre (exhibitions, theatre, classical music). County Arts organised an exhibition of porcelain by Vivienne Foley, a local craftswoman, at the de Valera library and Museum, Ennis, in December. The success of the exhibition was clear from the interest of the public and from the number of purchases. It is hoped to set up a programme of exhibitions by local artists and craft workers in 1986. Prints by contemporary Irish artists were also displayed in the Co. Council building. Plans are well under way to commemorate the Ennis-born artist William Mulready with an exhibition in April, 1986. Much of the energies of the Arts Officer were taken up with meeting local groups and establishing a relationship with national bodies which will further the development of the arts in Co. Clare.

GRANTS

Tyrone Guthrie Centre 43,000 Tyrone Guthrie Centre (ACNI) 20,000

Co. Donegal RDO 5,000 North-East RDO 450 Galway-Mayo RDO and Arts Committee 19,260 Mid-West RDO and Arts Committee 22,400 South-West RDO and Arts Committee 20,000 South-Eastern RDO and Arts Committee 19,500 Clare County Council 2,500 Tipperary County Council 500 Westmeath County Council 1,000

Less: Previous year's grants not required (2,834)

Total Expenditure per Note 5 to The Accounts £150,776

Regional Arts Committees

Co Donegal Arts Committee South West Arts RDO Director: Liam Kelly RDO Director: John McAleer Arts Committee: Arts Committee: Clement MacSuibhne, Chairman Michael Broderick, Chairman Rita Kerrigan, Vice-Chairman Cllr Kit Ahern Bríd Bonner Ignatius Buckley May Coll Cllr M. Connor-Scarteen Denis Doyle Cllr Tadhg Curtis Derek Hill Cllr Pat Dawson Pat Bolger Cllr Michael Donegan Cllr. William McCafferty John Fitzpatrick Máire Iníon Mhic Eananaigh Cllr Denis Lyons, T.D. Frank Moloney Cllr Cornelius Murphy Vincent Murphy Cllr D. J. O'Sullivan Eamonn O Canainn Nora Relihan Eddie O'Kane Kathleen Browne Tom O'Reilly Donal O'Shea Arts Officer (to February 1985): Áine Bean Uí Ghallchobhair John O'Mahony, Arts Officer (to mid '85): South West Arts, Michael McMullin 30 Princes Street, Regional Arts Committee, Cork. County Buildings, Lifford, Co. Donegal. Mid-West Arts Association Galway/Mayo Arts Committee RDO Director: P. J. Barry RDO Director: Tony Smyth Arts Committee: Arts Committee: Cllr Frank Prendergast, Chairman Sen. Michael D. Higgins, Chairman Cllr Michael Barry Paddy Fahey Cllr Tony Bromell Sen Mark Killalea Noel Crowley Cllr John Molloy Frank Custy Cllr Martin Finn Cllr Frank Dwan Patrick Goff Paddy Doran Tom Kenny Cllr John Griffin Michael Keohane Bill Fogarty Angela Kirrane Cllr Binkie Hanafin Gerry Lee John Logan Noel O'Rourke John McGinley Maura Maloney Baz Millar Cllr Michael O Móráin (Until September 1985) Tom Munnelly Cllr John Mannion Noel Ryan Brendan Flynn Frances Shanahan Cllr Seán Fitzpatrick Cllr Madeleine Taylor-Quinn Dick Tobin Arts Officer: Lorraine Wall Helen Bygrove, Niall O Beacháin Regional Arts Committee, Richard Ruth Woodquay, Flan Garvey Co. Galway. Arts Officer: Robert O'Byrne, 104 Henry Street, Limerick.

South-East Arts Committee RDO Director: Liam Murphy Arts Committee: Larry Fanning, Chairman Cllr John T. Browne Michael Coady Oliver Coffey Cllr Liam Curham Denis Denny John Ennis Aileen le Brocquy Cllr John McNally Cllr Mary Cavanagh George Vaughan William Walsh Cllr Joe Manning John Ennis John McQueen Des Robinson Diarmuid de Paor

Arts Officer: Martin Quigley, 99 The Quay, Waterford.

Capital/Sundry

CAPITAL

The Council's inability to make significant provision of grant-aid for capital purposes continued. A grant towards the provision of new premises for the Irish National Ballet in Cork was financed from the Funds of Suitors. A further allocation of £35,000 was received from the European Community Regional Fund for the Tyrone Guthrie Centre. The final instalment of a £60,000 grant was paid to Triskel Arts Centre, Cork and the new Garter Lane Arts Centre in Waterford received £10,000.

Irish National Ballet Trust Fund/Firkin Crane Project, Cork 100,000 Garter Lane Arts Centre, Waterford 10,000 Triskel Arts Centre, Cork 20,000 Tyrone Guthrie Centre, Monaghan 35,000 Total Expenditure per Note 5 to the Accounts. £165,000

SUNDRY ARTS EXPENDITURE Research on submission to Government re White Paper on the Arts 24,307 Other reports and surveys 16,463 Information services 6,778 Aosdána: Administration 3,142 Aosdána: Pension Scheme 5,215 Ciste Cholmcille 5,000 Miscellaneous 6,384 Total Expenditure per Note 5 to the Accounts. £67,289

Analysis of 1984 Grant Aid

INTRODUCTION This report ses out the results of a survey of organisations which received grant-aid from the Arts Council in the calendar year 1984.

PURPOSE: The purpose of the exercise was to determine to what extent these organisations were capable of generating income, having received grant-aid from the Arts Council.

SCOPE: The survey covered 222 organisations as they were listed in the 1984 Annual Report of the Arts Council. A total of £4,497,317 was paid by way of grant-aid to these organisations during that year. Of the total number examined, complete data was not available for 76 organisations, representing £245,062 in grant-aid, or 5% of the total.

WORK DONE: The returns/accounts which were submitted by the grant-aided organisations were summarised as follows:

Income: Arts Council: being the amount of Arts Council grant-aid in 1984. Earnings: being income generated by the grant-aided organisation as a result of its activities in the period. Sponsorship: being the amount received from commercial sponsors. Local Authority: being grants received from the local county council or city corporation. Other State: being grants received from Government agencies other than the Arts Council or Local Authorities. Other: being income which does not fall into any of the above categories. Total Expenditure: being expenditure incurred by the organisation in the period.

Salaries/Wages/Fees: being amounts paid to administrative staff and to artists, lecturers, etc. (This figure is distorted slightly because nine organisations in the survey did not submit this information in their returns/ accounts.)

RESULTS: The 222 organisations, which received grant-aid from the Arts Council of £4.5 million, generated further income from all other sources of £6,128,855 made up as follows: £m Earnings 4.669 Sponsorship .660 Local Authority .131 Other State .191 Other .478 £6.129 Diagram A Illustrates graphically the components of the income of the organisations.

Diagram B Illustrates the position excluding sales of publications in the literature category, as it is felt that this income was not generated as a direct result of Arts Council grant-aid. In this scenario, Arts Council grant-aid represents 44% of the total income of the organisations covered by the survey. Or, for every £1 of grant-aid, a further £1.25 was generated from other sources.

Diagram C Illustrates the relationship between grant aid received from the Arts Council and wages/salaries/fees paid out by the organisations. This illustration demonstrates that for every £1 of grant-aid, £1.03 was generated in wages/salaries/fees. If the wages/salaries/fees paid in the literature category are excluded, the rate in the preceding paragraph becomes £1 : £1.01.

An Chomhairle Ealaíon

ACCOUNTS for the year ended 31st December 1985

Report of the Comptroller and Auditor General

I have examined in accordance with approved auditing standards the Accounts set out on pages 46 to 52 which are in the form approved under the provisions of the Arts Act, 1951.1 have obtained all the information and explanations which I considered necessary for the purpose of my audit.

In my opinion proper books of account have been kept by An Chomhairle and the Accounts, which are in agreement with them, give a true and fair view of the state of its affairs at 31st December 1985 and of its transactions for the year then ended.

P. L. McDonnell Comptroller and Auditor General

31st December 1986

INCOME AND EXPENDITURE ACCOUNT

Year ended 31st December 1985 1984

IR£ Income Notes IR£ IR£ 5,193,000 Oireachtas Grant-in-aid (1) 5,695,000 100,000 Funds of Suitors (2) — — — Special Border Areas Programme Fund (3) 35,000 64,402 Other grants (4) 119,134 30.162 Sundry Income 20,289 5,869,423 5,387,564

Expenditure 5,097,246 General Expenditure on the Arts (5) 5,417,668 422,055 Administration (6) 491,535 5,909,203 5,519,301 (131,737) Surplus (Deficit) for the year (39,780) (15,517) Deficit brought forward (147,254) (147,254) Deficit at 31st December 1985 (187,034) Notes 1 to 12 form part of these accounts

Máirtín McCullough, Chairman

Adrian Munnelly, Director

30th December 1986

BALANCE SHEET AT 31st DECEMBER 1985 1984 IR£ Notes IR£ IR£ 102,949 Fixed Assets (7) 120,306 90,603 Nett Assets of Trust Funds (9) 103,931 148,632 Loans (10) 150,540 505 Prize Bonds 505

Current Assets 13,508 Debtors and prepayments 36,897 37,700 Grants paid in advance 23,413 — Cash at bank and in hand 31,064 51,208 91,374

Current Liabilities 82,099 Creditors and accruals 93,249 161,680 Grants and guarantees outstanding 336,204 103,820 Bank Overdraft — 347,599 429,453

(296,391) Net Current Liabilities (338,079) 46,298 Net Assets 37,203

Represented by: 102,949 Capital Account (8) 120,306 (147,254) Income and Expenditure Account: Deficit (187,034) 90,603 Trust Funds (9) 103,931 46,298 37,203

Notes 1 to 12 form part of these accounts

Máirtín McCullough Chairman

Adrian Munnelly Director

30th December 1986

Note 1: Accounting Policies (i) Oireachtas Grant Income shown as Oireachtas Grant-in-Aid is the actual cash received from the Vote for An Chomhairle Ealaíon and the Vote for Increases in Remuneration and Pensions.

(ii) Fixed Assets Nett Expenditure on fixed assets is charged as an appropriation from the Income and Expenditure Account to the Council's capital account. Fixed assets are shown at cost and are not depreciated.

(iii) Expenditure on office furniture, fittings and equipment is written-off in the year in which it is incurred.

(iv) No provision is made in these accounts for bad debts. Debts and Loans are written off as necessary in the year in which it is recognised that they have become irrecoverable.

Note 2: Funds of Suitors Pursuant to the provisions of Section 3.2 (a) of the Funds of Suitors Act, 1984, the sum of £100,000 paid to the Council in 1984 on the determination of the Taoiseach was expended in 1985 as part of the Council's programme of grant-aid for capital projects (see Note 5).

Note 3: Special Border Areas Programme Fund A grant of £35,000 was received from this fund and was paid to the Tyrone Guthrie Centre at Annaghmakerrig, Co. Monaghan, as part of the Council's programme of grant-aid for capital projects (see Note 5). The fund was established as part of the European Community Regional Development Programme.

Note 4: Other Grants £ Arts Council of Northern Ireland (Sundry grants) 35,355 Calouste Gulbenkian Foundation, Lisbon (ACE Programme) 48,840 Calouste Gulbenkian Foundation, Lisbon (Submission to Government) 20,446 Calouste Gulbenkian Foundation, Lisbon (Goodman manuscript project) 5,824 Dublin Corporation (Scholarships) 3,500 Mayo County Council (Scholarship) 300 UNESCO (Taxation Report) 4,869 119,134

Note 5: General Expenditure on the Arts 1984 Grants Directly Total Total Promoted Activities £ £ £ £ 283,308 Literature 309,872 32,703 342,575 484,180 * Visual Arts 499,163 38,885 538,048 5,404 Visual Arts — transfer to Capital Account — 14,717 14,717 2,547,223 Drama 2,580,459 45 2,580,504 403,094 Dance 382,728 9,080 391,808 114,872 Traditional Arts 118,255 5,824 124,079 231,859 Opera 218,400 3,362 221,762 285,370 Music 283,923 705 284,628 103,100 Film 104,490 — 104,490 279,200 Arts Centres and Festivals 286,500 — 286,500 68,091 Community Arts 82,870 — 82,870 — Arts/Community/Education Programme 12,600 2,875 15,475 52,021 Arts in Education 31,449 15,698 47,147 141,219 Arts development in the Regions 150,776 — 150,776 71,586 Capital 165,000 — 165,000 26,719 Sundry 5,300 61,989 67,289 5,097,246 Totals 5,231,785 185,883 5,417,668 * Visual Arts expenditure includes grants towards the cost of works of art acquired by approved bodies under the Council's Joint Purchase Scheme. The works of art may not be resold without the prior agreement of the Council and, in the event of such agreement, they shall not be resold for less than their original price, and half the sum realised shall be refunded to the Council.

Note 6: Administration 1984 1985 £ £ Salaries, PRSI and Superannuation 246,841 286,100 Council and Staff Expenses 59,694 71,329 Consultants' Fees and Expenses 12,524 10,534 Office Furniture, Fittings and Equipment 2,170 4,732 Improvements to premises 3,664 3,406 Rent, light. Heat, Insurances, Cleaning, Repairs and other House Expenses 52,771 49,482 Printing, Stationery, Postage, Telephone and Sundry Expenses 44,391 63,312 Transfer to Capital Account (Note 8) — 2,640 422,055 491,535

Note 7; Fixed Assets Cost Works of Art Motor Vehicle Total £ £ £ Balance at 31st December 1984 93,799 9,150 102,949 Acquisitions 15,465 11,790 27,255 Disposals (748) (9,150) (9,898) Balance at 31st December 1985 108,516 11,790 120,306

Note 8: Capital Account £ Balance at 31st December 1984 102,949 Transfer from Income and Expenditure Account: Visual Arts (Note 5) 14,717 Administration (Note 6) 2,640 Balance at 31st December 1985 120,306

Note 9: Trust Funds: Assets at 31st December 1985 £ £ President Douglas Hyde Award £ 1,342 11.50% Finance Stock 1991–93 1,307 (Market Value of Securities (£1,315) Cash at Bank 19 1,326

W. J. B. Macaulay Foundation £31,337 13.00% Exchequer Stock, 1994 31,249 (Market Value of Securities £33,942) Cash at Bank 2,771 34,020

New York Irish Institute Fund £ 1,736 11.50% Finance Stock 1991–93 1,691 (Market Value of Securities £1,700) 1,691

Denis Devlin Foundation £ 3,761 13.5% Exchequer Stock 1994 3,766 (Market Value of Securities £4,073) Cash at Bank 1,267 5,033

Ciste Cholmcille £ 1,200 7.00% National Loan, 1987–92 1,030 £10,070 9.75% National Loan, 1984–89 8,951 £ 1,020 9.75% National Development Loan 1992–97 1,005 £ 2,000 11.00% National Loan 1993–98 1,840 £ 6,700 18.25% Land Bonds 6,802 1,500 Allied Irish Banks pie 25p shares (Market Value of Securities £24,892) 3,138 22,766

Debtors 5,772 Cash at Bank 2,608 31,146

Marten Toonder Foundation £ 6,000 11.00% National Loan 1993–98 5,583 £ 6,600 12.00% Conversion Stock 1995 6,711 £ 4,370 13.00% Exchequer Stock 1994 4,373 £ 1,725 Bank of Ireland Capital Stock 3,560 6,162 Allied Irish Bank pie 25p shares 5,189 (Market Value of Securities £38,696) 25,416

Debtor 647 Cash at Bank 3,018 29,081

Reg Cant Memorial Fund Cash at Bank 1,634 1,634 103,931

Note: Securities are shown at cost and are held in trust by An Chomhairle Ealaíon.

Note 9: (Continued) Movement of Trust Funds Gain (Loss) on exchange Brought Expen- of invest- Carried Forward Income diture ments Forward £ £ £ £ £ President Douglas Hyde Award 1,503 112 (256) (33) 1,326 W. J. B. Macaulay Foundation 25,011 4,306 (3,000) 7,703 34,020 New York Irish Institute Fund 1,770 100 (100) (79) 1,691 Denis Devlin Foundation 3,740 559 — 734 5,033 Ciste Cholmcille 28,942 8,205 (6,001) — 31,146 Marten Toonder Foundation 28,169 3,560 (3,000) 352 29,081 Reg Cant Memorial Fund 1,468 166 — — 1,634 90,603 17,008 (12,357) 8,677 103,931

Note 10: Interest Free Loans During 1985 nine additional interest-free loans were made. £ Balance at 31st December 1984 148,632 Additional Loans 79,000 Repayments (77,092) Balance at 31st December 1985 150,540

Note 11: Future Commitments The following amounts are not reflected in these accounts: (i) £2,140,190, being the total of grants and guarantees against loss approved by the Council in respect of various activities due to take place after 31st December; (i) £20,000, being the approximate nett deficiency of the Irish Theatre Company in liquidation, which the Council has undertaken to meet in full.

Note 12: Superannuation Scheme A Staff Superannuation Scheme under Section 10 of the Arts Act, 1973, is in operation. The Scheme provides for equal contributions to be made by the Council and staff and for the insurance of retirement benefits. An actuarial valuation of the Scheme at 31st December 1985 has been carried out and the Council is undertaking a review of the adequacy of the present funding arrangements.