Annual Review 2003 Contents

annual review 2003 contents 1 welcome 2 chairman’s introduction 4 chief executive’s introduction 6 supporting the artist 12 enabling organisations to thrive, not just survive 17 championing diversity 23 offering opportunities to young people 28 encouraging growth 33 grant-in-aid accounts 83 lottery accounts 126 National Lottery report 151 Council and regional council members, and executive board 153 attendance at arts events Francesca Beard performs in Chinese Whispers, commissioned and produced by Apples & Snakes, the performance poetry organisation. Chinese Whispers explores how we communicate our cultural identity in the 21st century. See page 26 for more information about Apples & Snakes. Photo: Jason Larkin welcome Arts Council England is the national body for the arts in England. As an independent, non-political body working at arm’s length from Government, we distribute public money from Government and the National Lottery to artists and arts organisations. Our vision is to promote the arts at the heart of national life, reflecting England’s rich and diverse cultural identity. We believe that the arts have the power to transform lives and communities, and create opportunities for people throughout the country. For 2003 to 2006 our overall aims are: • supporting the artist • enabling organisations to thrive, not just survive • championing diversity • offering opportunities for young people • encouraging growth This review gives a brief summary of our work in backing the country’s artistic talent and winning further support for the arts. If you would like to find out more, visit our website www.artscouncil.org.uk or phone us on 0845 300 6200. Arts Council England annual review 2002/03 1 at the heart of national life When I became Chairman of the Arts Council in 1998 I had two major ambitions – to increase funding for the arts and to make the Arts Council work better in its support of artists and arts organisations. I’m pleased that over the last five years we’ve successfully made the case to Government for the biggest ever increase in arts funding and set up a reformed Arts Council England that can confidently state its ambition to promote the arts at the heart of our national life. Gerry Robinson That claim is real. Recent research shows the importance of the Photo: Stephen Gill arts to the economic life of the nation. And, through programmes like Creative Partnerships, we are seeing increasing evidence of the positive role creativity can play in enhancing young people’s education in the broadest sense. But you also need only look at the excitement generated by the competition to be European Capital of Culture 2008 to see how the arts can galvanise communities, giving people a renewed optimism about their surroundings. Congratulations Liverpool, I am sure that 2008 will be a year worth waiting for, and one that underlines the huge part arts and culture have played in renewing civic pride as well as contributing massively to the economy. All the competing cities have built new partnerships, increased levels of investment, and generated a new sense of optimism and excitement. This is the last time I shall contribute to the Arts Council’s annual review as its Chairman. I have enjoyed my time in the role enormously and learned an immense amount. The experience has confirmed my thinking that artists and the arts are of fundamental importance to a healthy and vibrant society, and enrich the existence of so many immeasurably. 2 Arts Council England annual review 2002/03 As a businessman, I have come to realise that arts organisations are in most cases very well run, indeed extremely versatile, and just need more investment. Over the last year or two we have seen exciting new leadership coming to national prominence in some of our major companies – the Royal Shakespeare Company and the Royal Opera House, for instance, both receive substantial public funding through the Arts Council, and have benefited from new leadership and fresh approaches. An example of this is the success of Nicholas Hytner’s first season as artistic director at the Royal National Theatre, which has both proved popular with audiences as well as being critically acclaimed. Over the next few years I know we will see tremendous benefits coming through as a result of the Government’s confidence in the arts, and the extra funding now available. I leave the Arts Council confident that the new Council, appointed in summer 2002, and the committed and professional staff team, are in a strong position to deliver the bold and clearly articulated ambitions Council has set out. I would like to thank Council members old and new for their commitment, energy and dedication; all staff, past and present of the Arts Council, in its regional and national offices, for all they have done to create the new organisation and make these ambitions achievable; and the artists and arts organisations whose ingenuity and talent make a transforming difference to the lives of everyone in the country. Gerry Robinson Chairman Arts Council England annual review 2002/03 3 the transforming power of the arts Last year was another of change and consolidation for the Arts Council, having formed the merged organisation on 1 April 2002. In February 2003, we published our Ambitions for the arts – the five priorities which will guide and underpin our increased investment in the arts until 2006. I am particularly pleased to see a new priority for artists, and we aim to put the arts at the heart of national life – which is where they belong. Our central belief is in the transforming power of the arts – Peter Hewitt on an individual level, as a community or in society as a whole. Photo: Pete Jones Our annual review showcases some examples of this, demonstrating both the wealth of creative talent in England and the benefits of increasing investment in the arts. I believe we must build on the confidence shown in the arts by Government, through our significantly increased funding for artists and over 1,200 regularly funded organisations which provide a bedrock of arts activity large and small, in every corner of England. Especially important are initiatives such as Creative Partnerships and decibel, which seeks to raise the profile of culturally diverse arts and embed diversity in the mainstream of our work. One material advantage of having a single organisation is consistency in the way artists are treated, wherever they live and work. 4 Arts Council England annual review 2002/03 Grants for the arts demonstrates this change. From around 150 schemes previously in operation, we now have three ways in which artists can apply for funding – as individuals, organisations and for touring. We have simplified the application process, asking only for information we genuinely need to assess the application. We are being clear about what we see as our priorities. We believe we have made big strides to creating a 21st century Arts Council. I couldn’t end my introduction without expressing my gratitude to Gerry Robinson, who steps down as Chairman at the beginning of 2004. Gerry had two ambitions when he came to the Arts Council – to win more money for the arts and make the organisation work better. Under his inspired leadership, we have a renewed sense of mission and purpose, and have never experienced a similar scale of growth in funding. Everyone who works for or cares about the arts in this country owes a great debt to Gerry, and the Arts Council will miss his insight and passion for the arts. Peter Hewitt Chief Executive Arts Council England annual review 2002/03 5 supporting the artist Creative individuals are central to our ambitions and so we are making their needs a priority. Through Grants for the arts we will be making £25 million available to individual artists in England between 2003/04 and 2005/06, doubling past provision. Artists need support through direct assistance, such as more funding, developing their professional and business skills, or help with finding spaces in which to work or equipment to carry out their work. We are also working on other ways of supporting the artist, such as training, legislative change or in stimulating the economy for artists. We have started to improve international opportunities and connections for artists living and working in England, through initiatives such as our international artists fellowships programme. We have established 56 fellowships in 25 countries and over 130 artists have taken part since the programme began in 2001. The arts economy As part of our work supporting individual artists, we want to better understand their involvement with the tax and benefits system, and their patterns of employment. Our research, Artists in figures, found that: • employment in cultural occupations is growing faster than in other types of job. In 2000, almost 760,000 people worked in cultural occupations in the UK, an increase of more than 150,000 since 1993 • the cultural workforce is a highly skilled one, with over half qualified to degree level or above, compared with a quarter of people in non-cultural occupations • cultural workers are entrepreneurial. They are 3.5 times more likely to be self-employed than those in non-cultural occupations (39.1%, compared with 11.5%) 6 Arts Council England annual review 2002/03 Artists workspaces Developing artists workspaces has been a priority for us for the past five years. For example, our capital programme has helped ACAVA Studios in London, East Street Arts in Leeds, Spike Island in Bristol and Yorkshire Artspace in the Persistence Works building in Sheffield to establish exemplary purpose-built studios. In July 2003 we helped organise Creating Places, a national conference exploring the role of artists studios and workspace provision.

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