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
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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