Browse content similar to Live Culture Committee. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
If all the order. Good afternoon, Sir Peter. Mr Henley, very lovely to | :00:16. | :00:23. | |
see you. I apologise for the heat, please feel no compunction about | :00:24. | :00:28. | |
taking off your jacket if that would help you to stay cool, calm and | :00:29. | :00:33. | |
collected in the face of questions from my colleagues. Also can I thank | :00:34. | :00:40. | |
you the very thoughtful and in places said it submission that was | :00:41. | :00:44. | |
made to the enquiry. We are very grateful for that. Can I kick off | :00:45. | :00:51. | |
with you, Mr Henley, and ask what you thought as the incoming Chief | :00:52. | :00:57. | |
Executive of the recent White Paper on culture? I have been with the | :00:58. | :01:03. | |
discount of just over a year now and I have made my business in last 12 | :01:04. | :01:09. | |
months to travel the length and breadth of the country is seeing a | :01:10. | :01:12. | |
meeting with people who make great arts and culture happen right across | :01:13. | :01:16. | |
the country. That is something out is very important to us as an arts | :01:17. | :01:20. | |
Council. We are the National development agency for culture in | :01:21. | :01:23. | |
this country. We invest in excellent work and that is the thing that is | :01:24. | :01:27. | |
most important for us. We want to widen access to all parts of the | :01:28. | :01:31. | |
country both geographically and all groups of people in the country and | :01:32. | :01:34. | |
we want great arts organisations and we want to have a skilled workforce. | :01:35. | :01:39. | |
We also want children and young people to be at the heart of what we | :01:40. | :01:47. | |
do to bring of talent and I think the White Paper has two particular | :01:48. | :01:50. | |
things we are working on. One is the great places scheme which we see is | :01:51. | :01:52. | |
taking that message received is very central to our work is taking | :01:53. | :01:56. | |
investment right across the country and also the cultural citizens | :01:57. | :02:00. | |
programme which is about bringing a new generation of people into | :02:01. | :02:04. | |
engagement with arts and culture whoever they are and wherever they | :02:05. | :02:08. | |
are. One of the things that is important to us and is reflected in | :02:09. | :02:12. | |
the White Paper is about increasing investment that we make outside of | :02:13. | :02:15. | |
London and one of the first announcements I made was that by | :02:16. | :02:20. | |
2018, 70 5% of our national lottery revenue will be invested outside of | :02:21. | :02:28. | |
London. It's currently 17 and it was previously 60. The white liberal | :02:29. | :02:33. | |
review all hours to make that happen more and more quickly and | :02:34. | :02:37. | |
effectively and it's something we see as being central to what we do | :02:38. | :02:42. | |
for -- White Paper review. Something we may touch on today is local | :02:43. | :02:46. | |
authority investment in arts and culture and local authorities are | :02:47. | :02:49. | |
the biggest investors in arts and culture. R ?850 million we put into | :02:50. | :02:57. | |
arts and culture in England, the put in ?1.19 billion and we have seen | :02:58. | :03:01. | |
some reductions in spending. That is something that we are actively | :03:02. | :03:03. | |
working with local authorities because it is something we are | :03:04. | :03:07. | |
concerned about. Arts and culture does remain strong in all parts of | :03:08. | :03:11. | |
the country although we will remain vigilant to make sure that remains | :03:12. | :03:16. | |
the case. Thank you for that. What would you have liked to see in the | :03:17. | :03:22. | |
White Paper that was not in it? I suppose we are always greedy for | :03:23. | :03:26. | |
more investment because we believe that arts and culture pays dividends | :03:27. | :03:30. | |
in peoples lives and I think one of the things as arts Council that only | :03:31. | :03:35. | |
I am very keen on is that we invest. We don't subsidise things, we invest | :03:36. | :03:40. | |
in things because they have a set of real benefit in people's' lives and | :03:41. | :03:45. | |
that can change lives because having great creativity and culture around | :03:46. | :03:48. | |
you intrinsically is very important but there are other more | :03:49. | :03:53. | |
instrumentalist benefits so investment in education and giving | :03:54. | :03:55. | |
people better life chances and investment around health and | :03:56. | :03:59. | |
well-being. We know people who are taken arts and culture live happier | :04:00. | :04:04. | |
and healthier lives. Investment in new technology is helping us do | :04:05. | :04:07. | |
things differently and get more arts and culture to more people more | :04:08. | :04:11. | |
often. There are benefits around place making and actually defining | :04:12. | :04:15. | |
our villages, towns and cities across the country and also in | :04:16. | :04:18. | |
building our reputation on the international stage as well. Do you | :04:19. | :04:23. | |
have a view about what the right service obligation should be towards | :04:24. | :04:26. | |
that in order to allow different parts of the country to access | :04:27. | :04:30. | |
culture on the Internet? I don't have an exact figure but I know that | :04:31. | :04:37. | |
it is important that broadband and connectivity is vitally important. | :04:38. | :04:43. | |
One thing we see which we signed an memorandum of understanding with | :04:44. | :04:46. | |
South Korea recently and understanding how important fast | :04:47. | :04:49. | |
broadband is for them and seeing what we can learn from that, I think | :04:50. | :04:54. | |
it is important. The other thing I would say is it's a great method to | :04:55. | :05:00. | |
use particularly for people in rural areas for them to be able to engage | :05:01. | :05:03. | |
with the best art and culture from around the country and bigger | :05:04. | :05:06. | |
metropolitan centres so yes, we would say it's an important part of | :05:07. | :05:11. | |
the jigsaw. Just on the question of broadband infrastructure, I think | :05:12. | :05:15. | |
not just for arts and culture but for the creative industries in | :05:16. | :05:18. | |
general, we are going to need to see much bigger investment generally | :05:19. | :05:23. | |
whether it's by Government or private enterprise in the broadband | :05:24. | :05:30. | |
sphere and it's not just the broadband infrastructure, it's the | :05:31. | :05:33. | |
five and six G mobile which we should not leave out of the equation | :05:34. | :05:38. | |
I think. Together, those things will deliver a massive amounts, not just | :05:39. | :05:41. | |
more public benefit from the arts that massive amounts of growth in | :05:42. | :05:44. | |
the economy. We will not get that if we do not invest in it and at the | :05:45. | :05:48. | |
moment too many people are either excluded despite the good work that | :05:49. | :05:55. | |
has been done towards the 97 or 98% coverage and too many companies | :05:56. | :05:57. | |
don't get the speeds to do what they want to do. We would be very | :05:58. | :06:02. | |
grateful if to the extent you haven't done so already, you and the | :06:03. | :06:07. | |
arts Council could, over a small number of weeks, pulled together | :06:08. | :06:15. | |
some thoughts on this issue and in particular its pretty obviously | :06:16. | :06:21. | |
galvanic to anticipation as well as to enjoyment and if you think that | :06:22. | :06:25. | |
you would have an obligation that the Government should specify is | :06:26. | :06:29. | |
likely to be too low at 10 megabits, as many have suggested, we would be | :06:30. | :06:37. | |
very interested to know your view and that, as at work, from the court | :06:38. | :06:41. | |
is not arts investment. We were suddenly not what you'd hold back if | :06:42. | :06:44. | |
you felt you had views on this issue. If we could broaden it out | :06:45. | :06:51. | |
creating arts and culture to the industry more widely? I think that | :06:52. | :06:56. | |
would be the issue. When a focus on some other things. For either of | :06:57. | :07:02. | |
you, what is the difference in subsidy and investment? The run many | :07:03. | :07:05. | |
companies who provide activities that we subsidise beginning with the | :07:06. | :07:11. | |
British library and going down, how do you draw the difference in | :07:12. | :07:17. | |
subsidy and investment briefly? Is subsidy what happens at the moment | :07:18. | :07:20. | |
and investment is different? We see all of this as investment because we | :07:21. | :07:24. | |
are saying there are sinews of investments in people's lives in | :07:25. | :07:26. | |
making the case for public money to be spent on this, it's about the | :07:27. | :07:29. | |
improvements that it makes in people's lives across the country. | :07:30. | :07:33. | |
We don't see it as something that is money being put into a bottomless | :07:34. | :07:37. | |
pit. There are a fantastic outcome is that actually change places and | :07:38. | :07:39. | |
change people's lives and for that reason I would say more of an | :07:40. | :07:44. | |
investment than a subsidy. Thank you. One thing that is noticeable if | :07:45. | :07:48. | |
you look around the numbers that you have given of the investments that | :07:49. | :07:55. | |
you make is not just the imbalance between London and rural areas, but | :07:56. | :08:02. | |
also... I know people want to pick this up, so much investment outside | :08:03. | :08:06. | |
London is in cities when you talk about the balance of investments, | :08:07. | :08:09. | |
what guarantees do we have as the committee that that money is | :08:10. | :08:13. | |
actually going into activities in the local community by the local | :08:14. | :08:18. | |
community rather than just cream that they get a chance to taste | :08:19. | :08:21. | |
rarely on the occasion of people drop in? 15% of our investment goes | :08:22. | :08:27. | |
to rural areas and 17% of the population are there so we are a bit | :08:28. | :08:31. | |
like the game but not a long way and that is something we would like to | :08:32. | :08:34. | |
see improved. Some of the programmes that we have got, strategic touring | :08:35. | :08:38. | |
for example is a new programme will stop 91% of that is now spent | :08:39. | :08:43. | |
outside of London and 58% of it goes to areas of law engagement so that's | :08:44. | :08:48. | |
about getting the best new work and getting it out around the country. | :08:49. | :08:53. | |
We have a programme of creative people and places which runs in 21 | :08:54. | :08:57. | |
places around the country so in Sunderland, where I was on Saturday | :08:58. | :09:03. | |
night where I saw a great night out which was cultural spring, the | :09:04. | :09:08. | |
people and places programme there which was fantastic celebrating | :09:09. | :09:12. | |
Sunderland's heritage. In Stoke-on-Trent there was a programme | :09:13. | :09:16. | |
run by Appetite and in Blackpool is really galvanising Blackpool. Their | :09:17. | :09:22. | |
programme is taking a very tough area economically and bringing art | :09:23. | :09:26. | |
and culture in there in a new way so those programmes are taking | :09:27. | :09:30. | |
bottom-up arts and culture into places of law engagement and really | :09:31. | :09:35. | |
changing them. Thank you. Thank you both for coming. Just following this | :09:36. | :09:41. | |
up on regional spending, Mr Hanley, will you give those figures on how | :09:42. | :09:46. | |
you are going to decentralise your spending from London? For the | :09:47. | :09:53. | |
national lottery revenue, by the end of 2018, 70 5% of it will be spent | :09:54. | :10:01. | |
outside of London, 25% inside. Currently it 70, 30 are split and | :10:02. | :10:05. | |
historically it has been 60, 40, so we are making a five percentage | :10:06. | :10:09. | |
point shift by 2018 and the reason for 2018 is that it's our current | :10:10. | :10:13. | |
framework. Who will be the winners in that new spending pattern? | :10:14. | :10:17. | |
Villages, towns and cities across the country so we would always look | :10:18. | :10:21. | |
to invest in areas where we can see in festival propositions. One thing | :10:22. | :10:27. | |
we have to do is build up infrastructure of the grounds and | :10:28. | :10:30. | |
make sure there are artists and arts organisations in those places... How | :10:31. | :10:37. | |
would you do that? The National pork organisations, particularly in | :10:38. | :10:42. | |
cities whether it is in Leeds or Newcastle or wherever, they are very | :10:43. | :10:45. | |
adept and skilled at putting in their applications and making the | :10:46. | :10:56. | |
case and I get lobbied regularly by other or dieticians and the city is | :10:57. | :11:00. | |
so how will you go back capacity and that awareness to make sure exactly | :11:01. | :11:01. | |
delivered? Quite a lot of the strategic funding | :11:02. | :11:17. | |
isn't available to national portfolio organisations. They get | :11:18. | :11:28. | |
about 69 million of lottery but we invest 250 to 300 depending on the | :11:29. | :11:32. | |
ticket sales every year. The other movie is going to grants for the | :11:33. | :11:40. | |
arts. It is for smaller arts organisations. Strategic touring | :11:41. | :11:44. | |
goes to some but not all. Capital investment goes to some but not all. | :11:45. | :11:51. | |
Some other schemes we will talk about later. Quite a lot of the | :11:52. | :11:57. | |
lottery money, far more than two thirds is not available. It is aimed | :11:58. | :12:04. | |
elsewhere. Who will be the losers in this new sharing out of lottery cash | :12:05. | :12:15. | |
if we will reduce it from 30 to 25%? We will spend our strategic funds in | :12:16. | :12:21. | |
a different way. There will be... Will anyone in London lose out? | :12:22. | :12:27. | |
There will be less money to spend in London. Have those organisations | :12:28. | :12:34. | |
started lobbying you about those already? They constantly lobby us | :12:35. | :12:39. | |
wherever they are in the country. To give you an example, one of the | :12:40. | :12:43. | |
things we were keen to do is where we have areas where there was low | :12:44. | :12:46. | |
engagement like Bradford, we found there were very few local artists | :12:47. | :12:52. | |
starting out and applying for money. We have worked with Bradford Council | :12:53. | :12:56. | |
and put workshops on and brought them through very quickly. We have | :12:57. | :12:59. | |
people on the ground applying for money and come through. We see it as | :13:00. | :13:07. | |
a journey that they will make. There will be large amounts over time. We | :13:08. | :13:10. | |
want to take more people in more parts of the country on that | :13:11. | :13:18. | |
journey. You can just have one game in town. We have to have a series. | :13:19. | :13:30. | |
London is an important world arts centre. It does mean less money for | :13:31. | :13:38. | |
London. The balancing act we are attending at the moment is we have | :13:39. | :13:44. | |
been reducing the amount of money going to London on the signalling | :13:45. | :13:49. | |
its well in advance. I don't believe we have damaged London's arts | :13:50. | :13:59. | |
infrastructure. It is a balancing fact. I am from Huddersfield and we | :14:00. | :14:05. | |
have met in my capacity as chairman. Thank you for investment in brass | :14:06. | :14:12. | |
bands in England. We are between Sheffield, Manchester and Leeds. We | :14:13. | :14:23. | |
have museums that could close and Huddersfield town Hall is behind its | :14:24. | :14:32. | |
refurbishment. When we say the cultural scene is positive and the | :14:33. | :14:37. | |
investments are coming through, people in the town 's, they are | :14:38. | :14:51. | |
losing out. It is all well and good. I have noticed lots of mentions of | :14:52. | :14:58. | |
Manchester and Leeds and the Baltic up in Newcastle. How will we | :14:59. | :15:13. | |
deliver? I went to the festival. I have tweeted the pig. I am very keen | :15:14. | :15:17. | |
that we work in places like Huddersfield. The university | :15:18. | :15:29. | |
partnership was very keen. If we look back, we might have said there | :15:30. | :15:38. | |
was art's councils. How big is your team in Yorkshire to help and | :15:39. | :15:48. | |
assist? We have an office in Leeds. How many people in Leeds? I would | :15:49. | :15:56. | |
estimate 30 people in the Leeds office. With this changing funding, | :15:57. | :16:04. | |
any intentions to change your staffing map across the regions? We | :16:05. | :16:12. | |
need to work effectively with local authorities. We're looking at how we | :16:13. | :16:17. | |
can do that the remit of keeping our core costs down. Office space is a | :16:18. | :16:26. | |
lot cheaper than in central London so if you want to relocate, you will | :16:27. | :16:33. | |
be welcome. One quick question and then we will go to Elliott. We seem | :16:34. | :16:41. | |
to have a woodpecker in the building and we are doing what we can! It is | :16:42. | :16:53. | |
commendable that you are looking to change the balance. How will you | :16:54. | :17:06. | |
measure it? Will you put more money into existing recipients of funding | :17:07. | :17:10. | |
or will it encourage more applicants? We need to invest and | :17:11. | :17:19. | |
measure it in both. We are committed to moving more money into more parts | :17:20. | :17:24. | |
of the country. The test is how many people's lives we can change because | :17:25. | :17:28. | |
of that. There are two matches there. I think we should see that in | :17:29. | :17:41. | |
the context of local authority spending. We need to partner with | :17:42. | :17:47. | |
local authorities and what they are investing and how much they'll | :17:48. | :17:49. | |
investing in different places is going to be a very important part of | :17:50. | :17:56. | |
that. We need to find strong parts among local authorities but we have | :17:57. | :18:00. | |
to look at areas of low intake of taking up. It is aimed at building | :18:01. | :18:07. | |
capacities that don't make any bits because they haven't got arts and | :18:08. | :18:11. | |
destruction. We do both of those things. Bradford is an area where | :18:12. | :18:20. | |
you are building capacity. What other areas ie investing in because | :18:21. | :18:27. | |
you are concerned there isn't enough local opportunity creation? They | :18:28. | :18:34. | |
range right around the country from Medway Kent through to south-east | :18:35. | :18:40. | |
Northumberland in Ashenden, Bedlington, Newbiggin by the sea. | :18:41. | :18:45. | |
These are former mining areas where there is no real cultural | :18:46. | :18:49. | |
infrastructure and there hasn't been a large demand. We have to analyse | :18:50. | :18:53. | |
that and found parts of the country where we are doing that work. St | :18:54. | :18:59. | |
Helens is another example where we have heart of Glass, which is based | :19:00. | :19:07. | |
at the St Helens Rugby League club. There are exciting things happening. | :19:08. | :19:10. | |
We are not sitting in an office doing a top-down view. We are making | :19:11. | :19:14. | |
significant investment and talking to people and taking on a journey | :19:15. | :19:17. | |
involving art and culture in their lives. Sunderland has been a city | :19:18. | :19:29. | |
for 20 years. We did used to be the largest town in the country. Thank | :19:30. | :19:34. | |
you for visiting us on Saturday. I am sorry I couldn't be there. I | :19:35. | :19:39. | |
wanted to ask just on the back of this type of thing, there is a lot | :19:40. | :19:47. | |
of work going on in my area. How are you going to sustain that in the | :19:48. | :19:52. | |
areas that aren't traditionally regions? How would that sustained in | :19:53. | :19:56. | |
the long term because these projects do things and then go off. What are | :19:57. | :20:00. | |
you doing about the sustainability of these kinds of things in the less | :20:01. | :20:06. | |
development cultural areas outside of London? Sunderland is bidding for | :20:07. | :20:12. | |
city of culture. One of the things that is exciting and interesting is | :20:13. | :20:21. | |
the local leadership. People at the University, they are coming together | :20:22. | :20:25. | |
and making a series of decisions to make their place better feel art and | :20:26. | :20:28. | |
culture. That is something that is exciting. -- through art and | :20:29. | :20:36. | |
culture. There is a large-scale application in for the old Fire | :20:37. | :20:39. | |
station. We have taken that through this stage and it has permission out | :20:40. | :20:45. | |
of bed through the second stage. There is some exciting things. There | :20:46. | :20:49. | |
would be a mixture of infrastructure investment but also one of the tests | :20:50. | :20:52. | |
in those places where we have greater improvement is can we get | :20:53. | :20:57. | |
grants for the arts applications from individual artist movement that | :20:58. | :21:01. | |
area? There is an amazing thing that artist can do around changing the | :21:02. | :21:06. | |
place. Margate in Kent is an example of that. There is a whole street | :21:07. | :21:16. | |
worth of artists who are changing the environment in front of them. | :21:17. | :21:20. | |
That is something that is really exciting and we weren't -- won't | :21:21. | :21:29. | |
work with people to make art happen. You have mentioned local | :21:30. | :21:39. | |
authorities. There are massive disparages in funding which clearly | :21:40. | :21:43. | |
the arts are going to have to take a hit en masse. Some regions are doing | :21:44. | :21:47. | |
better than others. How do you see that moving forward and how do you | :21:48. | :21:52. | |
think rural areas will differ from urban areas in terms of how they | :21:53. | :21:56. | |
meet that massive loss which is coming down the line? We have | :21:57. | :22:04. | |
relationships around 260 local authorities around the country and | :22:05. | :22:08. | |
they go from town Council is up to big city councils. One of the things | :22:09. | :22:12. | |
worse is there is quite a challenge now because they are having to cut | :22:13. | :22:16. | |
its budget in a different way. You may have a local authority that has | :22:17. | :22:21. | |
revenue funding that is poor but has building assets. The question is | :22:22. | :22:25. | |
what can we do that helps them to enable that assessment on a local | :22:26. | :22:29. | |
basis into art and culture? We have a number of programmes in place and | :22:30. | :22:34. | |
we have a creative growth fund which has just started. It gives an | :22:35. | :22:39. | |
example of some investment we made in Birmingham. We put off million | :22:40. | :22:47. | |
pounds into a new arts and technology centre which is being run | :22:48. | :22:51. | |
by Birmingham city University and that has leveraged ?3 million of | :22:52. | :22:55. | |
your money and a further ?40 million of Treasury money. We on losing | :22:56. | :23:00. | |
money to do what we came to be leveraged. Our investment become | :23:01. | :23:05. | |
smarter we can hopefully unlock other pounds from elsewhere. Thank | :23:06. | :23:08. | |
you. The international development for | :23:09. | :23:25. | |
the arts is a good encapsulated in but when we think about development | :23:26. | :23:32. | |
agencies in other areas. We tend to think about funding going into the | :23:33. | :23:40. | |
gaps. Most of your funding is arts support rather than arts | :23:41. | :23:44. | |
development. Where are your priorities going forward. A lot of | :23:45. | :23:50. | |
what we do is about making a cash investment but we have a role to | :23:51. | :23:54. | |
play in convening organisations together and bringing local | :23:55. | :23:57. | |
communities together and having conversations around how arts and | :23:58. | :24:01. | |
culture can make a difference. I have been seeing the work that has | :24:02. | :24:11. | |
been done by the cultural parts of Folkestone and a great example of a | :24:12. | :24:14. | |
town which has been completely redefined because of artists coming | :24:15. | :24:18. | |
into the place. Those examples we can share. One of the things we are | :24:19. | :24:27. | |
doing right now is sharing best practice around the country. One of | :24:28. | :24:35. | |
the things is showing breast -- Best practice. There will be places in | :24:36. | :24:41. | |
Cumbria that will be equally relevant to Cornwall. Looking at | :24:42. | :24:54. | |
other projects in my area, we go to local arts organisations that are | :24:55. | :24:57. | |
helping to deliver support in the arts and cultural area that had | :24:58. | :25:05. | |
little infrastructure before. Do you seek criteria for further | :25:06. | :25:07. | |
developments? If you continue to invest, you want to see growing | :25:08. | :25:11. | |
participation, growing opportunities where other people parts of the arts | :25:12. | :25:20. | |
and your work? We have an agreement with all of our operations. One of | :25:21. | :25:24. | |
the things I am concerned that we can do better on, is around widening | :25:25. | :25:33. | |
diversity within the arts organisations both in terms of | :25:34. | :25:35. | |
people working in the arts world but in terms of the art that is being | :25:36. | :25:40. | |
funded. We make sure it is relevant that everybody on the 21st-century. | :25:41. | :25:45. | |
That is something that is very important verse and widening that | :25:46. | :25:51. | |
out is key and LB measures that are talked about. Do you feel that has | :25:52. | :25:56. | |
happened? It has started and we have a long way to go. Disability is a | :25:57. | :26:05. | |
lot of work that still needs to be done. It tends to be good upstanding | :26:06. | :26:10. | |
people and we have a long way to make sure the disability arts in | :26:11. | :26:14. | |
terms of the art commissioned and in terms of representation on stage is | :26:15. | :26:19. | |
happening. I am pleased we have something called ramps on the moon | :26:20. | :26:22. | |
which is our biggest touring fund. ?2 million based at the theatre in | :26:23. | :26:28. | |
Ipswich witches touring the theatres around half a dozen theatres around | :26:29. | :26:37. | |
the country is -- Ipswich witches touring theatres around the country. | :26:38. | :26:40. | |
It is working brilliantly. Do you think there is a widening of | :26:41. | :26:54. | |
participation in the arts? Yes, something the statistics don't often | :26:55. | :26:57. | |
capture that we may come onto more after words is education. We ask and | :26:58. | :27:04. | |
require our national portfolio will education to have educational | :27:05. | :27:07. | |
outreach and we judge 80% of the now to have good outreach facilities and | :27:08. | :27:11. | |
we are on the other is to improve this. Latest assist its I have for a | :27:12. | :27:17. | |
full year are 8 million schoolchildren had 14 million arts | :27:18. | :27:25. | |
in cultured which is going to an art gallery or etc. And that's not | :27:26. | :27:30. | |
taking into account the DC MS which has been going up over arts and more | :27:31. | :27:34. | |
broadly arts and entertainment at those numbers are. So I think we | :27:35. | :27:38. | |
should remember the education numbers. We have made really good | :27:39. | :27:41. | |
progress there and if you look at a specific project like the Royal | :27:42. | :27:45. | |
Shakespeare Company in its anniversary Shakespeare year, I | :27:46. | :27:48. | |
think it's reaching more than 400,000 schoolchildren putting video | :27:49. | :27:54. | |
live of their productions into school with duration and explanation | :27:55. | :27:58. | |
as well. That is one example. It's million schoolchildren are coming | :27:59. | :28:03. | |
into contact with arts and culture via funded organisations and that's | :28:04. | :28:05. | |
a good example of how we are widening participation. It's sounds | :28:06. | :28:12. | |
a good example but for the adult population as well, how do we widen | :28:13. | :28:16. | |
participation or are we at the funding the same people having more | :28:17. | :28:21. | |
and more access to art that they are otherwise engaged with? It's | :28:22. | :28:26. | |
something we need to do better at it I think we are on journeys make that | :28:27. | :28:30. | |
happen more and it has to be, certainly from my point of view, I | :28:31. | :28:35. | |
believe the arts Council has a moral obligation to widen out | :28:36. | :28:38. | |
participation in arts and culture to as many people in the country as | :28:39. | :28:41. | |
possible and our investments as she going forward will be made on that | :28:42. | :28:47. | |
basis. Two more questions. You mentioned something I was quick to | :28:48. | :28:54. | |
bring up. An arts organisation that the arts Council reviewed its | :28:55. | :28:57. | |
spending five years ago and they lost all of their funding and | :28:58. | :29:01. | |
nonetheless kept going and they are now bidding for funding for | :29:02. | :29:08. | |
additional projects. How typical is this experience as a small | :29:09. | :29:11. | |
organisation with other organisations that the arts Council | :29:12. | :29:15. | |
have dealt with and how in your review has arts organisations manage | :29:16. | :29:20. | |
to keep going? Have they built it successfully, have they changed | :29:21. | :29:23. | |
their model in terms of how they seek support from other partners as | :29:24. | :29:26. | |
a consequence of the following grant funding? In 2010 we faced a large | :29:27. | :29:32. | |
reduction in so we tough decisions and organisations like strange cargo | :29:33. | :29:35. | |
boat which we fund in a different way and I saw a great exhibition | :29:36. | :29:39. | |
around Gurkha soldiers there when I was down in Folkestone, I think that | :29:40. | :29:46. | |
what we have done is held or organisation become more sustainable | :29:47. | :29:49. | |
so the contributed revenue that is coming from other sources is growing | :29:50. | :29:55. | |
so running at about 19% from London organisations. Having said that, we | :29:56. | :29:59. | |
know it's tougher to raise money outside of London so we are doing a | :30:00. | :30:03. | |
lot of work with our catalyst fund which is our fund that touts arts | :30:04. | :30:07. | |
organisations to increase their sustainability and resilience and | :30:08. | :30:12. | |
that is a ?70 million fund. 70% of that has been sent outside London | :30:13. | :30:16. | |
and we have set up a programme of arts fundraising fellows, giving | :30:17. | :30:21. | |
them specific training in arts fundraising and 70% of those are | :30:22. | :30:23. | |
again outside London's we are working hard to make sure | :30:24. | :30:27. | |
organisations are able to not just rely on public funding but be able | :30:28. | :30:32. | |
to diversify. We also do another round of deals next year, starting | :30:33. | :30:36. | |
this autumn, the decisions next spring and summer. That will be for | :30:37. | :30:42. | |
the next entry all deal for fewer four years depending. We are | :30:43. | :30:49. | |
confident but quite a few successful deals in that sound will come from | :30:50. | :30:52. | |
arts funding so that as a nursery. It is not the only way of being | :30:53. | :30:57. | |
funded. That goes France funding which we have put up year-on-year | :30:58. | :31:02. | |
because the lottery is relatively stable as opposed to increasing. -- | :31:03. | :31:07. | |
relatively stable if not increasing. One sign of success is that we are | :31:08. | :31:13. | |
able to fund organisations that get onto a regular basis and then they | :31:14. | :31:18. | |
are able to grow into DN PO portfolio and I'm confident the next | :31:19. | :31:23. | |
year we will have examples of that -- NPO. People who go on to become a | :31:24. | :31:29. | |
NPO, you fund them on that basis, they then remain on that. Or do you | :31:30. | :31:34. | |
beat is every time and some people drop off the end and people get | :31:35. | :31:39. | |
underfunded because frankly they are meant to get money from other | :31:40. | :31:42. | |
sources or other not doing a good enough job? We will have a brand-new | :31:43. | :31:47. | |
portfolio from 2018 onwards we would start again, everyone applies. There | :31:48. | :31:53. | |
is no automatic entry. So you could have different organisations funded | :31:54. | :31:57. | |
from one to another and the new ones could be fewer rather than more in | :31:58. | :32:01. | |
some cases if he felt the need was greater than they deserved more. So | :32:02. | :32:08. | |
basically, the end of this year a will make an application and every | :32:09. | :32:11. | |
one who wishes to become a NPO will be assessed and next summer we will | :32:12. | :32:16. | |
give about nine months notice to everybody whether they are in or out | :32:17. | :32:20. | |
of the portfolio from 2018 onwards. How do you... Alas for's ran about | :32:21. | :32:32. | |
five .5 existing MPO 's left the portfolio and were no longer funded | :32:33. | :32:37. | |
and I think probably because we increased the portfolio very | :32:38. | :32:42. | |
slightly, I think is that higher percentage joined and this time | :32:43. | :32:47. | |
we're fairly confident, I don't know how many will leave that we are | :32:48. | :32:50. | |
confident we will be able to increase the number even more. | :32:51. | :32:56. | |
Finally on that, how do you stop the negative incentive whereby people | :32:57. | :33:01. | |
don't raise as much money or demonstrate independent fundraising | :33:02. | :33:05. | |
because they don't want to be sufficiently independent freedom to | :33:06. | :33:11. | |
be downgraded on the NPO? A moral hazard in a way. We require in our | :33:12. | :33:22. | |
agreement with NPOs several items such as increasing diversity. So we | :33:23. | :33:25. | |
will judge them on that. I'm not saying that alone would mean you got | :33:26. | :33:29. | |
in didn't get on to the portfolio but it is one of the rings that we | :33:30. | :33:38. | |
will judge them on. The money raised philanthropic way, has been going up | :33:39. | :33:42. | |
since 2010 but I would say that the most interesting thing that has been | :33:43. | :33:46. | |
going up in that overall cake if you like of revenues is commercial | :33:47. | :33:53. | |
revenues. The actual cake of the NPOs despite aid being cut by around | :33:54. | :34:00. | |
30% the cake has got bigger. It has got bigger because good people are | :34:01. | :34:04. | |
driving is organisations and driving forward commercial revenue. As | :34:05. | :34:10. | |
others extent, they are driving their fundraising so the evidence is | :34:11. | :34:13. | |
that there is not a lack of incentive. They are trying very hard | :34:14. | :34:16. | |
to diversity I and in many cases they are succeeding. To finish off. | :34:17. | :34:24. | |
Your last answer leads and what I want to talk about which is about | :34:25. | :34:29. | |
private support. We have this mixed funding model in the UK and part is | :34:30. | :34:35. | |
very significant. As we talked about, I know you're very familiar | :34:36. | :34:42. | |
with Kent and market and elsewhere, to what extent... What you think we | :34:43. | :34:50. | |
can do to attract more individuals to make a significant contribution | :34:51. | :34:54. | |
to the arts? And do you think that in your criteria for judging the | :34:55. | :34:59. | |
success of arts organisations that a demonstration that they are doing a | :35:00. | :35:02. | |
good job is that they themselves can attract more support from other | :35:03. | :35:10. | |
individuals or companies? A couple of caveats. Let's look at commercial | :35:11. | :35:15. | |
revenue is the most significant item because that is the easiest to do | :35:16. | :35:18. | |
and the second caveat is that fundraising in some parts of the | :35:19. | :35:20. | |
country is extremely difficult. Having said that, there is good | :35:21. | :35:28. | |
performance. High teas, was quoted as a percentage of revenue in London | :35:29. | :35:34. | |
but I think I'm right to say that 13% of NPO in the east is | :35:35. | :35:38. | |
fundraising and in the West is 10% is they have made a really big | :35:39. | :35:41. | |
advances there. How do we do that? Catalyst which I want an pack now, | :35:42. | :35:51. | |
is part of that. We afford very hard and training boards and executive in | :35:52. | :35:54. | |
fundraising skills. We have even set up with the University of Leeds | :35:55. | :35:58. | |
accrediting a professional fundraisers provocation -- | :35:59. | :36:05. | |
qualification for a cohort of graduates going into fundraising | :36:06. | :36:08. | |
with professional qualifications. Overall though, I would say that the | :36:09. | :36:13. | |
arts sector has a challenge. We did some research three or four years | :36:14. | :36:17. | |
ago that showed only 8% of the population recognised arts and | :36:18. | :36:21. | |
cultural organisations as charities. That is a marketing and | :36:22. | :36:24. | |
communications challenge because arts and culture organisations have | :36:25. | :36:27. | |
to go in and compete with other health charities and the like to get | :36:28. | :36:32. | |
some of that money so there is still a mountain to climb in a way because | :36:33. | :36:37. | |
I think instinctively a lot of our arts producers and arts | :36:38. | :36:41. | |
professionals, quite understandably, say they are an artist not charity | :36:42. | :36:44. | |
but they need to say, I deliver these public benefits. That is an | :36:45. | :36:50. | |
object of charity and therefore we would be good recipients. There are | :36:51. | :36:53. | |
some things to learn and we could get better but it is improving. And | :36:54. | :36:58. | |
there are areas in a country where it has improved. Do you think there | :36:59. | :37:03. | |
are good case studies of organisations that have good local | :37:04. | :37:08. | |
strategy for arts that involve not only attracting funding from the | :37:09. | :37:11. | |
arts Council colossal development partnerships with a range of local | :37:12. | :37:18. | |
records. Absolutely. I think the first speech I ever gave a few years | :37:19. | :37:21. | |
ago I said that we need a grand partnership. I was speaking between | :37:22. | :37:24. | |
business and local authorities and universities. It is happening more | :37:25. | :37:28. | |
and more. Darren just mentioned Sunderland and is partly also a | :37:29. | :37:33. | |
question of leadership. If we dig a great local leader with great | :37:34. | :37:36. | |
passion of arts and culture who attracts other money in from a | :37:37. | :37:40. | |
variety of sources because of his passion and his belief and his | :37:41. | :37:43. | |
leadership, we need that kind of leadership across the boards which | :37:44. | :37:48. | |
can be done. Just to pick up on a couple of things there, you have | :37:49. | :37:51. | |
painted a very rosy picture of the art scene flourishing in many | :37:52. | :37:55. | |
different ways and increasing commercial revenue despite cuts from | :37:56. | :38:01. | |
grants and eight. I'm just surprised that it's something we haven't heard | :38:02. | :38:06. | |
much so far which is concern about local Government spending and I'm | :38:07. | :38:12. | |
also surprised that in your analysis of the White Paper, both of view | :38:13. | :38:16. | |
didn't say something which I would expect you to say which is that | :38:17. | :38:20. | |
ministers might be pulling their hair out with anger that local | :38:21. | :38:25. | |
Government is clobbering the capacity of investment in the arts | :38:26. | :38:29. | |
to be effective. You are nodding. I shall you accept that point. The | :38:30. | :38:34. | |
point I was going to make was that the White Paper properly pointed to | :38:35. | :38:40. | |
the importance of local funding in arts and culture but it didn't offer | :38:41. | :38:46. | |
strategies for the future which we've all got to work on and I note | :38:47. | :38:52. | |
the CMS agree with this. Arguably, it failed to address the central | :38:53. | :38:58. | |
charity. Well, I call it the biggest challenge facing arts and culture | :38:59. | :39:01. | |
now. My earlier remarks when you said putting a rosy picture, I don't | :39:02. | :39:05. | |
want to undersell the successes that many great arts leaders and many | :39:06. | :39:08. | |
local authorities committed arts and culture and achieving around the | :39:09. | :39:12. | |
country. I'd want to undersell that. I don't understand the fact that | :39:13. | :39:16. | |
he's me for arts and culture, the coherent case, got a reasonable | :39:17. | :39:20. | |
settlement the Autumn Statement from the Chancellor. We don't undersell | :39:21. | :39:25. | |
the successes. I think both of us believe that we have done quite well | :39:26. | :39:29. | |
up to now but we are seriously concerned, as I have said and I am | :39:30. | :39:32. | |
on the record as saying, seriously concerned about what might happen if | :39:33. | :39:36. | |
local authority cuts to arts and culture happen at greater pace over | :39:37. | :39:43. | |
the next four years and therefore we think you're hearing is extremely | :39:44. | :39:47. | |
timely and we hope you will join with others in exploring what will | :39:48. | :39:50. | |
strategies might be because they are very much needed. I won't criticise | :39:51. | :39:55. | |
the White Paper because it did point to the importance of local funding, | :39:56. | :39:58. | |
but I would say the next step after the White Paper is to work out what | :39:59. | :40:05. | |
the strategies are. Thank you. Just, I read the speech you gave Sir Peter | :40:06. | :40:14. | |
on the local Government network paper which identified what had gone | :40:15. | :40:20. | |
on in the past, but it didn't produce any best estimate of how | :40:21. | :40:23. | |
much that local authority reduction was going to be. What is your best | :40:24. | :40:31. | |
guess? Well, we can tell you what has happened. Well, I know what has | :40:32. | :40:38. | |
happened. What is your best guess? Your query said this is the biggest | :40:39. | :40:42. | |
challenge and we can't step into play but Hall. What is your best | :40:43. | :40:46. | |
estimate about what the hole is going to be? I don't have one | :40:47. | :40:51. | |
because it really depends on what local individually is our going to | :40:52. | :40:56. | |
do and we know plenty of local authorities are getting behind arts | :40:57. | :40:58. | |
and culture despite the pressure they are under. It also depends on | :40:59. | :41:03. | |
how fast the cost of social care which is a statutory obligation goes | :41:04. | :41:06. | |
What I will same is, as you say, we What I will same is, as you say, we | :41:07. | :41:14. | |
have the figure of 70% since... If it was 30%, that would be a real | :41:15. | :41:25. | |
problem and would lead to closures. We very concerned. I don't have an | :41:26. | :41:29. | |
estimate because I don't know how local authorities are going to | :41:30. | :41:35. | |
respond. Within the realms of that uncertainty, it could be worse, do | :41:36. | :41:44. | |
you think? It is possible. It is a matter of great concern. That would | :41:45. | :41:52. | |
to closures? We have done fairly well up to now but we have not had | :41:53. | :41:56. | |
widespread closures of museums or libraries. If you had a very high | :41:57. | :42:05. | |
cut and many councils departing the scene, it is not something the arts | :42:06. | :42:07. | |
Council will be able to stop. My local Bell -- Borough Council | :42:08. | :42:27. | |
faces the loss of its Government support. Business rates come back | :42:28. | :42:34. | |
and we will be allowed to fend for yourself. We are seeing no clear | :42:35. | :42:42. | |
sign of green shoots of growth in North Staffordshire and many | :42:43. | :42:48. | |
industrial areas. The temptation is the local authorities to keep | :42:49. | :42:55. | |
cutting and the temptation must be greater if they can look at | :42:56. | :43:02. | |
organisations and say, "You are being funded by the arts Council." | :43:03. | :43:11. | |
How you balancing those tensions? We were very critical of Westminster | :43:12. | :43:15. | |
City Council withdrawing its funding and relying on you and the added | :43:16. | :43:24. | |
pain. How you manage and attention and the messages you are given to | :43:25. | :43:29. | |
local authorities? We have been talking to a lot of local | :43:30. | :43:30. | |
authorities up and down the country. We are talking to a lot of local | :43:31. | :43:48. | |
authorities and those decisions of quite bespoke because they are | :43:49. | :43:53. | |
facing different challenges. One of the examples we can use in your part | :43:54. | :44:04. | |
of the world is around appetite. One area is doing very well and that is | :44:05. | :44:08. | |
leveraging more support and more understanding for the local | :44:09. | :44:12. | |
authority. They are seeing the value of what art and culture does in that | :44:13. | :44:16. | |
area. One of the things we need to do is to show how our investment is | :44:17. | :44:20. | |
making a difference. But we had a positive settlement in the spending | :44:21. | :44:25. | |
Review, what we have got is enough money to make up the difference. We | :44:26. | :44:30. | |
have to be clear with local authorities that we are making | :44:31. | :44:34. | |
funding decisions on the basis that they remain investable propositions | :44:35. | :44:41. | |
going forward. There has to be other funding sources there and we need | :44:42. | :44:45. | |
other people to step up to the plate. Stoke-on-Trent is next door | :44:46. | :44:52. | |
to me and they haven't had much direct contact. I found my joy that | :44:53. | :45:02. | |
the great French traditions of having cameras at well with stations | :45:03. | :45:06. | |
is not just that Saint Pancras. They have the mat Stoke-on-Trent. Now it | :45:07. | :45:12. | |
has gone but can they put it back because the French have them | :45:13. | :45:20. | |
permanently? I don't know what the outlook is that appetite but what I | :45:21. | :45:26. | |
am trying to get a sense from you is that when you send your speech, if | :45:27. | :45:34. | |
you are in Wareham, is it right for local authorities to conclude that | :45:35. | :45:41. | |
if you are out, we are out? We have the most impossible balancing act to | :45:42. | :45:46. | |
perform. We intend to perform it. That balancing act is that if the | :45:47. | :45:53. | |
thought was you can cut as a local authority your arts and cultural | :45:54. | :45:55. | |
provision with impunity because the arts Council would fill the gap, we | :45:56. | :46:00. | |
physically don't have the money. That is another example of the | :46:01. | :46:05. | |
phrase we used earlier. Therefore it is the case that in some | :46:06. | :46:09. | |
circumstances I expect in the next three to four years that the arts | :46:10. | :46:12. | |
Council will have to withdraw funding because it would be a proper | :46:13. | :46:16. | |
place to put public money in an institution that might be failing | :46:17. | :46:19. | |
because of the source of revenue have been cut. Balanced against that | :46:20. | :46:25. | |
is our very strong belief that we don't want the public to suffer and | :46:26. | :46:31. | |
we don't want people in low arts take up to suffer. We have to | :46:32. | :46:35. | |
balance these things and it is a very difficult balancing act. That | :46:36. | :46:40. | |
is what we are faced with and we will have to withdraw from some | :46:41. | :46:49. | |
places. You said beyond 2018, you are looking to increase the number | :46:50. | :46:54. | |
of portfolio organisations. Your settlement doesn't go beyond 2018. | :46:55. | :47:03. | |
How do you take that view? What budget assumptions are you working | :47:04. | :47:10. | |
with? We had one year of visibility for the year 15/60 which is the | :47:11. | :47:14. | |
comprehensive spending review that the Chancellor did before the | :47:15. | :47:17. | |
election. What we said was we are giving you a three-year contract, we | :47:18. | :47:23. | |
are assuming standstill in 2000 and -- standstill but we do know what it | :47:24. | :47:31. | |
might be. We have better visibility because there is a four-year CSO | :47:32. | :47:39. | |
going forward. In terms of the next round, it means it has two years of | :47:40. | :47:43. | |
visibility. We are in a better place than we were last time. I don't | :47:44. | :47:50. | |
think not being in sync with the CSR routine should stop is making three | :47:51. | :47:54. | |
or four year agreements because we must encourage arts organisations to | :47:55. | :47:59. | |
plan properly. Final question on this section. The White Paper comes | :48:00. | :48:09. | |
with inevitable reviews and I noticed the word is tailored reviews | :48:10. | :48:16. | |
whereas museums it is white reviews. What is it tailored to? This | :48:17. | :48:22. | |
replaces the review that was held. This will be the review into the | :48:23. | :48:32. | |
workings of the council. Tailored? Tailored to what or do you not know? | :48:33. | :48:45. | |
The true answer is we don't know. Some reviews of other public | :48:46. | :48:49. | |
organisations intended to take three months and have taken longer. I | :48:50. | :48:54. | |
believe the intention is to make this fairly swift and concentrated | :48:55. | :49:00. | |
if they can. That may be the meaning of the word tailored. I would be | :49:01. | :49:09. | |
very hopeful that you would all contribute to the view. Thank you | :49:10. | :49:20. | |
very much. Following on from the questions about local authority | :49:21. | :49:24. | |
funding, it is clearly something that is bothering you and it is | :49:25. | :49:27. | |
clearly something that might upset the apple cart in a way and all the | :49:28. | :49:31. | |
good work you are doing might be undermined by the fact that there | :49:32. | :49:42. | |
are huge cuts at local level. There must be a temptation within local | :49:43. | :49:49. | |
authorities to see the arts as the easy option to cuts. Have you found | :49:50. | :50:00. | |
that? When I talk about 17% cuts, it is 2010. We are not happy to see it. | :50:01. | :50:06. | |
The overall cut to a local authority funding in that time was 25%. A | :50:07. | :50:11. | |
non-statutory obligation got cut less than might have been cut by 30, | :50:12. | :50:17. | |
40, 50%. The reason for that is we are better at making the case. It is | :50:18. | :50:26. | |
well understood locally. What are you doing to make sure it isn't the | :50:27. | :50:33. | |
easy option? What we have done since 2013 as a | :50:34. | :50:44. | |
sector is make a better case for the value of arts and culture with the | :50:45. | :50:47. | |
help of many people in this building I might add. There is the intrinsic | :50:48. | :50:56. | |
value, the social value, health, prisons, care homes. All those | :50:57. | :50:59. | |
places you see great benefits been delivered. This relationship between | :51:00. | :51:05. | |
education and the arts and culture and the economic base -- local | :51:06. | :51:10. | |
benefits. Britain's reputation abroad. This whole picture is better | :51:11. | :51:17. | |
understood now than it was. We find that where there is a leader of the | :51:18. | :51:22. | |
local council who gets that, we get them the arguments. We have placed | :51:23. | :51:28. | |
these arguments on special videos on our at website. They can use that | :51:29. | :51:34. | |
with their colleagues to argue the case. In your constituency, there is | :51:35. | :51:42. | |
a great example. It is bringing together theatre, a cinema which | :51:43. | :51:46. | |
there isn't in their heart of Chester and the local library. You | :51:47. | :51:50. | |
have a local library that will be open for as many hours a day that | :51:51. | :51:55. | |
the theatre is open. You have a local authority that we are working | :51:56. | :51:58. | |
in partnership with you are making a real difference and an understanding | :51:59. | :52:03. | |
of cultural destinations which is one of our programmes which looks at | :52:04. | :52:07. | |
investment in arts and culture as a tourist activity. In Cornwall, they | :52:08. | :52:14. | |
are looking at how they can take Cornwall and make it an arts and | :52:15. | :52:18. | |
cultural destination for the whole year round and not just for the | :52:19. | :52:22. | |
summer, using the buildings and is the art infrastructure. We have | :52:23. | :52:27. | |
programmes in place around the area. Is there a danger that those areas | :52:28. | :52:39. | |
are not poor and they might have art poverty compounded by these areas | :52:40. | :52:47. | |
and by further cuts? The gap between arts riches and art poverty becomes | :52:48. | :52:51. | |
greater. Is it something that you will have a role to try and bridge? | :52:52. | :52:57. | |
It is a risk but it is something we tried very hard to bridge because we | :52:58. | :53:00. | |
want to work in those areas where there has traditionally been less | :53:01. | :53:05. | |
arts. At the same time we want to make sure those places can still | :53:06. | :53:14. | |
flourish. What do you do in areas where there is no local authority | :53:15. | :53:22. | |
money? I think locally in my own county, they are looking at | :53:23. | :53:28. | |
significant cuts and matters including an anticipated ?21 million | :53:29. | :53:34. | |
plug. They have no guarantee of getting this from central | :53:35. | :53:44. | |
Government. If one is following the logic of this, they will have no | :53:45. | :53:48. | |
choice but to do things that they would prefer not to. The question is | :53:49. | :53:54. | |
how can you make use of certain that you are not really displacing | :53:55. | :53:57. | |
funding by trying to keep the embers going in those parts of the country | :53:58. | :54:03. | |
at all? It is a challenge and a challenge which we have to face. One | :54:04. | :54:08. | |
of the things is quite often we can see examples of areas where because | :54:09. | :54:14. | |
of one moment or one seismic event in that area, suddenly local opinion | :54:15. | :54:21. | |
can be changed. Weston-Super-Mare and dismal land changed the way | :54:22. | :54:27. | |
people saw arts and country -- culture. Many people are investing | :54:28. | :54:30. | |
in arts and culture because it provided economic impetus into the | :54:31. | :54:41. | |
town. I am a massive fan of the work the universities are doing. In | :54:42. | :54:44. | |
Herefordshire I am excited about the University coming in because there | :54:45. | :54:49. | |
is something we know where universities are run by literate | :54:50. | :54:54. | |
people and they want to make the places where they shame a name with | :54:55. | :54:58. | |
it, great places to study and great places for academics to go and bring | :54:59. | :55:10. | |
up their families. The critical thing is local capacity. It is local | :55:11. | :55:13. | |
talent creating local arts organisations which reflect the | :55:14. | :55:19. | |
local culture. That is what is at risk able to local authority | :55:20. | :55:22. | |
funding. We are clear on that. In circumstances where there is 100% | :55:23. | :55:27. | |
cut and there are very few examples of that already, there are other | :55:28. | :55:32. | |
things that the arts Council can do that though fully answer the | :55:33. | :55:36. | |
question but go some way to do. More than half of our touring productions | :55:37. | :55:44. | |
already go to areas of low arts engagement. We could look at how we | :55:45. | :55:49. | |
improve that. We should look at the digital dividend. I was in | :55:50. | :55:54. | |
Sheringham Little Theatre which is the tip of North Norfolk and I was | :55:55. | :56:00. | |
there a matter of a month ago. With some trepidation they started take | :56:01. | :56:06. | |
the event they live. They thought it might damage the local productions. | :56:07. | :56:09. | |
What it has done is given the people in North Norfolk the joy and | :56:10. | :56:14. | |
pleasure of productions in the National Theatre stop it has given a | :56:15. | :56:18. | |
new Remie -- a revenue stream and brought people into the theatre that | :56:19. | :56:22. | |
weren't there earlier. It is another example of content which runs | :56:23. | :56:26. | |
alongside it. There are other things that we can do that we will need to | :56:27. | :56:30. | |
look at seamlessly to make sure people in areas that are hit by | :56:31. | :56:33. | |
large cuts are not completely impoverished. | :56:34. | :56:38. | |
My local authority how can confidently say hasn't cut its arts | :56:39. | :56:49. | |
and culture budget in recent years. The only problem is in 2014, they | :56:50. | :56:54. | |
didn't spend any thing so you're not really cutting any thing if you're | :56:55. | :56:58. | |
not spending any thing so that is a significant concern to me. You | :56:59. | :57:04. | |
mentioned earlier that she work with 260 local authorities which I think | :57:05. | :57:10. | |
leaves about 50 local authorities or maybe a few higher. It is at this | :57:11. | :57:15. | |
more than a concern that areas like mine perhaps not engaging up all | :57:16. | :57:22. | |
with the arts Council and I wondered, what is your strategy to | :57:23. | :57:25. | |
ensure that authorities like mine engage with you, know what is | :57:26. | :57:33. | |
available. We have the assets, we have built a brand-new apathy at | :57:34. | :57:38. | |
five years ago by the Riverside -- amp if it which -- theatre which is | :57:39. | :57:45. | |
not used very often. They are not very many venues. I don't think | :57:46. | :57:51. | |
there is a lot of desire in the area for arts and culture but what can | :57:52. | :57:55. | |
you do to get into the smaller local councils to let them know what is | :57:56. | :58:00. | |
available and how they can take advantage of what you can offer? I | :58:01. | :58:06. | |
believe quite passionately, one of the things I said when I got this | :58:07. | :58:12. | |
job was that I spend most of my life outside of London and I sat in town | :58:13. | :58:18. | |
hall with one employee... That is the town council. I sat down with | :58:19. | :58:25. | |
him and we had a conversation about what we could do to help development | :58:26. | :58:30. | |
because he is a one-man band in there and I think we need to do more | :58:31. | :58:35. | |
in places like your constituency to encourage people to be more | :58:36. | :58:39. | |
demanding of us and ivory keen that that happens and I think the | :58:40. | :58:43. | |
direction of travel we will go in and our investment strategy over the | :58:44. | :58:47. | |
coming years will be to do that. We also want to say that this is places | :58:48. | :58:50. | |
where artists can come and live and set up their lives and work so one | :58:51. | :58:55. | |
of the challenges when you talk to young artist in London is that they | :58:56. | :58:58. | |
will say that they can no longer afford to live and work in London | :58:59. | :59:03. | |
and so I say, fantastic, we have places around the country where | :59:04. | :59:07. | |
there are buildings in local areas where we could be galvanised by | :59:08. | :59:11. | |
artists and beautiful parts of the world. You want people to be there | :59:12. | :59:16. | |
and be inspired and have areas of creativity and production there. It | :59:17. | :59:20. | |
is that directing Casement that I was referring to with the local | :59:21. | :59:24. | |
authority. I'm glad you saw the town council. That is a fantastic | :59:25. | :59:30. | |
facility and they struggle in terms of employing one person but they put | :59:31. | :59:33. | |
on great performances for the local community. At the District Council | :59:34. | :59:38. | |
above them does not have an arts officer. As I said, it has not cut | :59:39. | :59:42. | |
anything because it has not spent any thing on arts and culture. Can | :59:43. | :59:48. | |
you assure me, I'm sorry to be sold local, but can you assure me that | :59:49. | :59:54. | |
one of your leaves office serves 20 miles of the road will at least for | :59:55. | :00:00. | |
mass. I can absolutely guarantee that will happen. But what we will | :00:01. | :00:06. | |
need to, very quickly, what we need to encourage with your help is that | :00:07. | :00:13. | |
one person on the council, whoever they are, that local councillor who | :00:14. | :00:16. | |
really understands the value of arts and culture that we can work with | :00:17. | :00:19. | |
them to influence other colleagues. If none of them get it, it's not an | :00:20. | :00:27. | |
easy task. A bit of love and attention from yourselves I think | :00:28. | :00:30. | |
would do wonders with councils like Selby. I'm sure there are others. | :00:31. | :00:35. | |
Can I change tack a bit? You mentioned earlier philanthropy. Do | :00:36. | :00:41. | |
we do enough of it in this country? Is there enough of it? The British | :00:42. | :00:47. | |
in general are quite generous if you compare us to other countries. We | :00:48. | :00:50. | |
don't do enough of is raising money effectively for arts and culture. We | :00:51. | :00:54. | |
are getting better at it. It is growing but not as quickly as | :00:55. | :00:58. | |
commercial revenues into and culture so we need to look at why multiple | :00:59. | :01:01. | |
don't understand that arts and culture organisations deliver a | :01:02. | :01:06. | |
public benefit and our charities and that is down to many of us in the | :01:07. | :01:12. | |
sector articulating those facts more effectively. And then it is into | :01:13. | :01:16. | |
improving fundraising infrastructure and I mentioned earlier the new | :01:17. | :01:19. | |
course we have happens in the work we are doing around the country. We | :01:20. | :01:23. | |
have some very good and experienced philanthropists who is our pest go | :01:24. | :01:27. | |
around and talk to boards and executives to improve fundraising | :01:28. | :01:33. | |
capacity and skills and talent. Could we be doing any thing? The UK | :01:34. | :01:41. | |
has had a real research and is and is a tax efficient way of investing. | :01:42. | :01:46. | |
Should there not be conversations with the Treasury that are not | :01:47. | :01:51. | |
perhaps being hand will you could be encouraging the Chancellor to look | :01:52. | :01:57. | |
at how people who are investing in individuals and arts and culture | :01:58. | :01:59. | |
could benefit in some way in this accident? It's not a philanthropic | :02:00. | :02:05. | |
point. We should not forget the tax credit is that we have had over the | :02:06. | :02:10. | |
last three or four years which now extends to theatre, dance, opera, | :02:11. | :02:16. | |
orchestras and as announced in the budgets, museums and galleries. That | :02:17. | :02:20. | |
is not philanthropy. What I would say about the fundraising, many | :02:21. | :02:25. | |
givers and owners and potential donors don't use the existing | :02:26. | :02:29. | |
benefits and I think absolute priority for us would be to get able | :02:30. | :02:33. | |
to understand what the existing tax breaks are. Gift aid is not fully | :02:34. | :02:37. | |
claimed where it should be. Then there is the idea that was brought | :02:38. | :02:43. | |
in about five or six years ago, if you give more than 10% of your | :02:44. | :02:50. | |
estate to charity when you die, you get a reduction in state duty of 40% | :02:51. | :02:56. | |
to 36%. If you had already made donations in your Will of about five | :02:57. | :03:00. | |
or 6%, you could double that at no additional cost to your estate. When | :03:01. | :03:06. | |
I was standing in a room helping an opera company raise money, 100 | :03:07. | :03:10. | |
people wanted to give money and we had a famous singer on the stage. I | :03:11. | :03:15. | |
made a speech about giving money to the opera. 99 out of 100 people who | :03:16. | :03:19. | |
wanted to give money did not know about that tax break two years after | :03:20. | :03:24. | |
it came in. This is a challenge to us. People should know about these | :03:25. | :03:29. | |
existing tax breaks. Should we also be looking at trying to redevelop | :03:30. | :03:36. | |
the links that we saw in the 19th century between cultural | :03:37. | :03:40. | |
institutions and industry? I think so. I think having been in the | :03:41. | :03:47. | |
public sector for a year and having come from the private sector I think | :03:48. | :03:51. | |
absolutely. One of the areas which is very exciting is again with | :03:52. | :03:55. | |
industries and investment in place, they wanted to be a great place to | :03:56. | :03:59. | |
live and work and I think that actually arts and culture make | :04:00. | :04:04. | |
places great and some of the exciting places we go around the | :04:05. | :04:07. | |
country right now that we see have arts and culture at the heart of | :04:08. | :04:11. | |
their investment and a good example would be if you talk to the Chief | :04:12. | :04:14. | |
Executive of Exeter Council, the first place he takes anyone who is | :04:15. | :04:20. | |
interested in his job title as director of growth is to the museum | :04:21. | :04:25. | |
there which he is very in excited about. He says this is the place, | :04:26. | :04:29. | |
great museum at the heart of our city that he wants big multinational | :04:30. | :04:32. | |
companies to come and see us stop this is somewhere where your high | :04:33. | :04:38. | |
schools employees could come and live and work and bring their | :04:39. | :04:41. | |
families. Arts and culture make a place. Thank you for that. Can we go | :04:42. | :04:57. | |
to Paul Farrelly. In my area, be going to be a bit parochial but I | :04:58. | :05:00. | |
think I can afford to be because in Staffordshire there is only one | :05:01. | :05:03. | |
national portfolio organisation. I still don't know since our last | :05:04. | :05:07. | |
report whether there are areas in the country with none but I'm sure | :05:08. | :05:16. | |
we will find out in due course. And of course, the backdrop of local | :05:17. | :05:24. | |
authority cuts is really worrying, but amidst everything you are doing | :05:25. | :05:30. | |
at the moment, you have started a national theatre after doing a | :05:31. | :05:35. | |
London theatre and you are found that everything in London really | :05:36. | :05:42. | |
blends so it was a mixed picture in the rest of the country in certain | :05:43. | :05:49. | |
areas. Could you say a little about how that theatre review is going? | :05:50. | :05:57. | |
You were due to have a draft finding by now and to produce the report in | :05:58. | :06:04. | |
June. Just trying give us a feel of that. This was very much around | :06:05. | :06:10. | |
trying to find out because we didn't come with a set of preconceptions of | :06:11. | :06:14. | |
this is an analysis looking at theatre. One of the things we were | :06:15. | :06:21. | |
very interested to see was that there are lots of medium-sized, mid | :06:22. | :06:26. | |
ranged theatres. 400 to 700 feet and we want to say the amount of work | :06:27. | :06:34. | |
that goes their -- 400 to 700 seats. We want to know if the | :06:35. | :06:37. | |
infrastructure is right and what audiences expectations are and how | :06:38. | :06:42. | |
they are led and run. Those are the questions so that data is being | :06:43. | :06:45. | |
assimilated right now and we will have a report in a matter of weeks. | :06:46. | :06:49. | |
That is something that has been worked on and we will be very happy | :06:50. | :06:52. | |
to share it with the committee as soon as it is ready. From the | :06:53. | :07:00. | |
sequence of events, there was an interesting London theatre report | :07:01. | :07:02. | |
and then this review. There should be no necessary implication because | :07:03. | :07:05. | |
we are talking about trying to rebalance investment away from | :07:06. | :07:09. | |
London without harming London, there should be no necessary implication | :07:10. | :07:15. | |
that that would reverse that trend for future investment but regional | :07:16. | :07:30. | |
theatres might be downgraded? On the contrary. What one of our concerns | :07:31. | :07:36. | |
was was that a lot of our work and thrive in the centre of London that | :07:37. | :07:39. | |
is challenging to get audiences outside of London. We want to | :07:40. | :07:42. | |
understand what levers we can use as an arts Council to make that happen. | :07:43. | :07:48. | |
But just to be absolute crystal clear we are completely committed to | :07:49. | :07:53. | |
the rebalance of the funding as we have publicly committed. We are | :07:54. | :07:56. | |
committed to continuing that trend into the foreseeable future and the | :07:57. | :08:00. | |
other thing I would say about the health of the theatre is that the | :08:01. | :08:06. | |
tax credit for theatres is going to, in the end, bring in as much as 20 | :08:07. | :08:10. | |
million a year in the next five years. So there are a number of | :08:11. | :08:13. | |
things there which should benefit theatres outside London. Cinemas | :08:14. | :08:19. | |
don't often get brought into it, but there have been some efforts to try | :08:20. | :08:22. | |
and fill some gaps with the cinema showings. Fastest-growing element in | :08:23. | :08:29. | |
the cinema at the moment is the transmission of live performance, | :08:30. | :08:34. | |
not just theatre but opera and dance and so on. 3% of stick sales are | :08:35. | :08:40. | |
enough from them. It is incredibly excitement and if you think about a | :08:41. | :08:47. | |
production from the Don Marc Warren -- the night is on live, 100,000 | :08:48. | :08:53. | |
people are watching it. We are just into the Digital millennium. The | :08:54. | :08:55. | |
possibilities of delivering enormous amount of benefit, it should be in | :08:56. | :09:01. | |
addition to building the Varsity not instead of, let's be clear on that, | :09:02. | :09:06. | |
but it is a huge opportunity. And it is not just big names now. The | :09:07. | :09:10. | |
miracle Theatre in Cornwall are taking their big shows and streaming | :09:11. | :09:13. | |
them and getting a worldwide reputation. Have a local institution | :09:14. | :09:23. | |
been knowing about this and that they may be taking a share of a | :09:24. | :09:26. | |
fixed size of the cake rather than a growing cake? There was deafening | :09:27. | :09:31. | |
nervousness when it started. I mention the sharing of the theatre I | :09:32. | :09:35. | |
was at the other day and the lady who runs it was very clear with me. | :09:36. | :09:38. | |
She said two years ago she was totally against it but not using | :09:39. | :09:41. | |
crack be in favour of because she sees the benefit. -- totally in | :09:42. | :09:48. | |
favour of it. We asked the BFI if it was damaging local theatre and it is | :09:49. | :09:53. | |
not. There are some great examples. The Dukes Theatre in Lancashire have | :09:54. | :09:57. | |
a very good cinema programme and a good life theatre programme as well. | :09:58. | :10:02. | |
When I saw a theatre in Hereford, they called me clearly that although | :10:03. | :10:07. | |
NT live shows are also on in the cinema down the road, people like to | :10:08. | :10:11. | |
come to the theatre environment to watch them because it's more | :10:12. | :10:17. | |
artistic as an experience. If you go and see an opera or theatre in the | :10:18. | :10:23. | |
room itself you have a complete different experience than if you are | :10:24. | :10:29. | |
watching closely cut focused close-ups, different styles of | :10:30. | :10:33. | |
acting or appropriate. It is not the same experience and the frequency | :10:34. | :10:37. | |
why I wouldn't be entirely... They are both valid though. A different | :10:38. | :10:42. | |
experience, close-ups and popcorn is what you get in the cinema. A | :10:43. | :10:46. | |
different experience. Nicely put. But you have done work on that and | :10:47. | :10:50. | |
you have an active programme to promote new entrance into this sense | :10:51. | :10:55. | |
we are doing that yes. They are contracted to a production | :10:56. | :11:08. | |
company. It is part of our investment. Getting a better return | :11:09. | :11:17. | |
on investment for arts funding, more people have to see it. We know you | :11:18. | :11:25. | |
say you have a production arm, why did you film that and we will help | :11:26. | :11:31. | |
you to distributed around the country. In parts of the country, | :11:32. | :11:37. | |
that is happening. The cost of capture can vary between ?20,000 to | :11:38. | :11:49. | |
make it available to large amounts of people to 200,000 people to get | :11:50. | :11:52. | |
the high definition close-up and all the rest of it. We are trying to | :11:53. | :11:59. | |
help and give people the strategies. The Royal exchange Theatre wanted to | :12:00. | :12:06. | |
capture the production of Hamlet. They worked and in the end we talked | :12:07. | :12:10. | |
to them and they found a partner. The cost of capture was 120,000 but | :12:11. | :12:21. | |
that is now one a set of all time. Scholars, students and members of | :12:22. | :12:25. | |
the public can access it. We are working on the economic soffits. I | :12:26. | :12:38. | |
want to look at skills and diversity. You were talking about | :12:39. | :12:45. | |
skills gaps and commercial managerial leadership and fund | :12:46. | :12:50. | |
raising. It sounds like improvements are being made there. What else | :12:51. | :12:54. | |
needs to be done and are there other skills gaps in the regions? One of | :12:55. | :13:02. | |
the things I have noticed in my first year is when I talked to arts | :13:03. | :13:06. | |
organisations around the country, whatever branch of the arts they are | :13:07. | :13:11. | |
in, the great organisations tend to have great leaders behind them. | :13:12. | :13:17. | |
There are some very strong leaders right across the arts and culture | :13:18. | :13:25. | |
sector will stop it is interesting where organisations face challenges. | :13:26. | :13:29. | |
The library sector, I have seen some strong leadership from within the | :13:30. | :13:32. | |
library sector where people are imagining what is a great physical | :13:33. | :13:36. | |
cultural space and seeing it in a digital future. One example is is in | :13:37. | :13:43. | |
Worcestershire where they have come together with Worcestershire County | :13:44. | :13:45. | |
Council and brought it together somewhere where you have the | :13:46. | :13:48. | |
students but also have all the things you have from a great modern | :13:49. | :13:53. | |
library as well. That is an example of good thinking. We want to | :13:54. | :13:58. | |
increase capacity for that. We want to invest in the next generation of | :13:59. | :14:07. | |
leaders. Also around diversity is around making sure the leaders are | :14:08. | :14:13. | |
right across the way England looks in the 21st-century. We have had the | :14:14. | :14:22. | |
creative employment programme. Potentially it is 6500 paid | :14:23. | :14:28. | |
apprenticeships and internships. It is important we draw it from many | :14:29. | :14:35. | |
sectors. We are over 4000 placements and that is important. As Darren | :14:36. | :14:42. | |
says, leadership is important and we are" operators and funders of the | :14:43. | :14:48. | |
core leadership programme which has been running for 11 years. We have | :14:49. | :14:52. | |
somebody sitting on my national council who runs museums in | :14:53. | :14:56. | |
Manchester. At all levels were trying to address this. You have | :14:57. | :15:04. | |
mentioned you have been an evangelist for opportunities in the | :15:05. | :15:07. | |
arts. How do you see that going and how can we encourage that in terms | :15:08. | :15:11. | |
of skills and training in the workforce? The 15 years into the | :15:12. | :15:17. | |
Digital millennium. Why would we know precisely how it will go? It is | :15:18. | :15:25. | |
a fantastic opportunity. It is absolutely right that within the | :15:26. | :15:31. | |
arts organisations, one of the ways they distribute their culture would | :15:32. | :15:36. | |
be on video. They need their skills to distribute and the rest of it. We | :15:37. | :15:43. | |
are working on that and we have joint ventures with the BBC, Channel | :15:44. | :15:49. | |
4 and random axe which I am going to the launch of tomorrow night. We | :15:50. | :15:56. | |
They are about getting young artists They are about getting young artists | :15:57. | :16:00. | |
to make films and then finding a way of distributing them. That is | :16:01. | :16:03. | |
additional money going into know-how and digital skills. When we think | :16:04. | :16:12. | |
about the next generation, everybody needs to develop as the digital | :16:13. | :16:21. | |
device -based strategy does. Much of the media consumption now happens on | :16:22. | :16:24. | |
a mobile phone or a tablet and we want to make sure arts and cultural | :16:25. | :16:28. | |
organisations are there because that is where they are getting their | :16:29. | :16:33. | |
entertainment. How can you encourage that and sharing best practice? This | :16:34. | :16:38. | |
goes to the heart of our development role. There are pockets of | :16:39. | :16:43. | |
excellence in this but we all behind in some areas. We are keen to help | :16:44. | :16:49. | |
fast tracked it through. I want to get to a stage where arts and | :16:50. | :16:54. | |
culture organisations are doing things and mail copying us rather | :16:55. | :16:57. | |
than the other way round. We are creative people in the arts and | :16:58. | :17:01. | |
cultural world and we should be able to create some of these things. Part | :17:02. | :17:08. | |
of that is helping them diversify their revenue streams and part of | :17:09. | :17:11. | |
that is modern methods of data collection and data sharing. We are | :17:12. | :17:17. | |
not only collecting audience data to assist but we are requiring people | :17:18. | :17:24. | |
to do this data sharing with other arts organisations and other | :17:25. | :17:28. | |
cultural organisations and to market themselves more effectively. Those | :17:29. | :17:30. | |
skills that will be very important in the future. Turning out the | :17:31. | :17:38. | |
diversity of the workforce. The arts Council made significant progress. | :17:39. | :17:47. | |
12.4 of the work Ferres -- workforce were black and American and many | :17:48. | :17:52. | |
were disabled. Reports have come up highlighting the fact that the | :17:53. | :17:58. | |
workforce at leadership levels and overall is not reflective of | :17:59. | :18:02. | |
society. Could you articulate what you are doing about that? It is not | :18:03. | :18:09. | |
acceptable and we want to change it. That is something we are clear on. | :18:10. | :18:14. | |
For me, one of the interesting things was bound -- around people | :18:15. | :18:23. | |
making decisions. I know we will be doing more over the coming years to | :18:24. | :18:28. | |
increase capability of leadership. Eight and half million pounds of | :18:29. | :18:32. | |
newish Chidgey funds to go into improving diversity within the arts | :18:33. | :18:36. | |
and cultural workforce will be around fast tracking through leaders | :18:37. | :18:43. | |
but also making sure we have a responsibility not just in | :18:44. | :18:46. | |
specialist organisations but across the piece. Historically, we have | :18:47. | :18:51. | |
funded specialist organisations in this area and that has been almost | :18:52. | :18:57. | |
allowing everyone else to get away without taking responsibilities as | :18:58. | :19:03. | |
they should. We are very clear that every organisation, no matter where | :19:04. | :19:07. | |
they are has a responsibility to be working in this area and to do | :19:08. | :19:12. | |
better. In terms of practical changes there has been concerns | :19:13. | :19:20. | |
about the use of voluntary or unpaid work its brilliance and that has | :19:21. | :19:25. | |
from more challenging social from more challenging social | :19:26. | :19:28. | |
economic backgrounds to get into arts and culture. We realise to do a | :19:29. | :19:38. | |
month of work its brilliance, if you can't afford the bus fare, it stops | :19:39. | :19:46. | |
you from taking part. What we are saying is the internship should be | :19:47. | :19:53. | |
paid and we have funded it. We see that as being very important. We | :19:54. | :20:04. | |
will continue to invest in that. I have to congratulate you on name | :20:05. | :20:07. | |
checking every one of our constituencies. I have been to a lot | :20:08. | :20:14. | |
of places across the country but that is because we are a national | :20:15. | :20:17. | |
arts Council and I believe the best thing I can do come into the | :20:18. | :20:20. | |
organisation was to meet the people up and down the country that make | :20:21. | :20:30. | |
great art and culture happen. Thank you very much for that. Take an | :20:31. | :20:39. | |
organisation that is the recipient of funds from you, what do you | :20:40. | :20:45. | |
actually do that requires them to improve the quality of diversity and | :20:46. | :20:49. | |
opportunities they are offering to people of black, ethnic minority or | :20:50. | :20:57. | |
other forms of diverse management? What are you doing to make that | :20:58. | :21:02. | |
happen? We have a funding agreement and help forces in that and we | :21:03. | :21:07. | |
stipulate how they would behave and what they will do. We have signalled | :21:08. | :21:13. | |
quite clearly to the arts and culture sector that the man next | :21:14. | :21:17. | |
funding round which will start in 2018, this will become more | :21:18. | :21:23. | |
important and an important part of decision making. We are publishing | :21:24. | :21:32. | |
the employment statistics and we did it for the first time last December. | :21:33. | :21:38. | |
They had a poor record in diverse employment and that appeared in the | :21:39. | :21:49. | |
local newspapers. We are also measuring it and publishing it. We | :21:50. | :21:53. | |
have been very open and will be very open with our data. You have to be | :21:54. | :22:00. | |
open about this six and publish the data. -- open about their | :22:01. | :22:08. | |
statistics. There is a programme which is about audiences and | :22:09. | :22:15. | |
repertoire. If your repertoire reflects all tastes and everybody | :22:16. | :22:19. | |
who lives in your community, your audiences will also reflect it. We | :22:20. | :22:24. | |
are doing audience measurement and asking people to make their | :22:25. | :22:26. | |
repertoire all embracing and wider. We will be looking into this and | :22:27. | :22:35. | |
will be publishing in the autumn. We intend to measure it, manage it and | :22:36. | :22:47. | |
publish it. How do you... Let me ask you another way, are you confident | :22:48. | :22:52. | |
you are accessible in terms of funding applications to all parts of | :22:53. | :22:56. | |
the arts and performance community? How do you advertise yourselves? We | :22:57. | :23:03. | |
are talking about monitoring the large organisations. How easy is it | :23:04. | :23:07. | |
for some new group of performers, some new collective to make a | :23:08. | :23:17. | |
successful application? It is always a challenge because there are people | :23:18. | :23:22. | |
who know how the system works. We do a lot of work on the ground in local | :23:23. | :23:31. | |
areas. It is about building up that local capacity. We run workshops in | :23:32. | :23:35. | |
areas and will send managers out to work with people. We work with | :23:36. | :23:42. | |
artists who are creating work and we as that question as to why it is | :23:43. | :23:47. | |
happening. We go and talk to them. We are keen to do that and would | :23:48. | :23:52. | |
like to get more people and fund more organisations. If anybody does | :23:53. | :23:57. | |
engage with us, there is a fantastic team based in our Manchester office | :23:58. | :24:00. | |
that work on the phones and they have sat with them in operations and | :24:01. | :24:04. | |
will take them through the entire funding process if they need help | :24:05. | :24:09. | |
with any part of it. We do everything we can with people with | :24:10. | :24:13. | |
visual impairments to make sure things are available. I am sure we | :24:14. | :24:16. | |
can do more and our intention is to do more. We don't want just be | :24:17. | :24:20. | |
funding the same people for the same work all of the time. You can always | :24:21. | :24:29. | |
improve. We are always trying to improve the processes and they can | :24:30. | :24:33. | |
be improved. We are consulting on some changes to applications from | :24:34. | :24:36. | |
next year for the next round of grants for the arts. For instance, | :24:37. | :24:43. | |
the application process for individual artists and small | :24:44. | :24:45. | |
organisations can be simplified further than it is at the moment. If | :24:46. | :24:52. | |
you are a large organisation, quite rightly the arts Council will be | :24:53. | :24:56. | |
asking a lot of you and a lot of data from you. If you are a small | :24:57. | :25:00. | |
organisation, you will have a simpler procedure. We are not | :25:01. | :25:04. | |
satisfied it is simple enough for the smaller organisations. Do you | :25:05. | :25:11. | |
make artistic judgments? Yes. Who makes those? We will make artistic | :25:12. | :25:23. | |
judgments based on our expertise. Our employees will go through. We | :25:24. | :25:31. | |
have been trying to create more objective criteria. We have been | :25:32. | :25:34. | |
putting money into the Manchester metrics which was piloted three | :25:35. | :25:40. | |
years ago. This is a more coherent way of making judgments to which you | :25:41. | :25:45. | |
refer, combined in peer review with audience data and with critical | :25:46. | :25:52. | |
review. Pulling that information together so we are developing a more | :25:53. | :25:55. | |
sophisticated model for the future based on Manchester metrics. That is | :25:56. | :26:03. | |
a way of quantifying almost the artistic merit? It will ride on the | :26:04. | :26:12. | |
composition of those panels to make sure there is sufficient diversity. | :26:13. | :26:19. | |
The other thing I would say though is that we are not investing in art | :26:20. | :26:26. | |
just because we would like it. We are investing in art because we | :26:27. | :26:31. | |
recognise that there is a wide range of different viewpoints of what | :26:32. | :26:33. | |
great art is around the country and we would make sure or seek to make | :26:34. | :26:37. | |
sure we represent all of that. That's what I was going to finish | :26:38. | :26:42. | |
off with. Obviously we are looking at countries of culture, we're | :26:43. | :26:45. | |
looking at art being represented across the UK particular the outside | :26:46. | :26:51. | |
of London, so do those panels represent geographical diversity? | :26:52. | :26:56. | |
Yes, for example, every decision that involves anybody making a | :26:57. | :26:58. | |
funding application in the north-east will be made involving | :26:59. | :27:03. | |
the team in our Newcastle office so for example, as I said, I was in | :27:04. | :27:07. | |
Sunderland on Saturday night. That was a piece of artistic endeavour | :27:08. | :27:13. | |
that was absolutely of Sunderland. It was celebrating Sunderland's | :27:14. | :27:16. | |
cultural heritage and that was a decision to fund the cultural spring | :27:17. | :27:22. | |
which is the organisation put it on involving our team in Newcastle. I | :27:23. | :27:27. | |
want to wind up in a couple of minutes but just a couple of last | :27:28. | :27:31. | |
questions if I may for you. We haven't talked about regional and | :27:32. | :27:37. | |
local museums at all or art galleries. Can we touch on that? How | :27:38. | :27:43. | |
do you see that what you're going to do about it? Yes, first we should | :27:44. | :27:50. | |
put it in context. The largest funding of museums is obviously | :27:51. | :27:59. | |
local authorities and we inherited responsibility about four or five | :28:00. | :28:04. | |
years ago. At the moment we have ?42.5 million to invest in museums. | :28:05. | :28:08. | |
Half of that goes into our major museums of which there are 21. The | :28:09. | :28:11. | |
other half goes into the resilience fund museums which is very much | :28:12. | :28:17. | |
needed. The HLF has a role in the capital funding as well. We are at | :28:18. | :28:22. | |
the moment consulting again, looking at how we change things for next | :28:23. | :28:26. | |
year on how we can open up more of our funds to museums and more of our | :28:27. | :28:30. | |
grounds and archive funding and lottery funding to museums who are | :28:31. | :28:37. | |
an important part of culture. We are really concerned about museums. I | :28:38. | :28:40. | |
think I said in a speech I made a couple of weeks ago that they are at | :28:41. | :28:47. | |
the sharp end of this cuts in local authorities you talked about the | :28:48. | :28:51. | |
Royal Albert easy in Exeter. They are the holders and the because told | :28:52. | :28:56. | |
's of our national identity. They could not be more important in our | :28:57. | :29:00. | |
great treasures in this country and we are concerned about it. I would | :29:01. | :29:05. | |
emphasise that we will do whatever we can and have a very good head of | :29:06. | :29:08. | |
museums you came to us from the British Museum, but we are partners | :29:09. | :29:14. | |
with this in other bigger funders. -- with other bigger funders. The | :29:15. | :29:22. | |
museum sector has seen a reasonable settlement for yourselves and the | :29:23. | :29:30. | |
other arts organisations and the National museums are been largely | :29:31. | :29:34. | |
protected and from their point of view, to use a quote given to me by | :29:35. | :29:39. | |
one person, they seem to be in a proposition whether Government is a | :29:40. | :29:45. | |
patron of the arts and culture for abundant but filler signs outside of | :29:46. | :29:49. | |
London because they are at the sharp end so this is quite crucial to our | :29:50. | :29:58. | |
report. Many how closing or cutting down hours and introducing charges | :29:59. | :30:04. | |
saw the same time, we've got a wide range of review of funding and you | :30:05. | :30:09. | |
can't second-guess what's going to happen in this cultural white paper. | :30:10. | :30:14. | |
From your perspective, do you think there is more than a possibility to | :30:15. | :30:18. | |
make good the funding cuts for the rest of the museums around the | :30:19. | :30:23. | |
country but the prickly issue of charging for entry into London | :30:24. | :30:31. | |
museums will have to be resist? I'll answer that. Darin you can add | :30:32. | :30:39. | |
something. The question of charging in any museum is not something that | :30:40. | :30:44. | |
the arts Council takes a completely theological position on. In that if | :30:45. | :30:47. | |
you look at the Association for independent mediums, and they may be | :30:48. | :30:52. | |
very interesting as a source of information for you as well as the | :30:53. | :30:55. | |
museums Association and the National fund of museums as well, many | :30:56. | :31:00. | |
museums to not receive public money except for the odd bit of capital | :31:01. | :31:06. | |
and they do charge otherwise visibly many have strong tourist economy. | :31:07. | :31:09. | |
What we all believe is that everybody deserves a museum and that | :31:10. | :31:12. | |
if you are a town that doesn't have a strong tourist economy, Taj and | :31:13. | :31:16. | |
would not make any difference. Even if you do charge, there should be a | :31:17. | :31:21. | |
strong access charge so that children and other disadvantage and | :31:22. | :31:24. | |
unemployed people can go to the museum anyway. So even if you | :31:25. | :31:26. | |
charge, you should have a decent access policy. I don't personally | :31:27. | :31:32. | |
take the view that we should never ever charge for museum entry and I | :31:33. | :31:36. | |
see lots of museums now nationally and locally preserving free entry | :31:37. | :31:42. | |
but charging for special exhibitions, charging for friends | :31:43. | :31:45. | |
membership and so on but there are a range of solutions and so I don't | :31:46. | :31:50. | |
take the view of never ever charging. I think it's true to say | :31:51. | :31:55. | |
that it's an area which does cause as concern so local authority museum | :31:56. | :32:03. | |
investment for 2010 to 2015 is down ?23 million so it probably goes by | :32:04. | :32:06. | |
much to the area we were talking at the front end that it is an area of | :32:07. | :32:09. | |
concern. Therefore the parts of the country where museums are causing | :32:10. | :32:16. | |
and we also have a responsibility to protect the collections and those | :32:17. | :32:19. | |
museums are not just the physical buildings, but also the publicly | :32:20. | :32:24. | |
owned property of all different sorts in there. Where the museum | :32:25. | :32:28. | |
sector have been absolutely brilliant is where they gradually | :32:29. | :32:30. | |
reinvented themselves in many cases over the last 20 or 30 years whether | :32:31. | :32:34. | |
used to be repositories of knowledge and information which they almost | :32:35. | :32:38. | |
kept from the very people they were looking after it forward as now I | :32:39. | :32:41. | |
think it has been turned on its head and there are great examples of | :32:42. | :32:46. | |
museums that are making themselves central to tourist destinations in | :32:47. | :32:49. | |
central to cultural investments within places. There is a great | :32:50. | :32:52. | |
buildings were we can put on other cultural and artistic activities but | :32:53. | :32:57. | |
it is a concern. So you would expect quite naturally to touch on all the | :32:58. | :33:03. | |
issues including that prickly issue of charging? I think we are dealing | :33:04. | :33:08. | |
with Government manifesto and therefore I can't answer for how | :33:09. | :33:11. | |
they are going to conduct it but we can only give the arts Council's | :33:12. | :33:18. | |
viewers. In some other countries and some other cities, tourists are | :33:19. | :33:23. | |
charged but not locals. Do you have a view on whether that a greater? | :33:24. | :33:27. | |
Well, my view is not theological and charging so I think there can be | :33:28. | :33:30. | |
different solutions in different places. You would need tourists for | :33:31. | :33:33. | |
that to work and some areas do not have tourist economy so it would be | :33:34. | :33:38. | |
inappropriate. So the large bridge collections could potentially charge | :33:39. | :33:43. | |
tourists but not locals in the some way that they do in some Italian | :33:44. | :33:46. | |
cities. That would be an option in your universe? We are funders of | :33:47. | :33:54. | |
largely, with one exception, museums outside London and those other ones | :33:55. | :33:58. | |
were concerned about and it's those issues that we really have to | :33:59. | :34:01. | |
express a view answer we don't tend to express views on the National | :34:02. | :34:05. | |
museums because they are very different and speak for themselves. | :34:06. | :34:10. | |
And no doubt they will. I'm sure. But just to finalise and end | :34:11. | :34:15. | |
quickly, you have mentioned universities, very poor and part of | :34:16. | :34:22. | |
the -- very important thing but can I do is pick up which is if you look | :34:23. | :34:29. | |
at organisations that are funded every year, through lottery author | :34:30. | :34:33. | |
and council funding, in the West Midlands, I count eight. One is the | :34:34. | :34:41. | |
Russia expert company. -- one is the Royal Shakespeare Company. There are | :34:42. | :34:48. | |
only six, and one is in Wolverhampton. The question is if | :34:49. | :34:55. | |
you need places that create and growth in places outside cities, | :34:56. | :34:58. | |
universities look like a good entry points for that. Can you comment | :34:59. | :35:04. | |
about whether you believe that what you are doing to promote that? I | :35:05. | :35:11. | |
absolutely agree. I was at edge Hill University and a fantastic | :35:12. | :35:13. | |
University University of the year last year. But it fantastic thing | :35:14. | :35:17. | |
there is that they are finding their place. The same with Lancaster. The | :35:18. | :35:22. | |
university is finding its place. So absolutely, and Hull which we have | :35:23. | :35:28. | |
not mentioned yet, the University of Hull was central to getting the | :35:29. | :35:32. | |
application for the city of culture. In Staffordshire the University of | :35:33. | :35:36. | |
Staffordshire are very active at the moment about creating and national | :35:37. | :35:42. | |
centre of ceramics. Lots of things around the country. Universities are | :35:43. | :35:45. | |
great cultural investors and custodians and we see them as very | :35:46. | :35:51. | |
important. What is encouraging is that that is growing. University of | :35:52. | :35:55. | |
Northumbria invested in an art gallery in Newcastle. The University | :35:56. | :35:58. | |
of Sunderland runs a national bus centre are really important skill | :35:59. | :36:06. | |
centre. Universities are funding museums in Middlesbrough. University | :36:07. | :36:11. | |
of Derby opening a redundant theatre in Derby. University of the West of | :36:12. | :36:16. | |
England taking the top two florists of a gallery and saving its economic | :36:17. | :36:20. | |
model and is now on the list of easy and is of the year at the Art fund | :36:21. | :36:27. | |
competition announced as weak. John Moore's University in Liverpool | :36:28. | :36:29. | |
funding Liverpool for LaMonica Orchestra. What greater statement | :36:30. | :36:34. | |
could there be offered University saying we are here to have a better | :36:35. | :36:37. | |
environment for our students and to have a better place for our students | :36:38. | :36:42. | |
to graduate into? -- Philharmonic Orchestra. This is why universities | :36:43. | :36:47. | |
now measure of their graduates and how many are still there after five | :36:48. | :36:50. | |
years which is an interesting measure of their investment in the | :36:51. | :36:53. | |
local authority. I'm glad she raised it. It has enormous potential and is | :36:54. | :36:59. | |
vice chancellors more define their role as pacemakers rarer rather than | :37:00. | :37:01. | |
merely scholastic, we believe it will grow. And you will support that | :37:02. | :37:09. | |
process? Absolutely. Birmingham University went through a growth | :37:10. | :37:12. | |
fund and they are the custodian of the steam house which was a chance | :37:13. | :37:17. | |
is another ?14 million of funding into it so we are seeing them as | :37:18. | :37:20. | |
custodians here. They're culturally aware and literate and they are | :37:21. | :37:23. | |
great partners to work with. We have run on quite a bit but we are very | :37:24. | :37:27. | |
grateful to you for coming in. If you have one final point? I know it | :37:28. | :37:33. | |
could be a very late lunch for members of the committee and forgive | :37:34. | :37:37. | |
me. It's your lunch we are worried about. Oh, you don't get lunch? I | :37:38. | :37:43. | |
want is a one more thing. I'm sure your enquiry will have many | :37:44. | :37:48. | |
interesting and challenging things to say about arts funding across the | :37:49. | :37:52. | |
country, the distribution and mechanisms and everything. It is a | :37:53. | :37:55. | |
great time to be doing the enquiry. Can I make one plea, that in your | :37:56. | :38:01. | |
report, you also join us in reiterating the value of arts and | :38:02. | :38:04. | |
culture, the intrinsic and social value and educational and economic | :38:05. | :38:08. | |
value because that is the argument that we have to win with National | :38:09. | :38:12. | |
Government and local Government every week, every month, every year | :38:13. | :38:16. | |
going forward. We want your help in that. Thank you. Thank you for that. | :38:17. | :38:24. | |
I think it would be improper for me to make any comment on the future. | :38:25. | :38:30. | |
But we greatly thank you for coming in. Thank you for your time. | :38:31. | :38:36. |