Scottish Screen. Scottish Arts Council PLANS FOR 2010/11

Transcription

1 Scottish Screen Scottish Arts Council PLANS FOR 2010/11

2 Scottish Arts Council & Scottish Screen Joint Corporate Plan Index Section Title Page No Chair s Foreword 3 One Introduction - Working Together: Scottish Arts Council and Scottish Screen Plans for 2010/11 4 Priorities and shared development areas 5 Programmes 2010/11 7 Scottish Arts Council and Scottish Screen summary budget 10 Two Scottish Arts Council Plan and budget 2010/ Three Scottish Screen Plan and budget 2010/

3 Scottish Arts Council & Scottish Screen Joint Corporate Plan FOREWORD CHAIRMAN S INTRODUCTION TO CORPORATE PLANS There was a communications guru in the 1960s called Marshall McLuhan who famously coined the phrase the medium is the message. It was a subtle observation about the way new technologies affect our cognitive processes, which in turn go on to affect social organisation. The supreme example in history is the invention of printing, a technology that had a revolutionary effect on everything from religion to the rise of capitalism. This is a reality that is well understood in Scotland s creative communities. Just think how the new digital technologies are changing not only our cognitive processes, but the way we organise and understand ourselves. This is an insight that will be central to the philosophy and organisational processes of Creative Scotland when it presents itself to the world in the summer of But it is also central to the presentation of the publication of the final corporate plans of the Scottish Arts Council and Scottish Screen. Though Creative Scotland has often been described as a merger of these two organisations, the organisations themselves have never understood it in that way, nor have the architects of the new agency. Creative Scotland will be a new thing entirely, not the fusion of a couple of old things. Nevertheless, it will inherit and further the legacy that comes to it from its predecessors, a legacy that is proudly expressed in this document. And the form of the document is significant: here the medium is the message. I m fond of an awkward little theological term, proleptic. It means anticipating the future by acting as though it were already here. This report could be described as proleptic in its form, because it brings both corporate plans between one set of covers, with a symbolic, shared introduction. The medium of the report is saying, while the two organisations are still separate in function and organisation, they are beginning to flow like a couple of rivers into the large lake that is their destined end, Creative Scotland. We have planned the report to express the journey towards that ultimate destination. This introduction also provides me with an opportunity to say a valedictory word as my term as Chairman of the Joint Board of the Scottish Arts Council and Scottish Screen comes to an end. Appointing a preacher man to such a role was eccentric of the Scottish Government, and I was very aware of the many inadequacies I brought to the post. However, I was always proud to celebrate and champion the work of the organisations I represented and the dedicated people who worked for them. Scotland is not always good at thanking its public servants, traditionally preferring the girn to the compliment, but I think we owe a large debt of gratitude to the men and women who have worked for these bodies down the years. I have been proud to be able to speak for them, just as I am proud to sign off this exciting set of plans as a prelude to the advent of Creative Scotland. Richard Holloway Chair Joint Board Scottish Arts Council and Scottish Screen 3

4 Scottish Arts Council & Scottish Screen Joint Corporate Plan 1. WORKING TOGETHER SCOTTISH ARTS COUNCIL AND SCOTTISH SCREEN PLANS FOR 2010/11 Creative Scotland will come into being in 2010/11. Creative Scotland will bring a fresh take on the development of our creative and artistic lives in Scotland, and help to maximise the social, economic, educational and cultural benefits that follow. Creative Scotland will inherit the responsibilities, functions and resources of Scottish Screen and the Scottish Arts Council. Throughout the development and transition process leading to the establishment of Creative Scotland, both the Scottish Arts Council and Scottish Screen have been committed to maintaining the delivery of high quality support for their respective sectors and to seek increasing opportunities to work more closely together. This approach will continue in 2010/11 and has fully informed the development of our plans for 2010/11. In the planning process we have tried to build on the common sense opportunities to see our work aligned, joined up where possible, as a platform for the new single body that is soon to emerge. So in this document you will see where we have shaped our work under the emergent Creative Scotland approach, which will express its activities in a series of programmes. Our staff teams have already risen to this occasion in successfully delivering Creative Scotland s Innovation Fund Programmes, developing Scotland s Creative Industries Partnership, designing and delivering the Perspectives online dialogue, contributing to the thinking on the values that would underpin the Creative Scotland brand and in doing some of the groundwork necessary for the administrative merger of the two bodies. This work has been achieved whilst successfully maintaining business as usual. One of the challenges for the coming year will be sustaining that level of activity as the team go through their own changes. While continuing to develop this joint approach we have also been vigilant with regards to our separate accountabilities. Our Joint Board and our individual CEOs have accountability to the Scottish Parliament that requires each organisation to outline its activities in a clear and distinctive manner. This document begins with our shared working and is followed by Scottish Arts Council and Scottish Screen s individual plans. We will continue to work closely with Creative Scotland 2009 Ltd (CSO9), the body responsible for leading the change process to the new organisation, until such time as the new organisation is established. Our plans for next year have been shaped by the Creative Scotland Business Model, published in October 2009, which sets out the structure and operational design of the new organisation. Jim Tough Chief Executive Scottish Arts Council Ken Hay Chief Executive Scottish Screen 4

5 Scottish Arts Council & Scottish Screen Joint Corporate Plan 2. PRIORITIES AND SHARED DEVELOPMENT AREAS The Scottish Government has given a very clear indication as to what Creative Scotland s four national priorities should be. Both Scottish Screen and the Scottish Arts Council are committed to delivering against these priorities during 2010/11 as we move towards Creative Scotland and the development of its first full corporate plan in 2011/12. The four priorities are to: encourage and sustain artists and creators of all kinds ensure that their work is accessible to all ensure that as many people as possible can participate in creative activities extend and increase the wider benefits of arts and culture, including their contribution to the promotion and development of our unique national culture and its wider place in the international sphere. In order to deliver against these priorities the Scottish Arts Council and Scottish Screen have developed a set of 10 high level programmes for 2010/11 against which both organisations will report their achievements. Each programme will have a defined purpose, a budget line and a cluster of activities which relate to policy development, advocacy, strategic investment and delivery. The diagram below illustrates how the programmes, and the projects within them, relate to the four national priorities. Most programmes deliver against more than one priority and are interlinked in a cycle of creativity. For example, by encouraging access and participation, we develop artists/creative practitioners who inspire the next generation as well as generating social and economic benefits locally, nationally and internationally. 5

6 Scottish Arts Council & Scottish Screen Joint Corporate Plan We have also identified seven cross-cutting policy areas which underpin and are interwoven through the 10 programmes: international development the creative industries equalities audience development education and learning research and evaluation Quality Framework. Both Scottish Screen and the Scottish Arts Council recognise that the activity presented here is an indication of the direction of travel for the new organisation and that the framework of programmes and individual activities will evolve and change when the new organisation comes into being. They are, however, designed to make sure we can maintain business continuity while exploring new possibilities and priorities for the future. The new organisation will take forward a legacy of work from both organisations who have reviewed their achievements and identified challenges for the future. These areas are captured in summary in our individual plans. Creative Scotland will also inherit a body of work which we are delivering under the auspices of CSO9 Ltd. CSO9 Ltd was awarded 5 million by the Scottish Government over two years (2009/ /11) which we are investing in a range of projects, including: Starter for 6 where 1m will be invested in a pioneering programme developed by the National Endowment for Science, Technology and the Arts (NESTA) to support creative entrepreneurs the Vital Spark Awards will invest 1 million over the two years in artistic collaborations. This project is about encouraging experimentation and radical new work springing from artists and other creative practitioners working across different disciplines and artistic boundaries the Rural Innovation project which will see 750,000 invested in two strategic geographic partnerships with the Highlands of Scotland and the South of Scotland designed to develop artists, widen access to the arts and increase capacity in the creative industries. We hope this work will help to shape and articulate Creative Scotland s role and how it dovetails with the activities of local government especially in relation to funding and development activities. Our aim is to ensure there are neither gaps nor overlaps between Creative Scotland and the local authorities The Digital Media IP Fund investing 1.5m in distinctive digital media projects and platforms, with co-investment of 1.5m from Scottish Enterprise and 3m from private sector partners, including Channel 4 500,000 for the Creative Scotland partners artists' residency fund - to provide additional innovative residencies for artists to work with communities in education, health and the environment 6

7 Scottish Arts Council & Scottish Screen Joint Corporate Plan An additional 250,000 for Own Art - an interest free credit scheme that encourages and makes it easier for people to buy original art and craft. This additional investment over the next two years will support a new strategy for galleries to develop online sales and promotion. There will also be new marketing campaigns that raise awareness of the accessibility of the Own Art scheme and the rewards of art collecting generally. The commitment of both organisations to creative learning will be reflected in the development of the new Creativity Portal which will involve Foundation and Flexibly Funded organisations, the National Companies and the National Collections, in the first phase. This partnership between Creative Scotland and Learning Teaching Scotland will bring Scotland s cultural resources and education closer together and will provide information and cultural content for the Curriculum for Excellence. Hosted on the GLOW intranet for schools, teachers and pupils across Scotland, the Creativity Portal will publish case studies and carry pages for arts and cultural organisations highlighting the education and outreach opportunities they offer. One of the major development areas for 2010/11 will be to lead the coordination of Scotland s Creative Industries Partnership (SCIP). The Partnership (Scottish Government, Creative Scotland, Scottish Enterprise, Highlands and Islands Enterprise, COSLA, Scottish Funding Council and Skills Development Scotland) is designed to ensure that there is an effective, joined up approach to supporting the development and growth of Scotland s creative industries. As part of the SCIP process, industry reference groups are being established to provide the intelligence on opportunities and needs and barriers to growth of industry sectors. Five sectoral reference groups covering Film, Music, Design Services (incorporating Digital Design Advertising and Architecture), Product Design (Designer Fashion, 3D and Textile Design, and Crafts) and the Performing Arts have already been established or are in the process of being established. Further reference groups will be rolled out during the year to reflect other sectors of the creative industries. This year will also be a time of internal change as the new staffing structure is put in place, business and communications systems are established across Creative Scotland s two sites (Edinburgh and Glasgow) and the new brand is launched and promoted. But our highest priority will be our ongoing partnerships and dialogues with the sector. The next phase of our Creative Scotland Perspectives project is described as imagining a future national cultural landscape based around the four themes. The four themes are Scotland/international, participation, access and artists and creative practitioners. We look forward to the debate, the knowledge and the insights. 3. PROGRAMMES FOR 2010/11 Programmes are a new way of setting out our development and funding priorities. The Scottish Arts Council and Scottish Screen arrived at the ten Programmes for 2010/11 by identifying future opportunities and needs and by mapping the current activities of both organisations against the criteria set out in the Creative Scotland Business Model. We are confident that each programme meets the criteria to a high degree even at this early stage of their development. 7

8 Scottish Arts Council & Scottish Screen Joint Corporate Plan Criteria: 1. Does the programme default to the highest common denominator in terms of design, process and delivery? 2. Does the programme have national significance? 3. Does the programme have clear value in terms of international or national impact? 4. Does the programme have a clear and agreed end point and outcome (success criteria)? 5. Are the programmes built on partnerships and could delivery be devolved to partners on an appropriate and timely basis? The programmes approach has stimulated debate, ideas and aspirations for the new as well as practical opportunities for consolidation, convergence and collaboration on existing activities. There are areas of overlap between the Scottish Arts Council and Scottish Screen which can be consolidated relatively quickly. Every programme comprises a cluster of projects which fall into three categories: work that we will continue; work that will be reviewed during the year; and projects that are new. We believe all the programmes offer strong opportunities for consolidation during 2010/11. Some work has already begun to bring Scottish Screen and Scottish Arts Council activities into line. For example, we jointly manage the Creative Identities programme support for Artist Film and Video, the Vital Spark programme and the Digital Media IP Fund. We have also already brought Foundation Organisations and the Cinema Hubs together under the Scottish Arts Council s Quality Framework and administrative arrangements. Other areas of work that we have identified for alignment and simplification are: skills and creative talent development; showcasing and promoting Scotland and Scottish talent nationally and internationally; projects for the Cultural Olympiad in 2012 and Commonwealth Games in Glasgow in 2014; touring and distribution; residencies, development officers and fellowships. We will establish short-life working groups with members drawn from both organisations to prepare action for change proposals for these five areas for Creative Scotland by November The ten Programme definitions are set out below with brief descriptors and both organisations present the detail on their contribution to each programme in their individual plans. The programmes are not listed in order of priority. 8

9 Scottish Arts Council & Scottish Screen Joint Corporate Plan The Creative Talent Development programme This programme will ensure that Scotland s creative practitioners are recognised and have the best opportunities to develop and grow their practice. The Skills Development programme This programme will address sector skills and the development needs of Scotland s creative practitioners so they have the opportunities to gain the knowledge and experience necessary to produce work of quality and value The Development and Production programme This programme will support opportunities for creative practitioners to produce new work in order to build their portfolios, enhance their own and Scotland s profile and generate income and/or inward investment The Infrastructure and Business development programme The purpose of this programme is to ensure the public have the fullest possible access to arts and culture by enabling Scotland s creative organisations to develop and promote their facilities and services, improve their operational and business effectiveness and generate inward investment. The Touring and Distribution programme This programme will ensure that Scotland and its networks of creative organisations, facilities, touring provision and marketing tools are in place to allow as many people as possible to access the best possible creative work across Scotland. The Market Development programme This programme intends to make Scotland s creative sector and the creative content it produces as visible as possible at home and abroad in order to reach new markets, increase inward investment and exploit new business opportunities. The Public Engagement programme The purpose of the Public Engagement programme is to ensure people across Scotland have opportunities to take part in, and learn through inspiring creative activities. These activities will help to address inequalities and promote the value of the creative experience for the public and policy makers. The Scotland s Traditions programme The purpose of this programme is to sustain, promote and develop the diverse traditions of Scotland so they flourish and increase their profile with existing and new audiences and participants. 9

10 Scottish Arts Council & Scottish Screen Joint Corporate Plan The National and Regional Partnerships programme This programme will frame a new and dynamic relationship with, local government and other community planning partners to contribute to the quality of life and economic prosperity of Scotland and its communities. The Major National Cultural Projects programme This programme will provide opportunities for the public and the creative sector to engage with and benefit from major national cultural projects, for example the London 2012 Olympic and Paralympic Games and the Commonwealth Games in Glasgow in It will also enable the creative sector to develop and deepen their practice in national and international contexts. 4. SUMMARY SCOTTISH ARTS COUNCIL AND SCOTTISH SCREEN BUDGET 2010/11 In the spirit of simplification, Scottish Arts Council and Scottish Screen have collaborated on the development of joint budgets for 2010/11. To address governance requirements, there are distinct budgets for each organisation. However, they have been largely developed through the use of common definitions and assumptions. The summary budget below will appear different from the previous year s budgets as a result of this simplification approach. The benefits of this approach are that we can: adopt a consistent approach across both organisations which allows for ease of comparison and scenario modelling for future changes adapt best practice from both organisations for increased transparency on categories of cost rather than the more traditional allocation of overheads develop the 2010/11 budgets in the first instance on a business-asusual basis in that they will reflect current and known activities and structures develop scenarios to reflect the change in business model in terms of staffing and structures including identifying the impact of possible changes such as the Voluntary Early Severance programme. 10

11 Scottish Arts Council & Scottish Screen Joint Corporate Plan Joint Scottish Arts Council/Scottish Screen draft budget 2010/ / / /11 '000's GIA LOTTERY TOTAL INCOME Scottish Screen 5,113 2,736 7,849 Scottish Arts Council 47,215 13,200 60,415 Creative Scotland Income 52,328 15,936 68,264 Expenditure Scottish Screen - Core Salaries 1, ,283 Scottish Arts Council - Core Salaries 2,513 1,183 3,696 Scottish Screen - Project Salaries Scottish Arts Council - Project Salaries Scottish Screen - Policy and Research Scottish Arts Council - Policy and Research Scottish Screen - Overheads Note Scottish Arts Council - Overheads Note 1 1, ,914 Scottish Screen expenditure 2, ,550 Scottish Arts Council expenditure 4,341 2,060 6,401 Creative Scotland expenditure 6,444 2,507 8,951 Programmes of Activity Scottish Screen programmes 3,010 2,170 5,180 Scottish Arts Council programmes 42,873 11,141 54,014 Creative Scotland programmes 45,883 13,311 59,194 Creative Scotland Total Expenditure 52,327 15,818 68,145 Scottish Screen surplus/deficit Scottish Arts Council surplus/deficit Creative Scotland surplus/deficit Note 1 - the Overheads totals in this high level summary include the lines for Establishment, PR Comms & Events and Overheads shown in the detailed organisational budgets. 11

12 Scottish Arts Council Corporate Plan SCOTTISH ARTS COUNCIL PLAN 2010/11 March

13 Scottish Arts Council Corporate Plan Index Section Title Page No One Introduction 14 Two Context 15 Three Scottish Arts Council Vision, Mission and Aims 17 Four Review of strategies 2002/07 and 13 challenges 19 Five Programmes and summary activities 2010/11 23 Six Policy areas 32 Seven Operational 34 Eight Budget 2010/11 35 Nine List of Foundation and Flexibly Funded Organisations 2010/

14 Scottish Arts Council Corporate Plan Section One Introduction We have been charged by the Scottish Government to maintain a degree of continuity in our support for the arts constituency whilst we make the changes that will move us towards Creative Scotland. So this introduction is by way of reassurance, that while we begin to explore an approach that chimes with the Creative Scotland Business model, much of what lies below that is the familiar work of the Scottish Arts Council. Things will change in due course but we believe there is sufficient continuity in this plan to allow breathing space while Creative Scotland begins to work towards its own new and distinctive approach to supporting and developing the creative life of the country. In 2010/11 we will continue our support, at the same level of investment, for key activities such as the work of Foundation organisations (FOs) and Flexibly Funded organisations (FXOs) in addition to support for individual artists and policy driven development activity in areas such as equalities and international. We will take soundings on how we can continue to build resilience and sustainability in the arts community as the impacts of the economic downturn continue to play out. In some areas we will begin a review of activity which we hope will help support the changes that Creative Scotland will embrace. For example we are looking at where the idea of investment in development officers in local authority settings in particular artforms such as literature might sit in the future. Last year, we reviewed our artform and policy area strategies 2002/07 to capture the achievements and to give some pointers for the way ahead. We describe below some of the successes and identify 13 challenges for the future. Jim Tough Chief Executive Scottish Arts Council 14

15 Scottish Arts Council Corporate Plan Section Two Context Political The SNP Government, led by Alex Salmond, has demonstrated a strong interest in and a commitment to the arts and the creative industries. The Scottish Government s Economic Strategy 1 identifies the creative industries as one of six key economic sectors which have international comparative advantage and commits to helping to create the right environment for their competitiveness and growth. In 2009, the Minister set up two sector working groups for the Traditional Arts and Literature which have both reported and made their recommendations. We welcome the insights that both reports will bring to Creative Scotland policy developments in these areas. A wide range of Scotland s traditional arts were represented on the Traditional Arts Working Group 2 including song, dance, music, storytelling, poetry and drama. As a result of report s key findings and recommendations, we have proposed one of the Programmes focuses on Scotland s Traditions. The Literature Working Group s remit was to recommend a new approach to public sector support of literature, focussing particularly on writing and publishing. The report makes 22 recommendations including restructuring oversight for literature within Creative Scotland 3. The Scottish Government is currently considering the report. 2010/11 will see the eighth year of the Youth Music Initiative (YMI). In this coming year, we will participate in a review of YMI with the Scottish Government and COSLA. Economic We are emerging from a global financial downturn and the environment continues to be challenging. In August 2009, we surveyed a cross-section of Foundation and Flexibly Funded organisations to increase our understanding of the impact of the recession on the arts. 4 42% reported contracting income in the previous six months and 61% reported a reduction in support from a range of public, private and charitable funding sources. Projections for local authority funding over the next 12 months also portray a negative picture. Over two fifths of responding organisations anticipate either a significant or slight decline in the next 12 months compared to just 7% projecting a slight increase. 1 The Government Economic Strategy. The Scottish Government, Traditional Arts Working Group Report, The Scottish Government Report by the Literature Working Group. The Scottish Government Impact of the Recession: Survey of Scottish Arts Council Funded Organisations (2009). Prepared by ERS Research and Consultancy for the Scottish Arts Council 15

16 Scottish Arts Council Corporate Plan Nevertheless, the survey revealed a strong desire amongst most organisations to maintain the quality, image and tradition of their programme with approximately one third indicating that they had reviewed or made changes to the nature of their programmes or projects in the previous six months. We plan to repeat this survey in 2010 to the monitor changes as we work with the arts organisations to help them increase resilience and develop new and creative responses to the challenges ahead. Social The Scottish Arts Council publishes a biennial survey into attendance and participation in the arts and cultural activity. Taking Part is the longestrunning, large scale attendance and participation survey in Scotland and looks at engagement with all types of arts activity both subsidised and commercial. The Scottish Arts Council s Taking Part 2008 research 5 found that 90% of adults living in Scotland had either attended or participated in any arts or cultural activity during the previous 12 months. Overall levels of attendance and participation and the types of art forms undertaken varied by sex, age, socioeconomic status, highest educational qualification and a number of other demographic variables. However, the variations between people with different levels of educational qualification were most significant, with 97% of Scottish adults with a degree or higher degree taking part in one or more arts or cultural activity compared to 74% of those with no qualifications. The survey also showed the lowest levels of combined attendance and participation were recorded amongst disabled people, older people (65+) and people from ethnic minority communities. We intend to review our audience development activity in 2010/11 to focus on these non-attenders. 5 Taking Part in Scotland Scottish Arts Council 16

17 Scottish Arts Council Corporate Plan Section Three The Scottish Arts Council Vision, Mission and Aims Vision Our vision is of a confident, cultured Scotland where everyone takes part in the arts. Mission Our mission is to serve the people of Scotland by fostering arts of the highest quality through funding, development, research and advocacy. We believe the arts to be the foundation of a confident and cultured society. They challenge and inspire us. They bring beauty, excitement and happiness into our lives. They help us to express our identity as individuals, as communities and as a nation. Aims We have three aims which underpin our vision and mission: to support artists and arts organisations in Scotland to fulfil their creative and business potential to increase participation in the arts to place the arts, culture and creativity at the heart of learning. By placing our support for artists and arts organisations first, we are reflecting our primary role in relationship to artists and arts organisations. We believe this reflects Creative Scotland s future role which will give high priority to nurturing creative talent individually and collectively. Our plan will continue to reflect our National Lottery Priorities which are to: make the arts available to those who have had few or no opportunities to appreciate them increase the numbers and broaden the range of people enjoying and taking part in the arts increase arts activity for and by children and young people enable a fair geographic spread of facilities and activities throughout Scotland. Our National Lottery funds are distributed across all ten programmes in 2010/11, supporting activity which most closely reflects our lottery priorities. As part of its responsibility and accountability for National Lottery distribution, there will be a need for Creative Scotland to review and develop its own priorities in this area subject to policy directions from the Scottish Government. 17

18 Scottish Arts Council Corporate Plan Strategic Outcomes We have three high level outcomes which we believe also reflect the ambitions for Creative Scotland: Scotland is recognised nationally and internationally as a centre of artistic excellence and innovation The levels of access to, and engagement in, the arts are more equitable. Scotland sustains a thriving creative community which contributes to the economy. Scottish Government s Purpose and Performance Framework We are working within the framework of the Scottish Government s over-arching purpose which is to focus government and public services on creating a more successful country, with opportunities for all of Scotland to flourish, through increasing sustainable economic growth. Public bodies are encouraged to align their own plans with the Government s purpose and the National Performance Framework, which sits beneath it 6. Artists, arts organisations and other creative enterprises make a strong cultural, social and economic contribution to Scotland and our aims and priorities deliver against the following five national outcomes: we take pride in a strong, fair and inclusive national identity we live in a Scotland that is the most attractive place for doing business in Europe we are better educated, more skilled and more successful, renowned for our research and innovation we reduce the local and global environmental impact of our consumption and productions our public services are high quality, continually improving, efficient and responsive to local needs. 6 Scottish Government s National Performance Framework 18

19 Scottish Arts Council Corporate Plan Section Four Review of Strategies and 13 Challenges for the way ahead In April 2009, the Joint Board of the Scottish Arts Council asked artform and policy Heads of Department to review the strategies they had developed for the period 2002/07. With the establishment of Creative Scotland in mind, they wanted an overview of achievements and a sense of what was still to be done. The reviews tell the story from the Scottish Arts Council s point of view but none of it would have been possible without the artists and arts organisations. The text below is an extract from the report. 7 Aims and achievements We set out to help artists and organisations fulfil their creative and business potential; increase participation in the arts; and place the arts, culture and creativity at the heart of learning. To help fulfil Scotland's creative potential, the various departments have tried to establish clear pathways for people to pursue their interest in the arts, whether in education or beyond. We feel these pathways should be better signposted and more understandable to the public. They have also been putting work into developing the skills of artists and arts workers, and cultivating leadership skills among those running organisations. In terms of developing business potential, the Scottish Arts Council is not an economic development body, but its activities undoubtedly contribute to the economy. We support the creative industries through festivals, international exchanges, showcases, music, publishing, the art market and skills development, and its Creative Industries strategy recognises the interrelationship between the arts and the creative economy. We have also been involved in the commercial side of the arts in projects such as Music Futures, which supports entrepreneurs in the music sector, Own Art, which helps commercial galleries by giving interest-free loans to buyers, and the craftscotland website, which showcases the best of contemporary craft. Similarly, the Starter for Six programme, a collaboration with NESTA, has given creative entrepreneurs across the DCMS 13 creative industries three years of enterprise training. There has been exponential growth in the use of the Cultural Enterprise Office, supported by Scottish Arts Council and Scottish Government investment, as a source of specialist advice for those who want to translate their talent into successful businesses. We have invested an average of 5 million per year for the last five years explicitly into the creative industries, while the rest of its investment has supported complementary activities that ensure a healthy artistic ecology. 7 Reviews of Strategies 2002/07 and challenges for the way ahead. Scottish Arts Council

20 Scottish Arts Council Corporate Plan After the strategic review in 2005, we increased our investment in the key Foundation organisations and extended our commitment to them from three to five years. At the same time, we introduced Flexible and Project funding, making it easier to change which organisations we support and to respond more quickly to changes of policy, artform and demography. Despite the additional investment achieved through the strategic review, however, many organisations are small and working beyond capacity. The pay and employment conditions of many working in the arts remains a concern. Tax breaks or similar fiscal measures could be the answer. With our mission to increase access and participation in the arts, we have supported a range of organisations such as Lung Ha s Theatre Company, Drake Music and Indepen-dance that provide opportunities for people with disabilities. We have also helped to broaden the diversity of organisations we support, most notably Ankur Arts and the Edinburgh Mela, the first two minority ethnic-led organisations to secure Flexible funding. As an organisation, we have put equality at the heart of its activity. We appointed a full-time Arts Development Officer to take forward our cultural diversity work and gave support to prominent Gaelic organisations. Our ArtFull programme led to developments in arts, mental health and wellbeing, while our arts and disability policy led to Getting There, a guide to inclusiveness in arts organisations. The Equalities Department has championed the Scottish Arts Council's legislative duties in race, disability and gender equality. Following the strategic review, we developed the Quality Framework which has proven a useful tool for Foundation and Flexibly funded organisations to monitor their activity. Despite investing in board development, however, we believe there are still issues in relation to the refreshment of board members. Lack of regular refreshment may have a bearing on the speed at which some funded organisations address policy issues. One of the biggest changes over the seven years has been in the international promotion of Scottish artists. From Venice to Austin, Texas, we have been helping artists show their work, raise their profile and secure new business. At home, we have enabled Scottish artists to invite overseas promoters to see their work and proved Scotland can more than hold its own in the international arena. All the world comes to Edinburgh in August and the festivals are a unique platform for Scottish artists. The Edinburgh International Book Festival, the International Festival and the Fringe all contribute, but with more muscle since the arrival of the Made in Scotland programme supported by the Scottish Government. Similarly, in literature, Publishing Scotland provides support for the development of overseas rights sales for writers. While the profile of Scottish artists increases, however, we are constrained by limited resources, particularly in supporting drama and dance companies to take up the invitations to travel abroad. All the departments have been committed to providing opportunities for people to engage with the arts at all levels and abilities and in every part of Scotland. Residencies, arts development officers and national organisations are just some of the means by which people get involved with the arts. 20

21 Scottish Arts Council Corporate Plan The biggest single participation and education activity was the Youth Music Initiative (YMI) which clocked up 717,180 attendances in its first four years. Working with our Audience Development department, organisations in every artform have been trying to maximise attendance and participation by new and existing audiences. More work is still to be done in this area, but there have been big steps forward with the establishment of audience development agencies such as The Audience Business, Glasgow Grows Audiences, Growing Audiences North East and Audiences East Scotland. The National Lottery Capital investment programme has affected every artform at every scale. It is now difficult to imagine a cultural landscape without Dundee Contemporary Arts, Dance Base and An Lanntair. There is still more to do - a National Centre for Craft, for example, and a major visual arts gallery in the Highlands but there is no longer the money to pursue a major capital development programme through the National Lottery. The infrastructure bolstered by the lottery relies heavily on touring, which increases the distribution of work and creates a more culturally diverse menu. Our ambition to serve the whole of Scotland is borne out in the range of work that is being toured to the most far-flung parts of the country. Tune Up, the highly successful music touring programme in partnership with the BBC, sits alongside the investment in drama and dance companies in providing a substantial volume and variety of quality performing arts across the country. In the last seven years, major changes in the arts, education, government and local authority sectors have opened up opportunities for our educational work. The Education department has had a considerable influence in arts education practice, professional development for artists and teachers, and the recognition of the value of the arts in education. As a member of the Scottish Government s Expressive Arts Quality Assurance Group, it was involved in the development of the Curriculum for Excellence with its emphasis on art and creativity. It was also instrumental in introducing Cultural Co-ordinators into schools and setting up Arts Across the Curriculum with its fresh approach to learning in the classroom. The Scottish Government is bringing its funding of the Cultural Co-ordinators to an end, but many local authorities, encouraged by the success of the programme, have mainstreamed the posts. Creative Scotland and the future There is a huge amount to be celebrated in the achievements of the strategies. Collaboration between artists in different disciplines, between arts organisations and between government and the arts sectors - has ensured that those involved in the field are working together wherever possible to add value and maximise the benefit of intellectual property for artistic, cultural, social and economic purposes. We believe the reviews provide a strong platform to help inform the development of policy and strategy for Creative Scotland. They also provide challenges for the future. 21

22 Scottish Arts Council Corporate Plan Thirteen Challenges 1. How can we support clear pathways for career and professional development for the individual artist/practitioner? 2. How can we build a confident and diverse cadre of leaders in the sector? 3. How can we ensure that artists and practitioners can benefit from technological innovation? 4. How can we build on the strengths and experiences of the Scottish Arts Council/Scottish Screen as it participates in the new Creative Industries Partnership? 5. How can we finish the job of bringing equality into the fabric of its own work and the work of the creative community? 6. How can we empower the creative community to take innovative approaches to their art? 7. What should we do to support creative organisations to develop their business models and be more sustainable for the longer term? 8. What is Creative Scotland s distinctive role in relation to international working and how can it maximise its impact? 9. How could Creative Scotland relate to the important networks that have grown up in the last 10 years? Can it act as a policy advisor? Can it have a peer review role? Can it be a channel for devolved funding? 10. How can Creative Scotland build on the partnerships with audience development agencies to ensure national impact? 11. How can we protect and develop investment in the building infrastructure in the long term? 12. How can we improve the range, coherence and quality of touring activity? 13. What is Creative Scotland s role in working with the Scottish Government and local authorities to embed high quality arts in the fabric of education? 22

23 Scottish Arts Council Corporate Plan Section Five Programmes In 2010/11 we will invest 54 million of Scottish Government and National Lottery funds in ten programmes which cover the following artforms: crafts, dance, drama, literature, music and visual arts, as well as seven policy areas which are interwoven through the ten programmes: international development, creative industries, equalities, audience and organisational development, education and learning, research and development and the Quality Framework. As we mapped our activities with those of Scottish Screen s to form the programmes we began to test which areas we would continue, review or change, stop or start as we moved towards Creative Scotland. We show the start of that process in the tables below. 5.1 Creative Talent Development The purpose of the Creative Talent Development programme is to ensure that Scotland s creative practitioners are recognised and have the best opportunities to develop and grow their practice. In 2010/11 we will: continue: m supporting award schemes for artists to celebrate and nurture 0.06 creative talent investing in five Foundation and 11 Flexibly Funded 2.15 organisations to support creative talent 8 to fund Vital Spark for further year through the Innovation 0.50 Fund enabling artists to develop their artistic practice and 0.94 international experience by supporting opportunities to research and work abroad to invest in continuing professional for artists and creative 1.43 practitioners to support continuing professional development designed to 0.22 promote equality of opportunity in the arts sector review: our investment in residencies, bursaries, development officers, professional development awards and where appropriate devolve funding and delivery to other providers start: mapping current arts summer school activity with local 0.05 authorities and arts organisations to identify possibilities for a national, strategic approach to summer school provision in the context of access and talent development Total Foundation Organisations are currently funded on a five year cycle 2011/12 will be the final year of the first round of Foundation funding. Preparations for a review are at an early stage. Flexibly Funded organisations are funded on a two year cycle 2010/11 will be the second year of funding in the current round. Decisions will be made on the next round of Flexible Funding (2011/ /13) in July

24 Scottish Arts Council Corporate Plan 5.2 Skills Development This programme will address sector skills and development needs to ensure creative practitioners and other professionals have the opportunities to gain the knowledge and experience necessary to produce work of quality and value. In 2010/11 we will: continue: m developing the creative industries through investment, training 0.18 and advice supporting the Cultural Enterprise Office as a source of specialist 0.33 advice for those who want to translate their talent into successful businesses investing in projects which deliver sector skills training including 0.18 Audience Development Internships delivered by The Audience Business and Glasgow Grows Audiences and training for theatre practitioners delivered by the Federation of Scottish Theatres through the Innovation Fund, to invest in Starter for Six, 0.50 managed by the Cultural Enterprise Office developing our Teaching Artists scheme in partnership with the 0.15 General Teaching Council and the Scottish Funding Council review: support for skills development, assess the impact and consider options, where appropriate, for devolving to other providers start: to extend new skills training opportunities for audience development professionals through two new audience development hubs (Audiences East Scotland and Growing Audiences North East) Total

25 Scottish Arts Council Corporate Plan 5.3 Development and Production This programme will support opportunities for creative practitioners to produce new work in order to build their portfolios, enhance their own and Scotland s profile and generate income and/or inward investment. In 2010/11 we will continue: m investing in two Foundation and 24 Flexibly Funded organisations 4.14 whose main focus is on creating new work support for Made in Scotland (funded through the Scottish 2.35 Government s Edinburgh Festival s Expo fund) which promotes new work by Scottish artists at the Edinburgh Festivals to increase their international profile funding development projects which focus on the production of 1.39 new work such as curatorial and programme development initiatives in crafts and visual arts and Beyond Borders, a new joint commissioning scheme with other UK Arts Councils, the Performing Rights Society Foundation and the Foyle Foundation to encourage diversity in artistic content through our equalities 0.13 strategic development fund stop: our current investment in the production of large scale work for touring pending our review of touring and distribution running our visual arts new work equalities partnership fund as a separate scheme and mainstream it within new work funding Total

26 Scottish Arts Council Corporate Plan 5.4 Infrastructure and Business development The purpose of this programme is to ensure the public have the fullest possible access to arts and culture by enabling Scotland s creative organisations to develop and promote their facilities and services, improve their operational and business effectiveness and generate inward investment. In 2010/11 we will: continue: m funding 21 Foundation and seven Flexibly funded organisations to ensure the public have the fullest possible access to arts across Scotland investing in and working with four Audience Development 0.15 Agencies and hubs: two Flexibly funded organisations - Glasgow Grows Audiences and The Audience Business, Audiences East Scotland and Growing Audiences North East supporting Foundation organisations to develop sustainable 0.65 business models and increase resilience investing in business development for organisations 0.64 funding Wasps Artists Studios 5 cubed project to deliver five 1.40 facilities over five years across Scotland and investing in PAR+RS, an initiative that aims to promote excellence and innovation within public art delivering a change programme (AmbITion Scotland) for organisations to improve their capacity for audience engagement through integrated IT and digital development (activity resulting from investment in 2009/10) review: current Producers Programmes with a view to outsourcing existing organisational development schemes capital grants scheme with a view to developing new priorities start: a new partnership arrangement with Arts and Business based on a different investment model designed to enhance sponsorship and other partnership opportunities through seminars, the New Arts Sponsorship Awards, Skills Bank and Board Bank a sectoral review and needs analysis of organisational and business development support for organisations working with the new Audience Development Network to consider options for devolving and outsourcing more funding and development activity Total