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Sector Overview

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Sector Overview GLASGOW CULTURAL STATISTICS DIGEST A Digest of Cultural Statistics John Myerscough Prepared for Glasgow City Council and Glasgow Life Co-funded by Glasgow Life, Creative Scotland and Glasgow City Council January 2011 1 2 CONTENTS Introduction 4 1. Overview 6 2. Performance 12 3. Visual arts 32 4. Multi-arts, literature, and audio-visual 36 5. Museums 44 6. Historic buildings and heritage 51 7. Libraries and archives 57 8. Festivals, events 60 9. Education, Training and outreach 63 10. Voluntary organisations 71 11. Markets and attendance 74 12. Creative industries 85 13. Tourism 90 14. Resources 96 15. Lists of organisations within cultural sector 107 3 1 INTRODUCTION This Cultural Statistics Digest is intended to provide a quantitative basis for understanding the nature of Glasgow‟s cultural sector and the journey on which it has travelled. It sets a baseline for the sector, which can be used in thinking about its next phase of development. The work was commissioned by Glasgow Life and the Development and Regeneration Services of Glasgow City Council, with additional funding from Scottish Arts Council (now Creative Scotland). The definition of the cultural sector employed in the Digest covers performance (drama, dance, music, halls and theatres), the visual arts, the heritage (museums, historic buildings, libraries and archives), literature and screen culture. These relate broadly to the classifications recommended in the DCMS‟s Evidence Toolkit - DET (2004). Materials on the creative industries and on tourism are also included, but not sport. The Digest adopts an “industrial” definition of the cultural sector. Many people with “cultural occupations” are economically active in other industrial sectors. Available data on “cultural occupations” can be seen in Section 14. The Digest covers all the domains within the cultural sector and it describes structures and resources alongside activities and outcomes. Cross-cuts and contextual information are provided on markets, attendance, education, training and resources. The comparisons with earlier periods are made possible by previous work undertaken on similar lines. The principal previous studies cited in the Digest are Economic Importance of the Arts in Glasgow (1988), Glasgow Cultural Statistics Framework (1998) and Monitoring Glasgow 1990 (1991). The Digest has been assembled by making use of existing quantitative material. A number of new analyses of existing data have also been supplied. Its contents are in the form of some 154 tables. A Technical Appendix is available on request. As necessary, and where possible, these have been subject to an appropriate level of validation and cross-checked to ensure consistency and comparability. The aim is to enable consistent read-across amongst the various tables. Commentaries are provided in each section, drawing attention to key features. The dependence on available materials means that not all gaps could be fully filled. For example, a better record of the artistic and creative outputs and achievements of the cultural sector in the City would have been helpful. Some comparisons have been drawn with other cities and with the national level, where data are available. The continuing lack of comprehensive, consistent cultural statistics at the Scotland and the UK levels limits what has been possible in this respect. Many people and organisations helped in the preparation of the digest. The Steering Group of the project comprised Mark O‟Neill, Charles Bell, Kate Wallace, Bridget Sly and Keri Isdale. To these and the numerous other individuals who supplied data and responded to specific queries, deep thanks are owed. Symbols and conventions The following symbols are used in the tables: [] square brackets indicate incomplete returns and another uncertainties, including estimations - nil .. not available na not applicable x less than half the final digit shown / represents the financial year, unless otherwise stated Dates: financial years, unless stated otherwise. 4 GLASGOW POPULATION AND DRIVETIMES Resident population, Glasgow City, contiguous local authorities, and Scotland, estimate, June 2008 Pop. % Glasgow City 584,240 11.3 West Dunbartonshire 90,940 East Dunbartonshire 104,720 North Lanarkshire 325,520 South Lanarkshire 310,090 East Renfrewshire 89,220 Renfrewshire 169,800 Outer Glasgow all 1,090,290 21.1 Greater Glasgow 1,674,530 32.4 Scotland 5,186,560 100.0 Drivetime populations, Glasgow and comparators, 2009 Resident population Adult (15+) 30 mins 45 mins 60 mins 30 mins 45 mins 60 mins Thousand Glasgow 1,508 2,198 2,815 1,257 1,828 2,342 Birmingham 1,784 3,637 4,980 1,429 2,954 4,066 Leeds 1,570 3,049 5,182 1,286 2,497 4,245 Manchester 1,438 3,409 5,941 1,187 2,795 4,878 Liverpool 1,377 3,007 5,473 1,137 2,481 4,500 Newcastle 1,144 1,654 2,085 957 1,387 1,742 Sheffield 1,012 2,243 4,387 840 1,856 3,630 Nottingham 962 2,205 4,122 805 1,832 3,409 Bristol 929 1,853 3,048 774 1,534 2,521 Southampton 749 1,431 2,345 624 1,191 1,950 Edinburgh 662 1,086 1,964 562 910 1,635 Cardiff 609 1,147 1,876 503 944 1,548 Bournemouth 477 731 1,392 405 618 1,171 Source: Audiences South. 5 OVERVIEW 1. OVERVIEW Sector Glasgow‟s cultural sector is a major asset for the City and for Scotland. Comprising 184 professional organisations, employing some 3,484 FTEs and with a turnover of £186 million, it covers in depth most of the cultural domains (Table 1.1). The largest cluster is in performance; drama, music and dance companies, theatres and halls together employ some 1,485 FTEs. Museums, employing 496, form the next largest cluster. Self employed musicians, actors, dancers, artists and authors based in the City number a further 1,779, which brings the total cultural-sector workforce to 5,263. Heritage Glasgow‟s museums are the most attended outside London and contain huge collections of international significance (see Section 5). The City‟s architectural heritage strides the centuries and reflects Glasgow‟s medieval origins and its climb to a world manufacturing role and industrial prosperity. Glasgow‟s nineteenth-century townscape and the critical legacy of Charles Rennie Mackintosh‟s work are assets of world renown (see Section 6). Performing arts The big four (of the five) Scottish national performing companies are based in Glasgow. Scottish Ballet, Scottish Opera, the Royal Scottish National Orchestra and the National Theatre of Scotland, together with a further three producing theatres, the BBC Scottish Symphony Orchestra (Scotland‟s broadcasting orchestra), and numerous independent companies in drama, dance and music, add up to the largest concentration of live producing power in the performing arts outside London (see Section 2). Visual arts and contemporary music Glasgow has become one of the liveliest centres for the visual arts (see Section 3), with ever more artists‟ studios, prizes and accolades. This is fed to a significant degree by the success of the Glasgow School of Art. Glasgow‟s music scene (see Section 2), endlessly able to renew itself, continues to make an international impact. Market Glasgow‟s market for culture is highly developed and competitive (Table 1.2). The museums attract 3.57 million visits and the heritage a further 0.56 million. Live performances total 3,456 a year (excluding clubbing), averaging over nine a day, draw some 2.31 million admissions, 1.30 million to theatres/halls/centres and 1.01 million to concerts (pop and classical). The market for culture overall (excluding clubbing, cinema and libraries) increased by 45% from 1989 to 2008/09 and is 20% higher than at the early special peak in 1990. Cultural actions Visits to museums, heritage, concerts, theatre, visual arts and festivals, total 7.39 million. Adding cinema admissions (3.56 million), library visits (4.52 million) and outreach participations (0.45 million) brings the grand total (excluding clubbing) for cultural “actions” to 15.92 million (2008/09). Innovation The dynamism of Glasgow‟s cultural sector and its power to innovate was evident well before 1990. They have remained a Glasgow hallmark subsequently. The cultural sector has increased greatly in size since 1990, with new bodies (90) outnumbering the many (44) closures (Table 1.3). There are more drama producers, more dance professionals, more festivals, more museums and extra heritage sites to visit. Performance numbers have also increased by 75% since (since 1996/97). The growth in jobs has been considerable (up 44% since 1992/93), and much greater among independent practitioners than within the institutions (Table 1.4). Responsive public Glasgow‟s cultural expansion has elicited a strong response from its residents. The propensity to attend arts and cultural activities and organisations started below the Scottish average, jumped above the Scottish average in 1990, and remains above today. The propensity to attend has risen by over a fifth in the last 20 years (see Section 11). This development was evident in all social grades and ages, but particularly pronounced amongst under-35s and over 55s and the C2DEs. 6 OVERVIEW Funding The City of Glasgow is Scotland‟s highest spending local authority in culture and the Scottish government provides major support to Glasgow‟s cultural system, but only in the arts, not for the City‟s museums (see Section 14). Other funding streams support Glasgow‟s broadcasting orchestra and its top training organisations for entry into the creative industries. Government spend on the arts in Glasgow has increased substantially since the late l990s, whilst City spend has not. Consequently, whereas the City was responsible for 66% of public spending on the arts and museums in the City in l997/98, its share has fallen to some 52% in 2008/09.
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