DOCSLIB.ORG

National Performing Companies: Report on Activity 2007/08 And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

National Performing Companies – Report on activity 2007/08 and 2008/09 List of contents Page 1 Minister’s Introduction 2 2 Introduction to the Report 3 3 About each of the National Performing Companies 4 4 Company profiles 6 5 Facts and Figures 11 6 Financial Outturn 13 7 Audiences 17 8 Monitoring and Assessment 18 9 Shared Services 19 10 More Recent Developments 20 Annex A 21 Annex B 23 Annex C 25 1 1. Introduction by Fiona Hyslop MSP, Minister for Culture and External Affairs It gives me great pleasure to present this report on the first 2 years of the Scottish Government’s direct funding relationship with Scotland’s 5 National Performing Companies. It is hard to think of Scotland’s rich performing arts history and achievements without reference to each one of these 5 companies: the venerable RSNO, now over 100 years old; the youthful National Theatre of Scotland, remarkably only in its fourth year of operation; and the richness of Scottish Ballet, Scottish Chamber Orchestra and Scottish Opera, now in their ‘middle years’ – are all playing a major part in bringing joy and inspiration to audiences across our nation. As well as producing concerts and performances of the highest calibre, these companies are all committed to using their skills as artists, teachers and role- models in schools and communities to stimulate increased confidence, self-esteem and creativity in people of all ages, abilities and backgrounds. The 5 companies are also excellent ambassadors for Scottish culture, proudly promoting Scotland overseas and introducing international audiences to the wealth of artistic talent that is nurtured and developed in our vibrant country. I am delighted to see the 5 National Performing Companies in such good financial and artistic health. This document is intended to share the essential facts and figures about their achievements publicly and to ensure that we conduct our relationship with these companies with appropriate transparency. It is my intention to publish a document annually which reports on the achievements and outcomes of the 5 National Performing Companies. 2 National Performing Companies – Report on activity 2007/08 and 2008/09 2. Introduction: 2.1 Scotland’s 5 National Performing Companies came into a direct funding relationship with the Scottish Government in April 2007, having previously been clients of the Scottish Arts Council. The decision to change the mechanism for funding the companies was taken during 2006 and work was started to implement this change at the Scottish Government in January 2007. 2.2 This report is intended to highlight the key achievements and operating outcomes of all 5 companies during the period 2007/08 and 2008/09. There are 5 National Performing Companies: o National Theatre of Scotland (NTS) o Royal Scottish National Orchestra (RSNO) o Scottish Ballet o Scottish Chamber Orchestra (SCO) o Scottish Opera 2.3 Collectively and individually these companies make a significant contribution to cultural life in Scotland. They operate on a scale which distinguishes them from any other performing arts organisations in Scotland and which gives them a major presence on Scotland’s largest stages. They are also dedicated to working flexibly and on a variety of scales to deliver their performance and education programmes to as many of Scotland’s communities as possible, across the length and breadth of the country. 2.4 Between 2007/08 and 2008/09 the National Performing companies gave 1,939 performances and delivered 5,425 education events. Over 1 million people saw the companies perform during this period and there were 202,370 participations in their outreach and education programmes. 2.5 In partnership with the many and diverse performing arts organisations operating in Scotland, some of which are funded by the Scottish Arts Council, the National Performing Companies help to deliver the Scottish Government’s policy commitment to ‘support the arts, culture and creativity; and to maximise access to, appreciation of and participation in, the arts, culture and creativity’.1 2.6 The relationship between the Scottish Government and the 5 national performing companies is managed by the Cultural Excellence Team within Culture Division. The creation of a productive, informed, open and mutually respectful relationship between the 2 parties was aided, in part, by the inclusion in the initial sponsorship team of 2 secondees from outwith the Scottish Government – a financial expert and one with extensive performing arts experience. 2.7 Whilst no longer in a direct funding relationship with the Scottish Arts Council, the 5 National Performing Companies are required to retain good relations with this major arts funding body to ensure that a cohesive and strategic approach to funding across the sector can be achieved. The National Performing Companies will need to establish a good, complementary relationship with Creative Scotland when it emerges in 2010. 1 Scottish Parliament Public Service Reform (Scotland) Bill – section 26 and 27. www.scottish.parliament.uk/s3/bills/26-PubSerRef/index.htm 3 3. About each of the National Performing Companies 3.1 Each of Scotland’s 5 National Performing Companies arrived with the Scottish Government in fine artistic form in April 2007 and went from strength to strength during 2007/08 and 2008/09. 3.2 Any financial or artistic difficulties from previous years were put firmly behind them, and a new era of confidence, optimism and generosity has developed which enables each company to produce the highest quality of work for audiences across Scotland and further afield. 3.3 Whilst the companies are now part of a collective group, each of the National Performing Companies operates on a different business model with a distinctive set of aims and objectives. Each is at a different stage in its history and works in different ways with different numbers of creative and performing artists, and support staff, to deliver a wide range of performances and education work on a variety of scales. 3.4 They all operate the same constitutional structure, being independent private companies limited by guarantee and registered as charities in Scotland. They are all governed by a Board of voluntary, non-executive Directors, which may include some designated local authority Councillors. The Scottish Government plays no part in the recruitment of any Board or Senior staff appointments for any of the National Performing Companies. The Scottish Government receives Board papers but does not attend Board meetings. 3.5 Taken together, the companies’ performance activity spans a diversity of classical and contemporary music, opera, dance and theatre and takes place in the concert halls and theatre venues of Scotland’s largest cities and smallest villages, as well as in venues across the UK and overseas. 3.6 All of the companies place the role of education, learning and community involvement at the heart of their artistic purpose. They each deliver a programme of workshops, masterclasses, performances and courses both within the formal Education sector and in a wider community Outreach context. This work is tailored to the particular artform and policy of each company, but shares the same broad aim to inform, involve and inspire people of all ages and abilities in and about the performing arts. 3.7 Whilst they all recognise the value of the individual experience of the audience or participant in relation to their work, they all share a desire to communicate with as large and diverse an audience as possible. 3.8 Notable achievements during the 2007/08 and 2008/09 period include: 3.8.1 The National Theatre of Scotland achieving international success with Black Watch by Gregory Burke, originally produced in 2006. During 2007 and 2008, the production undertook 2 successful runs in New York and received audience and critical acclaim from performances throughout Scotland, in Los Angeles, Toronto, Virginia, Sydney, London and across the UK. The production won many awards during this period, including 4 Olivier Awards and the New York Drama Critics' Circle Awards for Best Foreign Play. The company’s production of The Bacchae saw the return of Alan Cumming to the Scottish stage after a break of 17 years. 3.8.2 The Royal Scottish National Orchestra undertaking its first foreign tour with Music Director Stéphane Denève in January 2008. The Orchestra performed 6 concerts to great acclaim across Germany, Austria and Croatia with American violinist Hilary Hahn. The company has since returned to the continent with Denève on a highly prestigious tour in February 2010. 4 3.8.3 In recognition of its impressive track-record for commissioning and programming, Scottish Ballet winning the Company Prize for Outstanding Repertoire (Classical) at the Critics’ Circle National Dance Awards in January 2008, the Oscars of the UK dance world. 3.8.4 The Scottish Chamber Orchestra appointing the young conductor Robin Ticciati as its new Principal Conductor, following a highly successful series of concerts given by Ticciati with the orchestra in the Scottish Highlands and Islands in summer 2008. Ticciati is a rising star of British music-making who is much in demand across the world. 3.8.5 Scottish Opera appointing its new Music Director, Francesco Corti following his success conducting Puccini’s Madama Butterfly for the company in spring 2007. The company’s production of Donizetti’s Lucia di Lammermoor, directed by Scottish director John Doyle, and was selected by Valery Gergiev to be presented by the Mariinsky Opera in St Petersburg as one of its key productions for 2009. 5 4. Company profiles: 4.1 The National Theatre of Scotland (NTS) aims ‘to create work that excites, entertains and challenges audiences at home and beyond and which makes Scotland proud.’ 2 The company started producing theatre in 2006 and performed to over 319,000 people during 2007/08 and 2008/09.
Recommended publications
  • A Culture Strategy for Scotland: Analysis of Responses to the Public

    A Culture Strategy for Scotland: Analysis of Responses to the Public

    A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29
  • Gaelic Scotland in the Colonial Imagination

    Gaelic Scotland in the Colonial Imagination

    Gaelic Scotland in the Colonial Imagination Gaelic Scotland in the Colonial Imagination Anglophone Writing from 1600 to 1900 Silke Stroh northwestern university press evanston, illinois Northwestern University Press www .nupress.northwestern .edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons At- tribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Stroh, Silke. Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900. Evanston, Ill.: Northwestern University Press, 2017. For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org Contents Acknowledgments vii Introduction 3 Chapter 1 The Modern Nation- State and Its Others: Civilizing Missions at Home and Abroad, ca. 1600 to 1800 33 Chapter 2 Anglophone Literature of Civilization and the Hybridized Gaelic Subject: Martin Martin’s Travel Writings 77 Chapter 3 The Reemergence of the Primitive Other? Noble Savagery and the Romantic Age 113 Chapter 4 From Flirtations with Romantic Otherness to a More Integrated National Synthesis: “Gentleman Savages” in Walter Scott’s Novel Waverley 141 Chapter 5 Of Celts and Teutons: Racial Biology and Anti- Gaelic Discourse, ca.
  • Thundering Hooves Report [2006]

    Thundering Hooves Report [2006]

    THUNDERING HOOVES MAINTAINING THE GLOBAL COMPETITIVE EDGE OF EDINBURGH’S FESTIVALS 4 MAY 2006 11-29 Fashion Street 285 West Broadway London E1 6PX New York, NY 10013 T 0 20 7377 6559 T 1 212 226 5820 F 0 20 7377 5992 F 1 212 226 5821 TABLE OF CONTENTS 1 Background, Methodology and Recommendations...........................................................................3 2 Why festivals matter.............................................................................................................................. 16 3 Global Trends ......................................................................................................................................... 22 4 Edinburgh in Context: The Experience of Benchmark Cities...................................................... 27 5 The Festivals and the City.................................................................................................................... 39 6 Recommendations.................................................................................................................................. 44 7 Appendix 1: List of Interviewees........................................................................................................ 51 8 Appendix 2: Scenario Planning Participants ..................................................................................... 52 9 Appendix 3: City Case Studies............................................................................................................ 53 10 Appendix 4: Scenarios..........................................................................................................................
  • Review 05 Opening up Our Collections 02 National Museums of Scotland

    Review 05 Opening up Our Collections 02 National Museums of Scotland

    REVIEW 05 OPENING UP OUR COLLECTIONS 02 NATIONAL MUSEUMS OF SCOTLAND NMS is Scotland’s national NMS holds a wealth of treasures museum service. We care collected over more than two for museum collections of centuries. Our collections national and international encompass Scottish and importance, and present international archaeology, these to the public at our decorative and applied arts, six museums: world cultures, social history, science, technology and the ● Royal Museum and Museum natural world. We also provide of Scotland, Edinburgh advice, expertise and support ● National War Museum of to the museums community Scotland, Edinburgh Castle across Scotland and undertake ● Museum of Flight, East Lothian fieldwork, research and ● Museum of Scottish Country partnerships at local, national Life, near East Kilbride and international levels. ● Shambellie House Museum of Costume, near Dumfries NMS preserves, interprets, and makes accessible for all, the We also have a major Collections past and present of Scotland, Centre at Granton, Edinburgh, of other nations and cultures, which is a focal point for and of the natural world. collections storage and conservation. 1. 2. 3. Scenes from our six museums: 1. Royal Museum 2. Museum of Scotland 3. National War Museum of Scotland 4. Museum of Flight 5. Shambellie House Museum of Costume 6. Museum of Scottish Country Life 4. 5. 6. NMS A world class museums service that informs, educates and inspires. A SUPERSONIC YEAR Over the past few years we have Museum of Flight. Securing one made significant progress in of the seven decommissioned changing our focus to place Concorde aircraft, against visitors and other users at the international competition, was heart of everything we do.
  • Funding Creativity

    Funding Creativity

    Culture Radar Funding Creativity An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) March 2019 1 Funding Creativity: An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) Prepared for Creative Scotland by Jeanie Scott, Culture Radar, March 2019 2 Contents Introduction & Background ....................................................................................................... 4 How to read this report ............................................................................................................. 6 Executive Summary .................................................................................................................... 7 Methodology ............................................................................................................................ 11 Section 1: Context for the Funding Review ............................................................................. 14 Section 1 Summary .............................................................................................................. 21 Section 2: Grant funding .......................................................................................................... 23 1. Arts council and creative agency funding ..................................................................... 25 2. Lottery grant funding ...................................................................................................
  • Arts and Cultural Learning

    Arts and Cultural Learning

    Arts and Cultural Learning Learning from the Cultural Co-ordinators in Scottish Schools programme Key findings from the Cultural Co-ordinators in Scottish Schools programme monitoring report 10 local authorities have already made a commitment to support the continuation of the work of the Cultural Co-ordinator programme beyond the end of central government funding in 2010 16 Cultural Co-ordinator manager posts were mainstreamed into local authorities by 2008/09. On average there are 2.3 full time equivalent (FTE) Cultural Co-ordinator posts per local authority throughout Scotland © 2009 Scottish Arts Council No part of this publication may be reproduced in any format without prior written permission of the Scottish Arts Council. Equal opportunities The Scottish Arts Council operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, in large print, Braille or audio format. Typetalk please prefix number with 18001 Introduction As the Cultural Co-ordinators in Scottish Schools programme reaches its final year of central funding, there is much to be learnt from the experiences to date. Since 2002 the Cultural Co-ordinators in Scottish Schools programme (CCiSS) has provided a mechanism for all local authorities in Scotland to deliver rich cultural experiences to children and young people. The CCiSS programme has been funded by the Scottish Government in partnership with local authorities and is managed by the Scottish Arts Council. There are now Cultural Co-ordinators in all 32 local authorities and over 100 postholders throughout the country working to ensure that the young people in their areas have access to high quality, engaging arts and cultural experiences that will enrich their lives and learning.
  • Serving Scotland Better: Scotland and the United Kingdom in the 21St Century

    Serving Scotland Better: Scotland and the United Kingdom in the 21St Century

    Serving Scotland Better: Better: Scotland Serving Serving Scotland Better: Scotland and the United Kingdom in the 21st Century Final Report – June 2009 Scotland and the United Kingdom in the 21st Century 21st the in Kingdom United the and Scotland Commission on Scottish Devolution Secretariat 1 Melville Crescent Edinburgh EH3 7HW 2009 June – Report Final Tel: (020) 7270 6759 or (0131) 244 9073 Email: [email protected] This Report is also available online at: www.commissiononscottishdevolution.org.uk © Produced by the Commission on Scottish Devolution 75% Printed on paper consisting of 75% recycled waste Presented to the Presiding Officer of the Scottish Parliament and to the Secretary of State for Scotland, on behalf of Her Majesty’s Government, June 2009 Serving Scotland Better: Scotland and the United Kingdom in the 21st Century | Final Report – June 2009 Serving Scotland Better: Scotland and the United Kingdom in the 21st Century It was a privilege to be asked to chair a Commission to consider how the Scottish Parliament could serve the people of Scotland better. It is a task that has taken just over a year and seen my colleagues and me travelling the length and breadth of Scotland. It has been very hard work – but also very rewarding. Many of the issues are complex, but at the heart of this is our desire to find ways to help improve the lives of the people of Scotland. The reward has been in meeting so many people and discussing the issues with them – at formal evidence sessions, at informal meetings, and at engagement events across the country.
  • CNPA.Paper.1643.Cair

    CNPA.Paper.1643.Cair

    Cairngorms National Park Business Support Audit 2010 User Guide This document, available from the Cairngorms National Park Authority (CNPA) in hard copy or on its website (www.cairngorms.co.uk), updates an audit produced in April 2009. The new Audit documents the business support services and environmental planning support that are available to businesses and third sector organisations within the Park. The information is presented by Local Authority area except where support services are available across the Park as a whole. Most of the support services are also available outwith the Park, and this Guide should also be more widely useful to business advisers (e.g. the new Business Gateways), businesses and groups. The Audit is structured as follows: Section 1 : The Cairngorms National Park Area as a whole Section 2 : Highland Section 3 : Moray Section 4 : Aberdeenshire Section 5 : Angus Section 7 : Principal Web Links Web links are also provided throughout the Audit for more detail or up-to-date information on the different sources of business support that are summarised. The information in this Audit has been checked for accuracy as at June 2010, but schemes of assistance evolve or expire, and new programmes are introduced regularly by the main support agencies, while new initiatives from a range of sources will also be introduced as the year progresses, e.g. as a result of successful applications to EU Programmes. The programmes that are covered in this Audit are: Section 1 : The Park as a Whole Business Gateway – advice and information for new and existing businesses, often a business’s first point of contact (2.1-2.10).
  • Charity Law Overview for Church of Scotland Congregational Office Bearers

    Charity Law Overview for Church of Scotland Congregational Office Bearers

    Charity Law Overview for Church of Scotland Congregational Office bearers Charity law is a complex subject but, as your congregation comprises a Charity, it is important that you and your fellow office bearers have a working knowledge of the duties which both the new statutory regime and the common law imposes on charity trustees. Why be a charity? The main advantage are of course the tax benefits. There is exemption from most of the burdens of taxation -- from income tax, corporation tax, capital gains tax, Stamp duty land tax etc but, sadly, only limited reliefs from VAT. Very important from the Church's point of view are tax recoveries made via Gift Aid and from tax on interest and investments. Secondly, there are various rating remissions which charities can claim -- although, in fact, the 100% rating remission which Church buildings and Church Halls receive is in terms of other legislation specifically for such property. Thirdly, being a charity provides an access route to receiving grants from both commercial bodies and from other grant-giving charities. The "charity brand" provides to donors an assurance that the money they give will be used in a good cause. The History To understand the current legislative provisions, it is necessary to know a little of the historical background. The notion of there being certain purposes worthy of legislative preference was first found in an English Act of Parliament dating from the time of Elizabeth the First which included in the list of good causes the repair of Church buildings. This was further developed in an English taxation case in 1891 which provided that "charity" in its legal sense comprised four charitable purposes or heads: the relief of poverty, the advancement of religion, the advancement of education and a more general category, namely purposes beneficial to the community, not falling under any of the preceding heads.
  • CNPA.Paper.966.Board

    CNPA.Paper.966.Board

    CAIRNGORMS NATIONAL PARK AUTHORITY Paper 2 12/08/05 CAIRNGORMS NATIONAL PARK AUTHORITY FOR DISCUSSION Title: Highland 2007 and The Cairngorms Festival Prepared by: John Thorne, Economic Development Officer Andrew Harper, Head of Economic and Social Development Purpose To consider options for the CNPA to support Highland’s Year of Culture 2007, including the potential to establish a Cairngorms festival. Recommendations • That the Board discuss the principle of CNPA involvement in Highland 2007 and provide a steer on the option (or options) that should be pursued. Executive Summary To help celebrate the Highland Year of Culture 2007 new funding is being made available by the Scottish Executive for a range of cultural events. With a focus on heritage, the environment, Gaelic, youth, access and inclusiveness, Highland 2007 has many aims in common with the Park. Options for CNPA involvement range from simply supporting appropriate community events via the new Integrated Grant Programme to taking a more pro- active role in facilitating regional or ‘core’ events. There is potential to work with Highland 2007, EventScotland, and private and public sector partners, to organise events across the Park under the banner of a Cairngorms Festival. More pro-active options may have additional resource implications, particularly taking into account the fact that the Highland 2007 monies would only be available within the Highland part of the Park. MAINPC C:\Documents and Settings\Mark\My Documents\Sabato\CNPA\PAPERS TO PUBLISH\Board Paper 2 Highland 2007 and The Cairngorms Festival.doc 09/08/05 1 CAIRNGORMS NATIONAL PARK AUTHORITY Paper 2 12/08/05 Highland 2007 and The Cairngorms Festival - For Discussion Background 1.
  • National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010

    National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010

    National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010 Hazel Williamson National Fund for Acquisitions Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF Tel 0131 247 4106 Fax 0131 247 4312 email [email protected] Cover: Mixed media sculpture, Seven and Seven Is or Sunshine Bathed the Golden Glow, 2008, by Jim Lambie, acquired by Culture and Sport Glasgow with a grant from the National Fund for Acquisitions. Photo © Keith Hunter Photography. National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with NMS staff and with the Directors and staff of the National Galleries of Scotland and the National Library of Scotland. The allocation for 2009/10 was £200,000. During the year the Fund received 82 applications. NMS aims to give a substantive response to applications within fifteen working days. During the period of this report this was achieved for 74% of applications received. Ten of the applications received were unsuccessful; six were turned down, in one case the applicant was outbid at auction and three further applications arrived too late to be considered prior to auction. During 2009/10, 83 payments totalling £230,783 were made to 32 organisations or collections.
  • Mohan Barnard Characteristics of Charities in Scotland and Those Of

    Mohan Barnard Characteristics of Charities in Scotland and Those Of

    CGAP Occasional Paper Comparisons between the characteristics of charities in Scotland and those of England and Wales May 2013 John Mohan and Steve Barnard CGAP Occasional Paper Comparisons between the characteristics of charities in Scotland and those of England and Wales May 2013 John Mohan and Steve Barnard Published by Alliance Publishing Trust Copyright © 2013 John Mohan and Steve Barnard Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 You are free to share – to copy, distribute, display, and perform the work – under the following conditions: Attribution: You must attribute the work as Comparisons between the characteristics of charities in Scotland and those of England and Wales © 2013 John Mohan and Steve Barnard Noncommercial: You may not use this work for commercial purposes. No Derivative Works: You may not alter, transform or build upon this work. For any reuse or distribution, you must make clear to others the licence terms of the work. Alliance Publishing Trust 15 Prescott Place London SW4 6BS, UK [email protected] www.alliancepublishing.org Registered charity number: 1116744 Company registration number: 5935154 A catalogue record for this book is available from the British Library. Typeset in Akzidenz Grotesk Design by Benedict Richards Printed and bound by Hobbs the Printers, Totton, Hampshire, UK This book is printed on FSC approved paper. Contents 1 Introduction 3 2 Data sources and classification procedures 4 3 Results 6 3.1 Charities by classification 8 3.2 Discussion 14 4 Conclusions 21 Acknowledgements 25 References 25 Appendix A: Classification process 26 Appendix B: Additional tables of charity counts 29 Appendix C: NCVO variations from standard ICNPO categories 35 About the authors 36 About CGAP 36 1 Introduction Data from the Register of Charities in England and Wales have been available for research purposes for over 15 years, and as a result we know a great deal about the charitable landscape of those countries.