Publication - Arts Council England
Transcription
Publication - Arts Council England
(+0 l A rT L20972 The Arts Counci l of Englan d 2nd annual report and accounts 1995/96 The Arts Council of England is a successor bode to the Arts Council of Great Britain (ACGB) which wa s established in 1940 . On I April 1994, the ACGI3's responsibilities and functions Here transferred to thre e new bodies : The Arts Council of England, The Scottis h Arts ( :ouncil and The Arts Council of WaIcs . (The Arts Council of Northern Ireland was alrcadr established a s a separate body. ) I1te Arts Council of England operates under a Royal Charter granted in 1994 in which its objective s are stated as : (a ► to develop and improve the knowledge, understandin g and practice of the arts , (b) to increase the accessibility• of the arts to the public , (c) to advise and co-operate with departments o f government, local authorities, the Arts Councils fo r Scotland, Wiles and Northern Ireland and other bodies . The Arts Council of England, as a publicly accountabl e body, publishes an annual report and accounts to provid e Parliament and the general public with an overvie w of the vicar's work . ARTS COUNCIL LIBRAR Y 14 GREAT PETER STREET LONDON SU'1 P 3N O TEL 0171-973 6517 2 The Arts Council ofF.nglnnd 199.i 96 Content s 5 6 9 12 1 .1 21 22 24 26 28 30 32 34 36 38 40 42 44 48 50 53 99 100 10 .1 Chairman's introductio n An abridged version of a speech given in the House of Lord s lit° Lord Gowrie on 12 June 199 6 Secretan--General ' s report No public subsidx ; no West En d - essav by Sir Cameron Mackintos h Financial summan; performance indicators , spending by region Deprtronental reports Combined Arts Danc c Dram a Education and Training Film, Video and Broadcastin g Literature Music Tourin g VISLIal Arts National Lotten, The Arts Council Collectio n Regional Arts Board s The Council member s McrnLbership of Council and staff Advisors' structure Accouyw 1995/9 6 National Lotten' : statement of compliance with polic e and financial direction s Partnership funding for ACE Lotte n: grant s over~5m awarded in 1995/9 6 Notes on large print versions and accessibilit y 4 171cArrxCozmcil uJZ~t~lnu~f l9U5. '~J(~ Chairman's introduction In this vear ' s anntlal report, I wish to confine my openin g remarks to conlnaending Sir Cameron Mackintosh's articl e (sce pctflc 12) cm the contlecrion between the subsidised an d unsubsidised arts . It is one of the most powerful pieces o f advocacy - u11,111Swerable even - for sustaining, nor cutting , the very nxxiest contribution the taxpayer makes to ou r share of Britain's third or fourth most important industry. Arts, leisure and tourism are, if you list them as a sector, right up there with oil, pharmaceuticals and financial services . Sir Cameron is concerned with the theatre bu t what he says applies, to a greater or lesser degree, to othe r art forms including popular music . The dilemma facing the Council is clearly spelt out by ou r Secretary-General in the article which follows . My mai n contribution is an excerpt from a debate I initiated in th e House of Lords, which laid great stress can the positiv e benefits of the National Lorterv (we are not whingers) bu t which addresses - again, I hope, in a positive seal' - sonl e of the difficulties and how we are seeking to tackle them . Tile best news of all 1s the cimt11lu1ng vigour of the arts at local, regional, national and international level . Th e funding organisations, the Rc-ional Arts Boards an d oursel.es exist to serve the arts and we are only useftil i n so far as we do so . So I should like to pay tribute to the Regional Arts Boards, with whom sve are now workin g more closely than ever before (all 10 chairmen joined th e Council this \-ear), and their staff for their work . Loca l government, also hard pressed for funds, continues to recognise the regenerative work of cultural initiatives wher e cities, towns and villages are concerned and has responde d vigorously to the National Lotter\ : The authorities are every bit as involved as we are . The Council is gratefu l to them and grateful, too, for the services of our own dedicated officials . The work that they do, in relation to the material rewards they receive for it, constitute s a system of arts patronage in itself. Lord Gowri e C'bairrma n Airs CouPicil n1'D'yland September 1996 An abridged version of a speech given in the House o f Lords by Lord Gowrie , Chairman of the Arts Counci l of England, on 12 June 1996 If we strip the phrase of its sinister, Maoist overtones , nothing less than a cultural rev notion is taking dace in ou r country today. Its en,ine is rile National Latter'In onls- a •ear and a halt, the National Lottery has raised no less than .C2 billion for the arts, spent . the national heritage . caring; charities and Schemes to celebrate the new millennium . So tar, -5 .812 awards for nearly 71,000 projects adding u p to .Cl billion have been committed . Through these th e I .otterl is rnccrura,7 in~r a sense otcommtrnirY and socia l cohesion, not [cast ~by acting as a Springboard for th e regcner ation of our towns, our cities and our villagcs . With both the major political parties acknovdedging tha t public spending as a proportion of C11V is not onl y unSUSrainable, but pieN•ci-it% output from rising as fast a s It otltenViSe might, it is Surer• fantaw to imagine tha r the work being done in those fields could be fulled by con ventional public expenditure . The Lotrcn• is x -cry much the personal creation of the Prim e \ Mister. The Prime Minister "or rite legislation throug h and, nwst important ofall, he got it through with all-parry supporr . The Labour Parrv in local and regional government , sharpy assure of the regenerative possibilities of investin g in our culture, Kati beell nwST Supportive . Newcastle an d Gateshcad, Manchester and Liverpool, IIIrmingliam , Bristol and Lf Ilda)Il, to nanic only the biggest cities, wil l soon be transformed in a W .1%, not seen since the contiden r rears of Victorian and Edwardian industrial and municipa l expansion . ( )r riles- will be n-anNformed it we keep ou r heads and th r not mess about with the Lotrer v on an y Significant scale tirr fine or s i p Fears . As the Prime Ministe r sari to me when we discussed m\ , appointment : 1 wall t %, (w ill? people M Britain to bare the best por n.in7 an d clrltllr-al facilities• in Elliwpe witbill I U re•ars. ' That is an honourable and useful aim . It is Shared by th e Deader ofthe Opposition and by the I .cadcr of the I .ibcra i Democrats . It is, IC \\,c keep our heads, a pertccrlt • achievable ambirion . So the 1-0-01ution is under way, Culled I n , talenr an d commitnient but also hs• the sudden, and rathe r be\s ildering, availabilirn of ilcw, hard cash . 0 11jeArts (:rnrraiil ref triglrrrir! 1995.`90 By June the arts councils - the largest of which, the one fo r England, I chair - have made 1,200 awards to the tune o f ,C471m . Ovcr 75% by number of those awards have bee n less than 1:100,000 in value, demanding 10% in matchin g funds only. Surely this gives the lic to perceptions that al l we do is to provide finances for large and prestigiou s organisations . Of course we also do that, and quite righ t too . Britain has starved her great theatres, opera houses , concert halls, living art galleries and dance centres o f investitaent ever since I entered my teens, which happene d to be the year of the Festival of Britain . How well I remember the excitement, the optimism, and the post-wa r revivalist spirit of 19 ;51 which the Royal Festival Hall, th e Domc of Discovery and the much missed Skylon an d Battersea Funfair generated . When you have spent decades trNing to keep shows o n the road at the expense of investment in infrastructure , two things happen . Your overseas trade begins to sutle r because, however much foreign visitors admire \, our actors , actresses and musicians, they \vill not indefinitely suppor t uncomfortable, non air-conditioned, tat, theatres an d orchestral halls . Your audiences for venues - and therefore your revenues - start to fall off if you start to starve th e venues of investment . More seriously still, you begin t o fail to generate the new encounters, the progent ; whic h constitute the gene bank of your culture, be these sporting or artistic or scholarly or just - and in my view this is no les s important - plain participatory. Audiences also serve wh o only sit and attend to things . The arts in Britain arc big business and they repay a minut e public investment a thousand times over. So Nvhen you rea d a snide leader in the Sun or the Daih, Mail about Lottery grants, or tales of `luvvies lining each other's pockets' , please remember that `lugvies' of one kind or another arc seeing to it that Britain is boxing above her weight in th e world as well as contributing hugely to her economy. Only perhaps the Sovereign carries as much moral weigh t beyond our shores as our artists . In recent years British business has came to recognise thi s to sonic degree, and I am proud to have played a small part in that . What is new and exciting is that a city council suc h as Gateshead believes that too. This was the council which under the visionary scheme established by my predecessor , Lord Palumbo, submitted and won that brave bid for di e Anthony Gormley sculpture, the Angel ofthe North . As a senior member of the local council put it to me : `I ain't knoii, anvtlling about mode; 7i sculpture, tl)ouglj I ;athe r like this one. I do know that out- enablinq contribution to the Lotter, bid is a sensationally cheap inc v ofachicving international standing far Gateshead and that rill have positive knock-on effects for our citizens_ ' Had I more time I could continue in a wholly positive vein , mentioning large awards such as the Cambridge Art s "Theatre, the Hall for Cornwall and the Ikon Gallery i n Birmingham ; middle scale awards such as the Green Roo m in .Manchester, the Norwich Playhouse and the fil m adaptation of Thomas Hardy's The Woodlande ;s ; the smal l awards such as the Wnwickshire County lcnith Orchestra , the Cheshire Dance Workshop and even Zippo's Academ y of Circus Arts . We have even given a little money to a troupe of drum majorettes . Only 14 months on from our first awards last year, it is righ t to be thoroughly positive - bullish even - because I have n o doubt ,,whatever that so long as any modifications to th e Lottery and its mechanisms are made in the light of realit ; we shall indeed go further tip the slopes of Parnassus than at any time since the war. More important, more and more people will enjoy the climb and become entranced by th e view. Of course, anv revolution is fraught with difficulty and controversy If not, it is probable not worth doing . Nevertheless, there is confusion in the public mind expertl- exploited by the Treasury - between the rules tha t govern the Lottery awards and the rules that govern the grants that we make for the support of the arts Nvith th e moncv Parliament votes to that end . It is felt that the art s are doing all right, and perhaps arc even rather spoiled, s o what on earth is the Council doing moaning about cuts and demanding more Money : The short answer is that eye are not allowed to use th e Lottcrv to look after the arts themsel ves . We can buil d shining new palaces of culture, and some very needed an d exciting bids have been successful - such as the new centre s at Stoke-on Trent and Milton Kevnes, Paul iMcCartilev's Liverpool Institute for the Performing Arts and Ala n Avckbourn's theatre at Scarborough . But we cannot fund what goes on inside them . On top of this, the fundin g consensus, which has always governed the Council, has i n effect broken down . Successive governments may not have provided the money needed but they broadly maintaine d the provision . Now it is not only being cut in real terms ; it is being cut in cash terms . 7 Since I became chairman of the Arts Council (IfEngl,ln d in April 1994 . the Government has cut Mir current budge r by about .I 7m in real terms . A further Om cash cut i s threatened next sear. All this is a violation in practical terms of a manifesto o)mmititlenr to t maintain support for th e arts . On an annual hug -ct to End-land of Icss rhan .CNIf) m this is havin g a devastatin g effect . We risk crearing cs'nicis m and dismay about the Lottcrt : The administration which has, through the Lortery, otlered so much possibility to th e ar rs, is at the same time making it exceptionally difficult fo r the arts to take advanmge of 'what they have been offered . One of thcsr days a number of cherished orchestras o r thearre companies w fl] go bust . I do not believe for a Minute that you can indefinitely protect every cultura l institutieal trom marker changes, but ant- collapse n-ill be , n 7 put it p<rlitCIN, puzzlin11 to people . 'What happened to th e Lotter' . ' the\• will say. I vcrs• much n•clcorn the Secrctanv of Stat e ',. new dirccrion s in respect o! nest- work, new talents And the making- of teas • audiences . 1 .1111 gratcfill to her tier listening to Its, an d responding rluickl\ : It lucks as though the]-c Will be a smal l but wclo wmc shift fi-unl capital to content, from buildin ; ro people and audicitccs, particul 111V c°uung pcuplc . But th e challt;r.s w'I[ take quire a time to work rhr'otigll . Ou r problem is r~gettin g from here to there . I" The sane financial I-C~lations, dif Brent from those n lwh goy err! our urlnts-in-aid, and the . .o g le need for challeng e binding, Will N111,ain . The English ]larC a genius fil r sul•rou111ding beautiful creations and comrepts with rings ar f 1 -CL 1111 rul•1• tire . SO MC •hat to 11W Sill- pri1C, I non• find Mysel f in the unlikch role of Siegfried, hacking [M' WaV through these sr r that 1 ;rur111ilde mar rise once more to our rescue . Anxiety has also) been expressed about the share of grant s beni-een the capital and the rrgions . Of our own aw .irds , the largest share has so tar gone to Le nd(w - as one n•uul d expccr, London bein g the national cahital rrfa Smal l cr motet'. But, as the HutlsC of Conmurns All-Party Selec t ( '0111111itteC Concluded : `"1 h I.ntte rl ra7rts da lint Rn iui arinblt . or t'7 i r! usualll, to uri l~ plush I-Ccipi0llt-+ as t1je Rnral Op0ra House . . . Countl0tis 111110 , iit), and b0nefrt0d, r'ailgi gflrrl u But. . . !ti rii tthat national institutions - Ill, I Cnreut Giv-d017 iu Londou n r Haurlidell Park in Glayioil , - sholdd reccire substantia l aluouut.+ . 17)1'V o Q7ht to 60 iarlsc-.c r7f ' 7r11tintlal pride', not e 117 .x . ' 1117'!11 e'lltelprls"bavc imulll/III ltV Cc'1ltr"eSt0rd171Rt<111'tif7017~ iI1111 t , N 7brAru(]iuncilo)Entllanrl199.596 That view v.-as backed by 1lichael Heseltine in a trenchan t speech at the Roval Socien- of Arts in Max, and I a g ree wit h him . But as more money is raised and more grants ar e made, we are confident -- and ss c are working with th e Regional Arts Boards ter ensure it - that the rcrir ins ca n share full\- in the spoils that the Lottcn- brings . I can sat , hand on heart, that so tar no a award in one part of th e counin- has been made at the expense of one made i n anorher parr of the counrrt . To date «e have sufficien t mone y quote Elie All-Tarn Select Committee of the House o f C .Umlllons : TO 'JJlst fh7• once, let us praise sf);wtbim1 7 which has bren dime' well Secretary- Ge Hera I's report For the third year running, vlrrualiv all our frame d orgamsat ons had to do without a fund i ng increase . Standstill funding - in real terms, a deepening cut - has a cumulative effect . Staff, both artistic and administrative , become overstretched . OUrreach work is curtailed . Artisti c work suffers in qualiri ; quantity' or bath . Eventuall y organisations mat' enter a spiral of decline in whic h diminishing box office receipts necessitate further cutbacks . National Lottcrv funding will solve many problems, but Hat these . Companies weakened by persistent revenu e shortfalls may find themselves starring in the midst o f plenty - presenting shrunken programmes in lavish , Lottery411i7dcd facilities . They may- even tail to benefi t at all, if thee- lack the administrative resources to make successful applicarions for Lottery funds, raise partnershi p funding or in7plement Lottery-funded projects . The Arts Council had to plat' contrasting roles in 1995/96 distributing larger-than-expected capital funds while eking out smaller-than-needed revenue grants . With a workloa d that has effectively more than doubled, we continued t o contain costs in order to pass the I77ax~mtu77 possible to art s organisations . 499-1 Fillmlcial c vermeil , In 1995 96 our grant-in-aid was Z 191 m . This was ..5 m more than we received in 1994 :95 - an increase of 2 .7% but ~till less, in real terms, than we received two sears ago . Ofthis,L'123 .1m was %pentdirccdy by the Arts Counci l and C59 .6m was given to the 10 Regional Arts Boards . This comprised over 1,700 grants of which 93 -went t o re` ularly funded organisations, 79 to tired-terns funde d organisations and 1,550 to individual projects and scheme s A further L3 .3tn wcm to directly tended activities such a s the Contemporan- Music Nenvork and film production . Sales associated with film production gencrated income off- 1 . :im . After all apportionment of .L 3m to the Lotter ; L'4 .8m was absorbed by oivenccads . This left an operatin g surplus before interest ofd' 1 .7111 . As we anticipated, some orgulisations faced acure financia l pro rblenls dut-ing the vC .u_. We were able to provide short term relief in a n11177bet- of CaSe .S With grant, from a contingency fund set up at the beginning of the rear . The largest pavlllents went to bulldrn`-hascci theatr e corllpanies, particularly in the regions -- mans' of whic h .tl-e experiencing severe diffictlltieS clue W chroni c undcrfunding . grimial Lottery The National Lotter-v has more than doubled Out- fUlId S :tvailablC to rI ' dltitrlb€ICIo 111, enabling us to provide a level o f support t()r the conrltn's arts facilities that has never before been possible . It is alsor transforming the :arts Council : from being concerned almost excluSivc[' with th e professional arts, we are no-' able to respond to ideas ti-on l a far witier range of people covering the whole spectrum of , arts actl y ln' from arllarcur groups tol cotllnlcl-clal arts enterprises . With Lottery support, arts organisations can now creat e better facilities and larger capacities ; over time this Shoul d mean la rg er audiences and we look to rryard ro the reselt111 g improvement in :u'n conlpallieS'reach and rcvcnues . Fluwevel ; we adhere strong[• to the view that Lottery tilnd s should be additiorl .11 to, and separate from, adequat e revenue funding through the Arts Council's grant-in-aid . mane our first Lottery awards at the end ofthe previou S financial year, but began in earnest in 111596 . By .Apri l 1996 we had -lade 533 awards totalling .L'340n1 . These wil l support projects costing a total of 1'8-1? m inctudi110 " parmcrship funding . WC 10 Tkr .lrtr C:nrnrci! rr/'l rCglarrr# l S1S1.5'r)h The lar'gcst award vas LC55m to the Royal Opera House , with a tiurnccr L23 .5m subject to certain conditions . Th e complerc renovation of such a massive listed buildin1 i s inevitably co srly; however, the project is a worthwhil e in vestment in a flagship national company that will increas e income generation mid make the buildinU 1170rc co)steffect.ive to run . I..ondon is tar from the onlt- large-scal e beneficiar: other awards have included L'-11 .1 m as ou r share of L() terV grants totalling LC 64m for the Lowry Centre in Salford, and alnlost .L 20m for a theatre and ar t galley- complex in Hilton Keynes . The number ofapplications has been far ;g reater tha n expected, and so) has the amount of money available ti, r distribution -- bode very welcome developments despite the inevitable IM-din on out- administrative resourCCS . At the end of 19953, 96 we were assessing some 60,; applications totalling over E500m, by the year 2000 w r now expect to have received up to 6,000 application s totalling J-3-4 billion . .A prcco ndltlorl of LOUCI ' tending IS that pt'ulects shoul d involve some Partnership funding . Projects rusting unde r .C 100,000 - making up about 75'% of applications to date - have little ditiiculty in raising the stipulated 10% partnership fielding . But concerns have been raised abou t the retiuiremcnt tow 25 I N4 parinct- htp funding oil lar gc r projects - in particular-, about Whether Sutiicicnt bindin g will be tilrthcolming from the corporate .sector. Certain[_ ; WC would not want to see corporate tilnds switched t o capital spending ar the expense of project sponsorship , on which arts or-ganlsations increasingly depend . The ]cpartlllcnt of National I Icrit:lge reyuir'es us to take account Of the particulat- -Mi l, ()t tlllll 111 distrlburin g Lotter_- tlndS . We have here exPlorin- wat :S to do thi s and to increase the ovcrall level of investment Ili fil m production, working in close collaboration with boldiC S such AS the BFI, Ilritish Sr1rc11 Finance,. the British Scl-CC11 ,Advisorv C :ourlcil, C_ :hamicl 4 anti the BB(' . In the first yea r of Lottel-1" tillIdim" we supported sonic 17 blots . Our I. .otter' support to date has been focused on two areas : capital projects and 171111 production . During 1196, i n response to new polies' directions ti'olll the Government , we arc developing a variery of new funding programrllc S Which will cnahle uS to support the conlrllisSioning of new work, the cr'cativc abilities ofvmm, people, and iniriam, cs to inct-case access to :old participation in the arts . We are also developing a sc11enic to srrellgthetl the financial an d managerial bases of arts clrga111SI Orls . Policy dn,dopineut Booming Lorten , binds and constricted grant-in-aid both , in different ways, require excellence in the development , planning and implemenration of our policies . To provide a strong lead in this area Nvc appointed Graham Hitchen a s Corporate Polio , Director in Autumn 199- . In Jult' 1995 we published the strategy arising from th e Arts Colmc11/1313C Review of National Orchestra Provision . We are now implementing it . Our intention is to deepen th e relationships benyeen orchestras and rhei r audicnces through residencies, educational and conununirv activity and stronger links with orchestral promoters - and t o ensure that our excellent chamber and symphony orchestra s can offer a wide repertoire to audiences throughout th e countrv Work has continued on the development of a new dram a police. In May 1995 we published a police Green Pape r which was circulated as widely as possible for consultation . In line with our aina of making the Arts C OLUIC[I's wor k more open and publicly accountable, we held publi c meetings tin the Green Paper in London and Sheffield a s well as jointly hosting a number of disctrssiOras wit h Regional Arts Boards (RABs) . The views emerging fro m these discussions will be reflected in the White Paper which is publishes{ this Autumn . Rcgianal Ans Boards The quality and effectiveness of our co-operation with th e RABs has continued to improve . In particular during 1995/96 the RABs provided important support to the wor k of our I omen• Department - developing capital strategie s for their regions, assessing bids and providing advice an d guidance to potential applicants . Several RABs have made senior appointments . Roger Ree d took over the chair at South Bast Arts Board in April 1995 . There were three ncw- Chief Executives : Graham Lung a t South West Arts Board in June 1991, Lou Stein at Eastern Arts Board in Januan• 1996 and Sue Robertson at London Arts Board in April 1996 . Robert Hutchison joined Southern Arts Board as Executive Director in july 1996 . A landmark in our deepening relationships with the RAB s was the agreement at the beginning of 1996 that all 1 0 RAB chairs should be members of the Council, rather tha n the present five . The new arrangement takes effect from th e start of 1996/97'. Adrrzinistrr rum The enormous rise in Lotterv-related activity has inevitabl y required increased staffing in the Lorten- Department , where total state rase by 7 to 25 during the year, Lcvv Hodges, Director of Finance and Resources, resigne d in Fcbruan• 1996 . He was succeeded by Nigel Copeland i n June 1990 . Peter Ciunamer resigned his chairmanship of the Audi t Committee and Lottenv Panel Nvidt effect Erorn :Marc h 1996, haying accepted the chairmanship of the Roya l Opera House . He is succeeded by David Reid on the Audi t Committee and Prudence Skene on the Lottcn• Panel . Outlook The level of revenue funding for the arts continues to giv e cause for concern . We had been told to expect a standstill i n funding for 1990/97 . In the event, we have received a cut o f L:5rn . By judicious management of administrative costs w e have managed to preserve standstill budgets for virtuallV al l our funded organisations - for the fourth consccurive year. At the same time we have begun to develop new Lottery programmes that could help stabilise hand-pressed art s organisations, increase opportunities for publi c participation in the arts and respond to new artisti c initiatives . However, our new Lotten• initiatives will depend for thei r success oil a flourishing and properly funded nctwork o f arts organisations . It is therefore cause for serious concer n that we face a further funding cut of-0 .2m for 1997/98 - ~(S11e " , Man• Alle n Secretarv- General Arts Council of]upland No public subsidy, no West En d is thr man Grhind a plerhurtr 1-rf'intrr~rationerlll srrccTSSfrl l i unturercial blockbusters - Cats . I .cS M iscr•ablcs aril?' ~Ils , Saigon e711101r17 them - Sir C ;amer•uri .1111ckirrtosh is arrrnaGA ' the world 's most sari c e'«f ul rhi atr•e produco : But, as he Point s out, II csr End srrutsh hits - and the pc(Ple who lrnrk ou them fique•utlr eartr• qc f ont the subsidised sector. So f7ir tller- crodrn q public arts S111r.Si& risks br h tjhtq the curtain down on e me of Britain 's mosr priceless cultural and co melnle nssetr: its vibrant . thri?41117 theatres . Commercial and SubSidiscd theatre have been twalh • lntcrdcpcndcnt for decades . Indeed, the reason tha t British thcarrc is the emv of the world - both artistic.llh and financially - is that public mono was im-Cstcd t o revitalising regional theatre from the 1950s onwards . Since then a tremendous talent base has de c1l rcd rhreruo- h the UK' s ncnyork (f subsidised theatre companies . An d it's here that actors, directors, designers, technicians an d managcnlerlt learn their craft . What%, more, direst U K theatre, outside the Wctir End were built, Sayc•d or funde d by public 111e11C1 ; thro Ul 111 the Arts Council and loca l authorin" grants . Even theatres nou m private hands were Sal-ed fi'onl disrepair and neglect clueing the 196()4 an d 19-(), ~%-ith public money and personal ctforr , time, most of the plays and several nulSical s in the commercial West End Nyi11 has-e enlcrI'cd fi-on 1 subsidiSrcl dlcan'cs . The International block[llstC[ - MUSiCal , that attract millions of people (and, therefore, care milli([ s in tax re p cnuc) have nearly all been created by directors an d desiatlci's whose p lain protcSSic real experience 11 .15 heed i n the subsidised sector. The wide choice of 5,ho l s (n (Ater i n London and In thcarrc, and concert halls arirfind th e country tCII 1'IWS .1 Vast aillollnt of money tier the Britis h ec(110111V State touriSr authorities in countries Such a s Australia and A111CI - ICa have calculared that for cyery dolla r spent at the theatre box office, an additional asrragc o f S2 .70 i5 spent in the local economy througTh, fisr example , trayei, 11()rCls .llld rCSTlllr ' :1[lC, . The BI ' itlSll CCI1[1(111y bl'nCAltti from the sank knack-on eftecr . At a11y given The arts are nndollhtcdly one of 13 1-11[,111 ' 4 most important induStries and - finlike nlnSt n1[ our, rtller indu'411CS - d o notsutfer ti•onl t61'Citin Co Illpctiti(ln . hlsread, tlleir• mai n i,rohlem al - ISCs ti)ln the nndertilndin4" 4171161 , 11.1,ie117 t,llcilt . - [ 'he health of our [lational arts is now at a watershed . Ovcr the last fey years, the fabric (f British thcarrc, built u p over so 111 .u1y decades, has horn croded to a point wherc th e "\ , Stoll is like a worn sock . The high profile rheatre CollTall1C, 11'Ctl' t,llftCl'tll} . IllC,itl'e ' 4 111-,55 roots AN . hoots th,u people aced and Supporr : nccatre in education , Schools' programmes, ftoflrishin~g rcIT1011,11 thcarrc ." \%-here Shakespearean productions are properly cast, grants ti 1- r dr:ulla students . . . In tact . the erosion is evident whereve r tllc Ilea `"Cneration (f produitiVC talent and a111diences i s dc•~elopinti - 1? Tbi :1 rte ( 'mmeil efTYualaurf 199 .1 -li , When I started producing in the mid 1960s, the only way I could get a show together financially was by working wit h a subsidised rcpcrton• theatre to launch a tour . The majorin• of shows that my fellow producers and I put on during ou r formative vears came from state- and local authority subsidised theatres . Mv biggest successes in the 1970s were the hLlgC l stlccessf1ll Godspell t0L1rS . And their slices. ss wa s almost entirely due to playing subsidised theatres, as ou r Secretan•-Gcncral, Stan• Allen ill attest : she starred in th e show ! ' g vy If there w cre no subsidised theatre, choice would shrin k dramaticall . I and convinced that audience figures woul d also shrink, because varicry stimulates artists and publi c :alike . Spectacular musical productions such as Cats, Les .,VIis6-ab1cs, Miss Saigan and Oliver! are only popula r successes because they engage the talents of such world class directors as Trevor Nunn, Nicholas Wtiler, Sa m Nlendes and heclan Donncllan . Their main body of work ran rml\- thrive in the subsidised sector where they can wor k on new and classic plays and great operas, properly cast an d realised on a scale that does justice to the author's work . Recentt ; there has been a great deal of discussion abou t Richard Evre's successor at the National Thcatrc . What was surprising was that so few candidates were deemed eligibl e for consideration . Of the few, most are currently workin g for companies where they have gulled the Cn- experience which made them worthy of consideration . But thos e same companies remain in constant danger of artisti c strangulation . The small number of suitably qualifie d candidates, unthinkable 20 years ago, is a deeply worryin g sign - not only for the great national companies, but fo r the theatre industr as a whole . y , v IVc are all united in wanting to prese r e the fabric that ha s givcrl us so much success . Sir Peter Hall recently said tha t 1 0 /b more real subsidy woukf generate 30% mor e productivity and artistic excellence . That has to be in th e countn"S interest - both ccononlirilly and artistically : I t is our llerita`;e at stake . An company running a sensibl e business would be happy to in est such a reasonabl e anxnuht when looking to secure their future - and ensur e that they don't exhaust old product lines . We have to fin d directors, designers, administrators and great ncty actor s who are going to replace its when we reach our sell-bv date . Ncw talent is there ; it just needs to be hurt red . 1, , v Subsidies to the theatre provide a cushion for learning an d experinlerlt, just as a commercial company might invest i n testing a ncw prckluct that may not go into successfu l Production . Though the arts welcomes Lotter• funds, the Lottery mist not become our panacea . Creativity in the arts alway s depends on people rather than buildings and the Lotter y is not designed to keep shows running inside them . It i s marvellous that the old buildings are going to benefit and nc%V ones built . But if we have nothing to phut ill them an d no-one who knows hots' to use them properly; what is th e point ' The Lottery's success is based on the national love of a flutter. But the arts are too important to Britain to b e gambled with in anyway. Furthermore, art has a muc h longer shelf life than commerce and the UK cannot affor d to squander its artistic fabric as it has done in recent years . Rather, it should invest now and plant the seeds of artisti c glom' and fiscal reward for the twenty-first ucntun: , , Everyone working in British theatre is prowl of its succes s and the enormous respect it enjoys %worldwide . Wheneve r I visit America, people constantly bemoan the fact tha t there are so few directors and designers coming through i n the US to reyiralise theatre there . In Britain, on the othe r hand, there is a constant steam of new talent . The reason i s simple : the US does not have the fabric of subsidised theatre that the UK has . ( L KLtj 13 1995196 summary of income fo r organisations regularly funded b y the Arts Council of England an d Regional Arts Boards Combined Arts 1995 .'96 income analysis + 'ntr ;butcd income 6'n :d nc 40° u E Combined Arts I-..,rncd inconi, A( F R B suhsidti I_A E)rher snhsids ( ontrihuted intonac 1996 1991 1 - 4 74 I ~-, 04 8 080 2 .1%0- 19,71 9 I,5,S4S &49 8 2 .81 4 , I ;,ta1suhridv .income +,n5 a. Danc e I .arnC I incnn7c• ~[-F1L B% ;.ihsidt)nccrsuhaids contributed inconu• 19,908 24,6€6 2-343 } , 03 2 ;,1)1) 4 23 .02 0 2,41 4 6,62 8 I[]ra1 tirrh\Id1 In :(),a7c l € „l () a3 .I a 6 Dram a I".al'ncd ,llCuFltt' ACE 1L1R suhtiiciv LA other a IlStLi V Omtribured incon7c• 1,a6a -€4 .429 18,693 5,056 77,59 7 44 24,; 18,08 2 4,166 140,(743 144 .090 1,367 795 1-45 121 23,5 2 I .15 o 84 4 28 4 - OUI stlhsids- inoinic Film, Video and Broadcastin g Farnal incol,rc A( .T.,'R,-\B suh, ;O\ I .A :onccr%uhsid~ contrlhntt'd income -k(F €LUl ubsid%- 36 0% Dance 1995/96 income analysis . l nc 3{) +! u 4 .63 0 Toral %ubsidv,'inc{tmc , %Cl-: R A subsiciv 4 Literatur e harne~i ilic,mc A(.'1- KAII%,hsidv LA officr sub%icly C onrributcd incoMe 2,79 ;+ 1,092 1321 '20 ?,~ + 1,13 9 13 4 Toral suhs ;dv'incnmc: 4 . 45 4, 74 1 Earncd63,479 :%('F: RA13 .ub~id{' 45,567 i •A tether cuhsldy 6,384 onitrihuted incontc 13,554 63 .86 8 44,88 3 6,49 9 €5,52 6 69 4 Musi c Iitral wuhsid%- incumc 128,954 130,"" 6 8,125 10 . :)42 3,52' 1,949 7,69 2 9,876 2,22 3 2,22 2 143 22,013 Drama and mime 1995196 income analysi s C<x,rrihtnr{I income 4" o l .A ;'other suh+id .\ € 3" n Visual Arts & Photograph y F .lrncd inccxne :~( 1'.: RAI3 Snh .ld% [_A i*,ther,ui%~jds CfmtT ;hutCd incnntc l'otal uthsids `incol77c -14 suhsid~' 32"~n I'Icase n{)tc the two 1c,1r% .1re not dirccth nnmparahlc iuc it l nc c diHcrencc in the nurttbcr of o r p nisaticln< t% ho prrn idcd intr>rrmarion 392 myanisarions in 1995 96 and 42 .4 organisations in 1994 95 - 14 I7u- _~ err C :nn>rtsl u%Frrstlan,d 1905 9n 'd9a II Zak .- Ear n cd nc ; l"n Film, Video and Broadcasting 1995196 Income analysi s Music 1995196 income analysis Ointrlbntcd income 11 % IA/ot l suhsid , IA,'other subsi k Farnc d income 49"u Darned income 51 % ACE/RA subsidy c AGI:/IL subsidy Visual Arts & Photography 1995196 income analysi s ( :oniributed income 9N) 1 A; othe r subsidy 1 'sarncd income 34 % Literature 1995196 income analysi s Contribute d LA/other stihsidv 3 Earned income S9"'o AGE/RA B subsidy 23% 1S New work commissioned in 199519 6 Fur the first rims the Art, C :r nln,l! has c,,Ilccttd informarion abimt the amount of n xk work commissioned bs organisartons funded rcgularly bs the arts Council and the Rgnonal Arts Roards . ' Iltis int-ormation i s set Out in the table below. The new eork may not hale been pc orme d or presented in 1995 96 . Illc table drxs not include intormarion about ncss work supprlrted b y project or development funding . Ea,tcrn Art, Board EAH, List Midland% Art, Beard F.\1.111 London Art, Board Northern Arts Board North West Sounccrn Arts ILAB, NAB Arts Bnanl NWABI Board "outh East :arts South We t Art, iSAR Board SEABi ,SWA, 11csr York,hire Y Midlands Humismidc .arts arts Board Hoard -111AB tlMABi An, Council of I- r a England ACE , 1 16 1; 43 48 44 12 19 lit - 20 23 6 Dance Ballet 13 11 22 la 5 18 - - 13 3 46 146 Drama 22 21 48 Ifl 25 9 1 C) 11 15 14 85 2 79 \lusic 3 2 - 4 - - 8 - 1 49 6- Film, \ Idco an d Broadcasting 4 - - - - 1 - - - 6 J8 Literature - - - 2 - 8 12 - 12 - 66 Visual Arts 49 25 4 17 1 11 16 14 5 - 121 44 100 532 'fatal ()' - I .;? _'fh 1 . 12 85 Is) 5f1 16 - 74 313 1 .38 4 Combined Arts 43 New work by art for m New work by funding body F .AB Combined .Art s 1B Visual Arr, I ) .laic B .1 HC t Yl 1A B NAB WM -i SEAR 10 I IJr' . till ; 1775 ( U1rNiJI Or F r!RlrUtrt I UU,i U{i The Arts Council of Englan d Grants by art for m ( :ombincd Arts (;rosy-discipkina n initiativ" Dance Drama Education and Iralning Film, ` idco anti BroaLICASting L.iterantrc Music -Iburing Visual Arts 1 ;tah Rcrularl r tiuldcd organisation s ~:000s proicct grant s xOOOS grant s ~.000 s 14,782 1,794 16,57 6 21,136 25,403 1 .242 1,274 1,937 1 .24 2 22,41 0 27,34 0 147, 729 87 6 85 733 41,938 1,165 2,712 295 821 1,827 3,128 1,993 38 0 1,554 43,76 5 4,24 3 4,70 7 108,101 15,042 12 .3,143 'rota l Cross-discip l initiatives 1.1 Combined Arts 13 .5% Education and Training 4 .7% Film, Video and Broadcasting 0 .3% Literature 1 .3% Visual Arts 3 .1 Tour 17 Numbers of adults in England who atten d arts events 1986187 to 199519 6 Tie ligurc•scome kom rhe - largetGroup hldex CIFU i,conducrcd hr RNIRB Iwernanonal .'hl ;tcollect s intilrntaritm each Yrar irons 25,000 adult-, in Fligland, Scotland :ttld VVAC+. In 1995/96 the nunthers cot adults who artcnd wcrc at their highest Ic%-cls during rhese rcrt `-cars for oper a 128 11/4 nl, err Alan in 1990'871, art gaffe rics;'art rxhihitiunti I9% me ore I and il :tscii .ll nuisic 17{4 b nture I ; these growth rates were higher than the increase in the adult lxopulation Omer the same lxrio d i4 1% 1 Altlu nigh the 19951196 level flit ballet was lower than in 1994/95 it wa% still 19% higher than in 1980!87 . C ;onlcnllxlrary dance rcpmcd ncc Icl,c•I it was aehic•ring hctorc 1990 11 91 . For pl .ll :s ncc 199_, ;96 levcI %% .v, lower than for 1994195 atld for three earlier Ye-irs . The incrcasc IVtwC-C II 198(1 ;'8' .111(1 1995!96 matched the increase itl the adult pclpnlation . The figures fior jazz since 1990/91 cio nor necessarikr indlCAW a decrease, since -chef' maY have been influenced hY the addition to the rlrget tiroup tildes .1t I'r111/kock in ncc 1991/92 suncY. lit earlier rears people Ina \ lure classihcd as •j,lZZ C•CC'llr% 15'hlCh, \\ . heft g1rC•n .1 1 :h1llCC hetlc ern 'laiz'and `1'op/Rtx-k ' ell the 1991 ;9 2 survey and suhseyuc'nrh ; 17110 cl .lssified instead a, Top, Rock' . I lou-eler, the levels in rlle three most merest vcars were• well alxwc those tin• 1991 '92 and 1992,N3 . 10 millil m Play s 9,5 lnilhon -men d 24,1' .. . .I idul n 9Inilhon Art galleries/Art exhibition s 8 . 7 nlsliltorl amend 2 .1'4 .M .Mull s 8111illio n million 6 million Classical music 5 million atwi d 12J`fb ofadults 5 million 4 million 3 million Ballet 2 .7 mill ion attcnd, 6 .9% of adults Opera 2 .6 million attend, 0 .5% of adult % Jazz 2 .5 million attend, 6 .5% of adult+ Contemporary danc e 1 .6 million attend, 4 - 2% ofadults 1 million 1986/87 1987/88 1988/89 1989/90 1990/91 1991/92 1992/93 1993/94 1994/95 1995/96 Arts Council of Englan d per capita spending by region 199519 6 The graph ht )ws the : : .t ' : iing elrnsrnts : 1 'fularion . Each colurssa h direct funding which is awarded hi the .fir :, e )-Lincil for activitics a hic h take place within specific reCrons . the main ~r3 ;lr, mad e to die Regional .arts Boards during the star: and grants as% ardcd hs the Am Council . ,Lich as publishing and research grants, -Which cane- )r he ariributed t o me or moire specific regions and which are rcear,led as benefiting al l rcgri squalls'. T ['he cable also r shows the amount allocated to the national companics per head of population in England- This expenditure is not included i n nce per capita anal% is . The table shows the spcno ing of the AnS Council throughout England in the form of grants to regular clients and short term projects sv irlim each of the tcn areas covered by the Regional ?its Boards . The total value o f grants awarded during ncc year was El 82 .-m . 4which i64 . 7 m 36f16 i is as awarded to the following national companies : the Royal Sh .tkespearc 0 impanr. Royal Opera House, English National Opera, Roeal Nationa l Theatre and the South Rank Board . The regional total of4'1 l Km includes £-9 .`)m which was otlcrcd throug h the Regional Arts Boards and .C'-0 .5)rn spent direct[ bs- the Council i n rhose regions . Norther n £3 .20 Eastern Ew Midlands London Northern North Wca Snuthel'n South East South lVest 1'vesr \lidlands l+rrkshire & Humberside Tonal grant+ per capita 199-'96 Tiual grants per capita 1994-- Tota l ;rants per capita 1993 4 T )ra l grant s in 000s 1,41 2 .24 .01 320 2 .42 2L26 131 2,51" 1 .9, 2,70 1,34 2 .18 3 .96 3 .03 2,49 2 .05 1 .34 129 1 .88 2 .1i 1,33 2 .03 4.00 ;A o 2 .44 2 .01 .26 228 L91 2 .43 S, 183 7.639 2- --2 9,973 151 .699 111,496 51,282 9,126 10,322 13,- 2 143 2 .34 133 t17,968 National companies 1 .33 1-33 1 .30 641 743 Totals 3.6 3 .6 7 3 .63 182,1 11 ~ Yorkshire & Humbersid e £2 .7 6 Nort h Wes t £2 .4 2 Eas t Midland s £2 .2 5 A Wes t Midland s £1 .9 5 Eastern £1 .4 1 Londo n £4.0 1 Souther n £2 .26 Grants lx nehting all regions equal[Direct spending by ACHE•. Lin clients in the region \lain AC ."E grant ro Regional .arts $ ant 20 TheArts Council of'Er{riland199.59 6 Sout h West £2 .37 Sout h Eas t L I .3 1 DEPARTMENTAL REPORT S 22 Combined Arts 24 Dance 26 Dram a 28 Education and Trainin g 30 film, Video and Broadcastin g 32 Literature 34 NIusi c 36 Tourin g 38 Visual Arts 21 -4k - i 'N- With a full staff complement for the first time, th e department was able to undertake several mileston e projects that will have a major impact on the fururc of combined arts . Bur progress was achieved despite a particularly hostil e financial climate which forced the Artrage Intercultura l Development Agency and the DisabilitvArts magazine int o voluntary liquidation, and imposed severe constraint s across all department activities . The department began its research into arts centres with a preliminaii, questionnaire that registered a 7 ')% response rate . The National Disability Arts Forum began a stud y of the creative opportunities that new technology , offers disabled artists . And a third departmental study examine d the capital needs of the Combined Arts constiruencv It s members are rarely building-based and few have benefited from Lottery funding to the same extent as building-base d artists and permanent arts organisations . After lengthy consultation, the department merged it s New Collaborations and Live Art Development funds int o a new Combined Arts Projects Fund -which takes accoun t of new trends, particularly the increasing use of digita l technologies . The International Initiatives Fund wa s reviewed to ensure that it continues to meet the need s of UK promoters . Although heavily over-subscribed , it supported around 70 international events, includin g africa95 and Cirque Plume, the exceptional New Circus from France . The department also supported an exciting range o f Live Art and inter-disciplinary events - despite financial pressures : -with ..400,000 available, for example, the Ne w Collaborations Fund received 203 applications totallin g over 1.2m . Nevertheless, the standard of work remaine d high . Notable successes included HG, a collaboratio n between Robert Wilson and Hans Peter Kuhn at Clin k Street Vaults, commissioned by Arrangel ; and T'heMaybe , Cordclia Parker and Tilda Swinron' s performanc e installation at the Serpentine Gallery. The department continued to stimulate wider critical appreciation of Live Art and inter-disciplinary work , supporting a range of initiatives such as the new on-line publication, Brcffer . In addition, it selected artists an d directors to produce seven pieces of live art for the BBC' s l;.y fln lino Pictures series ; and Nottingham Tren t Universitv officialky launched the LiveArtAudit . With support from the department, the Roehampto n Institute developed a National Carnival database . In a parallel initiative, the Carnival Committee considered ho w to develop and profile the UK's carnival arts beyond th e Notting Hill Carnival (at which the department funde d 56 hands) , Swansea's Year of Literataue and Writing reached a successful conclusion and the Northern Region's Year o f Visual Arts began . Middlesbrough hosted the Internationa l Drawing Biennale, the world 's biggest internationa l drawing shoxv ; while Tyne and Wear hosted a series of exhibitions featuring new acquisitions from the Art s Council, the Tate Gallery; the Contemporary Arts Societ,v and the Crafts Council . Despite financial constraints, d-ie department's two largest organisations - the South Bank Centre and the ICA i n London - both recorded memorable successes . The Sout h Bank Centre hosted theMeltdoirn festival directed b N , Elvi s Cosrcllo, DV 8 ' s Enter Achilles, the Art and Power exhibitio n and Fiction International . ICA highlights included the sell out Rapture season and Art and Innovation, supported b y Toslvba . Combined Arts 23 Despite changes anuing key ,raft: the departmen t continued to consolidate its work and relariom -with it s funded organisations remained solid . This was particularly evident during the policy rcVie%k ' process, which proved a highly productive exercise an d generated welcome dial()vuc with the press and th e profession . The annual Dance Qpcr1 meeting at th e Y()rkshire Dance Centre g.1Ve the profession an oppurtuni n ro contribute to the development of The Policy for Danc e Funding ()f the English Arts Funding System . This Wa s finally endorsed bV the arts Council in Februan- an d identified fis-e prim-itics : dancers, creativity, audiences , infrastrucrurc and the dance ccononiv. after seven years, senior dance officer Julia C :u'ruthers left the arts Council to undertake consultancy work, Grcgon \ash joined the group of development advisers . Three ne w nlcrlibers joined the Dance Panel : Marion Tait 011E , icn'ille Jones and Koss McGibbon . 'Iivo accl.linled dancer s whose careers have lung bcnetited from the departrllent ' s support received horlotti's : Dare C1• BLtssel{ an 1913E an d Sh(lhana Jryasin~~h an ~ll~l-: . Arrion- the wear's most nlrnulrahle artistic highlights wa s the maink -Illale Swan Lake by Ad\'Cntures in \Ictric~ n Piltllr'es - a sell-out at London's Sadler's Wells, Davi d Bintley created his first new w(wk for Birmingham Roya l Ballet since takin g ovcr as its arristic dirccrtrr' : Carim.Irf7 Burmrn completed a sell-out season in l3irnlin„h,lm b6or- e undcrtaking a higlllV successful national tour. America n choreographer Twvla Tharp created her first bill-lengt h work tilr a British company : Mr 11nrldlr 11isc iilr the Koval Ballet. In Sourhampion, English Narional Ballct'sAhcr played t o c,lpacin' lUdICnQCS and the 0 YTllpan y ' S major edtrc .im ana l pr-ogranlmc, l'nsspvt ru lithe t, won a Sainshurv ' s arts ti> r All award . The C:hohilorldelcy % ' outdoor PC I-filt-111 .1 lice fit' Car attracted plaudits and sponsorship support from Saab . British Telecom sponsored a national, VC .u'-round progranltile of youth dance Cvents wllich culminated ill a spectacllla l' PCI 'fo r' IllaI1CC At Lfllll{() n ' s C)LICCII hliz :t[let h Ifall, Five ch(Ircographcrs received .C1?, 0 12,000 each fr()I-n til e Paul 11an11Vt1 Foundart(m, 16 short-listed c:llldidares CKI I received J'500 . 24 The Arts('euniit „1'Ef{rglrtud 1991 96 Work supported by the department continued tot notch u p dance and television awards worldwide : Ourside III, Alistair Fish and Touched, part of the Dance for the Camera series , were among the winners . The departments trainceship in artistic directoring schem e bore fruit with past trainers making a posirive contriburio n to the profession, notably in the programming of Nationa l Dance agency events . In all, the countn' 's seven Nationa l Dance agencies attracted (wer 300,000 people to 13,00 0 dance classes, workshops . talk ,, and performances acros s the count:: \atli mal lottery bolding provided welconic opportunities tr> improve the country ' s dance infrastructttre . arllong th e tir%t on anisations cal yin Lorrerv tilndim, tar Venu e 1111prclyernents a'e1'c YOrk%hirc Dance Centrc- Norther n School (A Contemporary Dance and Sadler %, Wclis . Adzll{( 1 won funding for a new tour bllti while Dancetchant7c , Birminghani and C .lieslure Dance Workshop receive d -t(M' .lyds production equipllicnt . Several kcy clients were appraised including Shoha m kvasingh Dance Conlp .lny, lambert Dance Gniip:ln v .111Li Adventltres in Motion pictures . -1 , 11I-llghour the year, the dcp .lrtnlent C011611LICd tO IUh t-w Vii oruusly for more discrrtionarV training grants, whic h are heconling alarrnin-h- scarce . 4r There were several changes among senior staff during th e year, notably the departure of the. Director, Nick Jones . But under Acting Director Kathleen Hamilton, and with advice from the Drama Paiiel chaired by Thelma Holt, th e department and its funded bodies maintained thei r commitment to staging high quality; accessible work . Aruna Stapleton was appointed Drama Director in Janua m Remarkabh ; work on regional stages continued to flouris h despite the financial struggles most regional theatres face . The West Yorkshire Playhouse had a particularl y memorable year, winning a clutch of awards from th e 'Theatre Management Association including best overal l production (TitusAdronirus), best actor (Anthony Sher, TirusAndrorucus), best director (Barrie Rutter, The Cracked Pot) and best designer ( Robin Don, The Winter Guest) . Other award-winners included Kate Dean's Rotcgh (a t Birmingham Repertorv Theatre), and Joe Penhall's Some faeces (at the Royal Court Theatre Upstairs) . They were joint winners of the John Whiting Award, while the fifth Meyer-Whitworth Award went to ;!Michael Wynne for The Knockv, also at the Royal Court Theatre Upstairs . Leiceste r Haymarket transferred two productions to the West End : Mack and Mabel, and Calarnitr Janc . TIZe department snpportCd several successful small-scal e tours including Flesh Fly, Trevor Lloyd's adaptation of Be n Jonson's Lolpone, performed by Graeae, Europe's leadin g company for disabled people_ The Quicksi lver Theatre fo r Children's tour of Shaun Prendergast's The Giant Princ e proved highly popular with young thearregoers . Artistic success was achieved despite a deterioratin g financial climate which forced a rising number of building based companies into debt . Indeed, the Arts Council spen t over half its contingency fund supporting chronicall y under-funded theatres -- mostly regional . While the benefit s of National Lottery funding are indisputable, the fac t remains that newly renovated and refurbished venues ar e of little use if they cannot afford to fiend performances . Several theatres across the countn• received major Lotter y awards . They included the Stephen Joseph Theatre , Scarborough (1.1 .48m) ; the Nuf1~ield, Southampto n ( .C 1 .28m) and M anchester's Contact Theatre (L4 .46m ) . In London, the Globe received a L12 .4m Lottery grant an d rile Royal National Theatre was awarded up to .01,59m . Regional audiences are set to benefit from the Roya l Shakespeare Company's decision to reyietti- its model o f operation . This will pave the way for the RSC to reduce it s presence in London and raise its profile elsewhere in the country. Extensive consultation on the department 's Gree n Paper reached its final stages ; a White Paper is scheduled fo r publication in Autumn 1996 . Finalh; the }ear will be remembered with sadness followin g the death of Tern , Hawkins . A department officer for tw o years, Term was widely respected throughout the theatrica l profession and was instrumental in developing th e departinent's relationship with its practitioners . In the capital, highlights included the Londo n International Mime Festival, a celebration of contemporar y_ European work at the Gate Theatre and Jez Butterworth' s Alojo at the Royal Court, which received the Olivier Awar d for Best Comedy as well as a Critics' Circle Award . Th e Royal Court, meanwhile, soon the Prudential Award for th e Arts . Notable fielded projects included ICir of Prussia, written by Nick Darke and performed by Cornwall's K .neehig h Theatre . A co-production Nyith Theatre Royal, Pl-mouth , it concluded a national tour with dates at London's Donmar Warehouse . Drama 27 146 q snow, 4 v 7 ~4, for In 1995/90, the department consolidated its activitie s in three principal areas_ ;assisting the arts sector to develo p its training and cducation work ; handing activities tha t support the arts infrastructure ; and promoting the importance of the arts across the education and trainin g sectors . Development initiatives included theAppiviticechip Scheme which enabled eight people with disabilities to take o n management, administrative or technical roles in art s organisations . The department also funded 23 art s organisations to explore new ways lit integrating educatio n work into} their organisations . In collaboration with th e RABs, the department helped ten :arts education agencies to develop their activities ; and the successful traineeshi p programme enabled 18 trainees to undertake an analysi s of their individual training needs . Fifteen Black and Asian artists with experience in educatio n work received training funds to undertake specific project s designed to develop their education practice . The department continued to support the art s Infrastructure b\- funding a range of organisarions includin g the Independent Theatre C OUncil, the Arts Trainin g Nerwork, the Arts and )entertainment Training Council an d the National lnstltnte for Adult Continuing Education . These bodies play a vital rule in providing training , developing qualifications and enabling thousands of adult s to participate in arts projects . The department launched a number of initiatives designe d to raise the arts profile within the education and trainin g sectors . It ftandcd the National Foundation for Educationa l Research to audit the education programmes in 900 arts organisations . Twenty'-two major trusts and foundation s which support arts education and training took part in a series of meetings to explore the options for fun[r e development . In addition, the department collaborate d with a number of influential organisations including th e Schools C.urriculurn and Assessment Authority• u[a th e statutory arts curriculum ; the Department of Nationa l Heritage on its arts review ; and the Council of Europe on its arts education initiative . In partnership with the Calotaste Gulbenkian Foundation , the Arts Council supported research into the arts in schools . - I'hc RSA published the findings in its report Guarantecin 'l an mritlentent to tbcArtc in schools, which seas launche d by Sir Malcolm Thornton at the House of Commons i n May The report highlighted how curriculum changes ar e atlecting the arts in schools, and how time and resource s tier the arts are being squeezed . The publication has became an cftective advocacv cloCUtllent for the Arts Council o f England . In October, the department held a major conference 7inining in theArts - in partnership with the Arts an d Entertainment Training Council (AETC :) . Keynote speakers included Dr Mcc Yan Cheung-Judge and Dr Pete r Honev. Over 20 workshops offered the 1 .-)0 delegates a n opportunity to network and catch tap on the latest trends t o arts training . After a year of consultation, the Education and Trainin g Green Paper was completed ; it was published in June 1990 . The paper outlined how Lottery funding; might create nes v opportunities for young people ; considered the education work undertaken by arts organisations ; and discussed th e training levels required to support tomorrow's arts sector . Education and Training 29 Film, Video an d Broadcasting In 1995/96, the department continued to strengthen relationships with its constituency, other Arts Counci l departments and broadcasters, many of whom face d considerable upheaval within their own organisations . Stronger links and greater flexibilin , helped bring to fruition several milestone projects . One particularly notable success was the commissioning of the first F_vpandirtq Pictures series, a collaboration wit h BBC2 and the Combined Arts Department . This highl y innovative project features nine films by performanc e artists/groups working collaboratively with independen t directors, and works by film and video artists . Anothe r significant partnership was with Channel 4 on .,14idntgbr Undeiground, a showcase for innovation in Hi and Super 8 formats . The 29 productions broadcast during the year attracte d Sm viewers . The second series ofDance for the Camera on BBC2 attracted t,vice as manv viewers as the first series . Outside In continued to win widespread critical acclaim an d awards, including the Grand Prix at the prestigious Pragu e International TV Festival, Indeed, the departmen t maintained a high profile at film and television festival s worldwide, winning several key awards . The second year of the Disability Arts Video Projec t followed a new format : 12 disabled video makers receive d research and development funds ; six went on to win full production commissions . The department maintained a firm commitment to new technology initiatives . In May 1995, it launched The Hub a durum designed to explore and promote the creativ e potential of the computer. As well as establishing its ow n Internet site, The Hub held regular meetings for members in London and Bristol . Through its Emotional Compacting initiative, the department commissioned 12 pieces o f interactive work for The Hub site . With support from the department, the Film and Vide o Umbrella also launched an Internet site, TechnoSpherq an d presetired Access AllA ;-eas: HsionsoftheFuture at the ICA, an exploration of artistic trends in cyberspace . The department also gave substantial support to Pandenaonaum , the London Festival ofMoving Images . This event, the first international festival for the moving image avant-garde i n London fir over 20 years, received additional support fro m the London Arts Board and the London Film and Vide o Development Agency: In collaboration with Channel 4 and six leading Londo n facilities houses, the department continued to offer vide o and film makers access to state-of-the-art computer imagin g technology through its Hi Tech Fund . Meanwhile, productions supported by the departmen t continued to attract buvers on the international market . Broadcasters from as far afield as Canada, Israel and Kore a bought a total of 42 programmes . Best-sellers included Opera hnaginaire, which has now made 48 sales worldwide , and The Sorel of Smy, which made five sales in 1995/96 . The BBC reviewed its commissioning schemes whic h halted planning of the third Soured on Filrra series . Bu t flexibility' and teamwork ensured that fiuuis were reallocated to Oil on Canvas, produced in collaboratio n with BBC Continuing Education . Similarly; after Carlton T V ,,vithdrew its support for Svncro , die department successfully reallocated finds to Channe l 4' s cultural diversity series Black Tracks, and committe d further funds to Isaac Julien's Frantz Fanon : Black Skirt , WhiteMask for the BBC2 series Tv . 31 Literature Like other art form departments, Literature had a standstil l budget in 1995/96 . The current Lotten , guidelines' emphasis on building s and capital investment has inevitably made it difficult fo r literature projects to qualif,, and despite some ye n wclcomr awards, including; those to the Anon Foundatio n and the Poetry Society ; literature attracted only abou t 0 .251% of total Lottery arts funding in 1995/96 . In September 1991 the book trade abandoned the Ne t Book Agreement, which prevented discounting of retai l book prices . There have been fears that widesprea d discounting would damage independent booksellers an d small publishers . The department is monitoring the effect over nto years, to partnership with Book Trust and th e British Library. Mean-while, our now fund for marketing independent presses helped 11 ti publishers to promot e their books nationally during the year. Events throughout 1995 marked the Arts 2000 Year of I. .iterature, This was a nationwide celebration, focused o n S"vansea and W]Ics and originally instigated by the Art s Council of Great Britain . It proved a great success and the new National Literature Centre for Wales provides a tangible legacy. Write Out Loud, a joint scheme with BBC, North and th e Regional Arts Boards to encourage new and innovativ e writing for radio, provided training for 24 writer s throughout England . Some of the work thev produced wil l be broadcast and the scheme is being repeated this year. The Writers in Prisons scheme ran 1 I residencies and inffuetrced the Home Office to set up a standing committe e on arts in prisons . We brought several African writers , including Wole Soyinka, to England forArtsin Afiica events . And for the first time all four UK Arts Council s joined forces with the Irish Arts Council in a joint initiative : each selected one major local poet for the Five Cities Tour, covering all five countries . After Michael Holroyd relinquished chairmanship of th e Litcrantrr Panel in February 1995, Lord Gowrie took ove r as temp owary successor until March 1996, when Andre w Motion took over the panel chairmanship . The Music and Literature departments have been pilotin g ways of advancing the process of integration herwwn Art s Council departments and the Regional Arts Boards . We made excellent progress and produced recommendation s for implementation, subject to Cmincil approval , in 1996/97 . Library work included completion of Library Trainin g Modules Currently being prlotCd at the Universities o f Central England and Sheffield Hallam . VVe hope they will become fitlly credited parts of librarianship training . Sbelf'Trtllt, a guide to literature promotion in libraries, wa s published in April 1996 and will be updated regularly. 33 It was a challen g ing \,ear for many music organisations . Cutbacks in local Wthorin' budge« tiarced promoters t o reduce the number and range of events, and sponsorshi p and donations became increasingly difficult to find . But th e cflifrts of artists and administrators ensured that audience s enjoyed a wide range of imaginative, high quality work . The mosr notable st[ccCSSes among projects supporte d by the department Included the Cite ofBirminglla m Symphony Orchesrra's Beethoven series under Sir Simo n Rattle and its Fioies season of the Thrards rbc .lfrllenrniu m %cries ; English National Opera' s Ti-an and Lsolde . and Welsh National Opera's hiuIlly succe ,401 50th anniyersanv Seam )n featuring pri ~dtlctlt)ns of Nabucco, 7bc Rake's Prurfre +, Crmaller'ia Rustiuzrra and I Ftlahacci , The Purcell Tercentenary celebrations took Purcel l perfi)rmanees to areas of the countn' that had no t previous]\, hosted early music eVents, while the Londo n Symphony Orchestra's Bruckner. \1{ dart series wit h Sir" ( , olio Davis attracted lanye, enthusiastic aUdicncc s to London's Barbican Ccntre . The Bournemouth Syniphony Orchestra\ Vaugha n Williams series attracted critical acclaim and th e appOintment of'Yakoy hr"C'Ixberg ,15 p3"lncr]1 .11 Co11dUCtoE" was widely welcomed . The Bour11i111wrh Sinlirnictta ' s Cornwall residency and the Northern Sintimia's village hal l wl'tc5 .11'0 IUst ttyo es :llllplrS Of ma n y ourstanding :Uld1C11C e deyc•lopnlent initiatives undertaken by the dcpartment' s orchestras in rural areas . Lotten , tune{ink, presented some music organisations wit h vital new oppornulitics . For csatllplc, the Arts Council wa s able to assist braes bands to purchase instruments for the first rime . In all, over -0 bands received grants . The Counci l also made Lt)tterv awards towards the building o r refurbishment of music venues and rhearres . projects tha t ~s-ill have a major impact in \ ,cars to come . The CD of Sir Harrison Birtst i .stlc's opera Gairain wa s relcased . And two other recordings sttppc)rred by the :art s Council reached Britain's jazz trap tin : Dick Heckstall Smith's Celtic Sreppe~ and Julian Argelles He nne Truths . Policy development and Implenlctltation, in clos e collaboration with the Regional Arts Boards, was a n important teaturc of the departme'nt's year . The orchestra l constitclcncy u'clconled the orchestra] sil'atc,* 'The decisio n to balk the strategy with additional hinds for chamber an d symphony orchestras from the 1996'97 hudget Cotlfil'ml'l1 the Arts Council's commitment to addressing needs in thi s area . A more open dialogue with the jazz constinlcnc y developed though the war. As a result, the Arts Counci l will produce its first policy for jazz in AL1111111n 1996 . ,Sn-ikiun a \'etl , Note - the consultation paper on nc%y 11lusi c - was a key priority for the department throughout the year. New mw is cros .scs all musical genres and over the las t decade it has fintlld a new cncrl„y and vitality, The \,oltlnl c of feedback from those r]lyol"cd In 11111' MUSIC toda y indicates a common concern and ctrnlmrtlllcllt t o developing a dynamic Culitn-C COY the nCw nlillenniunl . In Septcmbcr 1995, I .iyerllool s I'll IIliarrnurniC Hall, holll c of rllc Roval Liverpool Philharmonic C )rclicstra, reopene d after CStetlsive restoration work, ' llu initiative - a considerable financial undertaking - returned th e spectacular Art Deco buildint- to its 161 . 111C'r splendour. Heart ' I) ' S(1l1] - a Company whiCll i111'oI1'CS people Wit h L11-111 11 1 difhcultiCS Irl MUSIC theatre pert '01-111,111Ce sttccessfully completed .1 national and internation,11 tour t o a range of y Crllleh . In March, jazz players based in Britain and the Caribbea n -Rllcred at various venues in London . Birnlinghartl an d Liverpool for the first Carihbcan Jazz Convention, a MCIN-arion of the region's influence on - and contributio n to - rile dcyeloprtlcnt of j :l%'z worldwide . Music 4w jeld in f NW5 Narroual Opera s prndrrrtinx ofMJLJJm Butterfly. iPhoro: Brian Tarri _Alp mow '- . I During I995 . 96, rile department continued to consolidat e and develop its activities and touring initiatives . Among the \•car's most significant dct'clopmenrs was th e launch of the Barclays Stage Partners scheme . Thi s initiative, jointly funded b\- the department and Barclav s Bank plc, will pro vide .C2 .5m over three scars . It aims to encourage collaborations between arts orgallisations t o produce and tour high yualin• work for the benefit o f reg iOnal theatre, and their audiences . First awards were announced in April 1996 with the blu r winnrno, consortia touring to over 20 vCnues nationwide . Work% include Blur _11urder by Peter Nichols, Steinbcc k ' s 0j '.llierand Men, a Robert Lepage production ; and nv0 productions from the Ma]y Dramatic Theatre of S t Petersburg - Gandcannif and Claustrophobia , The department', nenvork of marketing; developmen t agencies expanded wirll rile launch Of the Wcst Yorkshire Arts Markcting Group in Leeds . The ncr ork -- joint]\ ' funded by the Regional Arts $cards, local authorities and the Arts Council - now has 13 agencies across the COU110 v National Lottery! bolding began to impact On rile counrl-v' s network Ofururirlg vcnucs and rile addition of a new venu e -The Castle in Wellingborough - has helped to expand th e touring circuit . I'he dcpartrllcnt colltirlned to allocat e vrnuC dCVelopnlCnt funding to enable touring VC11LIes er r expand and enhance their pr0gramnlirlg and devcl0p thei r audiences . The,icpal-tiilctitstrengthened links throu t,hnut it s constituency' and hOSICd nVc p 1rticularl\' SL1CCCSSfU l conlercnccs . The fiI'St included venues and companie s Involved in tollr"ulg and education work . A second artcnded b\• around 50 delegates - brought togethe r producers, promoters and Vcnucs Within the COMC 111porar v Music Nenvork (CMN) to tcntcr communication an d address the tinurC devclopnlcnr ofthc ncnvork . r d, 36 77irArtt Carpw` Highlights of the 1995 96 CAI N season included the firs t UK tour b\• New York's Ban, On A Can All-Stars ; a tou r b\• the Smith Quarter to art galleries ; and the critical]\acclaimed rerurn of George Russell's Living Tim e Orchestra . The Opera , :Music Theatre Projects Fund supported th e succc,>ful debut tour of The Opera Conlpam-'s double bill Dic .1hilTic Purr and Rirpletty, and Opera Factors•' s Dino and Cutlet]' River . A high point of the dance calendar was a large-scale tourin g production of a mainly-male .Saran Lake b\• Adventures i n Motion Pictures, cO-funded with the Dance Department . Ise\- projects involvin g work fin children and vnung people included roues of The ;llartic Flute by Unicorn Arts Theatr e and TA'Adrrrrtuartor mocahtrr, a co-production betwee n \ortin«hanl Plavliouse and T atro Kismet . Among the \'car's memorable international dram a productions wcre Jazi to i fi-om Suurh Africa and V4, 17 Baroig front Bali, both promr>rcd by LIFT, and Phaedra by the National Theatre of Cnii(wa . Other drama hltrhliifit s included rile Abbev Theatre, Dublin's ObSellY the SMIS Of ClcterAMvchii ra Toi l 7rds The ,Srrnnne, produced by Thelm a Holt Lnl ; .1nd the Ro v al 1 xrhangc I hratre 1 [chile tour o f The Caller n Binrrr, which toured n .ltionall\' tO 11011-thcarrc \•C1ILICS . Mean\vhilc, Out Of j0lllt went from strength to srrcrrgth , with its .Srcr1 mil of ' Clnirtrrrrlr„a winnim, no Irss than seve n AW,11-dS 111cludrng RVO hest ,;erne awards tilt' Dollar .McCann ; Best New Play 1996 from the Critics' Circle ; and th e Llo\ .Lis Plavwrl g ht Of the Ycar Award (to Sebastian Bar'n') . Touring Visual Art s New technology ~~ it a stn) g si,cus her the scar's acct % Charmed, a web site tier the arts, won fundim , to link k o photography and media ()rUanisaricns . PhomArrs 2000 , the agency planning 1998, Year of Phorography and th e Electronic Image, received la(10,0{)() from Europea n regional development funds . The IIIStItU[C of Internationa l Visual Arts 1 inIVA> began a major Internet initiative an d AXIS, the national artists' database, registered rn•er 1,50 0 artists and deyelc reed an online ser v ice with Artlinc i n Ireland . Research into the creative use of ncty tcchn<rl{ rgie s will idcimfv ncly funding partners and resources . The department', major galleries attracted recor d attendances . This small, vigorous network of venues provided vital exposure for British visual artists . But a 6004 , I'cducti()n in corporate sponsorship threatens this suhl,ort especially in the regions - and an increasing number o f artists are exhibiting abroad . This trend underlines th e importance of the tire-yearly Br•itisljAvrShona . Organix•d h\ the Hayward Gallen' on behalf of the Arts Council, thi s celebrated event opened in seven Manchester venues an d toured to Edinburgh and Cardiff . Touring fields satl4v ()Illy a fraction of demand . Supporte d shows included Desert at the John Hansard Gallen ; Southampton ; 1171ham Nicholson at the Towner Art Gallen, Eastbourne ; and archi ve' photographs of Gandhi a t Leicester Museum and Art Gallen\- . In collaboration syit h the RABs, the department provided funds to promot e curarol'iai partnerships and training ()pporrunifies . Curators from the Northern Region made nmorking yisirs t o Europe ; and the Southern Region hosted two-day seminar s on Touring exhibitions . 38 -1 Ile AP-ts ('wuurl of 'b. gland 19Q5 96 The popularity of t}lc .art, ( . ,Lin, il-tLindccl Nationa l Collections ToUrs enahlcd the National Gallen to secur e sponsorship ro continue regional o .rllaborations . The c1cpartment s commitment to increasing support fo r the visual artist saw the launch of the First Time Pub11C.16or l Fund to promote artists ' careers ; and rheAitistc'Accecs To Art Schauls pilot scheme, which funded 16 placements . Thi s was the final year of a partnership with the Conternpora n Arrs Socien' which enabled three regional galleries to purchase new works . In all, the \Wolverhampton Art Gallen; the Ferens Are Gallery in Hull and Eastbourne' s Towner Art Gallery bou1hr or commissioned 26 works by British artists . In advance of the 1996 Artists' Right s Catnpai,m, l- l1c National Arrists Association comm'ss'orled research into arrlsts'earnings, and tax alld social sec1.11•Ity issues . After a positive review of its work, the architecture 'ni t was till)\- integrated into the department . The ArchitcCrUre Grant Schel7}l• ftlnclCLI 24 pro'ccts including the Desig n 1luseum ' s Frank IJoyd Wright exhibiti€m, which attracte d 43,000 visitors . SC\'eral education projects concluded succcssfillly. A partnership bemeen the Arts Cirtlltcil and Ope n Uni versity, in association with the late Gallen, provide d nvo companion publications tier teachers : 1r11'e•+til zntiulr 1110dr•7'u Art .Ind Critical stmfirs iu ' 110derrlArt, puhlishe d by Y.11r Urliycrsin Press . A collaboration with th e Gulbenkian Foundation saw the publication Of a galle y education manual, CrrUiucts of ' Cla hvin . Over 200 gallerie s joined the first National Gallen Week organised by Engage , the National Association tier Gallery kducat 011 . And nin e (.;allrric's ft•o1n Carlisle to Soutltanlpton teamed up wit h young people for Uft' Thc I If711, pioncercd by Artswork . 39 In 199 ; 96 the Lc>tten- Department awarded .33 I .,otter • grants worth almost .040m . The largest-will contribute t o the redevelopment the Ronal Opera House ; the smalles t helped a primary scho of buy new percussion instruments . of A wide cross-section cof art f6mis benefited from Lotter y Money: film, broadcasting, video. crafts, literature , architecture and circus . Large sums were also invested i n combined arts, music, drama, dance and opera . Dram a received the largest Lotter investment-_'12-1m too 134 projects - while music received most awards : 148 grant s worth owr L42m . One of Lottery finding's Particular strengths is its abI It V ro support and develop amateur and conlnallnin' :arts . I'UhliCin' surrc oundim , 3 handful of lar,_,e awards to hig h proli[e, national organisation-, obscures the fact that mos t of the Lottery Department's work concerned Wit h smaller bids . Indeed, 76%of all awards were less tha n !' 100,000 . is The beginning of the year saw the publication of `-uidelines fior a pilot scheme to increase the range and qualin offilrla s produced by encouraging races inycstment . During 1995 ;96, I .oortrn' grants totalling jusr cwer£9rl l contributed to 17 film productions . Nally Lottery capital projects will help to inCl•r .lse interes t and participation in the arts . This year, a high number o f education .ltd training initiatives -- including several schoo l projects - received grants . Particular emphasis is also placed oil ensuring Lottery Iunds benefit artists and pr'ortaote ne W work . Several Lottery grants were aNk'arded to projects designed to improve the conditions in which .wrists Nvork . Such developments include new workshop spaces, an d residential and commercial units . In .larch, the C;overnment floated a proposal which woul d allow Lorrery money to fund non-Capital project initiative s thar promo re access, participation and ralcm . The arts Council XvCICa111lCd tht5 prcoposal :as all copportunln'to extend and develop this aspect of Lotterv funding in th e next financial year 1996!971 . f The National Lottery 40 The Arts Council e)(Fixilland 191) .i'06 Meanwhile, Lotter' funding continues to make a significant impact on the qualm s of arts facilities i n E ndand . Lorteny funds are helping to develop, improve o r renovate theatres, cinemas, galleries, concert halls and art% centres nationwide . Grants to village halls, communi n centres and other locally-based projects are improving art s provision at grassroots level . Furthermore, the emphasis o n access in assessing grant applications will greatly increas e opportunities for disabled people to enjoy and participat e in the arts . The changes ill Lotte d- SpCnd1114 ; pohCy planned fi or 1996 , 97 will sustain and enhance a solid record of achievement . By the end of 1995 96, 665 Lotten- applications valued a t .Ca05111. Were under assessment . The number and narure o f these bids provide clear evidence that the countr x' s ail s infrasn-ilcrure still requires considerable investment . So, Lottel•y money will continue to be used primarily to fiel d capital projects . The Arts Counci l Collectio n F0: 42 The Arls Council q(FqaIajjd 1 0 95 9P The Arts Council Collection was founded in 1946, th e same year as the Arts Council of England's predecessor, the Arts Council of Great Britain . It is now the largest nationa l loan resource of post-war British art . It contains over 3,000 original paintings, sculptures an d drawings, 1,500 artists' prints and 2,000 photographs . In all, it represents over 1,700 artists including Fran k Auerbach, Gillian Ayres, Francis Bacon, Sonia Boyce , Tony Cragg, Richard Deacon, Peter Doig, Lucian Freud , David Hockney, Bridget Riley and Rachel Whiteread . The Collection forms an integral part of National Tourin g Exhibitions, a service which is administered by th e Hayward Gallery for the Arts Council of England . To celebrate the Collection's 50th anniversary, tw o exhibitions began touring in March 1996 : ACe!Arts Council Collection rim , purchases, a collaboration with the Hatto n Gallery at the University of Newcastle ; and Antony Gormley Field for the British Isles, 1993, an installation of 40,000 terracotta figures . Held at the BR Greenesfield site in conjunction with Gateshead Metropolitan Borough Council, this show was extended due to public demand , attracting an audience of 25,000 . The Collection also presented two new cased shows : Patrick Caulfield The Poems ofjulesLaforge and Henr i Matisse jazz . Other Collection exhibitions underway a s part of the National Touring Exhibitions programme include Art Unlimited, Neu , Painting, Pop Prints, Prints frozn Wood and the Spotlight exhibitions Francis Bacon , Ben Nicholson and William Tucker . Until March 1996, the Purchasing Committee comprised : Simon Linke (artist), Richard Shone (critic and historian) , Nima Poovaya-Smith (Deeper of Arts, Bradford Art Galleries and Museums), Marjorie Allthorpe-Guyton (Director of Visual Arts, Arts Council of England), Marti n Caiger-Smith (Hayward Gallery) and Isobel Johnston e (the Collection's curator, Hayward Gallery) . As the extensiveAce! exhibition indicated, the Purchasin g Committee had a very busy year. The Collection is indebte d to the Henry Moore Foundation for its contribution of £10,000 towards the purchase of Damien Hirst He Tried to Internalise Everything, 1992-94 ; and to the National Art Collections Fund and the Henry Moore Foundation fo r their grants towards the purchase of Antony Gormle y Field for the British Isles, 1993 . Purchases from April 1995 to March 199 6 in order of acquisition : Tony Kemplen Christine Borland Garv Hume Elizabeth Wright Paragon Press John Riddy Perugia Richard Patterson Calum Angus "Iania Kovats Michael Landy Gleam Brown Antony Gormley Steve McQueen Willie Doherty Jane & Louise Wilson Jane & Louise Wilson Jane & Louise Wilson Jane & Louise Wilson Hadrian Pigott Victoria Hall Leo Fitzmaurice Nerys Johnson Steve Johnson Damien Hirst Lucy Gunning Lucy Gunning Alexis Harding Michael Craig-Martin Tim Head David Mach David Mach Bruce Bernard Bruce Bernard Bruce Bernard Bnice Bernard Georgina Starr Factual Nonsense Sarah Jones Sarah Jones Amanda Thesiger Lan Davenport Ilan Hays JagjitChuhan Virginia Verran Martin Creed Martin Creed Martin Creed Michael Landy Andrew Mansfield John Lyons John Wilkins Helen Robertson Bridget Smith Bridget Smith Alnoor Mitha Gurminder Sikand Gurminder Sikand Bill Woodrow Lisa Milroy Lisa Milroy Shirazeh Houshiary Chris Ofili Permindar Kaur SK329858I Q Pt-94,1994 Berlin Blanket, 1993 Four Feet in the Garden, 1995 Untitled: Neta ,spaper•and TescoBag, 1994 London Portfulio, 199 1 Nety Yor•h 1, Milan, Milan, Barcelona, 1991-9 3 Alotorrosser, 199 5 Mackay Isolate, 199 5 Grotto, 1994 I lip Learc the Scatm ivath No Place to Hide, 199 5 Dcclinr and hill, 1995 Iieldft'rr the British Isles, 1993 Bear, 199 3 At the End if the Day, 199 4 Hypnotic Sutlgcstion 505, 199 3 Note, 1992 Cbrtstruction and Note, 199 2 8.30, 199 2 liwrtsment(j7lygirm ('case 2), 199 5 lawily'lier Ic°17, 199 5 Rolland, 199 .1 Doublesrmay, 199 5 Binoculars (harm no. 9), 199 5 Ile T-icd to InternaliscEverything, 1992-9 4 C'lin lying XoanulRfyRoom , 199 3 The lhnse Inapresdonists, 1994 I_t ntirle-d (snulv),1995 Ilistorv I iunttntt, 199 5 L1-1juisi'te Curpse 2&4, 1994 Clad the Ha yrrard, 1995 Battersea Cheeir 1, 1995 Lucitan 1 read i+ ,ithpaintingofLcighBowery, 1990 1 .ci1jliB0urrv posinj( with painting (vertical ) by Lucian Freud, 1994 I oilb Bourrvand Nicola Bateman posing fo r And for tbeBrtd&roorn, 1993 Sac Tilley posing an Lucian Freud's studio, 199 5 The ntirn collerrions c f the Seventh Museum, 199 4 Odic; nren 'slltnt ,crs, 1995 Aemr, 199 ; Consulting Room, 199 5 llrrarzgentcrtt, 1994 Inuredl.ines:1,i0torange,blue,yellim, dark irn cit and orangc, 1995 Guinea Pin, 199 5 Sefl'ortruir, 199 5 Pink Paintinjt lVal, 1995 ll brk No . 11, 198 9 bbbrk No . 117, 1995 14&k No. 135, 1995 Scrapheap Scrrices, 199 5 No. 130, 199 5 Victim ofPapa Bois, 1990-92 I fis 10ndcring, 199 5 Navel, 199 4 Premier, 199 5 Odeon (green), 199 5 Ascension, 198 3 Figure and Head, 1994 Untitttd 11, 199 4 93129, 199 3 14otoHouse, 199 4 I~Voto Hoztse, 199 4 Cube nfMan, 199 2 Popcorn Shells, 199 5 innocence, 1993 43 Regional Arts Board s (as at 31 March 199 6 EasternArts Board Southern Arts Board Chem Hinton Hal l Chem Hinton Roa d Cambridge CB 1 4D W Tel : 01223 21535 5 Fax : 01223 24807 5 Area covered : Bedfordshire, Cambridgeshire , Essex, Hertfordshire, Lincolnshire, Norfolk an d Suffolk Chief Executive : Lou Stein Chairman : Dr David Harrison CB E 13 St Clement Stree t Winchester 5023 9DQ Tel : 01962 855099 Fax : 01962 86118 6 Area covered : Berkshire, Buckinghamshire , Hampshire, Isle of Wight, Oxfordshire , Wiltshire and South East Dorset Executive Director : Sue Robertso n Chairman : David Rei d Eastern Arts Board During a year of considerable change - whic h included an extensive organisational review Eastern Arts focused on preparations for th e region's Year of Opera and Musical Theatre i n 1997, part of the Arts 2000 series . The board allocated the first tranche of commissionin g funds and appointed senior staff, who develope d contacts with performing organisations , national and international . South EastArts Board East Midlands Arts Board Mountfields Hous e Epinal Wav Loughborough Leicestershire LEI I OQ E Tel : 01509 21829 2 Fax: 01509 26221 4 Area covered : Derbyshire (excluding High Peak District), Leicestershire, Northamptonshire an d Nottinghamshire Chief Executive : John Buston Chairman : Professor Ray Cowel l London Arts Board Elme House 133 Long Acre Covent Garden London WC2E 9A F Tel : 0171-240 131 3 Fax : 0171-240 458 0 Area covered : 32 London Boroughs and th e City of London Acting Chief Executive : John Sharples Chairman : Clive Priestley CB Northern Arts Board 9-10 Osborne Terrace Jesmond Newcastle-upon-Tyne NE2 IN Z Tel : 0191-281 633 4 Fax : 0191-281 327 6 Area covered : Cleveland, Cumbria, Durham, Northumberland ; metropolita n districts of Newcastle, Gateshead, Nort h Tyneside, Sunderland and South Tyneside Chief Executive : Peter Hewitt Chairman : Cllr Stella Robinso n North West Arts Board Manchester House 22 Bridge Street Manchester M3 3AB Tel : 0161-834 6644 Fax : 0161-834 6969 Area covered : Lancashire, Cheshire, Merseyside , Greater Manchester and High Peak District o f Derbyshire Chief Executive : Sue Harrison Chairman : Professor Brian Cox CBE 44 The Arts Council ofEngland 1995196 10 Mount Ephrai m Tunbridge Well s Kent TN4 8A S Tel : 01892 51521 0 Fax : 01892 54938 3 Area covered : Kent, Surret; East and Wes t Sussex Chief Executive : Christopher Coope r Chairman : Roger Ree d South WestArts Bradninch Plac e Gandy Street Exeter EX4 3L S Tel : 01392 21818 8 Fax : 01392 413554 Area covered : Avon, Cornwall, Devon, Dorse t (except districts of Bournemouth, Christchurch and Poole), Gloucestershire and Somerse t Chief Executive : Graham Lon g Chairman : Maggie Guillebaud West Midlands Arts Board 82 Granville Street Birmingham B1 2L H Tel : 0121-631 312 1 Fax : 0121-643 723 9 Area covered : Hereford and Worcester, Shropshire, Staffordshire, Warwickshire ; metropolitan districts of Birmingham, Coventry Dudley, Sandwell, Solihull, Walsall an d Wolverhampton . Chief Executive : Michael Elliot t Chairman : Bob Southgate Yorkshire &Humberside Arts Boar d 21 Bond Street Dewsbur y West Yorkshire WF13 1AX Tel : 01924 45555 5 Fax : 01924 46652 2 Area covered : Humberside and Nort h Yorkshire ; metropolitan districts of Barnsley, Bradford, Calderdale, Doncaster, Kirklees , Leeds, Rotherham, Sheffield and Wakefield Chief Executive : Roger Lancaste r Chairman : Sir Ernest Hall OBE DL The year also saw the successful development o f key partnerships in the business and publi c sectors . Notable joint initiatives included the development of the FirstTake Foundation , funded with Anglia TV, which supports youn g and new video and film makers ; Battered Britain , the Channel 4 series featuring short films b y regional makers ; and a joint conference with th e Royal Institute of British Architects (RIBA) on Architecture and the Lottery at Robinson College, Cambridge . While forging links with other Regional Arts Boards (RABs), training agencies, arts network s and educational institutions, the board also made substantial progress in partnerships with its 62 local authorities . Local authority arts spending in the region now stands at .C 19m the highest total in any RAB area. The quality of the board's partnerships wa s matched by the quality of the region's artisti c output. Aldeburgh Festival consolidated its success with Early Music and Folk festivals an d Wingfield Arts and Music enjoyed a highl y productive year. New technology project s proliferated with notable successes a t Cambridge Darkroom Gallery and at Th e junction, also in Cambridge . In its second year, First Site Gallery doubled its audience while the Usher Gallery in Lincoln welcomed artists fro m Archangelsk, Russia . The Trestle Theatre Company and Norwich Puppet Theatre also provided highlights . Finally, the region won 13 major Lottery awards . As well as schools and community groups, the Cambridge Arts Trust, King's Lyn n Corn Exchange and the European artists ' exchange project Intaglio were among the organisations to benefit . EastMidlandSArtSBoard London Arts Board Northern Arts Board The quality and diversity of the year's artisti c achievements reflected the increasing strength of the board's relationship with the Arts Council . The extraordinary range and diversity of the capital's arts was evident in a year when the London Underground got its poems back ; the Clink Street Vaults hosted Robert Wilson's HG - one of the most original arts installations in recent memory ; and Cultural Industry turne d Queen Elizabeth Hall back-to-front for Le a Anderson's Reverse Effect . This diversity was also reflected in Well Sorted, the second anthology drawn from the London Short Story Competition . The year was arguably the most successful i n Northern Arts' history as the region hoste d Visual Arts UK - part of the Arts 2000 series . Labour Party leader Tony Blair, MP fo r Sedgefield, launched this year-long programm e of events at London's Tate Gallery, along wit h The Case For Capital - the board's strategy for capital development . Theatre proved particularly prolific : by early 1996, the Nottingham Playhouse had seve n productions on tour, as far afield as Japan . Highlights included TheAdventures ofPinocchio , an award-winning co-production with Teatro Kismet . Leicester Haymarkees commitment t o musical theatre was rewarded with West En d transfers for Mach and Mabel, and Calamity Jane . Dance 4 consolidated in Nottingham and its innovative NottDance Festival went fro m strength to strength . Derby Danc e Development caught the city's imagination, inspiring the development of a danced-base d arts centre at Chapel Street . The East of England Orchestra performed 42 concerts around the region and held over 6 0 workshops and outreach projects . The board' s jazz strategy resulted in support for four ke y independent producers . Visual arts organisations and eight gallerie s produced almost 90 exhibitions includin g Alison Wilding's highly-acclaimed Echo at Nottingham's Angel Row Gallery . Derby's Montage Gallery and the Derby Photography Festival maintained the city's high photographi c profile and Nottingham's profile as a medi a centre continued to rise . The First Cut scheme a partnership with Central TV - offers young film-makers valuable broadcast experience . Five films broadcast in Autumn 1995 were produce d using improved facilities at Intermedia in th e city's Broadway Media Centre . The board's cultural diversity strategy saw the launch of African, Caribbean and South Asia n arts networks ; while Leicester Carnival provided a focus for the development of carnival skills . The board expanded education work, launchin g several initiatives including the ArtistsAt Your Service scheme ; while groups such as First Movement and Firebird Trust continued their work with disabled and disadvantaged groups . Though funds available to support London's arts fell in real terms, London Arts Board was still able to maintain funding to its revenue an d fixed-term clients, and provide more project grants than ever before . Following a highly constructive consultation process, the board's review of long-ter m planning set out a framework for future development. This calls for an increased emphasis on the quality of arts activities, with a clear explanation of how the board will mak e quality judgements ; greater flexibility in fundin g agreements ; and a partnership strategy with clearly defined objectives . Visual Arts UK opened with a showing o f Antony Gormley's Field for the British Isles, an event which attracted over 25,000 people to a derelict rail yard in Gateshead. And the region continued to play a leading role in public art, unveiling plans to install Gormley's Gateshea d Angel, David Mach's Locomotive sculpture and the C2C sculpture trail. Other Visual Arts UK highlights included Video Me, devised by Tyne'Cees TV and launched b y Secretary of State for National Heritage , Virginia Bottomley DIP. This year-long series features one-minute videos made by viewers about themselves . The board developed a number of ke y relationships in the public and private sectors . These will be of considerable importance as th e board develops its National Lottery strategy, providing a context for Lottery application s from the capital . Other art forms - notably drama - also had a highly productive year. Stockton International Riverside festival - Britain's largest street theatr e festival - attracted over 150,000 people an d companies from Russia, the Ukraine, Polan d and America . Northern Stage performed Nest of Spices in a derelict Wallsend power station. This multi-media education project, funded b y Tyneside TEC, involved 1,000 youngsters . The board continued to give high priority t o cultural diversity projects . The 30th Notting Hill Carnival - now Europe's largest outdoo r festival - provided a focus for a celebration o f this work. Tyne Tees TV screened New Voices, a showcase for young Northern dramatists, and New Visions, a series of short films by new directors . In partnership with Tyne Tees and Border TV, the board ran the Northern Electric Arts Awards . The board continued to maintain and develo p its assessment and advisory systems to ensur e that there is a broad base of expert an d independent advice to inform policy making an d implementation ; to contribute to the evaluatio n of arts practice ; and to advise on grant aid . Northumberland's 20,000 Voices project achieve d its target with the commissioning ofMorpeth in Flood while the Appleby Jazz Festival commissioned two new works : the Pennine Suite Finally, the board said farewell to its founding chief executive Timothy Mason and, at the en d of the year, welcomed new chief executive Su e Robertson back to London . anclAppleby Suite . Finally, the region's new arts and listing s magazine Northern Review, launched by Keepdate Publishing, was honoured in the 199 5 North East Press Awards . As local authority partners faced greater financia l constraints, the region felt the first benefits of National Lottery funding with several majo r projects coming on stream . 45 Yorth IlestArtsBoard Son thern Arts Board South East Arts Board It seas a hectic year for North West Arts Board , im ol-ing a restructuring of the organisatio n and a move to newly customised premises at Manchester House in Bridge Street . The mor e was consolidated in March when the Arts Council Chairman Lord Gowrie carried ou t an opening ceremony. In 199596, the board continued to build on th e solid foundations laid down over the previous 12 months . The appointment of Roger Reed as the ne w chairman of South East Arts heralded a period of transition : the board recognised tha t becoming a major player in the region's economic regeneration is the kev to expandin g the region's arts activities . In the run-up to the millennium, the board i s focusing its efforts in three kev areas : young people and the arts, education and the arts an d positive action . To support this work, the boar d has established a new Resource Developmen t Department, which will play a key role in raising additional funds . Following extensive consultations with its annually funded organisations and the region's local authorities, the board introduced ne w funding agreements to ensure its arts money i s distributed as fairly and effectively as possible . Artistic successes during the year include d Merseyside ' s Video Positive Festival o f electronic arts, organised by Moviola . Th e growing success of this international festival was crucial to the successful joint bid by Liverpoo l and Manchester to host the 1998 Internationa l Svmposium of Electronic Arts . Literature development was consolidated through the launch of the North West Literatur e Development Workers' Forum and the risin g profile of the region's literature festivals . Nobe l prize-winning poet Seamus Heanev gave a reading at Manchester Poetry Festival withi n days of receiving his award . The region's theatres enjoyed anothe r productive vear, while Africa Ove and the Electric Concerts in Liverpool and Manchester Camerat a provided some of the year's musical high points . Visual arts continued to thrive . Manchester hosted the British Art Show, which showcase d new artists, and Liverpool staged the BT New Contemporaries . The Ha! and Haul exhibitions celebrated emerging talents in Manchester an d Liverpool respectively: The board published a new broadcasting policy to promote innovative and creativ e collaboration between artists and broadcasters . And the broadcasting highlight was Hearing is Believing, which went on air at the Vide o Positive Festival to excellent reviews . Inevitably; National Lottery funding had a major impact. The region received the second largest total of grants in 1995/6 - after Londo n - with Salford's Lowrv Centre and Manchester' s Contact Theatre winning two of the year' s biggest awards . 46 The Arts Council ofEngland 1995/96 Local authorin funding remained stable, despit e concern over the ability of some county council s to maintain arts support . Generally, robus t partnership agreements reinforced the board ' s close links with local authorities and fostere d steady development across the art forms . Salisbury Festival was the region's outstandin g artistic success, attracting increased funding an d almost doubling its audience . Music theatre also benefited from in vestment in partnerships , commissions and specialist venues . In its second year as associate dance compam ; Aletta Collins provided a focus for new wor k and built links with regional venues and danc e agencies . Talks opened on establishing a museum for contemporary crafts, while stronge r links with workshops and exhibitio n developments enhanced the regional fil m infrastructure . The board promoted a keen debate on visual arts exhibition provision in th e south of the region, following the merger o f Southampton University and Wincheste r School of Art . There was a marked increase in literature promotion, with a prominent role for literature development workers and a framework tha t embraces community publishing - notabl y through Corridor Press - and education work. The board vigorously promoted the role o f education through major regional seminars, th e launch of countywide forums and th e introduction of a developmental educatio n strategy A new Venue Development Fun d supported the region's arts centres as they bega n revitalising their approach to new work, cultura l diversity and outreach . There were several notable developments amon g key core funded organisations . Under stron g leadership, Salisburv Playhouse achieve d significant artistic success in its relaunch year . With additional funding and an enhance d programme, Southampton's Turner Sim s Concert Hall attracted bigger audiences . Finally; the board successfully launched it s Lottery advice and assessment procedures : in all , local arts organisations were awarded Lotter y grants totalling E35m for projects worth £70m . The National Lottery had a profound impact . The board committed almost half its time t o directly managing £3 .2m revenue funding . An d it devoted the balance of its time to securin g .C5 .8m of Lottery capital funding for 29 project s ranging from the purchase of brass ban d instruments to design and build arts complexes . These capital projects attracted a further £ 12 .8 6 from regional partners . Revenue funding, however, remained tight : many local authorities cut some art budgets and failed to meet overall subscription targets . These setbacks inspired moves to finance futur e regeneration through government an d European Challenge Fund programmes . As funding remained unstable, arts organisations experienced mixed fortunes . While some clients faced financial an d operational difficulties, others managed t o sustain activity levels and some recorde d significant achievements . There were also some regrettable losses . Although the board was able to contribute t o rescue and stabilisation packages wort h £240,000 for the Yvonne Arnaud Theatre an d Broomhill Festival, it was unable to support th e reopening of Farnham's Redgrave Theatre . This coincided with a review of the board's policy fo r drama funding . New criteria have now bee n drawn up for full consultation in 1996/97 . Meanwhile, the South East Touring Agenc y successfully piloted its first year working with small-scale venues in Sussex while a new Director of Education post for the Chicheste r Festival Theatre complemented an excitin g summer season of new plays. The board continued to encourage th e exploration of new technology. Sussex has on e of the fastest growing concentrations of medi a industries in Europe and in 1995/96 over E1 m was raised for - or committed to - computerbased arts projects . South WestArts WstAfidlandsArtsBoard Yorkshire &Humberside Arts Boar d South West Arts' newly implemented professional structure generated savings of over £200,000 . This means that South West Arts now has the lowest overheads of any Regiona l Arts Board . More importantly, it enabled th e board to release invaluable extra funds into the region's arts economy. Yet again, artists and arts organisations overcame financial constraints to record severa l memorable successes . And with little prospect o f increased core funding, sourcing alternative funds became imperative . For many artists and arts organisations, financia l survival - while maintaining artistic standards became an overriding priority. The financia l health of some, particularly those vulnerable t o falling attendances, suffered seriously as deficits rose to critical levels . South West Arts' commitment to nurturing new work saw the launch of the St Ives internationa l project, The Quality ofLBht, and its development as a major visual arts and medi a event for 1997 . The board also launched the South West Media Development Agency, which will provide substantial new funds fo r commissioning artists' film and video work through a regional media investment fund . The board began implementing its Theatre Policy Review ; agreed a new operational mode l with the Northcott Theatre, Exeter; an d established the South West Advisers' Network t o encourage the exchange of creative idea s between the region's theatre producers and practitioners . Arts Training South West had a highl y productive year and the board supported several milestone education and training initiatives . Among these was the launch of a nationall y significant pilot, In Your Place - a guide to student placements in arts organisations . New technologv featured prominently on th e arts' agenda as the board launched its Ne w Technology Strategy review, established an Internet site and promoted Grasping the Nettle, a major regional conference exploring the creative potential of new technology. A second major conference, Creating the Future, considered the consequences of local government reorganisation in Avon and led to the agreement of a new strategic plannin g partnership for the county. Stimulating public interest in the arts remained a priority and the Public Art Unit had a particularly successful year, securing commissions for 116 regional artists. Meanwhile, the board played a leading role in promoting the benefits of National Lotter y funding throughout the region's arts community. The board devoted considerable effort to maximising the region's share of National Lottery funds . It organised 150 Lottery surgeries, 25 Lottery presentations and produced 10 Lottery briefing sheets . Thi s commitment helped arts-related projects in th e West Midlands win £16 .5m in Lottery funding . In addition, local organisations lodged 138 ful l Lottery applications worth £86m . The region attracted £ 10m of its own Europea n funding while acting as an adviser to the government on EU funding programmes, an d assessing applications for European arts fundin g from other regions . New partnership agreements with local authorities generated a further £900,000 . And the board's support fo r ABSA (Midlands) saw a 4196 increase in pairin g scheme awards : 41 business advisers were seconded to 41 arts organisations . Staff continued to deliver excellent service despite a cut in their numbers at the beginning of the year. In October, the board became th e first arts funding organisation to win a n Investors in People award. The region's artistic output also attracted high praise. Among the year's most memorable events was the ground-breaking Here and Now partnership with English Heritage at Witley Court, Worcester. Altogether, 666 new works were commissioned in the region including 1 1 new films for television. Jubilee Arts undertoo k several highly successful, technology-base d partnerships : its collaboration with Geese Theatre Company won an IBM Community Connections award . Meanwhile, the board made significant progres s in several key strategy areas, most notably art s and young people; Asian, African an d Caribbean arts ; arts in rural areas ; and arts an d disability. It also concluded reviews of dram a and public art. Both emphasised the region's enormous potential, which remains hampere d by an inadequate funding base . Overall, the board's total income rose by 7.3% . Funding to franchise organisations increased by 10 .5% (but only 4 .5% if one-off contingency funding is excluded) ; annual funding by 1% . Projects and schemes finding fell 1% in favour of franchise funded organisations . Expenditure on the board's operating costs was kept belo w 1994/95 levels in cash terms . And the board completed a staff restructuring to mee t envisaged future needs, particularly with the onset of the Lottery. Core funding constraints did not preclud e artistic success . Among the year 's highlights were the Designer of the Year Award fo r Sheffield-based jeweller Brett Payne ; an award from the Japanese Festival Fund for thelian Yasuda exhibition at Yorkshire Sculpture Park ; and the Theatre Royal in Yorks TMA Martin i Award for its musical Atoll Flanders. The first fiill year of the Lottery had a significant impact on the board's work . There were 5 8 successful applications within the region , securing just under .C10m . Notable successes included the year's largest public art award nearly .£lm - to East Yorkshire Borough Council for the redesign of Bridlington's South Promenade and completion of Alan Ayckbourn' s new Stephen Joseph Theatre in Scarborough . Uncertainty surrounded details of the local authority re-organisation in Humberside an d North Yorkshire, which came into force on 1 April 1996 . Negotiations continue d throughout the year to ensure minimu m damage to existing arts support and maximu m opportunity for the arts within the policies and structures of the new unitary authorities . Although most funding agreements with local authorities survived, many authorities continue d to reduce direct art services . This had a particularly strong impact on galleries an d exhibition programming . 47 The Counci l Members oftheArts Council ofEnglan d at 31 March 1996 Lord Gowrie PC (Chairman ) Sir Richard Rogers (Vice-Chairman ) Richard Cor k Professor Christopher Fraylin g Maggie Guillebau d Sir Ernest Hall OBE D L Gavin Henderson Thelma Holt CB E Trevor Nunn CB E Stephen Phillip s Usha Prashar CB E David Rei d Stella Robinson Prudence Sken e Robert Southgate Observer : Denys Hodson CB E Members of theAudit Committee Peter Gummer * (Chairman) Lord Gowrie P C Sir Ernest Hall OBE DL David Rei d Prudence Skene Members ofthe Preparation of Business Committe e Lord Gowrie PC (Chairman ) Peter Gummer * Sir Ernest Hall OBE DL David Rei d Prudence Skene * until 19 March 1996 Lord Gan-riePC Chairma n Lord Goxvrie was appointed Chairman of th e Arts Council of England for a five-rear ter m from 1 April 1994 . He is a director of Sotheby-'s . haying been Chairman between 1987 and 1993 . He Was Provost of the Royal College of Art from 1985 until this year. His political career included service as Minister of State fo r Employment 1979-81, Minister of State an d Depun Secretan of State for Northern Ireland 1981-83, Minister for the Arts 1983-85 an d in the Cabinet as Chancellor of the Duchy o f Lancaster 1984-85 . Educated at Eton, Ballio l and Harvard, he has been a visiting lecturer a t the State University of New fork, a fellow an d tutor at Har vard and a lecturer in English and American literature at UCL . He was Chairman of the Serpentine Gallery and a director of th e London Symphony Orchestra. He ha s published books on politics and the arts an d is a literary critic for The Daily Telegraph . Sir Richard Rogers Vice-Chairma n Sir Richard is Chairman of Richard Roger s Partnership . He was educated at th e Architectural Association, Yale University an d is a member of the Royal Institute of Britis h Architects . His many awards include the RIB A Gold Medal, the Legion d'Honneur and th e International Union of Architects' August Perre t Prize for the Pompidou Centre . He is a membe r of the Centre International Pierre Mende s France, Chairman of the Architectur e Foundation and the National Tenants Resource Centre and former Chairman of the Board of the Tate Gallery His recent works include the ne w headquarters of Channel 4 in London and th e European Court of Human Rights i n Strasbourg. Amongst current projects in th e UK are the proposed Terminal 5 at Heathrow Airport, headquarters for Lloyd 's Register o f Shipping and for Daiwa Securities in the Cit y of London . Current overseas projects includ e Minami School in Japan, the new Seou l Broadcasting Centre in Korea, offices an d housing for Daimler-Benz in Berlin and th e Bordeaux Law Courts . Richard Cork Richard Cork has been Chief Art Critic fo r The Times since 1991 . He was the Henry Moore Foundation Senior Research Fellow at the Courtauld Institute from 1992 to 1995 . A critic , editor, broadcaster and historian, he has organised many exhibitions including shows i n Milan, Paris, Berlin and at the Royal Academy, Tate and Hayward galleries in London . He has also published several books including Yorticism and Abstract Art in the firstMachine Age, Ar t Beyond the Gallery, David Bomberg and most recentlyA Bitter Truth : Avant-garde Artand The Great War . In 1989-90, he was appointed Slad e Professor of Fine Art at Cambridge University. He is currently working on a history of Britis h sculpture in the 20th century 48 The Arts Council ofEngland 1995196 Professor Christopher Framding Christopher Fravling is Rector of the Roval College of Art . A historian, critic. writer and broadcaster, he was educated at Repton Schoo l and Churchill College . Cambridge where h e studied history. After completing his doctorate there, he lectured at Exeter and Bat h Universities and became a film archivist at th e Imperial «ar Museum . In 1979, as Professo r of Cultural Histon- at the RCA, he founded the Department of Cultural History and Faculty of Humanities there - with new post-graduat e courses in the history of design (198 1 conserv ation (1989) and visual arts administration (1992) . He was a governor of the British Film Institute, a member of th e Crafts Council 1981-86 and Chairman o f Frceform Arts Trust 1982-88 . He is a truste e of the Victoria and Albert .'/Iuseum, Chairma n of the Crafts Study Centre in Bath and a regula r commentator - on radio, television and in prin t - on the fine and less fine arts . His lates t television work includes the series The Face of Tutankhamun, Strange Landscape and Nightmare - the birth of horror . Maggie Guillebaud Chairman of South WestArts Maggie Guillebaud was educated at Wycombe Abbey School and graduated in English fro m Exeter University. She had a career in educatio n before taking up a wide variety of voluntar y appointments . She has been a committee member with South West Arts for many year s and is a former Chairman of the English Regional Arts Boards . She was formerly on the board of Cheltenham Festivals Ltd an d Cheltenham International Festival of Music . She was also Chairman of the Bristol Cultura l Development Partnership and, until recently, o n the board of Gloucestershire Everyman . A love r of music, theatre and the visual arts, and founde r Chairman of the Friends of Cheltenham Art Gallery and Museums, she is also Director of Bristol 2000 . Sir Ernest Hall OBE DL Chairman of Yorkshire &Humberside Arts Boar d Sir Ernest founded Dean Clough, the business , arts and educational centre in Halifax, West Yorkshire . He studied piano and composition at the Royal Manchester College of Music i n the 1950s . In 1961 he launched his own textile company, Mountain Mills, which in the lat e 1970s turned from textiles to property. After retiring from the company in 1983 he bough t Dean Clough, a derelict Victorian carpet mill, which he began transforming into a ` practica l Utopia ' . It now houses around 100 companies , over 3000 workers, an art gallery, the Henr y Moore Studio, two theatre companies an d educational initiatives Design Dimension Project and the Calderdale College Enterpris e Campus . Sir Ernest continues his career as a musician and performs as a soloist with severa l orchestras . In 1994 he was appointed Chairma n of Northern Ballet Theatre and became a member of the Design Council . He is als o Deputy Chairman of EUREKA!, the museu m for children . Gavin Henderso n Gavin Henderson is Principal of Trinity Colleg e of Music, Artistic Director of the Dartingto n International Summer School and President an d Artistic Adviser to the Bournemouth Festival . He was for many years Director of the Brighton Festival, prior to which he ran the South Hill Park Arts Centre at Bracknell, where he create d the Wilde Theatre . His wide experience of working with orchestras included a period a s Chief Executive of the Philharmonia . He is Chairman of the British Arts Festivals Association, Vice-President of the Europea n Festivals Association and President of th e National Piers Society. He is a governor of the University of Brighton and of Chethams School, Manchester. He is also Chairman of Arts Worldwide/World Circuit Arts and of the independent film and television compan y Palindrome Productions . Thelma Holt CBE After a successful career as an actress, Thelm a Holt founded and ran the Open Space Theatre , the pioneer of fringe theatre in the UK . Sh e subsequently spent eight years as Director o f The Roundhouse until its closure, and the n became Head of Touring and Commercia l Exploitation at the Royal National Theatre , for which she received the Laurenc e Olivier/Observer Award for Outstanding Achievement in the Theatre . An independent producer since 1990, her most recent productions in London have been the Donma r Warehouse production of The Glass Menagerie and the Abbey Theatre Dublin's production of Observe the Sons of Ulster Afarcbing Towards th e Somme . In 1994, she received an honorary doctorate from Middlesex University. Trevor Nunn CBE Trevor Nunn is Director Emeritus of the Royal Shakespeare Company (RSC) and Artisti c Director designate of the Royal Nationa l Theatre . He was educated at Northgate Grammar School, Ipswich, and Downing College, Cambridge . He began his theatre career at the Belgrade Theatre, Coventry, as a traine e and then Resident Director. He joined the RSC in 1964 as Associate Director, becoming Chief Executive and Artistic Director in 1968 . From 1978 to 1986 he was the company's Join t Artistic Director, and since then he has worked as a freelance director in both theatre and film . Stephen Phillips Stephen Phillips is a writer, broadcaster an d producer. In these capacities, he has made several hundred arts programmes and variou s current affairs documentaries and dramas fo r television . He is a regular lecturer on arts subjects for American and British universities . He was formerly the first arts correspondent fo r Channel 4 and editor of its first arts serie s S~rnals, administrator of Prospect Theatre Company at the Old Vic, a presenter o f Kaleidoscope and critic for the Daily Express . He has intermittently been a member of th e Arts Council's advisory panel on Touring - o f which he is now chairman - since 1974, and in that time has chaired the Tricycle Theatre and Janet Smith and Dancers . Usha Prashar CBE Usha Prashar is Chairman of the Executiv e Committee of the National Literary Trust an d a Non-Executive Director of Channel 4 . She is also a part-time Civil Service Commissioner . She served on the Arts Council of Great Britai n 1979-81 and was a member of Greater Londo n Arts Association 1984-86 . Her record of publi c service includes terms of office with the Rac e Relations Board, the Executive Committee o f the Child Poverty Action Group, the BB C Educational Broadcasting Council and th e Royal Commission on Criminal Justice . She was Director of the Runnymede Trust 1977-84 an d Director of the National Council for Voluntary Organisations 1986-9 L Her presen t appointments include membership of the Lor d Chancellor's Advice Committee on Legal Education and the Council of the Policy Studie s Institute (PSI) . David Reid Chairman ofSouthern Arts Board David Reid is a former IBM resident director. He spent several years in Scotland where h e headed the company's activities and established a reputation for his commitment to the arts . He was a member of the Executive Council o f Scottish Business in the Community and wa s Chairman of the Scottish Committee of ABSA. Since returning to Hampshire, he has chaire d the newly-formed Business in the Arts South Company He is also a governor of Portsmout h University where he is chairman of the Huma n Resources Committee . Stella Robinson Chairman ofNorthern Arts Board Born in Leeds, Stella Robinson was educate d at Aireborough Grammar School and Leeds University. After taking a degree in English she worked in housing in York and Rotherham . In the 1960s she was a Warden of Lodgings fo r King's College, Newcastle-upon-Tyne . During this period she joined the newly-formed Regional Arts Association, later to become Northern Arts Board, which she has chaired since 1990 . She has been a Labour Councillor i n Darlington and County Durham since 1972 an d is a member of Durham County Council's Arts , Libraries and Museums Committee, a Vice Chairman of the North of England Open Air Museum at Beamish, and serves on the Counci l of the Museums Service, Durham City Arts an d Durham Theatre Company. She is a registered disabled person with partial sight . Prudence Skene Prudence Skene's early experience in arts administration included work with John Gale Productions, The Australian Elizabetha n Theatre Trust and The Roundhouse . She worked with Ballet Rambert from 1975 to 1986, first as Administrator and then a s Executive Director. From 1987 to 1990, an d again in 1992, she was Executive Director of th e English Shakespeare Company. She has worked as a freelance arts administrator for clients including the Royal National Theatre and i n May 1993 she became Director of the Arts Foundation . Until her appointment to the Art s Council she was President of the Theatrical Management Association and Chairman an d Vice-Chairman respectively of the Dancers ' Resettlement Trust and Fund . Robert Southgate Chairman of WestMidlandsArts Board Robert Southgate is the former Managing Director of Central Broadcasting and i s currently a consultant to Central Television . His career in journalism included executiv e posts on national newspapers before he joined ITN as a reporter and newscaster in 1969 . He was a founder member of the successful T VS franchise application group for South and Sout h East England in 1982 and played a major role i n Central's franchise application in 1991 . He is a Board member of the City of Birmingha m Touring Opera, a member of the Advisory Board of Birmingham Royal Ballet and a Non Executive Director of Central Broadcasting an d Meridian Broadcasting . 49 Membership of Counci l and staf f Directors or Heads o f Department,R nit are noted . Staff within departments ; units are othern ise listed in alphabetica l order. List current as at 31 March 1996 . Council Changes to Council during 1995/96 : Peter Gummcr resigned from the Council on 19 March 1996 . Honours Our congratulations to th e following who received honour s during the year : Richard Burton (CBE), member of the Visual Arts Advisorv Pane l Fleur Adcock (OBE), membe r of the Literature Advisorv Pane l Paddv Masefield (OBE), member o f the National Lotter° Advisorv Pane l Obituaries We record with great sorrow the following deaths : Brigid Brophy, member of th e ACGB Literature Panel from 196 7 to 196 8 Helen Chadwick, member of th e Visual Arts Panel from 1990 to 199 5 Sir Kenneth Robinson PC , Chairman of ACGB from 197 7 to 198 2 Peter Williams OBE, Chairman of the ACGB Dance Advisorv Committee 1973 to 1980 . Arts Council oFEngland stafflist fixed term contract member of the Senior Management Tea m + part-tim e • Secretan--General's Office Man Allcn ' Secretan--Genera h Brenda Whitehea d Chairman's Offic e John Dowling Deputy Secretary-General 's Office Susan Hoyle * (Deputy Secretan-General ) Jane Craig Secretaria t Lawrence Mackintos h (Head of Secretariat ) Brenda Carruthers-Jone s Information Annie Thackera y (Information Manager ) Stephen Chappel l Jon Feldmann + Therese Hanou n Jacqueline Loma s Sanjay Macwan a Sara Newma n Andrew Wat t Policy, Research and Planning Graham Hitchen* (Director ) Julia Crookenden (Regiona l Director ) Ruth Aldridge Sara Ben n Christine Eastman + Andy Feis t Many Holland* + Naseem Khan + Jane O' Brie n Pat Swel l Charlotte Vignole s Press and Public Affairs Sue Ros e (Head of Press and Public Affairs ) Andrew Barnet t Caroline Leec h Jane Parley Matthew Rose + Jean Stevens + Finance and Resources Divisio n David Knowles * (Interim Director of Financ e and Resources ) Margaret Shackleto n Business Assessment and Planning Peter Grei g (Head of Business Assessment an d Planning ) Andrea Davidson + Paul Dxvinfour* + Denagh Haco n Olivia Lacev Emer O'Sulliva n Janet Robinson Tobv Scott Carol Ston e Peter Verxvcv 50 Finance Jennifer OakleN i Financial Controlle r Chris Austi n Sonia Dresseki c Carol n Farr Glen Fogg Lyn Gathercol e Marcus Henn ' Shirley Larb i Rosemarie Lewi s Elizabeth Sel l Jill Skvers Vanessa Trus s The Arts Council oftngland 1995196 Office Services Sam Turne r (Property° and Se rv ices .Manager ) Cornelius Desmon d Emma Dunste r Mike Fouracrc Steven Goul d Pamela Hurst + Tonv Patienc e Erie Pickersgil l Judith Rei n William Roache Robert Semakula + Jean Stevens + Alan Wheatlcv Roy Wood Walter Woodlev Personne l Marv Wratten (Director ) Marion Brown Marjorie James Louise Nun n Keith Simpson * Kate Woollin * CorrtbinedArts Iain Reid* (Director ) Janet Bailli e Theresa Bergne + Bronac Ferra n Simone Hewe r Danicla Karsten Sarah Scott + Fiona Seagravc+ Dance Hilarv Cam°* (Director) Claire Carnel l Clemmie Cow l Beyerlcv Griffith s Brendan Keane\ , Jeanette Siddal l Janet Stephenso n Drama Kathleen Hamilto n i Acting Directo r Karla Barnacle Karin Garrzkc + Charles Hart Isabel Haw son * John Johnsto n Penm Lalloz Karen Stansfield Claire Templeton Education and Training Maggie Semple (Director ) Jillian Barke r Sue Barnard * Peter Shepherd Damien Robinson` + Film, Video and Broadcasting Rodney Wilson (Director ) Will Bel l David Curti s Richard Gooderick Jem Legh Alicia (Matthew s Anne Sinclai r Gan , Thoma s Literature Alastair Niven* (Director ) Saul Hvman* + Clarissa Luard Gan, McKeon e Valerie Olteanu + Judith Palmer* + Jillv Paver + Susan White Music KathrvnMcDowell* (Director) Rowan Dore y Celia Hil l Rajan Hooper Olivia Lowson + Isabel Murphy Andrew Pinnoc k Louise Rutkowsk i Touring Kate Devey* (Director ) Elizabeth Adlington Rachel Baker Joanne Kee Samantha Klige r Rose Lange r Alexandra Lingard Vivienne Moore Shvama Persaud Deborah Rees + Kathy Schuman * Sallv Tavlo r VsualArts Marjorie Allthorpe-Guyton * (Director ) Eileen Daly + Hannah Daws Joanne Deacon * Timothy Eastop + Shona Illingworth* + Amanda King* + Mary McDonagh + Alicia Pivaro Claire Polloc k Vivienne Reiss + Jeremy Theophilus National Lottery Jeremy, Newton*• (Director ) Moss Cooper (Director of Operations) Margaret Bolton (Director o f Communications) Alexandra Ankrah Alison Atkinso n Angela Cook Kimberley Cooper * Joan Cunningham Mark Dunford Peter Ellison Natalie Felix + Helen Furlong Shreela Ghos h Anna Hackett Attdrew Holdsworth Wil d Donna Iles + Iqbal Khane m Sarah Macne e Heather May + Will Miller Nicola Mulligan + Matthew Rose + Sally Store Monica Tross Judith Waters Advisory structur e A key element of the Council' s organisation is its advisory structur e of panels, committees, advisory an d monitoring committees and groups . These advise and assist the Counci l and its officers on the formulatio n and implementation of policy. Members are appointed by th e Council from nominations which are open to the public and ar e generally specialists in the relevan t arts discipline : working artists, arts administrators, scholars and critics . Listed here are the members of th e Council's advisory bodies as at 3 1 March 1996 . Abbreviations used : ACW Arts Council of Wales BC, British Counci l DSS, Department of Social Securit y OFSTED, Office for Standards i n Educatio n RAB, Regional Arts Board SAC, Scottish Arts Council Advisory Panel on huualArts Richard Cork (Chairman ) Rov Ascott Lewis Biggs Norman Binch Chris Boot Richard Burto n Dr Germaine Gree r Kate Hero n Robert Hopper Prof. Martin Kemp Dr David Mello r Lisa Milroy Eric Parry I'inka Shonibare Lola Youn g Alison Wilding Architecture Advisory Group Richard Burton (Chairman ) Mark Cousin s Richard Deacon Kate Hero n Eric Parry Chris Shepley Isabel Vasseur Stephanie Williams VsualArts Publications Committee Dr David Mellor (Chairman ) Iwona Blazwick Mark Cousins Simon Grennan Sunil Gupta Gregor Mui r Laurie I'eake Cheryl Reynold s Veronica Sekules Stephanie Williams IisualArts Exhibitions and Events Committee. Robert Hopper (Chairman ) Susan Collins Peter Fraser Richard Hylto n Eric Par n Sandra Perciva l Mark Pimlott Alistair Raphael Andrea Schlieke r Isabel Vasseur Education and TrainingAdvisory (Troup Norman Binch (Chairman ) David Allen V.inessa Jackson Roshini Kempadoo L .turie Feake Alistair Raphael Veronica Sekules Lola Youn g 1'hotograpby and Neu , Technology Advi>orv Group I)r David Mellor (Chairman ) Roy, Ascott Chris Boot Susan Colllins Peter Fraser Simon Grenna n Simil Gupta Cheryl Reynolds l 'isu al rl rrsAdvisory Group Robert Hopper (Chairman ) Iwona Blazwick Sonia Bovice Richard Ilylton Gregor Mui r Sandra Perciva l Mark Pin ilott Andrea Schlieke r Advisory Panel on Combined Arts Usha Prashar CBE (Chairman ) Derrick Anderson Maureen Duffy Stella Hall BILSh Hartshor n Gavin Hcnderson Ross McGibbon Brian McMaste r Antonia Payne Mark Seal y Sarah Waso n Aaron Williamson Adrisory Panel on Dance Prudence Skene (Chairman ) Professor Christopher Bannerman Stephen Barr y Kate Flatt Jane Hall Nigel Hind s Mervillc Jone s Professor Stephanie Jorda n Ross MacGibbon Marie McCluskey MB E Dr Glyn Perri n Piali Ray Marion Tait OBE 51 Dance DrreloprnentAdrismi, Tea m Theresa Beattie Siobhan Davies Sanjeeyeni Dutt a Emma Gladston e Jeanefer Jean-Charles Jean Johnson-Jone s Jane Moone v Gregory Nas h Anthony Peppiart Advisor , Panel on Drama Thelma Holt (Chairman ) Paul Allen David Brierle v Roger Chapman Robert Cogo-Fawcett Neil Fountai n Bush Hartshor n Jude Kell\, Pennv Mayes Sam Mendes Michael Ratcliffe Jenny Toppe r Jatinder Verm a Maggie Woolle y Drama Projects Committee Penny Mayes (Chairman ) Claire Grove Bush Hartshor n Carolvn Luca s Joanna Rei d Kullv Thiarai Charles Washington Denise Wong Theatre Writing and Bursarie s Committee Paul Allen (Chairman ) t Giles Crof Peter Flanner' Winsome Pinnock Jenny Toppe r Maggie Woolle y Ohven Wvmark Advisory Panel on Education and Training Maggie Guillebaud (Chairman ) Rov Blatchford Eric Bolto n Mick Farle y Bruce Gil l Philip Hedley Madeleine Hutchin s Evelvn Murra v Nargis Rashi d Jo Shapcott Anne Snclgrov e Julie Tolle v Jo Verren t Observers : Michael Convev, OFSTE D Jane Brvant, RAB 52 Education and Training Funding Programmes Sub-Committee Maggie Guillebaud (Chairman ) Perm Egan Jane Winte r Observ ers : Debbie Reid, RA B Miles Harrison, RAB Disability Ernplovmen t Initiative Apprenticeship Scheme Sub-Committe e Jo Verrent (Chairman ) Paddv Masefiel d David Mudge Advisory Panel on Film , Vdeo and Broadcasting Professor Christopher Frayling (Chairman ) Helen Baeh r Karen Brow n Ian Christi e Jonathan Curlin g Mick Csaky Steve Dwoski n Kim Evan s Dianne Nelmes Simon Pummel l Trevor Phillips Gillian Revnolds Observ er : Dr Sean M . Lewis, B C Advisory Panel on Literature Lord Gowrie (Chairman ) Fleur Adcock OB E Sue Butterworth John Coldstrea m Ferdinand Denni s Tom, Goul d Tom, Lacev Prof. David Lodge Dr Suniti Namjoshi Prof. Andrew Motion Verna Taylor Marina Warne r Observ ers : Michael Convev, OFSTE D Dr Neil Gilrov-Scott, BC The Arts Council of England 1995196 Advisory Panel on Music Garin Henderson (Chairman , Richard Alston Diana Burrel l Geraldine Conne r Tonv Dudley-Evans Jonathan Harvey Lilian Hochhause r Joanna McGrego r David Richardson Dr Janet Ritterman Dharambir Sing h Helen Sprott Janis Susskin d John Wallace Paul Whittake r Camilla Whinvorth-Jones National Lotterv Advisory Panel Peter Gummer ' (Chairman ) Jon Fould s Lady Hopkin s Cleo Laine OB E Ruth Mackenzie OB E Paddv Masefield Ton, Pender CB E Dr Nima Poovava-Smit h Sir David Puttnam CB E * until 19 March 1996 Advisory Panel on Touring Stephen Phillips (Chairman ) Stephen Brownin g Graham Devli n Tony Dudley-Evans Ruth Eastwood Mark Fole , Ruth Mackenzie OB E Brian McMaster CB E Cliodhna Mulhern Lucy Nea l David Patmore Judi Richards Marion Tait OB E David Yi p Observers : Mike Baker, AC W John Ruston, RAB Seona Reid, SAC Jim Beirne, RAB Contemporary Music Network Committee Bruce Col e Tom e Dudley-Evans Sally Groves Brian Morto n David Patmor e David Sefto n Observers : Mark Monument, RAB Arts and Disabilit) , Advison and Monitoring Committee Stella Robinson r Chairma n Audrev Barke r Joe Bidde r Laura Guthrie Meena Jafarey Bushv Kellv ` Sharon Mace Emma McMulla n Maria OShodi Michele Tavlo r Paul Whittake r Aziz Zeri a . until 26 March 199 6 Cultural DivenitvAdvison an d Monitoring Committee (in respect of Black and Asian Arts) Usha Prashar CBE (Chairman ) Derrick Anderson Ferdinand Denni s Deirdre Figueiredo Jean Johnson Jones Gerard Lemo s Cheryl Marti n Piali Ra, Yinka Shonibare Parminder Vi r David Yi p ACCOUNTS 1995/9 6 54 The Arts Council of England account s 68 Lottery distribution account 78 Arts Council of England grants and guarantees awarded 1995/9 6 95 Lottery hard commitments in 1995/96 53 Arts Council of England Account s 1 April 1995-31 March 199 6 Forewor d Introduction The Arts Council of England a as establishe d by Royal Chatter and is a registered charm . On 1 April 1994 it took over the responsibilitie s in England previousl discharged by the Alt s Council of Great Britain . The Council receives grant-in-aid from th e Department of National Heritage and is one o f the bodies designated to distribute funds fro m the National Lotter\- by the National Lotterv et c Act 1993 . The Council distributes its grant-in-aid i n support of the arts in accordance with th e objectives set out in the Royal Charter. I t distributes funds from the National Lotterv i n accordance with directions issued under the Ac t by the Secretan° of State for National Heritage . The Council works at arm 's length fro m Government and has the status of a non departmental public body As such it is regulate d in accordance with Financial Memoranda issued be the Secretary of State and prepares separate accounts, for grant-in-aid and Lottery funde d activities, in accordance with account s directions . The Members of the Arts Council during th e year were : Lord Gowrie PC (Chairman) , Sir Richard Rogers (Vice-Chairman) , Richard Cork, Professor Christopher Fravling , Maggie Guillebaud, Peter Gummer (until 1 9 March 1996), Sir Ernest Hall OBE DL, Gavi n Henderson, Thelma Holt CBE, David Reid, Trevor Nunn CBE, Stephen Phillips, Ush a Prashar CBE, Stella Robinson, Prudence Skene , and Robert Southgate . Revienv ofthe vea r The Council's principal activity is the suppor t of the arts . To this end it makes grants to art s organisations and Regional Arts Boards, and engages in other activities on behalf of the sector. The Secretary-General's report and departmenta l reports in the annual report provide furthe r details of its policies and activities . The accounts for activities funded from grant-in aid (set out on pages 56 to 67) show a surplus of .£1 .764m . Regional Ants Board s The Regional Arts Boards arc independen t companies, and grants to them from the Arts Council are subject to conditions set by th e Council . The Council made operating grants o f L59 .568m to the Regional Arts Boards durin g the vear, as detailed in Note 4 of the accounts . In addition the Council made further grants o f .f 1 .983m to Regional Arts Boards for a range of other activities . These grants are itemised i n the relevant sections of Schedule 1 . 54 The Arts Council o Tingland 19951196 Statement ofCouncil sand Secretary-General's responsibilities in relation to financial statements Under the Royal Charter the Council is require d to prepare a statement of accounts for the financial period in the form and on the basis directed by the Secrctary of State for Nationa l Heritage, with the consent of the Treasun : Th e accounts are to be prepared on an accruals basi s and to shoe- a true and fair view of the Council' s state of affairs at the vear end and of its incom e and expenditure and cash flows for the financia l year. The Council is required to : During the vear, arrangements have been mad e to promote etlectiye consultation and communications with all staff . All departments have regular staff meetings at which matter s relating to the Council 's activities are discusse d and staff are regularly briefed on the matters discussed at senior management and Counci l meetings . Meetings of all staff are hel d pcriodicall . The Council recognises the trad e union MSE with which it has established a procedural agreement; representatives o f management and union meet regularly . - Observe the Accounts Direction issued by th e Secretary of State, which sets out accountin g and disclosure requirements, and apply suitable accounting policies on a consistent basi s Statement on conporategovernance Although the Arts Council of England is no t required to comply with the Code of Bes t Practice published in December 1992 by th e Cadbury Committee on the Financial Aspects o f Corporate Governance, nevertheless the Counci l believes it should meet the highest standards o f corporate governance and accordingly complie s voluntarily with key aspects of the code . - Make judgements and estimates on a reasonable basi s - State whether applicable accounting standard s have been followed, and disclose and explain any material departures in the financial statement s - Prepare the financial statements on the goin g concern basis, unless it is inappropriate t o presume that the Council will continue in operation . The Accounting Officer for the Department o f National Heritage has designated the Secretan General as Accounting Officer for the Council . The relevant responsibilities as Accountin g Officer, including the responsibility for the propriety and regularity of the finances for which the Secretary-General is answerable an d for the keeping of proper records, arc set out i n the Non-Departmental Public Bodies ' Accounting Officers' Memorandum issued b y HM Trcasun: Other matters The Comptroller and Auditor General acts as auditor to the Arts Council, and his report i s presented on page 55 . The Council maintains a register of interest s of its members, which is available for publi c inspection by appointment at the Council' s Great Peter Street address . It is the Council 's policy to abide by the CBI 's Prompt Pavers Code, and in particular to pay bills in accordance with contract. The Arts Council is committed to a policy o f equality of opportunity in its employmen t practices . In particular the Council aims t o ensure that no potential or actual employe e receives more or less favourable treatment o n the grounds of race, colour, ethnic or nationa l origin, marital status, age, gender, sexua l orientation, disability or religious beliefs. Members of the Arts Council arc appointed b y the Secretary of State for National Heritage for specified terms of office, and are unpaid . Counci l members work within a Code of Practice base d on a Treasury model for non-departmenta l public bodies, which has been agreed with th e Secretan• of State . The Council meets in forma l session about 10 times each vear and monitor s the work of the Secretary-General and her staff. Overall policy is determined by the Counci l itself and the Council has a schedule of matters reserved for its own decision, including ke y points of strategy; policy; resourcing, an d staffing . All Council members have access to the Secretary-General and senior staff as they require . The Head of Secretariat ensures tha t the Council follows its established procedures . The annual report provides information about the Council ' s overall financial position . Th e Council maintains objective and professiona l relations with the National Audit Office, whic h acts as auditor of both the Arts Council 's grant in-aid accounts and its Lotter , distribution accounts . The Council has established an Audi t Committee ; its terms of reference accord with the Code of Best Practice for Board Member s of Public Bodies issued by HM Treasur y Mary Allen Secretary-General The Certificate of the Comptrolle r and Auditor General to the Houses o f Parliamen t I have audited the financial statements on page s 56 to 67 . These financial statements have been prepared under the historical cost conventio n and the accounting policies set out on page 59 . Respective responsibilities of'Council , Secretarv- General and auditor s As described on page 54, the Council arid th e Secretary-General as the Accounting Officer are responsible for the preparation of the financial statements and for ensuring the regularity o f financial transactions . It is my responsibility to form an independent opinion, based on m y audit, on those statements and on the regularity ofthe financial transactions included in them , and to report my opinion to you . John Bour n Comptroller andAuditor General 4 September 199 6 National Audit Office 157-197 Buckingham Palace Roa d Victoria, London SW1W 9SP Basis ofopinion I conducted my audit in accordance wit h Auditing Standards issued by the Auditin g Practices Board . An audit includes examination, on a test basis, of evidence relevant to th e amounts, disclosures and regularity offinancia l transactions included in the financial statements . It also includes an assessment ofthe significant estimates and judgements made by the Counci l and the Secretary -General in the preparation o f the financial statements, and of whether th e accounting policies are appropriate to th e Council's circumstances, consistently applied arid adequately disclosed . I planned and performed my audit so as to obtain all the information and explanation s which I considered necessary in order to provid e me with sufficient evidence to give reasonable assurance that the financial statements are fre e from material misstatement, whether caused by error, or by fraud or other irregularity and that , in all material respects, the expenditure an d income have been applied to the purpose s intended by Parliament and the financial transactions conform to the authoritics whic h govern them . In forming my opinion I hav e also evaluated the overall adequacy of the presentation of information in the financial statements . Opinion In my opinion : - The financial statements give a true and fai r view of the state of affairs of the Arts Council o f England at 31 March 1996 and of the surplus , total recognised gains and losses and cash flow s for the vear then ended and have been properl y prepared in accordance with the direction mad e by the Secretary of State for National Heritage - In all material respects the expenditure an d income have been applied to the purpose s intended by Parliament and the financial transactions conform to the authorities which govern them . 55 The Arts Council of Englan d Income and expenditure accoun t For the period 1 April 1995-31 March 199 6 1996 £OOOs Parliamentary grant-in-aid Note 2 Other income Yore 3 Grants Note 4 Grants to Regional Arts Boards Note 4 Other activities Note 5 General expenditure on the arts : Management and services Note 6 Less costs apportioned to the Lottery Note 1 0 Net cost of management and service s C000s 1995 C000S C000S 191,133 1,517 185,99 0 1,645 192,650 187,635 123,143 59,568 3,384 118,404 58,062 3,455 186,095 7,809 (3,052) 179,921 7,695 (515) 4,757 7,180 190,852 187,101 1,798 534 0 291 5,242 28 0 2,089 6,056 0 (325) (261) (1,888) Net surplus Note 1 1 1,764 3,907 Accumulated surplus brought forwar d 3,907 0 Accumulated surplus carried forwar d 5,671 3,907 Operating surplus for the year before exceptional items and interest Exceptional item : transfer from Arts Council of Great Britain Note 22 Interest receivabl e Operating surplus for the yea r Transfer (to) reserves and provisions Restructuring provision Note 1 4 Capital reserve Note 2 1 The Council has no recognised gains or losse s other than those shown in the income and expenditure statement for the period . There are no discontinued activities . 56 The Arts Council ofEngland 1995196 Balance sheet At 31 March 1996 1996 LOWS Fixed asset s Tangible assets Note 9 Investments Note 12 Current asset s Stocks Note 1 3 Debtors and prepayments : Grant-in-aid receivable Note 2 Othe r Due from National Lottery Grants paid in advance Cash at bank and in han d Current liabilitie s Grants outstandin g Creditors : amounts falling due within one yea r £OOOs 199 5 C000S LOWS 3 3,682 3 4,000 3,685 3,997 45 49 11,874 1,436 1,990 2,671 267 11,874 1,531 57.5 2,299 358 18,283 16,686 9,775 4,624 10,204 4,372 14,576 14,399 Net current asset s 3,884 2,11 0 Total assets less current liabilities 7,884 5,795 Represented by Accumulated surplus Capital reserves 5,671 2,213 3,907 1,888 7,884 5,795 Mary Allen Secretary-Genera l Lord Gowrie Chairman of the Arts Council ofEngland 22 July 1996 57 Cash flow statement 1996 For the period ended 31 March 1996 £OOO% Operating activitie s Grants received from the Dept of National Heritage Other cash receipts Cash received from ACG B Net current assets receis ed from ACG B Grants paid to arts organisations and other bodie s Cash paid to and on behalf of employees Cash payments on behalf of the National Lotten- ( net ) Other cash payments (net ) 191 .133 1,678 0 (186,896) (3,632) (1,415) (718) £OOOS 84 7 332 150 (262) 8 (539) 7 Net cash outflow from investing activities (532) Net cash outflow before returns on investment s (382) Returns on investments and servicing of financ e Interest received on short term cash deposits £OOOs 174,11 6 10 6 31 9 1,30 7 (172,056 ) (3,758) (549) 0 Net cash inflow from operating activities Investing activitie s Purchase of tangible fixed asset s Proceeds from sale of fixed asset s £OOOs 199 5 291 (254) 78 28 0 Net cash inflow from returns on investments 291 280 Net cash outflow after returns on investment s (91) 358 Increase (decrease) in cash and cash equivalents (91) 358 Cash at beginning of perio d 358 0 Cash at end of period 267 35 8 Reconciliation of movement of cas h and cash equivalents : 58 The Arts Council ofEnAland 1995196 I Accounting policie s A) Basis of accounts These financial statements are prepared under the historical cost convention . The Charity Commissioners issued a Statement of Standard Accounting Practice (SORP) for Charities i n October 1995 . The Council proposes to adopt the SORP for the 1996/97 accounts . Th e accounts have been prepared in accordance wit h the Accounts Direction issued by the Secretary of State for National Heritage ; they meet th e requirements of the Companies Acts, and o f the Statements of Standard Accounting Practice/Financial Reporting Standards issue d and adopted by the Accounting Standard s Board, so far as those requirements ar e appropriate . Separate accounts have been prepared for the Council's Lottery activities, in accordance wit h the Directions issued by the Secretary of State . Consolidated accounts have not been prepared . B) Accruals convention All income and expenditure is taken into account in the financial year to which it relates . Subsidy expenditure is incurred in the form o f grants and guarantees which are formally offere d to and accepted by the organisations funded b y the Council . Grants and guarantees are charge d to the income and expenditure account in the year in which funded activities take place ; if this is not determinable they are charged in the yea r in which activities begin. Any amounts unpai d from grants and guarantees at the year end are shown in the balance sheet as creditors and an y advance payments to funded organisations i n anticipation of grants and guarantees to be charged in the following financial year ar e shown as assets in the balance sheet . E) Leases Costs in respect of operating leases are charge d to the income and expenditure account on a straight line basis over the life of the lease . F) Taxatio n The Arts Council of England is a Registere d Charity (No 1036733) and is eligible under th e Income and Corporation Taxes Act 1980 to see k from the Inland Revenue exemption from taxe s on income arising from its charitable objectives . The Inland Revenue has granted this exemption . Accordingly, no taxation has been provided fo r in these accounts . G) Pensions The Arts Council provides a defined benefi t pension scheme for its employees, the costs o f which are charged to the income an d expenditure account . H) Apportioned costs The Arts Council incurs indirect costs which ar e shared between activities funded from the grant in-aid and activities funded from the Nationa l Lottery. It is required to apportion indirect cost s properly between the two activity areas on a full cost basis in accordance with good accounting practice (Note 10) . C) Depreciation and fixed assets Depreciation is provided on all tangible fixe d assets at rates calculated to write off the cos t less estimated residual value of each asset systematically over its expected useful life as follows : Freehold land - not depreciate d Freehold buildings -- over 50 years Leasehold buildings -- over the life of the lease Equipment, fixtures and fittings - over 4 years Motor vehicles - over 4 years A full year's depreciation is provided in the year of an asset's acquisition, and none in the year o f its disposal . Works of art are shown at historical cast, and a n amount equal to the value of the net purchases each year is transferred out of the income an d expenditure account to a separate capital reserv e (Note 21) . This poficy reflects the fact that work s of art are not assets which have a finite usefu l economic life . D) Storks Stocks are stated at the lower of cost and ne t realisable value . 59 2 Grant-in-ai d The Parliamentary grant-in-aid as shown in the income an d expenditure account reconciles with the cash sum voted b v Parliament in 1995 , 96 as follows : Cash grant-in-aid voted by Parliament and paid in ful l during the financial year as published in the Parliamentar y Supply Estimates Class XII Vote 2 Less : grant-in-aid receivable transferred from ACG B by exceptional ite m Plus : grant-in-aid receivable outstanding as at 31 March 199 6 Grant-in-aid as shown in income and expenditure account 3 Other income Grants, sponsorship and donations receive d Joint funding for traineeships Conference fee s Publications and royaltie s Profit on sale of feed assets Grants and guarantees accrued in past years now no t require d Contemporary Music Network incom e Film production incom e Sundry income Contributions from other Councils The grants, sponsorship and donation s are analysed as follows : David Cohen Trus t London Arts Board Othe r Southern Arts Boar d Calouste Gulbenkian Foundation Building Centre Trus t Arts Council of Wale s The Scottish Arts Counci l The Architects' Journal The Irish Arts Counci l South Bank Centre 60 The Arts Council ofEn,gland 1995196 1996 199 5 L000s LOWS 191,133 185,990 11,874 11,874 179,259 174,11 6 11,874 11,874 191,133 185,990 1996 199 5 £OOOs £OOOS 294 61 7 21 9 14 24 56 4 471 31 386 56 201 42 9 11 6 559 61 163 1,517 1,64 5 £OOOs £OOOS 15 128 15 88 28 7 0 20 9 9 5 29 52 5 0 0 294 21 9 0 10 20 0 30 52 0 1 4 Grants by art form Architecture Combined Arts Arts 2000 (Cities of Culture) Cross-disciplinary initiatives Dance Drama Film, Video and Broadcasting International Initiatives Fund Literature Music Touring Education and Training Visual Arts 1996 199 5 LOWS LOWS 0 158 15,360 275 16,576 0 1,242 22,410 27,340 380 0 1,554 43,765 4,293 876 4,707 497 21,623 26„765 334 51,' 1,467 36,131 10,236 80.3 4,238 123,143' 118,4W 1996 1995 £000s LOWS 4,892 4,341 13,867 5,752 7,73 3 3,529 2,644 4,334 5,683 6,7.13 4,842 International Initiatives Fund and Arts 2000 (Cities of Culture) are included in Combined Arts in 1996 . See Schedule 1 for details . Grants to Regional Arts Boards Eastern Arts Board East Midlands Arts Board London Arts Board Northern Arts Board North West Arts Board Southern Arts South East Arts Board Arts Board South West West Midlands Arts Board Yorkshire & Humberside Arts Board 5 Other funded activites Architecture Unit Business assessment and planning Combined Arts Cross-disciplinary initiatives Dance Drama Film, Video and Broadcasting Literature Music Press and Public Affairs PB.PD Touring Education and Training Visual Arts 4,181 13,62 1 5,51 3 3,39-1 2,594 4,254 5,52.1 6,423 59,568 58,062 1996 199 5 LOWS £0005 0 19 86 0 78 0 11 6 483 55 60 14 1,564 192 35 4 1,29 3 22 7 110 59 0 146 746 199 154 854 14 8 197 3,384 3,455 0 Other funded activities include a very wide range of differen t initiatives comprising film production, promotion of th e Contemporary Music Network, research, consultancies , publications and conferences . Income arising from thes e activities has been included in `Other income' (Note 3) . 61 6 Management and services 1996 199 5 £OOOs 1000s 3,731 3 .854 224 3,634 3,872 189 7,809 7,695 1996 1995 .0000s £OOOS Salaries and wages Employer 's National Insurance ACE Retirement Plan (1994) 3,018 241 472 3,005 24 7 382 Total 3,731 3,634 144 132 144 13 2 1996 1995 .C000s LOWS 382 1,450 36 123 295 141 715 465 432 1,30 0 25 8 75 125 143 228 663 648 3,854 3,872 Staff costs Note,Operational costs Note 8 Depreciation Note 9 7 Staff costs The Chairman, Council and panel members are not paid for their services . In the course of discharging their duties Council members assess artistic work . This assessment involves attending music, dance, drama and other performances, as well as attendance at poetry readings, films , exhibitions and galleries, etc . The cost of tickets for these performances and events is met by the Arts Council of England . In 1995/96, the total cost of tickets purchased fo r this purpose was £8,533 . The Chairman also has the use of a car and driver in order to discharge his duties as Chairman . An acturial valuation of the pension fund takes place ever y three years . The last valuation was in 1993/94 . On advice of the acturan; the employer's contribution was set at 13 .2% . The scheme is financed by payments by the Council an d employees into a trustee-administered fund independent o f the Council 's finances . These contributions are invested b y a leading fund management company. The net market valu e of scheme assets at 31 March 1995 was .C, 16,605,250 . The average weekly number of employees during the yea r was made up as follows : Administration of subsidies and services 8 Operational costs Travelling, subsistence and entertainment Rent and rates Fuel, light and house expenses Publicity and promotions Postage and telephone Agency staff costs Professional fees Accrued Value Added Tax Office and sundry 62 The Arts Council ofEngland 1995196 247 199 6 9 Tangible fixed assets Land and Buildings Equipment Fixtures and Fittings Vehicles Works of Art Tota l £OOOs £OOOs £OOO s £OOOs £OOOs Costs at 1 April 1995 Additions Less : disposals 1,909 1 0 1,189 186 (36) 11 27 (11) 1,888 325 0 4,997 53 9 (47 ) Cost at 31 March 1996 1,910 1,339 27 2,213 5,489 0 0 0 1,31 5 (47 ) 224 7 0 1,492 238 0 1,888 3,682 1,488 276 20 2,213 3,997 1996 199 5 £OOOs £OOOs 348 1,140 1,272 1,488 1,556 Depreciation at 1 April 1995 Depreciation on disposals Provided for 1995/96 353 0 69 Depreciation at 31 March 1996 422 1,063 Net book value at 1 April 1995 1,556 Net book value at 31 March 1996 The net book value of land and buildings comprises : Freehold Short leasehold improvements 951 (36) 148 11 (11) 7 284 The net book value as at 31 March 1996 includes assets with a historical cost of £858,032, (1995 - £790,827) , which have been fully depreciated. Art Collectio n The Arts Council Collection has been valued by the curator at £24,591,856 at 31 March 1996. The purpose of the collection is to increase th e understanding and appreciation of contemporary art an d to widen its audience through loans to other galleries, publi c institutions and exhibitions . It is not held for investmen t or resale . 63 10 Costs apportioned to the Lottery The Financial Directions issued by the Secretan- of Stat e require that indirect costs shared between grant-in-aid funded activities and Lotten- funded activities should be apportioned between the two in accordance with goo d accounting practice . Overhead costs have been allocated to grant distributing departments in proportion to those departments' own costs . The resulting full costs of gran t distributing departments are apportioned between activitie s to be funded by grant-in-aid and activities to be funded b y the Lottery in proportion to time spent. 11 Surplus for the year 1996 1995 £OOOs £OOOs 39 1,241 44 1,24 1 (c) Emplovees receiving remuneration over £40,000 £40,000 -£49,999 £50,000 - .C59,999 £60,000 -C69,999 Number 4 1 1 Number 6 1 0 (d) The total remuneration of the Secretarv-General , including taxable benefits is as follows : Salarn° Pension @ 13 .2% 62,446 8,24 2 Stated after charging : (a) Auditors ' remuneration (b) Operating leases She was an ordinary member of the Council's pension scheme 12 Investments On 31 March 1994 the Arts Council of Great Britai n transferred ownership to the Arts Council of England o f 5,870 Charifund Units valued at £41,178 on that date . The historical cost transferred was £3,082 . Equities Investment Fund for Charities 5,870 units market value £43,438 13 Stock Films Stationery Publications Film stock was written off as at 31 March 1996 as it i s not stock for resale : it is a film libran : Films purchased i n 1995/96 at a cost of £93,915 have been treated a s expenditure in the year. 64 The Arts Council ofEngland 199519 6 70,68 8 1996 1995 LOWS LOWS 3 3 1996 1995 £OOOs £OOOS 0 13 14 32 18 45 49 17 14 Provision for redundancy and restructuring The provision was established by the Arts Council of Great Britain in 1993/94 for a programme of redundancies an d completed by the Arts Council of England in 1994/95 . 1996 199 5 £OOOs £OOOs Provision for cost of redundancies Provision no longer required Net charge to income & expenditure account 0 0 0 293 (32) (261 ) Provision at 31 March 1996 0 0 1996 1995 .C000s LOWS 169,419 520 44 172,41 3 76 1 4 1()Y,VZ56 1 /S, /,/C y 1996 Land and Buildings 199 5 Land and Building s £OOOs £OOOS 5 0 1,236 0 5 1,236 1,241 1,241 1996 199 5 £OOOs £OOOs 0 5 25 59 5 84 1996 1995 cnnn . cnnn, Y9 1 The cost of redundancies in 1994/95 comprised £251,00 0 in salaries and £10,000 in other costs . 15 Grant offers Forward funding : 1996/97 1997/98 1998/99 These figures represent the total value of the grants offere d for the years indicated at 31 March 1996 . 16 Leases At 31 March 1996 the Council had annual commitments under non-cancellable operating leases as set out below. Operating leases which expire : within one year inclusive over five years 17 Capital commitments Authorised but not contracted Contracted 18 Tax and social security creditors 65 19 South Bank Centre lease The Council owns the freeholds of the National Fil m Theatre, the Museum of the Moving Image, the Has-\\ ar d Gallen_ ; the Queen Elizabeth Hall . the Purcell Room and th e Roval Festival Hall, which are leased to the South Ban k Centre . In light of the terms of the lease, no xaluc has bee n placed on these assets in the accounts . 20 Royal National Theatr e The Council owns the freehold of the Royal Nationa l Theatre, which is leased to the South Bank Theatre Board Limited and occupied by the Roval :National Theatre Board Limited under licence . In light of the terms of the lease an d licence arrangements, no value has been placed on the asset s in the accounts . 21 Capital reserves 1996 1995 .£000s £OOOs Balance at I April 1995 Appropriations in 1995/96 1,888 325 1,888 Balance at 31 March 1996 2,213 1,888 1996 199 5 £OOOs £OOOS Balance at 31 March 1995 Operating surplus for 1996/95 Redundancy costs 1995/96 Capital reserve 3,907 2,089 6,056 Accumulated surplus carried forward 5,671 0 As stated in Note 9, the Arts Council Collection is not hel d for the purposes of investment or resale and is not depreciated . The Council sets aside a capital resern-c equal to the cost of the Collection, net of disposals and write-offs . The appropriations shown include the sum of£1,848,00 0 transferred from the Arts Council of Great Britain on I Apri l 1994, and an appropriation in 1994/95 of£39,700 . 22 Exceptional item : Transfer from the Arts Council of Great Britai n On I April 1994, all English assets and liabilities belonging to the Arts Council of Great Britain with a total value o f £5,242,000 were inherited by and transferred to the Art s Council of England . 23 Reconciliation of movements in government funds 66 TheArtsCouncil ofF.ngland1995/96 0 (325) 0 (261) (1,888) 3,907 24 Cash flow reconciliatio n Reconciliation of operating surplus/(deficit) to net cash inflow from operating activitie s Operating surplus before interest receivabl e Depreciation charges Transfer from restructuring provision Transfer to restructuring provisio n 199 6 1995 .£000s LOWS 1,79 8 224 0 0 534 189 32 (293 ) Current assets and liabilities transferred from ACGB : Grant receivabl e Stoc k Debtors and prepayments Cas h Grants paid in advance Grants outstandin g Creditors Net current assets transferred Profit on disposal of fixed assets (Increase) in stocks (Increase) in debtors and prepayment s 11,874 32 1,091 31 9 3,81 2 (12,153 ) (3,349) 0 (7 ) 4 1,626 (I ) (49 ) (13,980 ) (Increase) in grants paid in advance (2,:399 ) Increase in grants outstanding 10,20 f Increase in creditors Net cash inflow from operating activities 4,372 332 67 Arts Council of England Lottery distribution account s 1 April 1995-31 March 199 6 Foreword Introduction The Arts Council of England was establishe d by Royal Charter and is a registered charity. On 1 April 1994 it took over the responsibilitie s in England pre% ioush discharged by the Art s Council of Great Britain . The Council receives grant-in-aid from the Department of National Heritage and is one o f the bodies designated to distribute funds fro m the National Lotten- by the National Lotter- et c Act 1993 . The Council distributes its grant-in-aid i n support of the arts in accordance with th e objectives set out in the Royal Charter . I t distributes funds from the National Lotter v i n accordance with directions issued under the Act by the Secretar v of State for National Heritage . The Council works at arm's length from Government and has the status of a non departmental public body. As such it is regulate d in accordance with Financial Memoranda issued by the Secretary of State and prepares separat e accounts, for grant-in-aid and Lottery funde d activities, in accordance with account s directions . Review of the_vear The Council's principal activity is the support o f the arts . To this end it makes Lottery grants t o arts organisations . The Secretary-General ' s report and the National Lottery departmenta l report in the annual report provide furthe r details of its policies and activities . The accounts for activities funded from the National Lottery Distribution Fund (set out o n pages 70 to 77) show an increase in finds of 18,578,000 . Membership of Council The members of the Arts Council durin g the vear were as follows : Lord Gowric P C (Chairman), Sir Richard Roger s (Vice Chairman), Richard Cork, Professo r Christopher Frayling, Maggie Guillcbaud, Pete r Gummer (until 19 March 1996), Sir Ernest Hal l OBE DL, Gavin Henderson, Thelma Hol t CBE, Trevor Nunn CBE, Stephen Phillips, Ush a Prashar CBE, David Reid, Stella Robinson , Prudence Skene and Robert Southgate . Membership of the Lottery Advisory Pane l The members of the Council's National Lotter ' Advisory Panel during the vear were as follows : Peter Gummcr (Chairman), Jon Foulds, Lad v Hopkins, Cleo Laine OBE, Ruth Mackenzi e OBE, Paddv Masefield, Tonv Pender CBE , Nima Poovava-Smith and Sir David Puttna m CBE . The members of the Panel were no t remunerated for their services . 68 The Arts Council ofEngland 1995196 Stateruei:tofCouncil 'sand Sen•etarv-Ger :eral 's responsibilities in relation : to financial statements Under section 35 r 2 i and ( 3 ) of the Nationa l Lotterv etc Act 1993, the Council is required t o prepare a statement of accounts for the financia l period in the form and on the basis directed b y the Secretarv of State for National Heritage , with the consent of the Treasun : The accounts are to be prepared on an accruals basis and t o show a true and fair view of the Council ' s stat e of affairs at the sear end and of its income an d expenditure and cash flows for the financial year . The Council is required to : - Observe the Accounts Direction issued by the Secretary of State, which sets out accountin g and disclosure requirements, and appIv suitabl e accounting policies on a consistent basi s - Make judgements and estimates on a reasonable basi s - State whether applicable accounting standard s have been followed, and disclose and explain an y material departures in the financial statement s - Prepare the financial statements on the goin g concern basis, unless it is inappropriate t o presume that the Council will continue i n operation . The Accounting Officer for the Department o f National Heritage has designated the Secretanl General as Accounting Officer for the Council . The relevant responsibilities as Accountin g Officer, including the responsibility for th e propriety and regularity of the finances fo r which the Secretar v-General is answerable and for the keeping of proper records, are set out i n the Non-Departmental Public Bodies ' Accounting Officers' Memorandum, issued b y HM Trcasurv. Other matters The Comptroller and Auditor General acts a s auditor to the Arts Council, and his report i s presented on page 69 . The Council maintains a register of interest s of its members, which is available for publi c inspection by appointment at the Council ' s Great Peter Street address . It is the Council ' s policy to abide by the CBI ' s Prompt Payers Code, and in particular to pay bills in accordance with contract . The Arts Council is committed to a policy of equality of opportunity in its employmen t practices . In particular the Council aims to ensure that no potential or actual employe e receives more or less favourable treatment on the grounds of race, colour, ethnic or nationa l origin, marital status, age, gender, sexua l orientation, disability or religious beliefs . During the year, arrangements have been mad e to promote effective consultation an d communications with all staff. All department s have regular staff meetings at which matters relating to the Council ' s activities arc discussed and staff are regularly briefed on the matter s discussed at senior management and Counci l meetings . Meetings of all staff are hel d periodically. The Council recognises the trad e union MSF, with which it has established a procedural agreement; representatives o f management and union meet regularly . Statement on corporategovernance Although the Arts Council of England is no t required to comply with the Code of Best Practice published in December 1992 by th e Cadbury Committee on the Financial Aspects o f Corporate Governance, nevertheless the Counci l believes it should meet the highest standards o f corporate governance and accordingly complie s voluntarily with key aspects of the code . Members of the Arts Council arc appointed by the Secretary of State for National Heritage for specified terms of office, and are unpaid . Counci l members work within a code of practice base d on a Treasure model for non-departmenta l public bodies, which has been agreed with th e Secretarv of State. The Council meets in forma l session about 10 times each vear and monitor s the work of the Secretarv-General and her staff . Overall policy is determined by the Counci l itself, and the Council has a schedule of matter s reser ved for its own decision, including key points of strategy, policy, resourcing, and staffing . All Council members have access to the Secretarv-General and senior staff as the y require . The Head of Secretariat ensures that th e Council follows its established procedures. The annual report provides information abou t the Council 's overall financial position . The Council maintains objective and professiona l relations with the National Audit Office, which acts as auditor of both the Arts Council ' s grant in-aid accounts and its Lotterv distributio n accounts . The Council has established an Audi t Committee ; its terms of reference accord with the Code of Best Practice for Board Members o f Public Bodies issued by HM Trcasur . Marv Alle n Secretarv-Genera l The Certificate of the Comptrolle r and Auditor General to the Houses o f Parliament I certify that I have audited the financia l statements on pages 70 to 77 under the National Lottery etc . Act 1993 . Thesc financia l statements have been prepared under the historical cost convention and the accountin g policies set out on page 73 . Respective responsibilities of Council, Secretary General and auditors As described on page 68, the Council and the Secretary-General as the Accounting Officer ar e responsible for the preparation of the financia l statements and for ensuring the regularity o f financial transactions . It is my responsibility to form an independent opinion, based on m y audit, on those statements and on the regularit y of the financial transactions included in them, and to report my opinion to you . I have no observations to make on these financial statements . John Bourn Comptroller and Auditor Genera l 28 June 199 6 National Audit Office 157-197 Buckingham Palace Roa d Victoria, London SW1W 9SP Basis of opinio n I conducted my audit in accordance wit h Auditing Standards issued by the Auditin g Practices Board . An audit includes examination , on a test basis, of evidence relevant to th e amounts, disclosures and regularity offinancial transactions included in the financial statements . It also includes an assessment of the significan t estimates and judgements made by the Counci l and the Secretary-General in the preparation of the financial statements, and of whether the accounting policies are appropriate to th e Council's circumstances, consistently applied and adequately disclosed. I planned and performed my audit so as to obtain all the information and explanation s which I considered necessary in order to provide me with sufficient evidence to give reasonabl e assurance that the financial statements are fre e from material misstatement, whether caused by error, or by fraud or other irregularity and that , in all material respects, the expenditure an d income have been applied to the purpose s intended by Parliament and the financia l transactions conform to the authorities whic h govern them . In forming my opinion I hav e also evaluated the overall adequacy of th e presentation of information in the financia l statements . Opinio n In my opinion : -The financial statements give a true and fai r view of the state of affairs of the Arts Counci l of England Lottery distribution activities a t 31 March 1996 and of the increase in funds available, total recognised gains and losses an d cash flows for the year then ended and have been properly prepared in accordance with th e National Lottery etc Act 1993 and direction s made thereunder by the Secretary of State fo r National Heritage - In .ill material respects the expenditure and income have been applied to the purpos e intended by Parliament and the financial transactions conform to the authorities whic h govern them . 69 The Arts Council of Englan d Lottery distribution accoun t For the period I April 1995-31 March 199 6 1996 .C000s Share of proceeds from the National Lotten- Note 2 Investment returns on the Distribution Fund Investment income on bank account s Other income Note 3 LOWS 244,194 10,910 248 8 199 5 £OOOS 48,397 497 3 3 255,360 Grants Total grants Note 9 General expenditure : Staff costs Note 4 Other operating costs Note 5 Depreciation Note 6 Costs apportioned by the Arts Council of England Note 1 Total operating costs £OOOS 229,918 48,900 0 229,918 568 3,215 0 188 692 16 51 5 29 3,052 6,864 1,41 1 236,782 1,41 1 Increase/ (decrease) in Lottery funds Note 1 0 18,578 47,489 Accumulated funds brought forwar d 47,489 0 Accumulated funds carried forward 66,067 47,489 Total expenditure The Council has no recognised gains or losses other than those shown on the income and expenditure statement fo r the period. There are no discontinued activities . 70 The Arts Council ofEngland 1995196 Balance shee t At 31 March 1996 199 5 199 6 £OOOs Fixed assets Tangible assets Note 6 £OOOs £OOOs 71 71 Current assets Debtors and prepayments Investments : balance in Distribution Fund Note 7 Cash at bank and in hand .£000s 15 5 47 3 48,02 8 82 ?,A q q n4 48,113 Current liabilties Hard commitments falling due within one year Note 9 Creditors : amounts falling due within one year Note 8 104,72 6 3,72 8 0 671 671 108,454 Net current assets 159,60 7 Total assets less liabilitie s 159,67 8 Represented by Provisions for liabilities and charges : grant commitments Reserves 93,61 1 66,06 7 159,678 Mary Allen Secretary-General Lord Gowri e Chairman of theArts Council ofEngland June 1996 71 Cash flow statemen t For the x-ear ended 31 March 199 6 1996 f000s Operating activitie s Funds received from the National Lotter Distribution Fun d Other cash receipts Grants pai d Cash paid to and on behalf of employee s Other cash payments f000s (188) 1536) 4,573 (53) - f000s 86 6 3 39,828 137 131,61 4 568) (3,210) Net cash infloNk from operating activitie s Investing activitie s Purchase of tangible fixed asset s Net cash outflow from in vesting activitie s f000s 1995 145 (63) (53) (63) 82 0 4,602 82 Net cash infloxk Increase in cash and cash equivalent s Movements in cash and cash equivalent s Cash at beginning of perio d Cash at end of period 72 The Arts Council of England 1995196 1 Accounting policies Equipment, fixtures and fittings - over 4 year s A) Basis ofaccounts A full year's depreciation is provided in the year of an asset's acquisition, and none in the year of its disposal . These financial statements are prepared unde r the historical cost convention . The Charity Commissioners issued a Statement of Standard Accounting Practice (SORP) for Charities i n October 1995 . The Council proposes to adop t the SORP for the 1996/97 accounts . Th e accounts have been prepared in accordance wit h the Accounts Direction issued by the Secretar y of State for National Heritage ; they meet th e requirements of the Companies Acts and of th e Statements of Standard Accounting Practice / Financial Reporting Standards issued and adopted by the Accounting Standards Board , so far as those requirements are appropriate . Separate accounts have been prepared for th e activities funded from the grant-in-aid, in accordance with the Directions issued by th e Secretary of State . Consolidated accounts have not been prepared . B) Accruals conventio n All income and expenditure is taken into accoun t in the financial year to which it relates . D) Stocks Stocks are stated at the lower of cost and ne t realisable value . No value is ascribed to stocks o f application packs, as the cost is written off in th e year in which it is incurred. E) National Lottery Distribution Fund Balances held in the National Lotter y Distribution Fund remain under th e stewardship of the Secretary of State fo r National Heritage . However, the share of these balances attributable to the Arts Council o f England is as shown in the accounts and, at the balance sheet date, has been certified by th e Secretary of State for National Heritage as being available for distribution by the Arts Council o f England in respect of current and futur e commitments (Note 7) . The amount attributable to the Arts Council has been treated as income within these accounts . F) Leases As required by the Secretary of State, a distinction is made in respect of Lottery grants between `hard commitments', where th e Council has made a firm offer of grant whic h (together with appropriate conditions) has been accepted by the recipient, and `sof t commitments', where the Council has agreed i n principle to fund a scheme and made an offer , but the offer and associated conditions have not yet been accepted . Hard commitments are recognised in the income and expenditure account, whereas sof t commitments are recognised by way of note . Costs in respect of operating leases are charge d to the income and expenditure account on a straight line basis over the life of the lease . G) Taxation The Arts Council of England is a Registere d Charity (No 1036733) and is eligible under th e Income and Corporation Taxes Act 1980 to see k from the Inland Revenue exemption from taxe s on income arising from its charitable objectives. The Inland Revenue has granted this exemption . Accordingly, no taxation has been provided for in these accounts . H) Pensions Hard commitments payable within one yea r of the balance sheet date are recognised in th e balance sheet as current liabilities . Those payabl e more than one year from the balance sheet dat e are shown as grant commitments unde r `Provisions for liabilities and charges' . Grant commitments for future years have been entered into, taking account of income forecasts provided by the Department of National Heritage . These forecasts have been discounte d aggressively and the Council believes that it ha s taken a very conservative view of future income . Nevertheless, it assumes, as matters of publi c policy, the continued operation of the Nationa l Lottery and the maintenance of the Arts Council's percentage of the National Lottery Distribution Fund as set out in sections 22 and 23 of the Act . The Arts Council provides a defined benefit pension scheme for its employees, the cost s of which are charged to the income an d expenditure account. I) Apportioned costs The Arts Council incurs indirect costs whic h are shared between activities funded from grant in-aid and activities funded from the Nationa l Lottery. The Council is required to apportio n indirect costs properly between the two activity areas in accordance with good accountin g practice . C) Depreciation and fixed asset s Depreciation is provided on all tangible fixe d assets financed by Lottery funds at rates calculated to write off the cost less estimated residual value of each asset systematically ove r its expected useful life as follows : 73 2 Share from the National Lottery 1996 £OOO s Share of proceeds from the National Lottcn Adjustment 244 .38 2 (188 ) 244 .194 The Act provided that the start-up costs of the Millenniu m Commission and the National Lotterv Charities Boar d should be paid b the appropriate Secretaries of State and should be reimbursed from the National Lottc n Distribution Fund . The accounts of the distributing bodie s for 1994/95 were prepared on the basis that the reimbursement would be met from the two bodies' shares of the fund . Legal advice given subsequently is that reimbursement should be a charge against the fund befor e apportionment between the distributing bodies . I n consequence the Arts Council 's share of the fund was reduced and this is reflected above . 1996 199 5 LOOOs L:000s 2 6 0 3 8 3 1996 199 5 LOOOs C000S Salaries and wages Employer's National Insurance Arts Council of England Retirement Plan 1994 463 36 69 158 11 19 Total 568 188 1996 199 5 LOOOs LOOOs 3 9 6 1 4 3 .5 18 8. 5 3 Other income Contributions received Sales of publications 4 Staff costs These costs relate to the Lotten' function and its operatio n for the vear. The Chairman, Council and Lotten• Advisorv Panel members are not paid for their services . An acturial valuation of the pension fund takes place ever y three vears . The last valuation was in 1993/94 . On the advice of the acturan ; the employer's contribution was se t at 13 .2% . The scheme is financed by payments by the Council an d employees into a trustee-administered fund independent o f the Council ' s finances . These contributions are invested by a leading find management company . The net market value o f scheme assets at 31 March 1995 was .C 16,605,250 . The average weekly number of employees engaged directl y on Lottery activities during the year was made up as follows : Lottery operations management Operational Administrative 74 The Arts Council of England 19951196 5 Other operating costs Travelling, subsistence and entertainment Publicity and promotions Postage and telephone Agency staff costs Professional fees Value Added Tax Office and sundry External assessment costs 1996 1995 L000s LOWS 30 123 47 61 557 533 191 1,673 8 16 6 38 15 96 79 20 1 89 3,215 692 These costs relate to the Lottery function and its operatio n during the year. 6 Tangible assets 199 6 199 5 Total Equipment , Fixture s and Fittings Total .£000s .E000s £OW O .£000s 63 53 63 53 0 63 0 63 116 116 63 !2 Depreciation at 1 April 1995 Provided for 1995/96 16 29 16 29 0 16 U 16 Depreciation at 31 March 1996 45 45 16 Net book value at 1 April 1995 47 47 0 Net book value at 31 March 1996 71 71 47 Cost at 1 April 1995 Additions Cost at 31 March 1996 Equipment, Fixtures and Fittings 7 Investments Balances held in the National Lottery Distribution Fun d remain under the stewardship of the Secretary of State fo r National Heritage . However, the share of these balances attributable to the Arts Council of England is as shown in the accounts and, at the balance sheet date, has been certifie d by the Secretary of State for National Heritage as bein g available for distribution by the Arts Council of England i n respect of current and future commitments . ' The funds are invested on behalf of the National Lotter y Distribution Fund by the National Debt Commisioners . The Arts Council's distribution is in accordance wit h Sections 22 and 23 of the National Lottery etc . Act 1993 . 1996 1995 L000s LOWS Accruals Due to the Arts Council of England Sundry creditors 1,244 1,990 494 575 Total due at 31 March 1996 3,728 671 8 Creditors 96 0 75 9 Soft and hard commitment s 1996 199 5 £OOOs £0005 0 X229,918) (60) 340,050 0 0 0 0 110,072 0 0 (31,581) 0 ~~4 q i Q 0 0 0 n Balance of hard commitments outstanding carried forwar d 198,36/ a Ageing of hard commitments : 1996/97 1997/98 1998/99 1999/2000 Over 5 year s 104,72 6 77,81 2 7,52 1 1,200 Total hard commitments 198,33 7 Sort commitments brought forte and Soft commitments transferred to hard commitments Soft de-commitment s Soft commitments made Balance of soft commitments Outstanding carried forward Hard commitments brought forward Hard commitments met in the last vea r Hard de-commitments Hard commitments made 7 o7 Q 10 Increase in Lottery fund s Stated after charging : (a) Auditors' remuneration (b) Staff travel, subsistence and hospitalit y (c) Council members ' travel, subsistence and hospitali 1996 1995 4000S C000S 25 20 0 18 5 3 199 6 n(d)Thermunatio fseniormplyesatribu let o the National Lotten , was as follows : Director of National Lottery ACE employees earning £40,000 - 49,99 9 ACE employees earning £50,000 - 59,99 9 ACE employees earning £60,000 - 69,999 76 The Arts Council ofEngland 1995196 Number Total salaries .C000s Lotterv charge C000 S Lotterv proportio n 1 4 1 1 46 163 51 61 46 57 25 30 100% 35 % 49% 50% 11 Capital commitments Authorised but not contracted Contracted 12 Cash flow 1996 1995 LOWS C000S 0 0 0 7 0 7 1996 199 5 .£000s LOWS Reconciliation of operating surplus/(deficit) to net cash inflow from operating activitie s Operating surplus/(deficit) before interest receivable Depreciation charges Increase in debtors and prepayments Increase in creditors 18,578 29 (215,427) 201,393 47,489 16 (48,031) 671 Net cash inflow from operating activitie s 4,573 145 13 Movement in Lottery fund s 1996 1995 LOWS £000s Lottery reserve at 1 April 199 5 Transferred from income and expenditure accoun t 47,489 1 R r752 .17 .28 0 Lottery reserve at 31 March 1996 66,U6/ 4/,4cY Y 0 77 Grants and guarantees awarded 1995/9 6 Schedule 1 to the Account s For the period to 31 March 199 6 Combined Arts £ £ \-ational Chganlsations South Bank Board 13,330,400 13,330,400 Regularhl Funded Chganisations Disability Arts Magazine Institute of Contemporary Arts National Alliance of Women's Organisations National Disabilirv Arts Forum Voluntary Arts Network 30,000 815,000 5,500 60,000 50,000 960,500 Fixed-teen Funded CAganisations Artangcl Trust Arts Administration Blast Theorv Daily Life Hull Time Based Arts Locus + Mayhew And Edmunds Moti Roti Company Second Stride Visiting Arts 75,000 23,500 7,500 28,500 25,000 15,000 7,500 29,000 108,000 172,100 491,100 Totalgrants to funded organisations Arts 2000 Northern Arts Board 14,782,000 300,000 300,000 Black Arts Network African Caribbean, Asian Arts Network East Midlands African-Caribbean Artists Network Equator Communications Group Heights North West Arts Board Omorogbe Osa South Fast Arts Board Southern Arts Board Yorkshire & Humberside Arts Board 3,750 3,750 8,160 3,750 3,750 1,056 3,750 3,750 3,750 35,466 Development Projects Asian Arts Access British Chinese Artists Association Circus Space Digital Diaspora inIVA 10,000 22,000 5,000 7,500 2,060 46,560 International Initiatives Africa Ove! Arad Goch Artangel Trust Arts Administration Association of British Calvpsonians Association Sargam Bath Festivals Trust Birmingham City Council Brams Arts and Management Services Camden Arts Centre 78 The Arts Council ofEngland 1995196 1,800 9,400 7,000 3,810 4,300 5,000 15,000 5,00 0 10,00 0 7,500 £ Camerawork 7,00 0 Canal Art Project 3,00 0 Castlefield Gallen2,00 0 Centre for Contemporary Arts 7,50 0 Centre for Performance Research 1,50 0 Cheltenham Festival of Literature 5,00 0 Cite of Nottingham 5,00 0 Clear Dav Productions 15,00 0 Como No! 8,50 0 Como No! 2,60 0 Cubitt Artists 1,50 0 7,50 0 Cultural Industrv 10,00 0 Dance Umbrella Dovecot Arts Centre 5,00 0 Fifth Quarter 4,00 0 Fine Rats International 8,00 0 Fish Krish Agency 6,00 0 Fotofeis 7,50 0 Fruitmarket Gallery 6,00 0 Gary Crosby ' s Nu Troupe 5,97 5 Gate Theatre Company 7,00 0 Grand Union 15,00 0 Grey Suit 5,00 0 Hackney Empire 10,000 Huddersfield Contemporar• Music Festival 7,50 0 Hull Time Based Arts 3,00 0 16,500 Ikon Gallery Institute of Contemporary Arts 15,000 Kent Institute of Art And Design 1,500 London International Festival of Theatre 30,000 London Musicians' Collective 7,500 Manchester International Arts 3,200 Marco Polo Promotions (UK) 5,000 Midlands Arts Centre 5,000 Newlyn Art Gallery 7,500 Norwich Gallen• (Norwich School of Art & Design) 5,000 Nottingham Theatre Trust 6,780 October Gallery Trust 8,000 Oldham Museum And Art Gallery 9,000 6,000 Oriel Mostn Gallerv Pan Project 10,000 The Place Theatre 8,000 Puppet & Animation Festival 5,000 Rainbow Over Bath 4,000 Sadler's Wells Trust 4,000 Salisbury Festival 8,000 Sama Performing Arts Network 8,000 10,000 Sasa Music Scottish International Children 's Festival 20,000 Shiftwork Physical Theatre Company 5,000 South Bank Board 20,000 8,000 St Donats Arts Centre Swansea City of Literature 1995 29,000 Theatre Roval, Burv St Edmunds 3,000 Theatrcbus 4,000 Uz 3,000 Walsall Museum & Art Gallerv_ 5,000 Whitechapel Art Gallery 5,000 Yorkshire Sculpture Park 23,000 Zap Art 15,500 558,36 5 Lire Art Commissions Arnolfini Gallery Beaconsfield Bluecoat Gallery Anna Douglas East Midlands Arts Board English Stage Company Ferens Art Gallery Hull Time Based Arts Institute of Contemporary Arts Locus + Raw Material Reckless Sleepers Ruskin School of Drawing & Fine Art Serpentine Gallery Zap Art Intersect It's Queer Up North Locus + Nick Hem Books Northern Stage Richard Padwick & Susan Jones The Quarter Club Shattered Anatomies South Bank Board Strike Writing Research Associates 6,500 7,948 5,000 5,686 5,600 8,000 5,000 10,000 22,250 8,500 7,50 0 5,00 0 5,940 7,000 6,000 81,89 0 115,924 LmeArtin HigberEducation Sheffield Hallam University University of Central England in Birmingham Zap Art 4,000 3,800 2,000 9,800 Live Art Publications Institute of Contemporary Arts Nick Stewart Theatre Record 8,400 5,000 20,000 33,400 Lwc Art Travel and Research Akulah Agbami Nilofar Akmut Michelle Baharier Paulette Terry Brian Gavin Clayton Common Ground Dance Theatre Roger Ely Tim Etchells Tanya Farman Harriet Fennell Ronald Fraser-Munro Hugo Glendinning Roddy Hunter Susannah Hart Susan Lewis Kirsten Reynolds Mike Stubbs South West Live Art Circuit Catherine Waller Jennifer Wahvin The Zwillinge Project 500 500 500 400 300 380 380 500 500 400 500 500 500 495 500 495 750 23 8 100 330 463 4,995 3,500 1,000 3,000 3,425 4,870 5,000 5,000 1,000 7,000 650 2,340 4,000 5,000 New Collaborations `3 or 4' Composers Anti-Rom Collective Arrange] Trust Artec Mark Baldwin & Carole Murcia Bellring Blast Theory Chichester Institute of Higher Education The Crick-Crack Circuit Dance City Desperate Optimists Dovecot Arts Centre Rcne Eyre and Chris Nash Fifth Quarter Film & Video Umbrella Galactic Smallholdings Great Yarmouth Borough Council The Handsome Foundation Heart'n' Soul Sheila Hill Industrial & Domestic International Symposium Of Shadows Lumiere & Son Mahogany Arts Man Act Theatre Company Mayhew And Edmunds Moti Rori Company Shoevegas Shomari Productions The Showroom Station House Opera Gary Stevens Walks On Water The Zwillinge Project 27,00 0 18,77 5 29,00 0 20,00 0 3,00 0 20,00 0 20,00 0 3,000 5,000 5,000 9,634 4,900 4,925 22,000 3,000 4,75 0 5,00 0 10,00 0 3,00 0 30,94 2 21,30 0 5,00 0 5,00 0 5,00 0 22,754 4,70 0 30,00 0 3,00 0 4,00 0 5,34 5 25,000 20,000 5,000 5,000 410,02 5 9,231 Live ArtDevelo[rment Arnolfini Gallery Artec Arts Administration Assemblage Arts Michael Atavar Black Arts Alliance Blunt Cut Camerawork Anna Douglas Grey Suit Christopher Hewitt Insight Arts Trust Institute of Contemporary Arts ICA Video 2,05 0 2,300 1,000 3,500 5,000 1,11 0 5,00 0 3,00 0 30 0 5,00 0 2,85 0 Notting Hill Carnival Bands Adun Society Atlantis Black Arts Carnival Club Balisaye Carnival Club Bayie Busuofo Beeraahar Sweet Combination Burrokeets Cultural Club Callaloo Camden Black Parents & Teachers Group Caribbean Carnival Club Chats Palace Children & Parents Carnival Association Cocoyea Coffee Boys International Colombian Carnival Group Dalston Children's Centre Design In Mind Disguised Illusion Carnival Association Newham Dominica Sisseton Carnival Club 500 500 1,500 1,500 1,000 1,500 500 500 1,200 1,500 800 2,000 1,50 0 2,60 0 2,40 0 80 0 1,00 0 1,000 79 £ Dragons Sporting Cultural Club U K Ebom Steelband Trus t Elimu Ma s Flamboyan Carnival Clu b Flamingo Carnival Clu b Genesis Carnival Group Kuumba Carnival Band London School Of Samb a Mahogany Carnival Club Mangrove Steel Ban d Manna Productions Mas-O-Rama Arts Masquerade 2000 Associate s Misty Carnival Clu b New Dimension s Pantonic Steel Orchestr a People' s War Carnival Ban d Perpetual Beauty Carnival Club Phoenix Carnival Costume Ban d Pioneers and Their Offsprin g Quilombo Do Samb a Sagaboys St Clement & St James Community Projec t St Mary of the Angel s Seventh Feathers Youth Clu b Shademakcrs Carnival Club Shango Promotions South Connection s South London Sports And Social Clu b Spektakula r Stamford Hill Carnival Club Stardust Mas Sugumugu Sunday Tabernacle Children 's Costume Band Trinbago Carnival Clu b Trinidad & Tobago Carnival Clu b Westbourne Park Garage Carnival Committe e Yaa Asantewaa Arts Centre £ 2,00 0 800 4,10 0 3,40 0 3,800 4,10 0 1,000 1,500 4,100 1,80 0 500 1,80 0 4,100 3,450 800 500 3,600 3,900 800 1,000 1,500 500 1,500 1,500 500 2,100 50 0 2,500 50 0 800 1,500 1,500 1,000 1,000 3,60 0 1,800 50 0 3,600 Total Combined Arts Cross-disciplinary Initiative s Business Assessment G"Plannir :q .-arts Marketing Associatio n Business In the Arts Arnolfini Gallen Artic Producers Publishing Compan y Arts Board South West Bournemouth Orchestra s East Midlands Arts Board London Arts Board North West Arts Board Northern Arts Board South East Arts Boar d Tara Arts Grou p West Midlands Arts Board Whitechapel Art Gallery Yorkshire & Humberside Arts Board 80 The Arts Council ofEngland 1995196 28,95 0 19,00 0 27,90 0 125,00 0 50,00 0 220,10 0 225,56 1 25,00 0 95,00 0 15,00 0 106,50 0 30,00 0 235,000 1,203,01 1 Total Contingency Fund Information East Midlands Arts Board North West Arts Board Northern Arts Board Yorkshire & Humberside Arts Board 1,05 8 2,50 0 1,68 6 5,066 Total In/ormation 10,31 0 Policy, Research ^`Planning 1,000 2,50 0 2,000 6,00 0 1,50 0 1,500 5,00 0 6,00 0 5,000 7,33 0 2,850 1,960 1,50 0 20,00 0 2,100 1,000 Arts Research Diges t North West Arts Board (feasibility study ) Policv Studies Institute (Cultural Trends ) Disability Networking Grant s 8,10 0 1,00 0 5,00 0 8,511 Total Policy, Research &Planning 22,61 1 1,241,93 2 Total Cross-disciplinary project grant s Dance National Companies Royal Opera House 11,215,000 11,215,00 0 9,00 0 12,00 0 9,000 Regularly Funded Organisation s Adzido Pan African Dance Ensemble English National Ballet Northern Ballet Theatre Rambert Dance Compan y 643,01 6 3,903,00 0 1,225,00 0 1,200,000 6,971,01 6 30,000 Total projectgrants 6,00 0 Ca ntingeng Fun d 67,240 Youth Arts Artswor k Youth Arts Networ k Youth Clubs U K 5,00 0 1,000 Total Business Assessment C`Planning 95,750 Strategic Reserve The 1990 Trus t Artec Arts Administration Asian Arts Acces s Black Theatre Forum Community Arts Mobile Workshop Tea m Cultural Industry Disability Arts Magazin e Equator Communications Grou p London Arts Board National Disability Arts Foru m Northern Arts Board Sampad Second Strid e Strike Yaa Asantewaa Arts Centre 16,575,65 1 1,793,651 Fixed-term Funded Organisations Adit i Adventures In Motion Pictures Candoco The Cholmondelev s Contemporarv Dance Trust Dance 4 65,00 0 145,00 0 90,00 0 162,00 0 775,000 80,000 L Dance City Dance UK Dance Umbrella DanceXchange DV8 Physical Theatre Foundation for Community Dance Green Candle Nahid Siddiqui and Company Shobana Jeyasingh Siobhan Davies Dance Company Suffolk Dance Thamesdown Dance Studio Union Dance Company VT01 Yolande Snaith Theatredance Yorkshire Dance Centre £ 100,000 60,000 250,000 95,000 90,000 75,000 130,000 44,000 158,000 155,000 95,000 100,000 60,000 74,000 46,900 100,000 2,949,900 Totalgrants to funded organisations Nationall)anceAgency Co-ordination/Expansion Arts Board South West Cheshire Dance Trust Dance City: NDA advocacy document 21,135,916 35,000 30,000 3,500 68,500 Black DanceDepelopment Adeola Bolaji africa95 Albany Theatre Association of Dance of the African Diaspora Badejo Arts Stephen Blagrove Beams Arts And Management Services Gail Claxton-Parmel H Patten Ceceilin Johnson Onyx Consultancy Judith Palmer Desmond Pusey 1,000 1,400 2,000 10,000 11,000 330 3,000 330 10,000 1,000 15,000 1,000 330 56,390 Dance Management Partnerships Arts Board South West East Midlands Arts Board Eastern Arts Board London Arts Board North West Arts Board Northern Arts Board South East Arts Board West Midlands Arts Board Yorkshire & Humberside Arts Board 3,50 0 3,000 3,000 25,000 6,500 5,000 8,00 0 3,00 0 5,000 Independent Dance Projects Adventures In Motion Pictures Akshaya Dance Theatre Company Alpana Sengupta and Company Amici Arc Dance Company Badejo Arts Bedlam Dance Company Bi Ma Dance Company Bullies Ballerinas Bunty Matthias & Company Rosemary Butcher Chitraleka and Company The Cholmondeleys Emilyn Claid Claire Russ Ensemble Contemporary Dance Trust : Spring Collection Dance City Dance UK Dance Umbrella : Chris Harris DanceXchange Edwards and Walton Imlata Irie! Dance Theatre Jeremy James Jonathan Burrows Group Laurie Booth Dance Company Russell Maliphant Mark Ballwin Dance Company David Massingham Motionhe ruse Random Dance Company Ricochet Dance Company RIC Sheffield Theatres Trust Siobhan Davies Dance Company Small Bones Dance Company Srishti Suffolk Dance Thamesdown Dance Studio Union Dance Company VT01 Yorkshire Dance Centre 55,00 0 20,00 0 8,00 0 15,00 0 45,00 0 54,95 0 5,00 0 25,00 0 5,00 0 10,00 0 6,75 0 15,00 0 3,00 0 30,00 0 10,00 0 6,00 0 15,00 0 15,000 1,400 10,000 9,000 28,000 50,000 5,000 41,000 43,542 12,95 0 17,500 17,25 0 60,000 19,00 0 10,00 0 40,00 0 3,65 0 20,00 0 18,00 0 7,50 0 20,00 0 10,00 0 20,00 0 20,00 0 51 0 828,00 2 Policy Research British Association of Choreographers Dance UK Dance Umbrella: Jerwood Project Jane Dudley 1,65 0 3,60 0 16,50 0 5,00 0 26,75 0 62,000 Education BBC Education Dance 4 : South Asian dance in education Doris Humphrey Foundation Fergus Early English National Ballet National Dance Teachers Association Anne Rachel Fist Roehampton Institute Royal Opera House : Education Officers' group £ 2,000 2,500 1,500 350 500 5,000 400 800 2,500 15,550 Training Academy of Indian Dance Adzido Pan African Dance Ensemble Bedlam Dance Company Daniel Belton Buckinghamshire Regional Dance Council Bunty Matthias & Company Cheshire Dance Trust Chisenhale Dance Space Claire Russ Ensemble Creative Dance Artists Trust Samantha Dawn Divas Ersatz Dance Fishpool Flipside Productions Foundation for Community Dance 15,00 0 10,00 0 3,50 0 1,00 0 5,00 0 4,00 0 4,00 0 3,50 0 3,000 25,000 1,000 3,500 1,000 5,000 2,400 6,500 81 L Greemvich Dance Agency Paula Hampson Independent Dancers Resettlement Trust International Workshop Festival Jabadao Jeremy James Lisa Ullmann Travelling Scholarship Fund Mashango H Patten Tim Rubidge Salamanda Tandem Shinkansen Thamesdown Dance Studio Vincent Dance Theatre \test Midlands Arts Board Sheron Wray People Show Pop Up Theatre Red Ladder Theatre Compam Red Shift Theatre CompamRight Size Shared Experience The Sphinx (Women's Theatre Group) Tara Arts Group Theatre Centre Theatre De Complicite Theatre of Thelema (Quicksilver Theatre) Trestle Theatre Compam 4,000 1000 10,000 10,000 2,900 3,400 4,000 3,000 5,000 2,500 4,000 10,000 5,00 0 4,000 10,00 0 2,150 41,707 1,274,249 22,410,165 Total Dance 88,10 0 95,50 0 13170 0 114,80 0 97,00 0 153,20 0 112,70 0 174,70 0 277,10 0 135,70 0 114,70 0 127,00 0 25,403,400 Totalgrants to fzatded organisations 2,000 967 5,000 20,000 10,000 2,000 1,740 Total projectsgrants Trainees-hips Imogen Cloet Jennv Darnell Robin Dashwood Jasmine Judd Steven Luckie Jo Martin Kerry Micheal Jacob Murray Afia Nkrumah Kim Lim Sin Janet Steel Mark David Thomson David Tse Fiona Watt Stephen Wrentmore Deborah Yhip 9,000 12,000 9,000 1,000 12,000 1,000 4,000 9,000 4,000 1,000 9,000 12,000 12,000 9,000 9,000 3,500 116,50 0 Drama National Organisations Royal National Theatre Board Royal Shakespeare Theatre Training Stephen Midlane 2,00 0 11,167,00 0 8,470,000 2,000 19,637,000 Regularly Funded Organisation English Stage Company £ 4,855,400 175,350 YouthArts Academe Of Indian Dance Kadam National Youth Ballet National Youth Dance Company National Youth Jazz Dance Festival Sampad Unniti £ £ 911,000 Middle Scale Touring Cambridge Theatre Compan y (Method & Madness) English Touring Theatre Oxford Stage Company 50,00 0 50,00 0 50,00 0 911,000 Fixed-term Funded Organisations Actors Cabal (Compass Theatre Companv) 103,500 131,200 Actors Touring Company (London) Bath Arts Workshop (Natural Theatre Companv) 104,000 102,500 Black Mime Theatre Company 137,300 Black Theatre Co-operative Cambridge Theatre Company 501,500 (Method & Madness) 106,70 0 Check Be Jowl Theatre Company 110,000 David Glass New Mime Ensemble 456,500 English Touring Theatre 96,700 Forkbeard Fantasy Theatre Company Galactic Smallholdings 140,000 (Welfare State International) 118,900 Gay Sweatshop 89,100 Gloria Theatre 26,600 International Workshop Festival 105,500 IOU 86,600 Kaboodle Productions 84,500 Oily Cart Company 100,000 Open Hand Theatre Company 484,100 Oxford Stage Company 147,000 Paines Plough 150,000 National Touring: Cultural Diversity Projects Fifth Amendment Hathi Productions Maya Productions Mu-Lan Arts Nubian Nights Tamasha Theatre Company 10,00 0 26,81 1 34,00 0 17,93 3 11,59 4 36,25 0 136,58 8 National Touring: Disability Projects Graeae Theatre Company Mind The Gap Show Of Hands Theatre Compam• Strathcona Theatre Company 100,00 0 42,85 3 37,95 1 44,22 0 225,02 4 National Tourinq : Experimental Projects Andrew Alison Forced Entertainment Theatre Co-operative Insomniac Monkey In Heaven Semblance 32,000 49,18 2 29,68 5 11,000 18,217 140,08 4 82 The Arts Council of 'England 1995196 E £ National Touring : Mime Projects Brewery Arts Centre Brouhaha Commotion London International Mime Festival Mime Action Group Rejects Revenge Tottering Bipeds Women's Work £ Oval House Christ Church (Oxford) United CIub Pegasus Theatre Southampton Community Arts Centre Company Trinity Centre Trinity Theatre and Arts Association Unity Theatre Warwickshire Community Arts Waterman Arts Centre 13,000 9,500 14,500 73,577 33,000 12,675 19,900 2,600 £ 7,00 0 9,80 0 9,40 0 8,10 0 9,00 0 9,80 0 10,00 0 7,00 0 200,000 178,752 National Touring: New Writing Projects Kneehigh Theatre Trust Quondam Arts 19,830 12,044 31,874 National Touring : Puppetry Projects Cornelius & Jones Doo Cot Faulty Optic, Theatre of Animation Festival of International Animated Theatre Puppet Centre Trust 5,836 27,800 13,180 10,000 2,000 58,816 National Touring : New National Touring Nigel Charnock Clean Break Theatre Company Dodgy Clutch Theatre Company Foursight Theatre Hijinx Theatre Co-Operative Theatre Sans Frontieres Volcano Theatre Company Wild Iris Theatre Company 25,376 22,650 16,000 28,324 5,800 21,000 17,542 30,311 167,003 Regional Black Theatre Initiative Black Theatre Forum Leeds Theatre Trust Leicester Theatre Trust Nottingham Theatre Trust 6,43 0 25,700 10,000 20,000 10,000 4,400 37,900 16,000 7,200 20,155 18,569 17,130 12,600 143,954 Small Scale Venue BAC Blackfriars Arts Centre Brewery Arts Centre Cambridge Drama Centre Cornwall Promoters' Consortium Dorset Promoters' Consortium Dovecot Arts Centre Drill Hall Arts Centre The Green Room Havants Arts Centre Company Komedia Productions Leeds Metropolitan University Live Theatre Company Nottingham County Council 7,100 9,800 9,800 9,800 10,000 10,000 9,800 7,500 9,800 7,000 9,800 9,700 9,800 10,000 1,500 3,000 1,500 1,500 3,00 0 3,00 0 3,00 0 1,50 0 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 1,50 0 3,00 0 3,00 0 1,500 3,000 3,000 1,500 3,000 1,500 1,500 3,000 58,50 0 62,130 Small Scale Touring Lip Service London New Play Festval Magnificent Theatre Company Not The National Theatre Pan Project Scarlet Theatre Strathcona Theatre Company The Wrestling School Y Touring Theatre Writing : Bursaries Judith Adams Nicola Baldwin Parv Bancil Simon Bennett Michael Bourdages David Cregan Martin Crimp Tim Fountain David Goodland Philip Goulding Chris Hawes Richard Haytc in Tunde Ikoli Abby Morgan Gregory Morton Judy Opton Rebecca Prichard Philip Ridley Nick Stafford Shelagh Stevenson Peter Thomson Steve Waters Roy Williams Robert Young Theatre Writinq: Commissions or OptionsAwards Action Transport Theatre Company (Nick Fisher) Alison Andrews (Mike Kenny) Blackfriars Arts Centre (Paul Killick) Blackpool Grand Youth Theatre (David Holman) Caravanserai (Simon Painter) Chimera ( ,Julia Darling) Clean Break Theatre Company (Lavinia Murray) Doo Cot (Anna Furse) Dorchester Community Plays Association (A Dickenson) Eastern Angles Theatre Company (Mary Cooper) Fecund Theatre (John Keats) Foursight Theatre (Samjeer Bhaskar) Anna Furse (Anna Reynolds) Gay Sweatshop (Pete Lawson) Graeae Theatrc Company (Nabil Shaban) Greenwich Young People's Theatre (John Wood) Hathi Productions (Jez Simons & Jyoti Patel) Jade Theatre Company (Sarah Woods) Komedia Productions (John Burrows) Little Angel Marionette Theatre (John Agard) Live Theatre (Alan Plater) Major Road Theatre Company (Mick Martin) Maya Productions (Leena Ohingra) Motionhouse (A L Kennedy) New Perspectives Theatre Company (Charles Way) Nordlys International Scandinavian Theatre (Kim Damback) NTC Touring Theatre Company (Chris Speyer) Out of Joint (Timberlake Wertenbaker) Plain Clothes Productions (Michael Bosworth) 2,00 0 1,48 0 2,50 0 3,00 0 2,00 0 2,00 0 2,00 0 1,84 1 2,000 2,000 1,424 2,000 2,000 2,000 2,170 2,000 1,264 2,000 2,000 1,875 2,000 2,62 5 2,00 0 1,50 0 1,80 0 70 0 4,00 0 2,00 0 2,000 83 L Pop Up Theatre (Tim Nesyton) The Posse (Martin Glynn) Public Pans Theatre Company (Phil Smith Quondam .A,rts (David Naphtine i Remould Theatre Company i Man in Close Scarlet Theatre (J Bradlee) Shaker Productions (Stephen Plaice) Snap People's Theatre Trust (Diane Samuels) Solent People's Theatre (Phelim Rowland) The Sphinx (LayiniaMurrav) Stantonbury Campus Theatre Compa m (Bnonv Laverv) Tamasha Theatre Company (Ruth Carter) Theatre of Thelema (Diane Samuels) Tripitika Theatre Compam (Iran Heng) Tripn ch Theatre Company (Tern Eagleton) Voicebox Theatre in Education (Guv Hutchins) Waterman Lehr Theatre Companv (Pan , Bancil) Watcrmi11 Theatre (Adam Thorpe) Wild Iris Theatre Company (Adjoa Andoh) )'Touring (Nicola Baldwin) Yorkshire Arts Circus (Ronv Robinson) £ Education and Trainin g 2 .500 2,50 0 2 .000 3,924 2,000 1,500 2,00 0 2,600 1000 2,000 Regularly Funded Organisation s Arts and Entertainment Training Council Independent Theatre Council National Institute of Adult Continuing Education 80 .000 26,000 30,000 136,00 0 Fixed-tervn Funded Organisation DeMontfort University 11,000 11,00 0 2,000 2,00 0 2,000 2,00 0 2,000 2,500 2,00 0 1,500 2,000 6,000 2,000 Totalgrants tofunded organisations Disability and Education Trentham Books 147,00 0 6,31 0 6,31 0 Disability Emplq~vment Initiative Bournemouth Orchestras Signals Yorkshire Sculpture Park 10,000 10,000 10,00 0 107,20 3 Theatre Writing: National Prizes Kate Dean Joe Penhall 30,00 0 3,000 3,000 6,000 Theatre Writing: Resident Dramatist Attachmenis Action Transport Theatre Company English Stage Company Gay Sweatshop Hampstead Theatre Sheffield Theatre Trust Warehouse Theatre West Yorkshire Plavhouse Y Touring 4,000 8,000 4,00 0 8,000 4,000 8,000 8,000 4,000 750 2,000 5,95 0 2,500 3,000 8,500 5,000 5,000 2,250 4,750 7,500 1,500 34,500 Youth Arts National Association of Youth Arts National Youth Theatre of Great Britain World Student Drama Trust 24,000 20,000 12,000 56,000 Total projectsgranis Total Drama 84 The Arts Council ofEnglar:d 1995/96 Education : Network Arts Council of Northern Ireland Bolton Metro Education and Arts Buckinghamshire County Council Cumbria Arts in Education Hertfordshire Education Services London Arts Board National Institute of Adult Continuing Education Royal Society of Arts 5,00 0 6,00 0 5,50 0 3,500 7,50 0 5,00 0 10,00 0 10,00 0 52,50 0 14,200 Unallocated Arts Board South West Association of Professional Theatre for Children Directors Guild of Great Britain Evervman Theatre Geese Theatre Company London Arts Board Tara Arts Group 4,50 0 7,800 3,376 10,000 8,000 11,300 44,976 48,000 Theatre Writing: Theatre Translators Actors Touring Company (London) Cleveland Theatre Company Gate Theatre Company Interact Anthony Vivis Education Projects Birmingham Education Arts Forum Building Sights Council for Dance Education and Training Performing Arts Labs Sonic Arts Network Yorkshire & Humberside Arts Board 1,937,128 27,340,528 Research and Development Arnolfini Gallen• Anon Foundation Book Trust Cheltenham International Festival of Music Contemporary Dance Trust Crucible Theatre Trust Cumbria Arts in Education Project Arts Eastern Orchestral Board Eastern Touring Agency English National Ballet Film & Video Umbrella Gloria Theatre Green Room Impressions Gallery Institute of Contemporary Arts London Electronic Arts London International Festival of Theatre Moviola Northern Arts Board Oxford Plavhouse Poetry Society Royal Philharmonic Orchestra 8,00 0 8,000 8,00 0 8,000 8,65 0 8,000 5,000 9,91 5 8,000 5,000 8,000 8,000 8,000 7,575 8,000 8,000 8,000 8,000 8,000 2,15 0 8,000 8,000 8,000 L Suffolk Dance Theatre Royal, Bury St Edmunds Visual Learning Foundation Warwick Arts Centre Whitechapel Art Gallery £ 8,000 8,000 10,000 7,550 8,000 215,840 Further/Higher Education Artimage Institute of Education 15,900 5,750 £ Sarah Bedell Ali Briggs Sarah Clarke Brenda Edwards Kate Fowle Emily Kennedy Harjinder Matharu Annabel Mitchell Deborah Smith £ 12,00 0 12,00 0 3,00 0 12,00 0 9,00 0 12,00 0 9,00 0 9,00 0 9,00 0 105,000 21,650 International Work British American Arts Association 20,000 20,000 joint Initiatives Bedford Interactive Business in the Arts Visual Learning Foundation 3,000 5,640 11,000 19,640 Partnerships British Federation of Festivals Euclid Richard Gibson Young Person's Concert Foundation 5,750 5,00 0 4,050 32,400 4,48 4 3,500 5,00 0 5,000 5,000 2,500 5,00 0 960 5,00 0 5,000 5,00 0 4,000 4,500 4,700 5,000 4,895 875,68 7 58,00 0 27,00 0 Totalgrants tofunded organisations 2,500 4,000 3,000 5,000 5,000 5,000 5,000 5,00 0 5,000 7,000 4,917 National Distribution Funds: Production Awards Ian Bourn Daniel Copley Stuart Hilton Jo Ann Kaplan Sandra Lahire David Leister Steve McQueen Vera Neubauer Tom Paine and Siobhan Liddell Jo Pearson Cordelia Swann Alia Syed Tanya Syed Sarah Turner 85,00 0 10,00 0 5,00 0 10,00 0 5,34 6 3,00 0 5,00 0 7,50 0 97 2 10,00 0 10,00 0 14,93 7 7,50 0 7,90 0 3,00 0 100,15 5 38,000 9,000 9,000 Total Education and Training 85,00 0 38,000 Trameeships Victoria Allan Michael Bailey 728,68 7 Fixed-term Funde d Film & Video Umbrella Moviola 51,417 Regional Training Centre Development Arts Training Network Total projectgrants Film, Video and Broadcasting 69,539 Three Year Projects Arts Board South West Arts Training South Association of British Orchestras Community Music Leicester Theatre Trust Moviola Music Unlimited National Association for Gallery Education North East Media Training Centre Physical State International Theatrical Management Association 2,500 500 600 500 500 500 270 500 500 245 6,61 5 47,200 One Year Projects Black Literature Project Cornwall Video Resource Deafworks Draughting & Model Making for the Stage English Stage Company Holborn Centre for the Performing Arts International Workshop Festival Lancashire County Council London Electronic Arts Norwich Puppet Theatre Open Theatre Company Opera and Music Theatre Forum Optik Phoenix Dance Company Seeing the Light Voice in the Crowd Windsor Fellowship Nina Edge Pato Fuentes Pervaiz Khan Amoafi Kwapong Winston Lewis Tony Ogogo Nicky Reid Bisakha Sarker Mary Spyrou Waves National Distribution Funds: Exhibitions and Initiative s 1st Framework 8,00 0 British Animation Awards 5,000 5,000 Camerawork Cinema City 2,000 Coil 5,640 10,000 Cornerhouse Durham Cathedral 6,21 4 Film & Video Umbrella 25,400 10,000 Hull Time Based Arts London Electronic Arts 17,500 85 London Filmmakers Co-Operative London Video Access Bruce Mclean Metropolitan Galleries Llo%iola Chris Nash Pandemonium Festival Prema Arts Centre Salisburv Festival South Bank Board Cordelia Swann Tate Gallen; St Ines 7,000 15,000 5,000 5,500 12,00 0 3,00 0 25,000 5,500 1,000 15,000 600 5,000 Society for Ston2elling UK Section of IBBY Westminster College Worcester College of Higher Education 60 .30 8 194,354 Total projectgran ts 294,509 Total Film, Video and Broadcasting 379,509 Literature Regularly Funded Organisations Ambit Anvil Press Poetry Arvon Foundation British Centre for Literary Translation Book Trust Carcanet Press Carcanet Press (PN Review) Federation of Worker Writers Interzone London Magazine London Review of Books Password Books Poetry Book Society Poetry Society Wasafiri General Projects 57 Productions Centre for the Children' s Book Children ' s Literature Research Centre English Centre of International Pen Forward Publishing Institute of Contemporary Arts The National Life Storv Collection The Natural Death Centre Password Books Poem Oh•mpics Poetry Society Saint John's College Robert Graves Trust Snowball Arts Society of Authors The World One-Day Novel Cup 5,500 1,260 2,000 1,500 7,500 5,500 3,000 1,000 8,000 5,00 0 6,75 0 3,00 0 1,00 0 16,00 0 1,00 0 68,01 0 Independent Tours Theresa Bergne Brumhalata The Crick-Crack Circuit Survivors' Poetry 8,740 61,600 100,000 50,000 63,800 67,80 0 17,580 21,860 4,380 23,300 27,640 83,300 48,600 147,800 7,000 Totalgrants to funded organisations 6,00 0 3,00 0 4,50 0 1,75 0 15,25 0 733,400 Broadcasting Bamboo Film & Television Productions British Broadcasting Corporation The Drama House 1,50 0 2,50 0 23,11 8 1,00 0 733,400 20,000 11,368 6,790 Libraries Arts Board South West Cumbria Heritage Services East Midlands Arts Board Eastern Arts Board Leicestershire Libraries & Information Service London Arts Board North West Arts Board South East Arts Board Southern Arts Board University, of Central England in Birmingham University of Sheffield West Midlands Regional Library System Yorkshire & Humberside Arts Board 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 3,00 0 4,80 0 4,80 0 3,00 0 3,00 0 42,60 0 Libretti Mecklenburgh Opera 5,00 0 38,15 8 Cultural Diversitv africa95 Commonwealth Institute National Association for the Teaching of English South Bank Board Wasafiri 5,00 0 7,650 18,000 6,000 1,475 6,000 39,125 Disability Projects National Library for the Handicapped Child Survivors ' Poetry 6,585 9,500 16,085 Education In Brief. . . National Association of Writers in Education Open College of the Arts Open University Readathon Promotions 86 TheArts Council ofEngland 199519 6 3,240 11,000 10,500 2,950 4,500 Literature Development Workers Arts Board South West East Midlands Arts Board Eastern Arts Board London Arts Board North West Arts Board Northern Arts Board South East Arts Board Southern Arts Board Sussex Arts Marketing West Midlands Arts Board Yorkshire & Humberside Arts Board 12,000 12,000 8,000 8,000 10,000 12,000 8,000 8,000 5,000 12,000 10,000 105,00 0 Magazine Development Fund Panurge The Printer's Devil Rialto 2,500 12,33 9 5,000 L Sunk Island Publishing Wasafiri Writing Women £ HMYOI Feltham HMYOI Onley HMYOI Portland 4,000 5,000 2,500 5,00 0 5,00 0 2,50 0 36,25 4 31,33 9 Regional Touring Network East Midlands Arts Board London Arts Board Man Mela Theatre Company North West Arts Board Northern Arts Board Yorkshire & Humberside Arts Board 2,000 1,000 2,000 1,300 2,000 2,000 10,300 Small Presses Absolute Press African Books Collective Bloodaxe Books Book House Training Centre Iron Press Kirklces Metropolitan Council Only Women Press Passworcl Books Peepal'Iree Press Peter Riley Books Poetry Book Society Readers International Serpent's Tail Stand Magazine Sunk Island Publishing Sian Williams lorkshire & Humberside Arts Board 8,000 5,000 8,000 852 2,500 1,000 275 5,02 9 5,00 0 3,800 2,500 8,000 9,500 350 323 7,000 10,000 7,00 0 3,50 0 7,00 0 7,00 0 7,00 0 7,00 0 3,50 0 7,00 0 7,00 0 7,00 0 7,00 0 7,00 0 7,00 0 7,00 0 7,00 0 7,00 0 105,000 77,129 Translations Absolute Press Angel Books Approach Publishing Atlas Press Boulevard Books British Centre for Literary Translation Dedalus Diamond Press Enitharmon Press Glas Publishers UK Harbord Publishing Harvill Press Index on Censorship International Sacred Literature Trust King's College London Mare's Nest Marion Boyars Publishers Poetry Society Portugal 600 Readers International Reaktion Books Rockingham Press The Translators Association University of Liverpool 14iiters'Awards Lynne Alexander Ann Coburn Stevie Davies Ian Duhig Sophie Hannah James Harpur Catherine Johnson Frances Liardet Charles Nicholl Timothy O'Grady Kate O'Kiordan Don Paterson Jeremy Poolman Peter Reading Deryn Rees-Jones Jane Rogers 4,369 2,380 3,000 4,840 4,000 2,000 4,600 1,200 1,600 4,500 2,700 13,500 6,600 6,000 10,757 4,700 5,000 3,350 1,000 4,710 3,530 4,000 6,225 2,000 It ' itrrs on Radio Gillian Allnut Arts Board South West Josephine Balmer Patricia Bishop Gary Boswell I .ynne Bryan Charlotte Cory Linda Cotterill James Crowden Peter Daniels Julia Darling Steve Davenport Jane Draycott East Midlands Arts Board Eastern Arts Board Rose Flint John Gallas Pamela (Alilan Elizabeth James London Arts Board Simon Miles Graham Mort Vayu Naidu North West Arts Board Northern Arts Board Ellen Phetheon Jennifer Potter Mark Robinson South East Arts Board Southern Arts Board Martin Turner Carmen Walton 'Vest Midlands Arts Board Yorkshire & Humberside Arts Board 30 0 2,500 30 0 300 300 300 300 300 300 300 300 300 300 2,500 2,500 300 300 300 30 0 2,50 0 30 0 30 0 30 0 2,50 0 2,50 0 30 0 30 0 30 0 2,50 0 2,50 0 30 0 30 0 2,50 0 2,50 0 32,20 0 106,56 1 Writers & Prisons HM Prison Bedford HM Prison Birmingham HM Prison Channings Wood HM Prison Frankland HM Prison Gartree HM Prison Springhill HM Prison Wellingborough 7,000 1,500 4,000 1,254 2,500 5,000 2,500 Writers (m Tour Royal African Society 1,240 1,240 Residem.ies Commonword East Midlands Arts Board London Arts Board 5,000 1,75 0 11,350 87 £ Universin of Kent at Canterbun University of Wanvick £ 7,000 6,500 31,600 Total projectgrants 821,159 Total Literature 1,554,559 Music National Organisations English National Opera Royal Opera House 11,955,000 8,806,000 20,761,000 Regularly Funded Organisations African & Caribbean Music Circuit Asian Music Circuit Bournemouth Orchestras British Music Information Centre Cin of Birmingham Symphony Orchestra City of Birmingham Touring Opera Earlv Music Centre English Touring Opera Glyndebourne Productions Halle Concerts Society Jazz Services London Philharmonic Orchestra London Symphony Orchestra National Federation Of Music Societies National Opera Studio National Youth Jazz Orchestra Northern Sinfonia Concert Society Opera Factory Opera North Philharmonia Royal Liverpool Philharmonic Society Royal Philharmonic Orchestra Sinfonietta Productions Society for the Promotion of New Music Sonic Arts Network South Bank Board Welsh National Opera Youth And Music 199,000 195,000 1,584,400 38,000 1,149,000 157,900 73,200 812,900 710,000 1,251,000 127,500 700,000 1,140,000 25,000 100,000 7,600 625,800 120,000 4,834,000 700,00 0 1,482,80 0 300,000 407,200 51,000 117,000 300,000 3,801,500 50,000 50,000 50,000 18,000 118,000 Totalgrants to funded organisations Regional Orchestra 's Cballenge Funding Bournemouth Orchestras City of Birmingham Symphony Orchestra Halle Concerts Society Northern Sinfonia Concert Society Royal Liverpool Philharmonic Society 41,938,800 100,000 100,000 100,000 50,000 100,000 450,000 African, Caribbean and Asian Music Abacush Act One 88 The Arts Council ofEngland 1995196 4,500 3,500 3,500 6,000 3,500 5,000 3,500 4,000 1,22 5 55 0 4,000 300 3,50 0 3,00 0 3,00 0 5,00 0 5,00 0 2,00 0 4,50 0 5,00 0 2,00 0 3,50 0 2,00 0 4,00 0 2,50 0 4,00 0 4,00 0 4,00 0 5,00 0 3,50 0 3,50 0 4,00 0 3,00 0 4,00 0 4,00 0 4,00 0 2,50 0 4,00 0 4,00 0 4,50 0 142,57 5 21,059,800 Fixed-term Funded Organisations Mecklenburgh Opera Pimlico Opera Sound Sense African Music Agency Association of British Calypsonians Bantu Production Bessa Band Black Gospel Media Arts Network Black Voices Blue Notes Memorial Trust Fund Cirv of Leeds College of Music De Champ Douglas-Samson Production Dunni Fish Krish Agency Formation Films Grupo Palante Jazz Jamaica Jazz Services Juwon Ogungbe Ensemble King Masco Midlands Arts Centre John Muir Multi Asian Arts Naad International Instrumental Music Academy Mohammed Nazam Oroluesta La Clave Barbara Pukwana Abdul Raheem Tav_ aman Salsa Y Ache Pal Sanchita Sidmouth International Festival of Folk Arts Zak Sikobe Lance Stehr Sword Lion Records Taxi Pata Pata African Arts The Juju Club Timbala Nana Tsiboe Umova Creative Productions Unfinished Business Artists ' Researcb and Development Fund Frankie Armstrong Simon Bainbridge Iain Ballamy Jon Banks Bournemouth Orchestras Mandy Budge Patrick Burton Nell Catchpole Citv of London Sinfonia Peter Cusack English National Opera Limited Matteo Fargion Kevin Figes Kate Heath Roger Heaton David Jean-Baptiste Sianed Jones London Mozart Players Chamber Ensemble Goerge Matheson John Milner Kevin Murphy Gabriel Nuzzoli Opera North Limited Priti Paintal Performing Right Society Place Theatre Anthon y_ Reid G Ross 1,70 0 2,00 0 1,50 0 1,50 0 10,00 0 4,20 0 1,00 0 3,10 0 9,20 0 1,25 0 10,00 0 1,50 0 1,50 0 4,35 0 70 0 2,00 0 1,08 0 1,76 0 2,50 0 99 0 2,10 0 1,50 0 10,00 0 5,00 0 1,50 0 4,00 0 3,00 0 3,000 L Sounds Bazaar Chris Wood £ 3,000 3,00 0 £ National Music and Disability Information Service 5,50 0 35,500 97,930 Bedford Residency 20,00 0 Philharmoni a 20,000 Early Music Accessible Arts Club Ariy a Avison Baroque Ensembl e Bath Festivals Trus t Beverley Early Music Festiva l British Library Buxton Opera Festiva l City Waites Dartington International Summer Schoo l Early English Opera Society Early Music Centre Ex Cathedr a Fretwork I Fagiolin i Islington Winter Music Festiva l London Handel Festival Lufthansa Festival of Baroque Music Musical Offering New Macnaghten Concerts Orlando Consort Purcell Quartet Tudeley Festival Turner Sims Concert Hal l Yorkshire Baroque Soloists 5,00 0 16,00 0 4,00 0 6,00 0 4,86 2 3,00 0 5,00 0 2,50 0 5,00 0 3,00 0 20,00 0 5,00 0 2,00 0 1,06 5 1,50 0 2,50 0 11,00 0 3,75 0 4,00 0 5,00 0 1,00 0 3,80 0 3,00 0 3,50 0 121,477 Improvised Music Touring Acta Ascension Musi c Blow The Fuse Calling Signal s Carribean Jazz Festiva l Dave Drape r Dreamtime Fish Krish Agency Folkwork s Ian Shaw Big Band Intersection John Law Milan Lad Ban d Plif f Rhythm-A-Ning Sax Appeal Paul Shearsmit h Slant Something Els e / 1,75 0 6,00 0 5,00 0 3,00 0 5,00 0 2,60 0 3,000 6,00 0 20,00 0 6,50 0 3,000 2,400 6,500 2,500 4,500 6,000 1,600 3,15 0 2,000 90,500 Music Commissions Aldeburgh Foundation (Mark Anthony Turnage ) Asian Music Circuit (John Mayer/Drugha Ghosh ) Bath Festivals Trust (Mike Westbrook ) Birmingham Jazz (Iain Bellamy, Tom Bancroft) ) Bournemouth Symphony Orchestr a (Judith Benjamin ) Britten Sinfonia (David Horn ) Cheltenham Arts Festival (Andy Sheppard ) Coma (Nigel Osbourne, Stephen Montague ) Concorde (Nicol Le Fanu ) Intogen Cooper (Thomas Ades ) Delta Saxophone Quartet (Elanor Alberga , Michael Finisy ) Evelyn Glennie (Django Bates ) Guildford Choral Society (George Lloyd ) Canon William Hall (Wilfred Josephs) Halle Concerts Society (George Benjamin) Harrogate International Festival (Derek Boureois ) Linda Hirst (Evelyn Glennie ) Huddersfield Contemporary Music Festiva l (Glyn Perrin, Simon Holt) Icebreaker (Lukas Ligeti ) Kreutzer Quartet (Keith Tippet ) London Mozart Players (Paul Barker) London Symphony Orchestr a (James MacMillan, Colin Matthews ) Matrix Ensemble (David Sawer) Mecklenburgh Opera (Julian Grant, Errolyn Wallen ) Moti Roti Company (Keith Waite ) Moving Music Theatre (William Sweeney) Thalia Myers (3-minute piano piece s from 19 composers ) National Youth Choir (Jonathan Harvey ) Norfolk And Norwich Festival (Matthew Taylor) Northern Sinfonia Concert Society (Dianna Burell ) Orchestra of St John's Smith Squar e (Stephen Montague) Philharmonia (Betsy Jolas ) Phoenix Dance Company (Orphy Robinson ) Piano Circus (Geoffrey King) Rainbow Over Bath (Laszlo Tihanyi ) Resurgence (Tony Roberts ) Royal Liverpool Philharmonic Societ y (Django Bates ) Serious Speakout (George Russell ) Sinfonietta Productions (Harrison Birtwhistle ) Siobhan Davies Dance Company (Gerald Barry ) Smith Quartet (Simon Emerson ) Sonic Arts Network (Peter Green, David Benke , Robert Worby) Women In Music (Luminit Cristina Spinu ) Zanfonia Trio (Ruth Byrchmore ) 6,000 1,000 3,000 3,400 2,200 5,500 2,000 6,360 2,00 0 1,50 0 3,00 0 1,60 0 2,00 0 2,00 0 3,00 0 1,50 0 1,00 0 10,50 0 1,50 0 2,50 0 2,50 0 6,75 0 3,00 0 10,00 0 2,25 0 88 9 1,00 0 2,00 0 2,00 0 3,00 0 1,50 0 6,80 0 3,00 0 1,50 0 2,25 0 3,00 0 4,00 0 2,50 0 4,00 0 3,00 0 2,00 0 6,000 2,000 1,500 London-based Chamber Orchestras Ambache Chamber Orchestra & Ensemble City of London Sinfonia Haydn-Mozart Society London Musici Orchestra of St John's Smith Square Sinfonia 21 5,000 28,000 17,000 5,000 28,000 17,000 137,999 Opera /Music Theatre Developmen t 100,000 Music and Disability Genie Cosma s Heart'n' Soul 10,000 20,000 Aldeburgh Foundatio n Almeida Theatre Compan y Broomhill Trus t Buxton Opera Festival Compact Opera Dartington International Summer Schoo l Eastern Touring Agency English Bach Festival Trust Fifth Floor 22,000 35,000 15,000 12,000 10,000 5,000 8,75 0 6,000 2,000 89 £ The Gogmagog s Kent Oper a Landing Stage Production s Lontano Mecklenburgh Oper a Midsummer Oper a Modern Music Theatre Troupe Norfolk and Norwich Festival Opera and Music Theatre Foru m Opera Circu s The Opera Compa m Operate Performing Arts Lab s Selfmade Music Theatr e Theatre Royal, Burv St Edmund s £ Strategic Initiatives Association of British Orchestra s Blow The Fuse Com a Folksyork s jazz Umbrell a The National Music Counci l Northern Orchestra Consortiu m Roval Liverpool Philharmonic Societ y Sound Sens e South West Jaz z Southern Arts Board Tomorrow's Warrior s University of Sunderland 1,50 0 21 .00 0 5,00 0 3,00 0 5,00 0 2,00 0 3,00 0 5,00 0 50 0 8,00 0 10,00 0 3,00 0 6,00 0 6,00 0 2,50 0 5,000 3,22 0 7,000 2,000 2,070 3,000 2,500 2,500 2,200 5,000 20,000 3,000 4,000 61,49 0 197,250 Period Instrument Ensembles The English Concert Gabrieli Consort and Player s Hanover Ban d Helen Sykes Artists' Managemen t New° London Consor t New Queen' s Hall Orchestra Northern Sinfonia Concert Society Orchestra of the Age of Enlightenment 14,00 0 18,00 0 18,00 0 7,50 0 10,50 0 16,000 12,000 13,000 5,000 5,000 20,000 5,000 5,000 40,000 109,000 Recordings 33 Records Acta Records and Promotion Blueprint Records Cala Record s Com a Divercitv English Chamber Orchestra and Music Societ N Keda Records Mrs Casey Records Ojama Production s People Unite Publication s Quartz Records Robi Droli Sn c Skaaz Records Slam Production s Sound & Languag e United World Music and Entertainmen t Unknown Public Education and Training Association of British Orchestra s Bournemouth Orchestras London Symphony Orchestra Northern Sinfonia Concert Society Royal Liverpool Philharmonic Societ e 8,500 1,976 8,500 10,000 1,500 3,000 1,500 5,000 2,11 0 6,000 4,000 6,000 8,500 7,500 2,51 0 3,000 7,000 5,50 0 Youth Arts British Federation of Young Choirs British Youth Oper a Clonter Opera for Al l National Youth Brass Band of Great Britai n National Youth Choir National Youth Music Theatr e National Youth Orchestra National Youth Wind Orchestr a 10,00 0 14,85 0 3,50 0 5,00 0 6,00 0 12,65 0 25,00 0 7,500 84,500 1,826,58 0 Total projectgrants 43,765,380 Total Musi c Touring Regularly Funded Organisations Royal National Theatre Royal Shakespeare Compan y 365,00 0 550,000 915,000 92,096 Purcell Tercentenar y BOC Covent Garden Festiva l Border Cathedrals Festiva l British Library Buxton Opera Festiva l Carvl Jenner Production s Kent Oper a King of Heart s Lichfield Festiva l New Chamber Opera Spitalfields Festiva l Stour Musi c Sarah Stowe Three Choirs Festival Association Windsor Festival York Earlv Music Festival Fixed-term Funded Organisatio n London City Ballet Trust 2,00 0 3,00 0 2,50 0 2,00 0 2,50 0 5,00 0 51 3 3,00 0 1,75 0 6,00 0 6,00 0 1,50 0 4,00 0 1,50 0 5,00 0 250,00 0 The Arts Council ofEngland 1995/96 1,165,00 0 Totalgrants to funded organisation s 46,263 90 250,000 Audience Developmen t Arts About Mancheste r Arts Marketing Association Arts Marketing Company Arts Marketing Hampshire Arts Marketing Warwickshir e Birmingham Arts Marketing Blackpool Grand Theatre City of Birmingham Touring Opera Eastern Touring Agenc y Max - Marketing the Arts in Oxfordshir e Midlands Arts Marketin g North West Arts Board Opera North 5,92 5 4,00 0 3,175 12,10 0 9,28 0 3,00 0 1,940 5,000 600 3,15 0 2,500 6,000 1,500 E Poole Arts Centre Royal Opera House South East Arts Board Strategic Arts Marketing Initiative Sunderland Empire Theatre Trust Sussex Arts Marketing Team West Yorkshire Arts Marketing Yorkshire & Humberside Arts Board £ Large and Middle-scale Opera Touring Scottish Opera Theatre Royal (Norwich) Trust 5,000 5,000 9,500 3,460 5,000 5,800 7,000 20,000 7,500 £ 300,00 0 12,50 0 312,50 0 126,430 Contemporarvllfusic Network Cambridge Modern Jazz Club Eastern Touring Agency Midlands Arts Centre Norwich Arts Centre South Bank Board South West Jazz Turner Sims Concert Hall £ 1,150 5,900 125 120 15,000 3,000 3,500 Opera/Music Theatre Development Aldeburgh Foundation Compact Opera Crystal Clear Opera D'Oyly Carte Opera Company Eastern Touring Agency Grand Union Huddersfield Contemporary Music Festival Mecklenburgh Opera Music Theatre Wales Opera Circus The Opera Company Opera Factory Pimlico Opera Vocem 14,00 0 10,00 0 38,00 0 20,00 0 7,83 6 5,00 0 4,573 4,60 0 30,00 0 11,75 0 10,00 0 17,00 0 5,00 0 10,00 0 28,79 5 Ballet Projects English National Ballet Scottish Ballet Sunderland Empire Theatre Trust 187,759 170,000 138,850 11,000 Education Dacorum Borough Council 170 17 0 319,850 Dance Projects Adventures in Motion Pictures Adzido Dance Company Arc Dance Company Brams Arts and Management Services Dance i imbrella Motionhouse Phoenix Dance Company RJC Dance Theatre Second Stride Shobana Jeyasingh Siobhan Davies Dance Company Thamesdown Dance Studio Viol 110,000 37,000 30,000 25,000 87,369 13,600 53,600 2,000 15,000 9,100 10,000 1,100 16,150 409,919 Drama l'r(~ects Armada Productions Bibi Crew Black Theatre Co-Operative Carmen Jones Caryl Jenner Productions Channel Theatre Company Di Robson Arts Management Handstand Productions Magnificent Theatre Company Millstream Theatre Company New Shakespeare Company Northern Broadsides Nottingham Theatre Trust Out of Joint The Posse Royal Exchange Theatre Company Thelma Holt Ltd Touring Partnership 93,900 46,000 60,000 50,000 40,500 33,884 28,000 29,000 39,900 55,000 35,000 68,766 38,795 126,00 0 11,400 103,80 0 194,650 64,130 7,50 0 27,00 0 18,50 0 50 0 50,00 0 14,00 0 44 7 50 0 6,00 0 20,00 0 8,80 0 8,00 0 17,50 0 10,50 0 29,970 24,00 0 18,22 6 12 6 20,00 0 10,00 0 35,50 0 20,00 0 92 5 30,00 0 25,00 0 23,00 0 10,00 0 13,72 0 15,00 0 15,00 0 479,71 4 1,118,725 International Projects London International Festival of Theatre Neil Wallace Venue and Promoter Developmen t Aldeburgh Foundation Barrow Borough Council Birmingham City Council Birmingham Jazz Birmingham Repertory Theatre Blackpool Grand Theatre The Brewhouse Theatre & Arts Centre Cambridge Arts Theatre Central Theatre, Chatham Chichester Festival Theatre Crucible Theatre Trust Dance City Darlington Civic Theatre Gardner Arts Centre The Green Room Kirklees Theatre'Trust Leicester Arts Centre Mercury Theatre Colchester Midlands Arts Centre Nottingham Theatre Trust Oxford Playhouse Queen's Theatre Theatre Royal, Bury St Edmunds Tyne Theatre Trust Victoria Theatre, Halifax Wakefield Theatre Royal & Opera House Warwick Arts Centre Watford Civic Theatre Trust Worthing Connaught Theatre Wycombe Swan Theatre Total prajectgrants 3,127,568 Total Touring 4,292,568 97,00 0 46,706 143,706 91 Visual Arts Regularhv Funded Organisations -Arnolfini GallenFree Form Arts Trust Ikon Gallen inI\:A Museum of Modern Art (Oxford) Serpentine Gallen Whitechapel Art Gallen £ £ Arts Council Collection South Bank Board 295 .000 65,00 0 338,00 0 487,000 385,000 278,000 491,000 20 .900 20,90 0 Disability Art House Carousel Hampshire County Council Skill 5 .000 4,000 5,000 5,000 2,339,000 Eixed-term Funded Organisations Attic Producers Publishing Company Autograph Axis Contemporary Art Society Cornerhouse Creative Camera Roval College of Art Visual Arts and Galleries Association 19,000 32,000 62,000 50,00 0 60,00 0 20,000 54,000 70,000 25,000 East Midlands Affican-Caribbean Art East Midlands Arts Board 35,000 373,000 Totalgrants to funded organisations Regional Gallery Scheme Bradford Art Gallen , Nottingham Castle Museum & Art GallenOldham Museum and Art Gallen_' Towner Art Gallery Walsall Museum & Art Gallery Wolverhampton Art Gallen 2,712,000 20,000 15,000 5,000 15,000 35,000 15,000 81,374 1,000 5,000 5,000 17,500 4,600 15,000 2,000 33,340 5,000 7,000 9,000 5,500 10,000 7,500 5,00 0 17,80 0 5,000 12,450 5,00 0 2,500 The Arts Council ofEngland 1995196 10,00 0 2,92 6 12,00 0 5,00 0 2,50 0 5,00 0 6,00 0 2,50 0 1,00 0 1,09 5 4,90 3 3,00 0 12,00 0 6,00 0 5,00 0 1,50 0 1,00 0 1,80 0 30,00 0 30,00 0 5,000 10,000 1,900 1,000 150 3,050 92 5,00 0 22,50 0 20,00 0 1,50 0 6,00 0 9,96 0 15,80 0 31,00 0 1,00 0 15,00 0 16,00 0 14,50 0 9,10 0 83,224 15,000 Artists ' Support Initiatives Attic Producers Publishing Company Engaged Magazine Mavis Studios First Time Publications Attic Producers Publishing Company Arts Catalyst Axis Book Works London Cabinet Gallen Cambridge Darkroom Chisenhale Gallery Control Magazine Curtain Road Arts Gasworks Studio Trust Institute of Contemporary Arts John Hansard Gallery The National Life Story Collection Northern Arts Board Royal West of England Academy The Showroom Todd Gallen Women's Art Librarv Interactive Multi-Media Acces s Artec 256,564 Artists ' Liaison Scheme Attic Producers Publishing Company South East Arts Board Education Attic Producers Publishing Company Artswork Bash Street Publishing Central School of Speech and Drama Germinations Europe Manchester Metropolitan University Middlesex University National Association for Gallen, Education Queen' s Hall Arts Centre South Bank Board University of Brighton University of East Anglia Watershed Trust 167,360 105,000 Architecture Development Architecture Foundation Arnolfini Gallen, Art & Architecture Journal Blueprint Magazine Bristol Centre for the Advancement of Architecture & RIBA Building Books Trust Building Experiences Trust Building of Bath Museum Design Museum Desiring Practices Mark Holborn Ikon Gallery Institute of Contemporary Arts James Stirling Foundation Kettle's Yard Gallen, Landscape Foundation Roval Institute of British Architects The Royal Photographic Society Strangely Familiar Twentieth Centunv Society University of East London 35,000 International Travel and Research Judv Adam Michael Archer Arnolfini Gallery Art Project Management Autograph Barbican Art Gallen Beaconsfield Book Works London Camerawork Cartwright Hall City Racing Cleveland County Council 500 600 600 305 770 1,500 1,500 1,500 1,500 82 5 1,500 1,000 £ Colchester & District Visual Arts Trus t Cornerhouse Festival of Women's Photography Mario Flech a Hilary Gresr y Lisa Haske l Rosemary Heather Impressions Gallery Institute of Contemporary Arts John Hansard Gallery Kettle's Yard Galler y Brigitte Lardinois London Print Workshop Museum of Women's Ar t Mute/Metamute Paul Neagu Newlyn Art Gallery Norwich Arts Centre Norwich Gallery (Norwich School of Art and Design ) Public Art Commissions Agency Public Art Development Trust Reportage Magazin e Russell Roberts Judith Robinson Serpentine Galler y Site Gallery Deborah Smit h Ingrid Swenson Swindon Museum & Art Gallery Roman Vasseur Walsall Museum & Art Gallery Tracey War r Whitechapel Art Gallery Val William s Women's Art Library Yorkshire Sculpture Par k £ 400 1,500 1,500 1,00 0 48 8 73 0 50 0 1,50 0 2,072 1,20 0 70 0 1,445 1,070 1,50 5 1,50 0 1,00 0 60 0 49 0 Public Art Forum Public Art Forum 54 0 1,00 0 1,50 0 1,00 0 1,04 0 72 8 53 0 1,00 0 20 0 36 0 75 5 30 0 57 8 85 2 70 0 1,27 0 1,40 0 1,00 0 24,00 0 18,00 0 19,00 0 40,00 0 6,00 0 21,00 0 2,200 6,695 15,31 9 13,700 4,18 9 2,00 0 19,544 13,78 0 4,70 0 2,00 0 5,18 1 7,00 0 10,40 0 3,00 0 2,00 0 14,63 4 8,10 9 3,50 0 13,63 8 1,220 Site Specific Works Bath Festivals Trust BNI Visual Arts Projec t Locus + Tate Gallery, St Ive s 10,00 0 5,00 0 5,00 0 5,000 25,00 0 20,000 21,000 10,000 34,000 5,688 70,688 Photography Touring Artec East Midlands Arts Boar d Impressions Gallery Open Eye Galler y Site Gallery Watershed Trust 3,500 2,000 9,500 3,500 2,800 152,80 9 20,000 National Collections Touring National Gallery National Museum of Photography, Film & Televisio n Tate Galler y Victoria and Albert Museum 15,000 21,30 0 Publications Alfred David Editions Aspex Visual Arts Trust Autograph Book Works Londo n Coracle Cornerhous e Dewi Lewis Publishing Grey Editions Institute of Contemporary Art s John Hansard Gallery Kettle's Yard Gallery Locus + Mates Galler y Moviol a Mute/Metamut e The Photographers' Galler y Photography Workshop (Edinburgh ) Nina Pop e Vers o Tom Wood 128,000 National Artists Association National Artists Associatio n £ 15,00 0 Public Art Initiatives Desiring Practice s Ruskin School of Drawing & Fine Ar t Science Museu m South East Arts Board Visual Arts Development Agenc y 46,053 Magazines Art Monthly Audio Arts Durian Publication s Kala Pres s Untitled Magazin e Women's Art Librar y £ 40,000 13,000 16,600 18,000 20,000 21,000 128,600 Strategic Initiatives African and Asian Visual Artists Archive Art 96 - The London Contemporary Art Fai r Attic Producers Publishing Compan y Artists Book Fair Arts About Manchester Arts Marketing Hampshire Autograp h Chatto & Windus Cornerhouse East Midlands Arts Boar d European Pepinieres GB Everything Magazine Gateshead Metropolitan Borough Counci l Impressions Gallery The Intaglio Project National Sound Archive North West Arts Board Rear Window Tony Sinde n South Bank Board South East Arts Board South London Art Galler y Staffordshire University Triangle Arts Trus t Watershed Trus t Whitechapel Art Gallery 30,00 0 6,20 0 3,00 0 4,00 0 14,00 0 2,50 0 7,500 4,000 5,500 10,000 5,730 6,000 13,000 3,350 5,400 15,000 1,000 1,000 1,000 3,500 2,000 2,000 14,235 18,000 3,165 3,000 93 L Yorkshire & Humberside Arts Board £ £ Williamson Art Gallen Zone Gallen- 1000 £ 3,00 0 3,89 0 186.08 0 190,91 1 Svneposia Bath Festivals Trust Birmingham Cir' Council Dewi Lewis Publishing Institute of Contemporar-, Arts Museum of Modern Art i Oxford) National Association for Gallery Education Organisation and Imagination Visual Arts and Galleries Association Walsall Museum & Art Gallen Training Axtiyan Northern Arts Board Seeing the Light Uniyersin of Portsmouth West Midlands Arts Board 1500 1,000 1450 2,500 2,500 6,550 2,500 1,500 2,500 62,000 V nue Developnzen t 24,000 Towinq,Exhibition Deielopment David Bailev Bank Barn Barker Beaconsfield Book Works London Cambridge Darkroom Camerawork Cornerhouse Drew Gailery Projects Global Heritage Institute of Contemporary Arts Gavin Jantjes Ruskin School of Drawing & Fine Art Laing Art Gallery Locus + Maidstone Library Gallen Paul Neagu Norfolk Institute of Art & Design (Norwich School of Art and Design) The Organisation for Visual Arts The Photographers' Gallen' Purdv Hicks Gallcrv Russell-Cotes Art Gallen & Museums Petronilla Silver South London Art Gallery Spacex Gallery Pavel Theiner Ultraluxe Publications Visionfest 4,750 4,02 1 5,000 5,000 4,400 2,600 3,490 4,500 4,000 5,000 3,45 0 5,000 1,320 4,000 4,75 0 2,390 5,00 0 5,000 5,00 0 3,38 0 4,64 5 2,50 0 3,80 0 4,60 0 5,00 0 82 0 5,00 0 3,367 94 The Arts Council ofEngland 1995196 11,52 1 9,00 0 6,00 0 8,00 0 8,00 0 14,50 0 12,00 0 7,00 0 9,00 0 6,00 0 5,00 0 8,00 0 8,00 0 7,00 0 10,00 0 25,00 0 7,00 0 3,00 0 14,00 0 6,000 Serpentine Gallen South East Arts Board West Midlands Arts Board Yorkshire & Humberside Arts Board 9,96 0 36,00 0 5,40 0 27,00 0 78,360 111,78 3 Touring Exbibitions Judv Adam Bath Festivals Trust Book Works London Camden Arts Centre Camerawork Chisenhale Gallery Corncrhouse Institute of Contemporary Arts James Hockev Gallery John Hansard Gallen Kent Institute of Art and Design Kettle's Yard Gallery Kirklecs Metropolitan Council Leicestershire Museums & Arts Service New Contemporaries Norfolk Institute of Art & Desig n (Norwich School of Art and Design) The Photographers' Gallery Surrev County Council Towner Art Gallery Viewpoint Photography Gallery 150 0 3,00 0 20,00 0 10,00 0 26,50 0 Total projectgrants 1,995,68 2 Total Visual Arts 4,707,68 2 Lottery hard commitments in 1995/96 Schedule 1 to the Account s For the period to 31 March 1996 Eastern Arts Board £ Commotion Theatre Company Desford Brass Bands East Midlands Shape Gedling Borough Council Gresley Male Voice Choir Gresley Old Hall Brass Band Harley Foundation Hathern Band Haymarket Theatre, Leicester Hindu Temple Cultural & Community Centr e of Nottingham Ireland Colliery Chesterfield Band Loughborough Band Mansfield District Council Melton Leisure Services Merrill Community School Moulton Players New Perspectives Theatre Company Newhall Band Northamptonshire County Council Nottingham Castle Museum and Art Gallery Nottingham Community Arts Nottingham Media Centre Nottingham Theatre Trust Nottingham Trent University Royal School for the Deaf & College for Deaf People Soft Touch Community Arts Group Stamford Shakespeare Company University of Leiceste r (Richard Attenborough Centre) We Can Dance Welbeck Estates Brass Band Aldeburgh Cinema 65,700 Aldeburgh Foundation 40,000 99,000 Aldeburgh Jubilee Hall Artswork Essex/Essex Youth Service (Brentwood) 94,500 Bedford Borough Council 25,000 Bedfordshire County Council 35,000 Borough Council of King's Lynn & 2,236,000 West Norfolk Braybrook Primary School 1,546 6,640,000 Cambridge Arts Theatre Trust 8,250 Cambridge Performing Arts 15,728 Cawston Band Cinema 100 85,000 35,983 Community Music East 95,808 Cresset (Peterborough) Eastern'rouring Agency 98,124 Hilgay Silver Band 34,500 43,600 Holmesyuest Holdings Band 9,050 Horncastle & District Photographic Society Intaglio Project 54,000 Ipswich Co-op Band 7,500 15,000 Jill Freud & Company 17,750 Jubilee Theatre Arts Society Junction 95,687 Leiston Royal British Legion Band 11,954 Lexden Springs School 11,621 61,300 Lincolnshire County Council Nene Housing Society 65,000 New Arts Venue Action Group 28,150 Newmarket Operatic, Musical & 60,000 Dramatic Society 48,139 North Kesteven District Council Norwich Playhouse Theatre 400,000 17,13 2 Orley Players 6,720 Palace Theatre Trust (Southend-on-Sea) 22,56 8 Palace Theatre Watford 100,00 0 Pro Corda Trust Project for a University College for Lincolnshire 17,135 47,62 7 Quay Theatre Rainsford High School 100,000 Royal British Legion Youth Band Brentwood 20,000 28,000 Saxilbv Youth Band 17,185 SNAP People's Theatre Trust South East Television & Media Workshop 198,870 South Holland District Council 1,698,000 7,917 Southend Jewish Youth Centre St Neoes Choral Society 9,273 45,000 Trverham Band 8,700 Thaxted Festival Foundation 13,500 Theatre Royal Trust (Norwich) Tiebreak Touring Theatre 38,115 16,000 Usher Gallery 9,140 Village Players, Nayland, Suffolk East Midlands Arts Board Ashby Dramatic Society Barlestone Parish Council Bingham Infants Self Help Group CODA 75,519 6,500 80,000 16,500 25,008 41,000 31,500 41,000 7,500 22,500 20,000 17,560 18,000 77,62 5 17,91 5 30,000 11,46 8 97,700 5,000 60,00 0 46,88 1 32,86 3 7,50 0 1,750,00 0 96,00 0 1,330,00 0 825,00 0 7,75 0 50,00 0 35,68 1 490,00 0 730,00 0 39,14 0 34,64 0 Total East Midlands Arts Board grant s 6,167,75 0 London Arts Boar d 12,939,772 Total Eastern Arts Board grants £ £ Adzido Pan African Dance Ensemble Age Exchange Theatre Trust Artsline Association for Jewish Youth Association of British Orchestras Bankside Gallery Book Trust British American Arts Association British Film Institute British Film Institute British Library Caryl Jenner Productions City Music Society Contemporary Applied Arts Ealing & Twickenham Theatre Workshop Ebony Steelband Trust Edenwood Productions English National Ballet School English National Opera English Stage Company English Touring Opera Film & General Productions Flamboyan Community Association Floating Point Science Theatre 123,25 0 51,00 0 85,94 7 16,00 0 22,50 0 17,00 0 32,42 3 21,35 1 250,00 0 165,75 0 139,00 0 98,00 0 16,00 0 235,00 0 9,479 60,51 9 750,00 0 87,00 0 1,384,000 15,803,505 83,303 1,000,000 100,000 42,492 95 Focus Films Production s Glastonbur The Movi e Greemvich Dance Agency Hackney Festivals Support Group Halflvay Production House Harringav Club Institute for Performing .-Arts Institute of Contemporary Art s Interchange Studios (The Hamden Trus t International Workshop Festiva l Islington Music Worksho p Jazz Service s Joanne's Community Entertainer s Laban Centre for Movement & Danc e Lewisham Academv of Music London Borough of Newha m London Fields Schoo l Lusia Films Lyric Theatre Hammersmith Musicworks Music Resource Centr e National Trust National Youth Jazz Orchestra Nettlefold Festival Trus t New Queen 's Hall Orchestra Opera Factor y The Plac e Pleasance Theatre Trust Poetry Society Praxis Theatre Compan y Quicksi lv er Theatre for Childre n Raw Material Music and Medi a Royal Academy of Dancin g Royal Academy of Dramatic Ar t Royal Opera House Covent Garde n Roval Philharmonic Orchestra Ruskin Players (Theatre in the Round ) Sadler 's Wells Foundation Sedgehill Schoo l Shakespeare Globe Trust Simba Woolwich Projec t South Bank Centre Spare Tyre Theatre Compan y Spitalfields Arts Project s St Paul' s Arts Trust Strathcona Theatre Company Tabernacle Tara Arts Grou p Third Party Productions University of East London WAVE S William Penn Steel Ban d Women's Art Library Yaa Asantewaa Arts & Community Centre Young Vic Theatre Northern Arts Board 96 The Arts Council ofEngland 1995196 Total Northern Arts Board grant s North West Arts Board 124,251,463 Total London Arts Board grants Alnwick District Playhouse Trus t Barrow-in-Furness Borough Counci l Billingham Silver Ban d Blvth Arts & Community Associatio n Brewer- Arts Centre Broughtons Brass Ban d Dance Cit y Darlington Borough Counci l Dovecot Arts Centre Easington Collier- Brass Ban d 45,00 0 40,00 0 East Cumbria Countryside Projec t 35,15 1 Ferr-hill Town Band Groundxyork South Tvnesid e 95,00 0 Kirkby Lonsdale Handbell Ringer s 8,00 0 110,679 Kirkgate Centre Trust Lanchester Communin- Associatio n 71,072 Millom Amateur Operatic Society 7,00 0 10,75 0 Morden To%%er Poetr y Mordon & Bradbury Village Hal l 63,50 0 North East Disabled Writer s' Project Clevelan d 5,94 3 971,75 0 North East Theatre Trus t North Tvneside Counci l 38,02 5 Northern Junior Philharmonic Orchestr a 86,49 0 Northern Screen Commissio n 30,00 0 51,73 1 Northern Sinfoni a Northern Stage 56,50 0 NTC Touring Theatre Company 39,72 8 10,00 0 Penrith Plavers Theatre Club Saltburn 500 Club and Redcar & Cleveland Borough Counci l 63,50 0 Seaham Youth Theatre Grou p 31,00 0 Sedbergh & District Buildings Preservation Trus t 35,00 0 Sedgefield Community College 6,00 0 Sedgefield District Counci l 109,00 0 30,00 0 South Westmorland Stage & Screen Societ y 7,00 0 Staveley Roundhouse Teesdale District Council 34,00 0 The Northern Architecture Centre 100,00 0 5,951,00 0 Tyne & Wear Development Corporation 42,165 Vaux Samson Ban d Welfare State International 1,626,900 Whitley Bay Playhous e 40,000 302,42 1 36,06 1 68,000 31,030 95,000 17,249 99,000 141,000 22,500 57,31 6 73,000 17,23 5 23,400 114,53 8 331,174 84,000 5,830 95,85 5 42,000 1,155,88 5 36,379 100,000 40,000 32,38 5 41,47 0 19,00 0 97,74 1 99,00 0 24,63 7 48,379 97,42 3 34,02 7 850,00 0 55,000,00 0 36,00 0 9,50 0 30,000,00 0 45,00 0 12,400,00 0 22,00 0 980,00 0 13,50 0 235,00 0 99,00 0 44,05 9 150,00 0 17,44 0 38,69 8 24,90 0 97,20 0 29,35 7 17,00 0 52,85 5 13,50 0 243,000 88,98 0 41,500 732,48 3 85,000 39,32 8 66,21 7 570,25 0 16,000 Action Factory Community Arts 7,200 Astley Youth Ban d 27,500 Black Arts Alliance 10,75 8 25,000 Blackburn Theatre Trust Blue Coat School Brass Ban d 40,000 Brockhall Village Developments 39,95 0 Brouhaha International 32,905 97,982 Buile Hill High Schoo l 20,000 Burnley Youth Theatr e Burv Music Servic e 25,000 Cheshire Dance Worksho p 32,540 95,000 Chester in Concert 4,456,392 Contact Theatre Company Dobcross Youth Band 34,000 Dukes Playhouse 194,75 0 17,91 0 Eaton's Farnworth Band 94,41 4 Folly Trust Frodsham Silver Band 15,000 Ghost Drum & Bugle Corp s 57,796 750,000 The Green Room 149,000 Horse & Bamboo Theatre 59,14 2 Inner City Music Inner Sense 40,600 International Media Centre 30,00 0 University of Salford 25,00 0 Lions Youth Brass Band Liverpool Institute for Performing Art s 2,000,00 0 Liverpool Jewish Youth & Community Centre , Harold Hous e 36,95 7 76,384 M6 Theatre Compan y 11,734,64 2 £ Marple Band Mersey Film & Video Merseyside Dance Initiative Merseyside TU Community & Unemployed Resource Centre Morecambe Youth Band Mossley Community Arts Multi Asian Arts New Everyman New Longton Village Hall North Fylde Music Circle North West Arts Board Pendle Borough Council Pendle Youth Orchestra Pendleton College Port Sunlight Lyceum Brass Band Queen Elizabeth School Royal Court Theatre Foundation Royal Liverpool Philharmonic Society St . Ann's Church, Manchester Standish Brass Band Stockport Borough Council Storeys of Lancaster Brass Band Sutton Community Music Centre Tameside College of Technology The Theatre in Prisons & Probation Centre Theatre Workshop Tintwistle Band Walk The Plank Warrington Borough Council Whaley Bridge Brass Band £ 41,400 88,873 28,319 £ West Meon Village Hall West Wight Arts Association Wiltshire Music Centre Trust Yateley Industries for the Disabled Zippo's Academy of Circus Arts 98,450 47,56 6 53,785 39,19 0 99,76 6 30,000 41,10 8 60,000 40,000 22,000 20,000 33,292 84,678 50,000 850,000 95,000 48,000 73,480 38,212 10,000 98,205 L3,338 12,850 52,709 328,698 40,000 44,995 20,00 0 30,00 0 1,768,024 14,056 48,17 7 Total Southern Arts Board grants 30,294,040 South East Arts Board All Saints Arts & Youth Centre Chichester City Band Chichester Festival Theatre Dual Control International Theatre Company East Grinstead Town Council Epsom & Ewell Silver Band Fosmic Charitable Trust - Friends o f St Mary in the Castle Hanover Band Trust Kent County Council Kent Opera Kent Shakespeare Project Margate Theatre Royal Trust Nomad Players Performing Arts Labs Royal School for Deaf Children, Margate Worthing & Southlands Hospital Art Project Zap Art Zap Club 96,33 0 62,95 5 57,00 0 66,49 7 680,00 0 9,00 0 50,00 0 44,00 0 26,00 0 51,17 8 25,56 1 22,500 50,000 14,663 100,000 40,50 0 84,378 145,35 3 Total South East Arts Board grants Total North West Arts Board grants £ 1,625,91 5 11,455,094 South West Art s Southern Arts Board The Ark 25,000 Artsway 306,000 Bournemouth & Poole College of Further Education 22,000 Bournemouth Concert Brass 59,612 Breakout Theatre Company 15,288 Burnbake Trust 15,000 Chipping Norton Theatre 678,520 Forest Forge Theatre Company 35,000 Hampshire Fire & Rescue Service 5,000 Heyling Island Amateur Dramatic Society 120,000 Healing Arts : Isle of Wight 31,550 Kathakali/Centre Ocean Stream 6,859 Ladies Association of British Barbershop Singers 9,556 Lee Players 15,000 Mainline Pictures 707,700 Maskers Theatre Company 70,875 Milton Keynes Borough Council 19,671,485 Norden Farm Centre Trust 20,000 Olney Players 8,207 Oxford Film & Video Makers 36,722 Oxford Playhouse Trust 2,525,000 Oxford Printmakers' Co-operative 14,326 Reading Film & Video Makers 9,570 River Films (Woodlanders) 1,400,000 Shanklin Town Brass Band 44,190 South West Trains Woodfalls Band 47,446 Southampton Nuffield Theatre Trust 1,279,330 Steve Ross Foundation for the Arts 1,100,500 Test Valley Brass 32,495 Watermill Theatre 86,552 Wavendon All Music Plan 15,000 Art for Life - Taunton & Somerset NHS Trust Art Shape for Gloucestershire Framework Consortium Artspace Bristol Arvon Foundation Beaford Arts Centre Bristol Centre for the Advancemen t of Architecture Bristol City Council Leisure Services City Screen Exeter & Devon Arts Centre Gloucestershire Everyman Theatre Company Hall for Cornwall Trust Holbeton School Creative Arts Organisation Ilminster Entertainments Society International Musicians Seminar Lechlade Parish Council Maisemore Village Hall Nailsea Theatre Club Natural Theatre Company Palace Theatre Trust Queen's Theatre Trust Robinswood Primary School, Matson Rondo Trust for the Performing Arts Sherborne Town Band Spacex Spinners & Weavers Workshop Spirit of Bristol Marching Showband St Keverne Band Sterts Arts & Environmental Centre Take Art! Theatre Royal Bath Thornbury Band 98,50 0 96,220 935,000 297,375 584,198 354,600 375,00 0 577,173 1,768,278 17,00 0 2,584,52 1 18,46 3 25,00 0 73,80 0 30,00 0 50,00 0 50,00 0 369,059 84,33 7 39,345 80,000 82,920 50,58 2 59,00 0 71,746 15,00 0 25,00 0 47,50 0 10,50 0 496,76 8 32,895 97 Wellington Silver Ban d \tevmouth Drama Clu b 20,54 2 29,07 8 9,449,400 Total South West Arts grants West Midlands Arts Board Ah cley Village Band 44,46 6 26,99 6 Angle Galle n 12,00 0 Arrow Valley Brass Avonbank (Evesham) Brass Ban d 22,31 5 12,00 0 Birmingham Arts Marketin g 14,50 0 Birmingham Bach Choi r 5,00 0 Bretforton Silver Ban d Brewhouse Arts Centre 125,63 4 5,000 Bridgnorth Community Hall Trus t 6,500 Bridgnorth Endowed Schoo l 7,500 Bridgnorth Theatre on the Step s 60,000 Castle Vale Housing Action Trus t 3,729,305 CBSO Societ y 35,184 City of Coventrv Brass Ban d 96,000 Coventn , City Counci l 40,500 DanceXchange 25,000 Hereford Sixth Form College 3,000,00 0 Hereford City Counci l 98,07 6 Hi8U S 89,55 5 Huntingdon Hal l 36,00 0 Ifton Ban d 3,776,00 0 Ikon Gallerv 17,68 2 Jackfield (Elcock Ressen) Brass Ban d 84,51 0 Leamington & Warwick Dramatic Study Club 20,50 0 Lion Gallerv 5,00 0 Malvern Lynx Marching Band 5,30 0 Montford Handbell Ringer s 28,43 2 Muller Cleobury Mortimer Ban d National Federation of Music Societies 20,00 0 West Midlands 18,900 Newport Town Ban d 5,000 Oak & Acorn Projec t 11,25 0 Oldburv Wells Schoo l 83,600 Pentabus Arts Theatr e 40,000 Porthy- waen Silver Ban d 7,220 Presteigne Folk & Jazz Associatio n 8,86 3 Pudleston Village Hall Management Committe e SAMPAD South Asian Arts 22,90 3 Development Organisatio n 90,00 0 Scrappie s 7,50 0 Sherifthales County Primary Schoo l 76,86 1 Shropshire County Counci l 68,50 0 Solihull Arts Comple x 48,33 0 Staffordshire Knights Drum & Bugle Corp s 100,00 0 Stratford-upon-Avon District Council 16,86 9 Tutbury Band 21,700 Visual Arts Trus t Warwickshire County Youth Orchestr a 22,15 4 Association 545,50 0 Wolverhampton Borough Counci l 70,750 Worcester City Museum & Art Galler y Yorkshire & Humberside Arts Boar d Action Space Mobile Actors' Workshop Youth Theatre Ampleforth Village Hal l Barnsley Building Society Ban d 98 The Arts Council ofEngland 1995196 18,496 45,000 25,00 0 59,000 79,20 0 1 1,00 0 130,31 0 40,00 0 7 .875 10,00 0 21 .460 12,190 85,500 55,565 986,500 54,000 19,62 6 6,000 29,500 7,82 5 57,400 50,000 22,000 28,050 19,49 7 18,00 0 27,00 0 12,51 8 100,00 0 1,585,00 0 94,275 65,00 0 1,750,00 0 12,25 2 275,00 0 16,75 0 9,000 21,000 573,200 13,73 0 1,480,000 119,85 0 30,000 20,000 63,000 195,200 99,000 100,00 0 50,00 0 30,00 0 606,00 0 37,84 1 Total Yorkshire & Humberside Arts Board grants 12,714,85 5 Total West Midlands Arts Board grant s Beaumont Street Studio s Bethanv Trus t Bradford (Cin) Metropolitan Council Canon Lee School Croy of Leeds College of Musi c Craven .-arts i Department of Crave n District Council ) DAM i Disability Arts Magazine Darts-Doncaster's Community Arts Project Dewsbury Arts Grou p East Riding Youth Brass Ban d East Yorkshire Borough Counci l Emlcy Brass Band Freehand Theatre Gawthorpe Brass ' 85 Great Grimsby Borough Counci l Greentop Community Circus Centr e Harrogate Borough Council Henshaw ' s Society for the Blin d Howdenshire Live Art s Hull Community Artworks Impossible Theatre Ingleton Rural Community Association Kirkbvmoorside Town Brass Ban d Kirklees Metropolitan Counci l Live Arts Music Heritag e North Yorkshire County Council Community Education Servic e Northern Ballet Theatre Northern School of Contemporary Danc e Northern Theatre Compan y Old Meeting House Trust, Helmsle y Open Hand Theatre Compan y Phoenix Dance Compan y Prickly Pea r Public Arts Reeth Brass Ban d Scarborough Theatre Development Trus t Scunthorpe Borough Counci l Sheffield Recreation Band Club Sheffield Theatre Organ Enthusiasts Sonic Arts Network Theatre Royal & Opera House, Wakefiel d Theatre Royal - York Victoria Dock Compan y Wallace Arnold (Rothwell) Ban d Worsbrough Brass Yorkshire Dance Centr e Yorkshire Evening Post Band 9,284,610 Statement of compliance with policy and financial direction s issued under section 26 of the National Lottery etc . Act 1993 Figure 1 : grants awarded by art form 199519 6 1 . The Arts Council must ensure that it does not solicit particular applications . During 1995/96, the Arts Council and the Regional Arts Boards (RABs) took steps to secure the widest possible awareness that Lottery funding is available . This work generated over 9,000 enquiries resulting in 1,426 full Lottery applications . Each of these was considered on its individual merits against published criteria . 2 . The Arts Council must consider applications across the full range of activities for which it has the authority to distribute money. Art form Architecture Broadcasting Circus Combined Arts Crafts Dance Drama Film Production Film other Literature Music Opera other Video Visual Arts £ £837,600 £738,395 £150,277 £47,713,386 £6,783,302 £30,491,319 £124,250,148 £9,338,628 £3,759,343 £530,601 £42,627,411 £56,533,773 £1,750,807 £87,639 £14,456,833 No. li 6 3 85 13 30 134 17 15 7 148 4 4 2 54 Total £340,049,461 533 Every art form has benefited from Arts Council Lotter y grants . Grants have been made for architecture , broadcasting, circus, crafts, dance, drama, film, literature , music and the visual arts . Figure I gives a breakdown o f how many grants and how much funding was committe d to each art form during the period . £120m £100 m £80 m £60m £40m C V Q v C co N 7 V 9 ai a V COi C d C 79 O £ aE LL ` O V O R O O LL 99 3 . The Arts Council must distribute money fo r projects which promote the public good (includin g wider public access) or charitable purposes, an d which are not intended primarily for private purposes . Public benefit is one of eight criteria which the Arts Counci l applies to all Lottery applications . Each of the organisation s that received a Lottery grant during 1995/96 demonstrate d that its particular Lottery development would benefit th e public by providing new or improved opportunities for th e public's enjoyment of- and participation in - arts activities . The examples listed below show how particular project s will widen public access . In assessing public benefit, the Arts Council places a particular emphasis on disabled access . Each organisatio n that receives a Lottery grant is required to ensure maximum access for disabled people whether they are participants , performers or other employees . Over time, Lottery fund s will radically improve arts access for disabled people . How particular projects will widen public acces s • A steel band did not have enough instruments to g o round . As a result, it began losing young trainees since they had limited opportunities for hands-on learning . Now, a Lottery grant for new pans will enable the band to recruit and train more young people . (Ebony Steelband Trus t awarded £60,519 ) • A consortium of public, private and voluntary organisations is working to develop artists' workshops . The project, part-funded through the Lottery, will give th e public a chance to meet sculptors and gain hands-o n sculpting experience . (Brockhall Village Developments Lt d awarded £39,950 ) • After winning a Lottery grant to improve its premises, a theatre club plans to start a youth group . (Nailsea Theatre Club awarded L50,000 ) • A Lottery grant for a new vehicle will enable a wheelchai r dance group to give more displays to primary schools , demonstrating that people in wheelchairs have talents - an d express them . (We Can Dance awarded £39,140 ) • With a Lottery award, a contemporary arts gallery wil l have the space and resources to expand its education programme . It now plans to increase school visits by at leas t 30% . (Ikon Gallery awarded £3,776,000) 100 The Arts Council of England 1995196 • A Lotter y_ grant will enable a multi-media project to develop its work with young people on inner city housing estates, using film to explore issues such as racism an d bullying . (Rau, Material a-,yarded £97,423 ) • A festival of contemporary music now attracts larg e audiences for work that is normally hard to market . How, Largely because a Lottery grant has enabled it to invest in a highly unusual venue : a purpose-designed inflatabl e sculpture . (Nettlefold Festival Trust awarded £40,000 ) • A theatre group that runs participative events for peopl e with learning difficulties had problems finding venues tha t could accommodate its special sets . Its Lotter, award will now widen public access to its own premises . (Horse an d Bamboo Theatre awarded £149,000 ) 4 . The Arts Council must distribute money for capita l expenditure on projects . It can only distribute fund s for the purpose of endowments or as revenue grant s where : - such costs are associated with a capital projec t which has received or expects to receive mone y - the project would not otherwise be complete d because there is no other source of financia l assistance . In fact, no endowment or revenue grants were awarded i n 1995/96 . The Lottery application pack published by th e Arts Council in November 1994 stated that - initially - th e Council would only consider applications for capital projects such as new buildings and building improvements ; the purchase of equipment, vehicles and musica l instruments ; public art ; and film productions . It said that applications for revenue or endowment funding would no t be considered during this initial period . The Arts Counci l promised to review this policy at the end of the 1995/9 6 financial year. At the end of 1995, the Arts Council held four seminars t o review Lottery policy The consensus was that the bulk o f Lottery money should continue to go to capital projects , although the Council should adopt a wider definition o f capital . This would allow funding for commissions of ne w artistic work. In addition, some money should be used t o fund revenue schemes aimed at increasing public interes t and participation in the arts, and developing the talents of young people . The Arts Council warmly welcomed the Department o f National Heritage's announcement at the end of 1995/9 6 that consultation was to begin on a proposal to allow som e Lottery money to fund revenue schemes aimed a t increasing audiences and developing the talents of young people . As a result, new Lottery programmes will b e announced in the Autumn . Partnership funding for Lottery projects comes from a variety of sources . For smaller projects (bids unde r £100,000), voluntary labour, small-scale fund-raising an d gifts in kind are often important . Larger projects often rely on grants from central and local government and Europea n funding sources . We continue to monitor the progres s projects are making in raising partnership funding . 5. The Arts Council must consider the viability o f projects and, in particular, the need to mak e resources available to meet any running o r maintenance costs associated with the project for a reasonable period, a period set according to the size and nature of the project. 7. The Arts Council must obtain the informatio n necessary to make decisions . This includes takin g independent expert advice where required . Financial viability is one of the eight Lottery assessment criteria and unless a project can satisfy it, the Arts Counci l does not award a grant . Where entirely new buildings are created, external assessment concentrates particularly on th e building's operational viability. Each organisation that received a Lottery grant in 1995/96 demonstrated tha t funding for their Lottery project was secure and sufficien t to last for a reasonable period after completion . Many Lottery-funded capital schemes will create no extra revenu e funding needs, and some will actually reduce the need fo r public subsidy. Many organisations that received a grant in 1995/96 provided evidence to demonstrate that the Lotter y project would make a significant contribution to the applicant's future viability by reducing running costs , by increasing earned income or, in some cases, both . 6. Projects must include a significant element o f partnership funding and/or a contribution in kind fro m other sources . Each organisation that received a Lottery grant in 1995/9 6 met the Arts Council's minimum partnership funding requirements . Most had raised or expected to raise far mor e than the minimum (see Figure 2) . Figure 2: Partnersbip funding required bygrants Type of grant awarded Minimum requirement Percentage of costs raised/expected t o be raised Up to £100,000 Over£100,000 Film production 10% 25% 50% 67 % 59 % 76% During 1995/96, the Regional Arts Board and, through them, local authorities ; the British Film Institute ; the London Film and Video Development Agency; the Crafts Council ; the Arts Council's own specialist departments ; and other appropriate agencies gave expert advice on every application that fell within their remit . In all, the y completed 2,380 assessment reports . An independent assessor or assessors appraised al l applications above £100,000 and some below. During the year, the Arts Council received 332 reports fro m independent assessors examining particular aspects o f applications . The Arts Council also took advice on developing its assessment methods for certain types of applications fro m the following agencies : the Association of British Theatr e Technicians, the Theatres Trust and the Brass Ban d Federation . The Arts Council also set up two specialist groups to provide advice on applications for film production : the Independent Film Advisory Panel and the British Scree n Advisory Panel . Further information about the decision making process and departmental staffing. The Arts Council of England decides Lottery grants on the basis of advice given by the Lottery Panel . During 1995/96, the members of the Lottery Panel were : Peter Gumme r (Chairman), Jon Foulds, Lady Patricia Hopkins , Cleo Laine OBE, Ruth Mackenzie OBE, Paddy Masefiel d OBE, Tony Pender CBE, Dr Nima Poovaya-Smith an d Sir David Putmam CBE . The Lottery Panel is serviced by a Lottery Department . The Director of this department is Jeremy Newton . At the beginning of 1995/96, 21 staff worked in the department by the end of the year, this number had increased to 25 . 101 8. The Arts Council must not, if so instructed by th e Secretary of State for National Heritage, distribute money to an organisation over which it has materia l influence or control . During 1995/96, the Arts Council did not approve an y Lottery grant to an organisation over which it had materia l influence or control . 9. The Arts Council must address the needs of project s related to film and the moving image . In April 1995, the Arts Council announced a pilot fundin g programme for film production . The aims of the pilot were to encourage new investment in the British film industr y and to increase the quality and quantity of films made . The pilot period, due to finish at the end of the financial year, ha s now been extended until September 1996 . During 1995/96, the Arts Council contributed just ove r .69 .3m to 17 film productions . (These productions include d a film adaptation of Adrian Noble ' s acclaimed production of AMidsummer NBht'sDream and a psychological thrille r called Crimetime .) In addition, 15 grants valued at just ove r .£3 .7m went to other film projects such as new or improve d cinemas and film editing equipment . 10. The Arts Council must address the needs o f projects related to the crafts . During 1995/96, the Arts Council made 13 awards wort h nearly .S6 .8m to projects involving the crafts . Examples of organisations that benefited include : • Contemporary Applied Arts, a membership organisatio n of craftspeople, received a Lottery grant of £235,00 0 towards the cost of a new gallery to present work to the public . Tyne and Wear Development Corporation in Sunderland received a grant of.£5 .9m towards an .£ 11 .9m project to establish a new national glass centre . The centre will be a working museum with workshops and galleries for bot h permanent and temporary exhibitions . • Bethany Trust, Sheffield, provides residentia l accommodation for adults with severe learning difficulties . It received £ 11,000 towards the cost of converting a garage into a craft workshop where the trust will develop it s programme of workshops led by local artists and craftspeople . 102 The Arts Council ofEngland 1995196 11. The Arts Council must aim for the highes t standards of architectural quality and building desig n in funded projects . Qualitv of design is one of the eight criteria against whic h the Arts Council assesses every Lottery application . I n addition to external assessment, the Arts Council retains th e services of specialist architectural advisers and it s Architecture Committee reviews all significant buildin g design proposals . Each organisation that received a Lottery award in 1995/96 clearly demonstrated that its project wa s well designed and fit for purpose . The Secretary of State for National Heritage also issue d financial directions to the Arts Council regarding its management, control and accountability for Nationa l Lottery funding . These directions can be summarised under the two additional requirements detailed below : 12. The Arts Council must abid e by the Statement of Financial Requirements . The Arts Council has abided by the Statement of Financia l Requirements in its management and control of Lotter y funding . Its systems and practice have been verified through external audits by the National Audit Office an d the Department of National Heritage, as well as rigorous internal audit. 13. The Arts Council must develop and enforce a policy for dealing with conflict of interest . The Arts Counci l 's Procedural and Ethical Code includes a rigorously enforced procedure for dealing with fundin g applications where a Council or panel member has an interest in the project under discussion . The Arts Council also maintains a register of interests for all staff, panel and Council members . Partnership funding for ACE Lottery grants over £5 m awarded in 1995/96 English Stag e Company Limited Milton Keynes Borough Counci l (MKBC) £4,420,000 Roya l Albert Hall Covent Garde n Royal Oper a House Limited Sadler's Well s Foundation Salfor d City Council The Cambridg e Arts Theatre Trust £1,000,000 £2,250,000 01,750,000 £233,263 Donated goods £2,500,000 £1,250,000 Government departments an d other UK public sector agencies £4,930,637 £2,000,000 £6,600,000 £3,000,000 £6,050,000 £1,078,636 £3,200,000 £365,500 Companies Increased revenue funding £2,245,000 £58,350,000 Local authorities Non-UK public sector finding £650,00 0 £42,15 0 £2,998,00 0 £5,353,155 £15,100,000 £120,000 £1,500,000 Other Lottery distributors 0 w Tyne & Wear Development Corporatio n £15,085,000 Individuals and general fundraising Other funding bodies , trusts and foundations The Shakespeare Globe Trust £20,180,000 Other sources £ 1,435,000 Partnership finding total £5,975,000 £50,00 0 £2,285,00 0 £1,346,045 £23,300,00 0 £2,048,906 £8,430,637 £37,510,000 £58,350,000 £10,000,000 £86,000,000 £5,114,500 £5,353,155 £5,983,000 This annual report is available in large print . If you require the report in additional format s such as audiotape, braille o r computer disk, please contac t Jane Parley, Press and Public Affairs Assistant, at the Arts Council of England . Telephone 0171-973 6565 . The Arts Council of England is committed to being open and accessible . If you have any suggestions on how to improve our service, or if you want to make a complaint , please write to the Head of Press and Public Affairs , Arts Council of England, 14 Great Peter Street , London SW1P 3NQ. ISBN 0-7287-07-22 5 © The Arts Council of Englan d 14 Great Peter Street London SW I P 3N Q September 199 6 Copywriting and project management by Lang Communication s Designed by Derek Birdsal l Typesetting and production by Omnifi c Photographs of the Chairman and Secretary-General by Harri Peccinott i Printed in England by Balding+Mansell