DOCSLIB.ORG

Imperial War Museum Annual Report and Accounts 2019-20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imperial War Museum Annual Report and Accounts 2019-20 Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1. Introduction Who we are IWM is a global authority on conflict and its impact on people’s lives. We collect objects and stories that give an insight into people’s experiences of war, we preserve them for future generations and we bring them to today’s audiences in the most powerful way possible at our five branches (IWM London, IWM North, IWM Duxford, Churchill War Rooms and HMS Belfast) and across our digital channels. By giving a platform to these stories, we aim to help people understand why we go to war and the effect that conflict has on people’s lives. Our vision Using the personal stories and experiences in our unique collections, our objective is to help people, as global citizens, make sense of an increasingly unpredictable world. We do this, in part, by helping people have a deeper understanding of the connections between past conflict and the contemporary world. This is about exploring the way war has shaped the local and the global, about appreciating diverse views and about challenging our audiences to become ready to engage in difficult decisions for themselves, their communities and their world. Our vision is to be a leader in developing and communicating a deeper understanding of the causes, course and consequences of war. What we stand for As an organisation we are guided by four important values. We aim to be: ▪ Courageous: we are confident and have the courage to challenge the established wisdom, championing debate and innovative approaches ▪ Authoritative: our deep and dynamic knowledge of our rich collections makes us the first port of call on the history of modern conflict and sets standards of excellence in everything we do ▪ Relevant: we strive to make everything we do relevant to contemporary society, while maintaining a balanced and impartial point of view ▪ Empathetic: we are sensitive to people’s emotions, respecting different points of view and the deep significance of our collections 4 2. Strategic Objectives We aim to: ▪ Increase our financial sustainability We will secure our long-term financial viability and create an entrepreneurial and dynamic working culture. As a result, we will build our income and financial flexibility so that we can continue to invest in our offer. We will improve our financial performance, build our resilience and strengthen IWM as a result. ▪ Prioritise our audiences We will create excellent, inspiring and relevant visitor and learning experiences. As a result, people will have a deeper understanding of the causes, course and consequences of war and its impact on all of our lives. We pride ourselves on the excellent customer service we will provide across all of our work. ▪ Deliver effective stewardship of our collections We will develop and care for our collections through effective management, building expertise, maximising access and improving storage. As a result, we will ensure our collections and knowledge remain relevant and accessible for audiences now and for generations to come, not least, by maintaining the momentum around reviewing and developing our collection. ▪ Build our brand We will build our reputation as a global authority and our ability to deliver our purpose and vision by providing high quality products, services and experiences and communicating consistently in everything that we do. The strength of our brand is directly related to the scale of impact we are able to achieve. 5 3. Achievements and Performance 3.1 Meeting our strategic objectives The Corporate Plan activities in 2019-20 went largely to plan, until the disruption caused by COVID-19 and the subsequent closure of all of our branches on 17 March 2020. The high-profile projects that IWM are delivering are designed to have a deep impact on our audiences, raise our profile and help us build our financial sustainability and viability over the long-term. Over the course of the year we have largely met our strategic objectives through the following progression of work and achievements: 3.1.1 Increasing our financial sustainability IWM masterplan, Transforming IWM London Phase 2 Over the past year, we have created the building blocks of our future by investing in key transformation projects across the organisation. Work continued on our Transforming IWM London Phase 2 project which will deliver our new Second World War and Holocaust Galleries. Composed of six individual spaces that will tell the story of the conflict chronologically, exploring its global scale and impact upon people and communities, the new galleries will reveal how whole societies were drawn into the war through mobilization, direct attack and occupation. We will be the first museum in the world to connect Second World War with Holocaust galleries. In making this connection, a 783kg V-1 flying bomb will be suspended between the two new galleries, presenting an arresting symbol of how the Holocaust and the Second World War are interconnected. Our Accommodation Strategy will enable us to convert office space into public facing galleries at IWM London, while creating new, open plan working environments for our staff. The new Park Side building, opening its doors in 2020, will provide a collaborative working environment for our creative programming teams. Commercial performance We have restructured our Commercial team to build a fulfilment function to facilitate the addition of a Commercial Events, Experiences and Catering team and to migrate the Visitor Experience team into Commercial enterprises. We want to engage better with our audiences and have been implementing a new customer relationship management (CRM) system, which is key to permitting us to stay in touch and communicate better with our members, visitors and supporters. This work continues into 2020. Our commercial events were paused and cafes were shut during the COVID-19 closure, but worked continued to ensure recovery plans were in place. Digital transformation Work continued on implementing our Digital Transformation Strategy which modernises our business operation and supports our commercial development. In addition to the CRM work another vital element of the transformation programme is the replacement of legacy systems with infrastructure that supports business aspirations. This progressed with the implementation of effective middleware. Managing our estates and infrastructure Underpinning our Estate Strategy is IWM’s Facilities Management Strategy, which initially 6 will implement our asset management plan. This ensures that maintenance and operational priorities are most effectively prioritised, coordinated and that projects are delivered within budget and timeframes. Maintaining our estate is vital to our financial sustainability and ensures that our audiences and staff visit and work in a safe, well maintained environment. Our Estate Strategy for 2019-24 supports IWM’s purpose and strategic objectives. The strategy focuses on proactively maximising opportunities for the use of our estate. This will be achieved through a risk informed approach. As our estate comprises assets at every level, an Asset Management Plan (AMP) methodology is being adopted in line with the approach favoured by the Cabinet Office’s Office for Government Property. Key to its success is understanding the risks manifested by the lifecycle, maintenance or replacement backlog and leveraging our estate to exploit opportunities for increased commercial operations. In the near future this includes ventures such as the hotel project at IWM Duxford and leasing out the London All Saints building as we complete our new Park Side staff accommodation. We enacted our business continuity plan to react to COVID-19 and keep our collection safe and secure, when we had to shut our doors. IWM Duxford Airfield operation The team at IWM Duxford continues to widen the impact and operation of our airfield services. Improved airfield markings had a positive impact on providing better runway approach angles and becoming an airfield locator aid. Work has commenced to enable an upgrade to the weather equipment too. A wooden boundary fence has now been installed on the southern boundary of the airfield, which will help to mitigate public infringements as there is now a clear delineation of the licensed boundary. We continued with our airfield lighting project and planning permission has been granted by the local authorities, but the project has been postponed due to the COVID-19 pandemic.
Load more

Recommended publications
  • IWM Digital Resource for Volunteers
    IWM Digital Resource for Volunteers An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by: Linda Baker Shintaro Clanton Andrew Gregory Rachel Plante Project advisors: VJ Manzo Jianyu Liang June 23, 2016 This report represents the work of one or more WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. ABSTRACT The Interaction Volunteers at Imperial War Museums London engage with visitors in the exhibits and discuss about certain artifacts. The communication of information among the Interaction Volunteer team, however, has been inefficient as the system relied on paper resources. Our IQP team surveyed volunteers and conducted a focus group to gather input about layout and features for a potential digital resource which the Interaction Volunteers could use in management of artifactual content and digital forms. This information was then used to design a website utilizing a content management system in order to make the communication of information more simple and efficient for the Interaction Volunteer team. ii ACKNOWLEDGEMENTS Our team would like to thank our advisors, Professors V.J. Manzo and Jianyu Liang, for their continued support and guidance in completing this project. We would especially like to thank Mr. Grant Rogers, Informal Learning and Engagement Manager at Imperial War Museums London, for sponsoring and providing insight for our project and for sharing his enthusiasm for the museum. In addition, we would like to extend our gratitude to the Learning and Engagement Department and Digital Design Department at Imperial War Museums London, for providing us the resources we needed to complete our project, and to the Volunteer Program at Imperial War Museums London for their advice and participation in our project.
    [Show full text]
  • Discover London
    Discover London Page 1 London Welcome to your free “Discover London” city guide. We have put together a quick and easy guide to some of the best sites in London, a guide to going out and shopping as well as transport information. Don’t miss our local guide to London on page 31. Enjoy your visit to London. Visitor information...........................................................................................................Page 3 Tate Modern....................................................................................................................Page 9 London Eye.....................................................................................................................Page 11 The Houses of Parliament...............................................................................................Page 13 Westminster Abbey........................................................................................................Page 15 The Churchill War Rooms...............................................................................................Page 17 Tower of London............................................................................................................Page 19 Tower Bridge..................................................................................................................Page 21 Trafalgar Square.............................................................................................................Page 23 Buckingham Palace.........................................................................................................Page
    [Show full text]
  • Key Bus Routes in Central London
    Route 8 Route 9 Key bus routes in central London 24 88 390 43 to Stoke Newington Route 11 to Hampstead Heath to Parliament to to 73 Route 14 Hill Fields Archway Friern Camden Lock 38 Route 15 139 to Golders Green ZSL Market Barnet London Zoo Route 23 23 to Clapton Westbourne Park Abbey Road Camden York Way Caledonian Pond Route 24 ZSL Camden Town Agar Grove Lord’s Cricket London Road Road & Route 25 Ground Zoo Barnsbury Essex Road Route 38 Ladbroke Grove Lisson Grove Albany Street Sainsbury’s for ZSL London Zoo Islington Angel Route 43 Sherlock Mornington London Crescent Route 59 Holmes Regent’s Park Canal to Bow 8 Museum Museum 274 Route 73 Ladbroke Grove Madame Tussauds Route 74 King’s St. John Old Street Street Telecom Euston Cross Sadler’s Wells Route 88 205 Marylebone Tower Theatre Route 139 Charles Dickens Paddington Shoreditch Route 148 Great Warren Street St. Pancras Museum High Street 453 74 Baker Regent’s Portland and Euston Square 59 International Barbican Route 159 Street Park Centre Liverpool St Street (390 only) Route 188 Moorgate Appold Street Edgware Road 11 Route 205 Pollock’s 14 188 Theobald’s Toy Museum Russell Road Route 274 Square British Museum Route 390 Goodge Street of London 159 Museum Liverpool St Route 453 Marble Lancaster Arch Bloomsbury Way Bank Notting Hill 25 Gate Gate Bond Oxford Holborn Chancery 25 to Ilford Queensway Tottenham 8 148 274 Street Circus Court Road/ Lane Holborn St. 205 to Bow 73 Viaduct Paul’s to Shepherd’s Marble Cambridge Hyde Arch for City Bush/ Park Circus Thameslink White City Kensington Regent Street Aldgate (night Park Lane Eros journeys Gardens Covent Garden Market 15 only) Albert Shaftesbury to Blackwall Memorial Avenue Kingsway to Royal Tower Hammersmith Academy Nelson’s Leicester Cannon Hill 9 Royal Column Piccadilly Circus Square Street Monument 23 Albert Hall Knightsbridge London St.
    [Show full text]
  • A Green and Pleasant Land British Landscape and the Imagination: 1970S to Now 30 September 2017 – 21 January 2018
    A GREEN AND PLEASANT LAND British Landscape and the Imagination: 1970s to Now 30 September 2017 – 21 January 2018 An Arts Council Collection National Partner Exhibition TO VIEW THE LANDSCAPE AS A PICTORIAL COMPOSITION OF ELEMENTS IS SIMPLISTIC. TO PERCEIVE THE LANDSCAPE WITHIN A SET OF RULES (art, SCIENCE, POLITICS, RELIGION, COMMUNITY, BUSINESS, INDUSTRY, sport AND LEISURE) IS A waY PEOPLE CAN DEAL WITH THE COMPLEXITY OF MEANINGS THat ARE PRESENTED IN OUR ENVIRONMENT. WE ARE COLLECTIVELY RESPONSIBLE FOR SHAPING THE LANDSCAPE WE OCCUPY AND IN TURN THE LANDSCAPE Cover: Keith Arnatt, Untitled (from ‘A.O.N.B’ SHAPES US WHETHER series), 1982-94. Arts Council Collection, Southbank Centre, London © Keith Arnatt WE ARE awarE OF Estate. All rights reserved. DACS 2017. IT OR NOT. Above: Susan Derges, Full Moon Rowan, 2017. © Susan Derges. Courtesy Purdy Hicks Gallery. John Davies. Photographer A Green and Pleasant Land shows how artistic sensibilities result from feeling the artists have interpreted the British landscape presence of the earth. Light, texture and through the lens of their own cultural, detail are important and viewpoints are political or spiritual principles. Drawn often close. On the other hand, artists primarily from the Arts Council Collection, commenting on the ways in which class, as well as private collections, galleries economics and culture shape the landscape and the artists included in the show, the tend to look from the outside. Their work exhibition takes 1970 as its starting point is often expansive and encompasses clear and consists largely of photographic works. evidence of human activity – people, The early 1970s saw the emergence of an buildings, ruins, pylons – suggesting the independent photography culture in the UK.
    [Show full text]
  • London's Spectacular New Cultural and Fine Dining Destination
    London’s spectacular new cultural and fine dining destination Tower Bridge One World Class Site Plan Destination River Thames In an unparalleled location between More London and Shad Thames sits One Tower Bridge, an exceptional mixed use development on London’s South Bank. • One Tower Bridge is the newest addition to the South Bank, home to London’s iconic tourist attractions - Tower Bridge, Tower of London, London Eye, the Globe Theatre, HMS Belfast and the Tate Modern, attracting millions of City Hall visitors each year. (GLA) • In addition, Borough Market, Bermondsey Antiques Market, Maltby Street Market, Bermondsey Street and the Tate Modern, draw PottersPotters FiFieldseldss 1.1 an eclectic mix of Londoners to this unique area. PParkark • Potters Field Park is one of London’s most central and vibrant green spaces. • The redevelopment of London Bridge Station 4.1 will see passenger numbers rise from 1.2 67m to 75m in 2018. Tower Bridge Road 1.3 3.2 2.1 3.1 4.2 4.3 8.1 8.2 The Ivy 7.1 6.1 The Coal Shed Tooley Street Queen Elizabeth Street Tower Bridge Open and Trading River Thames Bridge Theatre 1.1: The Ivy Tower Bridge 2.1: Prosecco House 3.1: The Coal Shed 4.3: Tom Simmons 7.1: Sainsbury’s 8.2: Knight Frank City Hall (GLA) Coming Soon PottersPotters FiFieldseldss 1.1 1.2: Vapiano PParkark 1.3: Temakinho 4.1: By Chloe 4.2: Gunpowder 4.1 1.2 6.1: Rosa’s Thai Tower Bridge Road 1.3 3.2 Available 3.2: 1,830 sq.
    [Show full text]
  • The Custom House
    THE CUSTOM HOUSE The London Custom House is a forgotten treasure, on a prime site on the Thames with glorious views of the river and Tower Bridge. The question now before the City Corporation is whether it should become a luxury hotel with limited public access or whether it should have a more public use, especially the magnificent 180 foot Long Room. The Custom House is zoned for office use and permission for a hotel requires a change of use which the City may be hesitant to give. Circumstances have changed since the Custom House was sold as part of a £370 million job lot of HMRC properties around the UK to an offshore company in Bermuda – a sale that caused considerable merriment among HM customs staff in view of the tax avoidance issues it raised. SAVE Britain’s Heritage has therefore worked with the architect John Burrell to show how this monumental public building, once thronged with people, can have a more public use again. SAVE invites public debate on the future of the Custom House. Re-connecting The City to the River Thames The Custom House is less than 200 metres from Leadenhall Market and the Lloyds Building and the Gherkin just beyond where high-rise buildings crowd out the sky. Who among the tens of thousands of City workers emerging from their offices in search of air and light make the short journey to the river? For decades it has been made virtually impossible by the traffic fumed canyon that is Lower Thames Street. Yet recently for several weeks we have seen a London free of traffic where people can move on foot or bike without being overwhelmed by noxious fumes.
    [Show full text]
  • Annual Review 2016/17
    Historic Royal Places – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) Annual Review 2016/17 1 2 06 Welcome to another chapter in our story Contents 07 Our work is guided by four principles 08 Chairman’s Introduction 09 Chief Executive – a reflection 10 The Year of the Gardens 14 Guardianship 20 Showmanship 26 Discovery 32 Independence 38 Money matters 39 Visitor trends 40 Summarised financial statements 42 Trustees and Directors 44 Supporters 46 Acknowledgments Clockwise from top left: The White Tower, Tower of London; the West Front, Hampton Court Palace; the East Front, Kensington Palace; the South Front, Hillsborough Castle; Kew Palace; Banqueting House. 4 This year, the famous gardens of Hampton Court Palace took Guardianship: Welcome to centre stage. Already a huge attraction in their own right, this Our work is We exist for tomorrow, not just for yesterday. Our job is to give year the historic gardens burst into even more vibrant life. these palaces a future as valuable as their past. We know how another Prompted by the 300th anniversary of the birth of Lancelot guided by four precious they and their contents are, and we aim to conserve ‘Capability’ Brown, we created a spectacular programme of them to the standard they deserve: the best. chapter in exhibitions, events and activities. A highlight was the royal principles Discovery: opening of the Magic Garden; our playful and spectacular We explain the bigger picture, and then encourage people to our story 21st century contribution to 500 years of garden history.
    [Show full text]
  • Greenwich Park
    GREENWICH PARK CONSERVATION PLAN 2019-2029 GPR_DO_17.0 ‘Greenwich is unique - a place of pilgrimage, as increasing numbers of visitors obviously demonstrate, a place for inspiration, imagination and sheer pleasure. Majestic buildings, park, views, unseen meridian and a wealth of history form a unified whole of international importance. The maintenance and management of this great place requires sensitivity and constant care.’ ROYAL PARKS REVIEW OF GREEWNICH PARK 1995 CHAIRMAN’S FOREWORD Greenwich Park is England’s oldest enclosed public park, a Grade1 listed landscape that forms two thirds of the Maritime Greenwich World Heritage Site. The parks essential character is created by its dramatic topography juxtaposed with its grand formal landscape design. Its sense of place draws on the magnificent views of sky and river, the modern docklands panorama, the City of London and the remarkable Baroque architectural ensemble which surrounds the park and its established associations with time and space. Still in its 1433 boundaries, with an ancient deer herd and a wealth of natural and historic features Greenwich Park attracts 4.7 million visitors a year which is estimated to rise to 6 million by 2030. We recognise that its capacity as an internationally significant heritage site and a treasured local space is under threat from overuse, tree diseases and a range of infrastructural problems. I am delighted to introduce this Greenwich Park Conservation Plan, developed as part of the Greenwich Park Revealed Project. The plan has been written in a new format which we hope will reflect the importance that we place on creating robust and thoughtful plans.
    [Show full text]
  • Accreditation Guidance
    Supporting Guidance for Accreditation Standard November 2018 Accreditation Guidance March 2019 Contents Managing Collections Guidance notes for Accreditation Getting Started Standard requirements 4-6 Introduction ....................................... 3 Managing Collections ..................... 42 How to apply: a step by step Users and their Experiences guide for first time applicants .......... 4 Guidance notes for Accreditation Standard requirements 7-9 Step 1 Check if your museum is Users and their Experiences ............ 60 eligible for Accreditation ...... 6 • What questions to expect ................... 6 Next Steps • Are you ready to complete your eligibility questionnaire? ..................... 9 How your application is assessed .. 79 • Submitting your eligibility • New applicants ............................... 79 questionnaire ................................... 10 • Accreditation returns ....................... 79 • Assessment ...................................... 10 • Returns deadlines ............................ 79 • Working Towards Accreditation ........ 10 The assessment process .................... 80 • If you’re not eligible ......................... 10 What types of assessment are there? ......................................... 81 Step 2 Decide on the size and Who makes the award decision? .... 82 type of your museum .......... 11 What are the possible decisions • Independent museum indicators ..... 12 that panels can make? ..................... 82 • Local authority museum indicators .. 13 How long does it take?
    [Show full text]
  • Patron Events
    Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. autumn / winter 2017 December 19 Royal Collection Tour Help us reawaken Hampton Court Palace the dragons of Kew 6 Chief Executive 11.00 Christmas Drinks Join Royal Collection We are seeking supporters to help us to recreate one of Patron Events The Tower of London Club: Superintendent, Christopher the most stunning original features of the Great Pagoda: The Keys Stevens, in the stores at its flight of 80 dragons. 18.30 Hampton Court Palace as he prepares a number of key Our ambition is to recreate and like Chambers’ original vision for the Join new Chief Executive, pieces for the forthcoming reinstate the dragons in time for the Great Pagoda can be restored John Barnes, for his first Royal Academy of Arts reopening of the Great Pagoda in and maintained. Christmas drinks in the unique exhibition ‘Charles I: King 2018. Expert research has created an surroundings of the newly and Collector’. authentic design and the dragons will We invite you to support the refurbished Tower of London be manufactured using a combination production of one of these dragons Club: The Keys. Only accessible of traditional craftsmanship and the and help us to restore the Great to invited guests the club latest technology. Pagoda, a landmark in the capital boasts an array of Beefeater and one of the greatest examples of The eight dragons on the lowest level Chinese-inspired design anywhere memorabilia, including plaques We hope you enjoyed the last six representing the regiments from of the building will be hand carved by in the world.
    [Show full text]
  • Thames Path Walk Section 2 North Bank Albert Bridge to Tower Bridge
    Thames Path Walk With the Thames on the right, set off along the Chelsea Embankment past Section 2 north bank the plaque to Victorian engineer Sir Joseph Bazalgette, who also created the Victoria and Albert Embankments. His plan reclaimed land from the Albert Bridge to Tower Bridge river to accommodate a new road with sewers beneath - until then, sewage had drained straight into the Thames and disease was rife in the city. Carry on past the junction with Royal Hospital Road, to peek into the walled garden of the Chelsea Physic Garden. Version 1 : March 2011 The Chelsea Physic Garden was founded by the Worshipful Society of Start: Albert Bridge (TQ274776) Apothecaries in 1673 to promote the study of botany in relation to medicine, Station: Clippers from Cadogan Pier or bus known at the time as the "psychic" or healing arts. As the second-oldest stops along Chelsea Embankment botanic garden in England, it still fulfils its traditional function of scientific research and plant conservation and undertakes ‘to educate and inform’. Finish: Tower Bridge (TQ336801) Station: Clippers (St Katharine’s Pier), many bus stops, or Tower Hill or Tower Gateway tube Carry on along the embankment passed gracious riverside dwellings that line the route to reach Sir Christopher Wren’s magnificent Royal Hospital Distance: 6 miles (9.5 km) Chelsea with its famous Chelsea Pensioners in their red uniforms. Introduction: Discover central London’s most famous sights along this stretch of the River Thames. The Houses of Parliament, St Paul’s The Royal Hospital Chelsea was founded in 1682 by King Charles II for the Cathedral, Tate Modern and the Tower of London, the Thames Path links 'succour and relief of veterans broken by age and war'.
    [Show full text]
  • Evaluation of the Cultural Destinations Fund (Phase 2)
    June 2021 Evaluation of the Cultural Destinations Fund (Phase 2) Evaluation Case Studies Background and context The Cultural Destinations Fund programme set out to maximise culture’s contribution to the local visitor economy in several places across England by supporting partnerships that brought arts and culture, and tourism partners together. The second phase of the programme invested £4.2 million between April 2017 and January 2021 to support eighteen consortiums of local partners (including at least one cultural organisation and one Destination Management Organisation) to build on culture’s potential to help grow local visitor economies. The cultural and the tourism sectors are each, in their own right, significant contributors to local economies. Department for Digital, Culture, Media and Sport (DCMS) data valued the arts and culture industry in 2016 at £10.8 billion in Gross Value Added (GVA), supporting over 137,000 jobs.1 Tourism also has a significant and growing role in the British economy, and in 2017 contributed £106 billion (GDP) and supported 2.6 million jobs2. Culture is closely intertwined with tourism and both sectors form part of the visitor economy. The cultural sector is already making a major contribution to the visitor economy; £4.5 billion of spending by inbound visitors, more than 25% of annual spending by international visitors, is attributable to the UK’s culture and heritage sectors.3 Cultural destinations are attractive to domestic and international visitors and in 2019, 18 of the top 25 most visited attractions in the UK were in the cultural sector4. About this report This report presents four case studies that were developed as part of the evaluation of the second phase of the Cultural Destinations Fund programme, undertaken in 2020/21.5 The purpose of the case studies was to identify key learning from the programme to inform the delivery of future interventions.
    [Show full text]